a path from phantasy…

October 19, 2016

a-doorway

There is a famous passage in Freud’s introductory lectures which has infuriated artists, not altogether unjustly:

‘ Before you leave to-day I should like to direct your attention for a moment to a side of phantasy-life of very general interest. There is, in fact, a path from phantasy back again to reality, and that is — art. The artist has also an introverted disposition and has not far to go to become neurotic. He is one who is urged on by instinctive needs which are too clamorous; he longs to attain to honour, power, riches, fame, and the love of women; but he lacks the means of achieving these gratifications. So, like any other with an unsatisfied longing, he turns away from reality and transfers all his interest, and all his Libido, too, on to the creation of his wishes in life. There must be many factors in combination to prevent this becoming the whole outcome of his development; it is well known how often artists in particular suffer from partial inhibition of their capacities through neurosis. Probably their constitution is endowed with a powerful capacity for sublimation and with a certain flexibility in the repressions determining the conflict. But the way back to reality is found by the artist thus: He is not the only one who has a life of phantasy; the intermediate world of phantasy is sanctioned by general human consent, and every hungry soul looks to it for comfort and consolation. But to those who are not artists the gratification that can be drawn from the springs of phantasy is very limited; their inexorable repressions prevent the enjoyment of all but the meager daydreams which can become conscious. A true artist has more at his disposal. First of all he understands how to elaborate his daydreams, so that they lose that personal note which grates upon strange ears and become enjoyable to others; he knows too how to modify them sufficiently so that their origin in prohibited sources is not easily detected. Further, he possesses the mysterious ability to mould his particular material until it expresses the idea of his phantasy faithfully; and then he knows how to attach to this reflection of his phantasy-life so strong a stream of pleasure that, for a time at least, the repressions are outbalanced and dispelled by it. When he can do all this, he opens out to others the way back to the comfort and consolation of their own unconscious sources of pleasure, and so reaps their gratitude and admiration; then he has won — through his phantasy — what before he could only win in phantasy: honour, power, and the love of women.’

Misleading though this may be, it draws attention to two facts, firstly that no artist, however “pure”, is disinterested: he expects certain rewards from his activity, however much his opinion of their nature may change as he develops; and he starts from the same point as the neurotic and the daydreamer, from emotional frustration in early childhood.

W. H. Auden
Psychology and Art To-Day

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