A General Introduction to Psychoanalysis. Sigmund Freud
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considered the effect of the slip of the tongue in itself, without regard to its origin. And if we should decide to do so we must finally have the courage to assert, "In some of the examples cited, the product of the slip also makes sense." What do we mean by "it makes sense"? It means, I think, that the product of the slip has itself a right to be considered as a valid psychic act which also has its purpose, as a manifestation having content and meaning. Hitherto we have always spoken of errors, but now it seems as if sometimes the error itself were quite a normal act, except that it has thrust itself into the place of some other expected or intended act.
In isolated cases this valid meaning seems obvious and unmistakable. When the president with his opening words closes the session of the House of Representatives, instead of opening it, we are inclined to consider this error meaningful by reason of our knowledge of the circumstances under which the slip occurred. He expects no good of the assembly, and would be glad if he could terminate it immediately. The pointing out of this meaning, the interpretation of this error, gives us no difficulty. Or a lady, pretending to admire, says to another, "I am sure you must have messed up this charming hat yourself."8 No scientific quibbles in the world can keep us from discovering in this slip the idea "this hat is a mess." Or a lady who is known for her energetic disposition, relates, "My husband asked the doctor to what diet he should keep. But the doctor said he didn't need any diet, he should eat and drink whatever I want." This slip of tongue is quite an unmistakable expression of a consistent purpose.
Ladies and gentlemen, if it should turn out that not only a few cases of slips of the tongue and of errors in general, but the larger part of them, have a meaning, then this meaning of errors of which we have hitherto made no mention, will unavoidably become of the greatest interest to us and will, with justice, force all other points of view into the background. We could then ignore all physiological and psycho-physiological conditions and devote ourselves to the purely psychological investigations of the sense, that is, the meaning, the purpose of these errors. To this end therefore we will not fail, shortly, to study a more extensive compilation of material.
But before we undertake this task, I should like to invite you to follow another line of thought with me. It has repeatedly happened that a poet has made use of slips of the tongue or some other error as a means of poetic presentation. This fact in itself must prove to us that he considers the error, the slip of the tongue for instance, as meaningful; for he creates it on purpose, and it is not a case of the poet committing an accidental slip of the pen and then letting his pen-slip stand as a tongue-slip of his character. He wants to make something clear to us by this slip of the tongue, and we may examine what it is, whether he wishes to indicate by this that the person in question is distracted or fatigued. Of course, we do not wish to exaggerate the importance of the fact that the poet did make use of a slip to express his meaning. It could nevertheless really be a psychic accident, or meaningful only in very rare cases, and the poet would still retain the right to infuse it with meaning through his setting. As to their poetic use, however, it would not be surprising if we should glean more information concerning slips of the tongue from the poet than from the philologist or the psychiatrist.
Such an example of a slip of the tongue occurs in Wallenstein (Piccolomini, Act 1, Scene 5). In the previous scene, Max Piccolomini has most passionately sided with the Herzog, and dilated ardently on the blessings of peace which disclosed themselves to him during the trip on which he accompanied Wallenstein's daughter to the camp. He leaves his father and the courtier, Questenberg, plunged in deepest consternation. And then the fifth scene continues:
Q.
Alas! Alas! and stands it so?
What friend! and do we let him go away
In this delusion – let him go away?
Not call him back immediately, not open
His eyes upon the spot?
OCTAVIO.
(Recovering himself out of a deep study)
He has now opened mine,
And I see more than pleases me.
Q.
What is it?
OCTAVIO.
A curse on this journey!
Q.
But why so? What is it?
OCTAVIO.
Come, come along, friend! I must follow up
The ominous track immediately. Mine eyes
Are opened now, and I must use them. Come!
(Draws Q. on with him.)
Q.
What now? Where go you then?
OCTAVIO.
(Hastily.) To her herself
Q.
To —
OCTAVIO.
(Interrupting him and correcting himself.)
To the duke. Come, let us go – .
Octavio meant to say, "To him, to the lord," but his tongue slips and through his words "to her" he betrays to us, at least, the fact that he had quite clearly recognized the influence which makes the young war hero dream of peace.
A still more impressive example was found by O. Rank in Shakespeare. It occurs in the Merchant of Venice, in the famous scene in which the fortunate suitor makes his choice among the three caskets; and perhaps I can do no better than to read to you here Rank's short account of the incident:
"A slip of the tongue which occurs in Shakespeare's Merchant of Venice, Act III, Scene II, is exceedingly delicate in its poetic motivation and technically brilliant in its handling. Like the slip in Wallenstein quoted by Freud (Psychopathology of Everyday Life, 2d ed., p. 48), it shows that the poets well know the meaning of these errors and assume their comprehensibility to the audience. Portia, who by her father's wish has been bound to the choice of a husband by lot, has so far escaped all her unfavored suitors through the fortunes of chance. Since she has finally found in Bassanio the suitor to whom she is attached, she fears that he, too, will choose the wrong casket. She would like to tell him that even in that event he may rest assured of her love, but is prevented from so doing by her oath. In this inner conflict the poet makes her say to the welcome suitor:
PORTIA:
I pray you tarry; pause a day or two,
Before you hazard; for, in choosing wrong
I lose your company; therefore, forbear a while:
There's something tells me, (but it is not love)
I would not lose you: * * *
* * * I could teach you
How to choose right, but then I am forsworn,
So will I never be: so may you miss me;
But if you do, you'll make me wish a sin
That I had been forsworn. Beshrew your eyes.
They have o'erlook'd me, and divided me;
One half of me is yours, the other half yours,
Mine own, I would say: but if mine, then yours,
And so all yours.
Just that, therefore, which she meant merely to indicate faintly to him or really to conceal from him entirely, namely that even before the choice of the lot she was his and loved him, this the poet – with admirable psychological delicacy of feeling – makes apparent by her slip; and is able, by this artistic device, to quiet the unbearable uncertainty of the lover, as well as the equal suspense of the audience as to the issue of the choice."
Notice, at the end, how subtly Portia reconciles the two declarations which are contained in the slip, how she resolves the contradiction between them and finally still manages to keep her promise:
"*
"Aufgepatzt" instead of "aufgeputzt."