his wife in the parquette, and by the open love-affair attributed to the latter. The contrasts between secret and open love, between her fire and the coldness of the young wife, dominate the dream. Moreover, here again there is a person "in high position" as a middle term between the aristocrat and the musician entitled to high hopes.
By means of the above discussion we have at last brought to light a third factor, whose part in the transformation of the dream thoughts into the dream content is not to be considered trivial; it is the regard for presentability (German: Darstellbarkeit) in the peculiar psychic material which the dream makes use of,—that is fitness for representation, for the most part by means of visual images. Among the various subordinate ideas associated with the essential dream thoughts, that one will be preferred which permits of a visual representation, and the dream-activity does not hesitate promptly to recast the inflexible thought into another verbal form, even if it is the more unusual one, as long as this form makes dramatisation possible, and thus puts an end to the psychological distress caused by cramped thinking. This pouring of the thought content into another mould may at the same time be put at the service of the condensation work, and may establish relations with another thought which would otherwise not be present. This other thought itself may perhaps have previously changed its original expression for the purpose of meeting these relations half-way.
In view of the part played by puns, quotations, songs, and proverbs in the intellectual life of educated persons, it would be entirely in accordance with our expectation to find disguises of this sort used with extraordinary frequency. For a few kinds of material a universally applicable dream symbolism has been established on a basis of generally known allusions and equivalents. A good part of this symbolism, moreover, is possessed by the dream in common with the psychoneuroses, and with legends and popular customs.
Indeed, if we look more closely, we must recognise that in employing this method of substitution the dream is generally doing nothing original. For the attainment of its purpose, which in this case is the possibility of dramatisation without interference from the censor, it simply follows the paths
