Too Long; Didn't Read
The vision following the creation of the hero is described by Miss Miller as a “throng of people.” This representation is known to us from dream interpretation as being, above all, the symbol of mystery. Freud thinks that this choice of symbol is determined on account of its possibility of representing the idea. The bearer of the mystery is placed in opposition to the multitude of the ignorant. The possession of the mystery cuts one off from intercourse with the rest of mankind. For a very complete and smooth rapport with the surroundings is of great importance for the management of the libido and the possession of a subjectively important secret generally creates a great disturbance. It may be said that the whole art of life shrinks to the one problem of how the libido may be freed in the most harmless way possible. Therefore, the neurotic derives special benefit in treatment when he can at last rid himself of his various secrets. The symbol of the crowd of people, chiefly the streaming and moving mass, is, as I have often seen, substituted for the great excitement in the unconscious, especially in persons who are outwardly calm.
234The vision of the “throng” develops further; horses emerge; a battle is fought. With Silberer, I might accept the significance of this vision as belonging, first of all, in the “functional category,” because, fundamentally, the conception of the intermingling crowds is nothing but the symbol of the present onrush of the mass of thought; likewise the battle, and possibly the horses, which illustrate the movement. The deeper significance of the appearance of the horses will be seen for the first time in the further course of our treatment of the mother symbolism. The following vision has a more definite and significantly important character. Miss Miller sees a City of Dreams (“Cité de Rêves”). The picture is similar to one she saw a short time before on the cover of a magazine. Unfortunately, we learn nothing further about it. One can easily imagine under this “Cité de Rêves” a fulfilled wish dream, that is to say, something very beautiful and greatly longed for; a sort of heavenly Jerusalem, as the poet of the Apocalypse has dreamed it. The city is a maternal symbol, a woman who fosters the inhabitants as children. It is, therefore, intelligible that the two mother goddesses, Rhea and Cybele, both wear the wall crown. The Old Testament treats the cities of Jerusalem, Babel, etc., as women (Isaiah xlvii:1–5):