frequently inversion becomes necessary in dreams which are inspired by repressed homosexual feelings.
Moreover, inversion or transformation into an opposite is one of the favourite methods of representation, and one of the methods most capable of varied application which the dream activity possesses. Its first function is to create the fulfilment of a wish with reference to a definite element of the dream-thoughts. "If it were only just the other way!" is often the best expression of the relation of the ego to a disagreeable recollection. But inversion becomes extraordinarily useful for the purposes of the censor, for it brings about in the material represented a degree of disfiguration which all but paralyses our understanding of the dream. For this reason it is always permissible, in cases where the dream stubbornly refuses to yield its meaning, to try the inversion of definite portions of its manifest content, whereupon not infrequently everything becomes clear.
Besides this inversion, the subject-matter inversion in temporal relation is not to be overlooked. A frequent device of dream disfigurement consists in presenting the final issue of an occurrence or the conclusion of an argument at the beginning of the dream, or in supplying the premises of a conclusion or the causes of an effect at the end of it. Anyone who has not considered this technical method of dream disfigurement stands helpless before the problem of dream interpretation.[1]
Indeed in some cases we can obtain the sense of the dream only by subjecting the dream content to manifold inversion in different directions. For example, in the dream of a young patient suffering from a compulsion neurosis, the memory of an infantile death-wish against a dreaded father was hidden behind
- ↑ The hysterical attack sometimes uses the same device—the inversion of time-relations—for the purpose of concealing its meaning from the spectator. The attack of a hysterical girl, for example, consists in enacting a little romance, which she has unconsciously fancied in connection with an encounter in the street car. A man, attracted by the beauty of her foot, addresses her while she is reading, whereupon she goes with him and experiences a stormy love scene. Her attack begins with the representation of this scene in writhing movements of the body (accompanied by motions of the lips to signify kissing, entwining of the arms for embraces), whereupon she hurries into another room, sits down in a chair, lifts her skirt in order to show her foot, acts as though she were about to read a book, and speaks to me (answers me).
