it is soon found that not all stimulus words are reacted to with the same smoothness and facility. We may have a prolonged reaction time, a lack of or faulty reaction, or a failure of reproduction. All these are complex indicators, they show that the stimulus word has touched a complex, and thus retarded or totally inhibited the reaction. In his "Diagnostische Assoziations Studien," Jung shows that all apparently adventitious mistakes in the association experiment have a definite reason, and that contrary to the belief of the test person, his answers are not at all arbitrary, but generally betray his most intimate secrets. The value of this experiment is quite obvious, whereas the patient may refuse to enter into conversation he is quite willing to answer the first word which the stimulus evokes, as he is totally unaware of its import, and if the association is correctly interpreted by the examiner the resistance is invariably broken, as the patient readily recognizes the superiority of the examiner and generally begins with such an expression as, "Since you seem to know it, I will tell you the whole thing." To be sure this is not as simple as it seems; above all it requires much experience, and a knowledge of Freud's method is indispensable. No psychology, to my knowledge, exposes the mind as do Freud's "Psychopathologie des Alltagslebens "" and "Die Traumdeutung."" The following are some of the associations obtained from the patient:

R. 4, to suppose-freedom-refers to his complex of confinement; he supposes that he will soon be discharged from the hospital. R. 5, pain-bad-explains that he had much pain over this

love affair, but as shown by the reaction time it provoked no emotion whatever. R. 6, lazy-early-refers to his being lazy, never likes to rise mornings, also recalls that he was too lazy to commit suicide in the morning and waited until noon. R. 7, moon-sun-is explained as follows: While walking one day with Mina (his beloved) they stopped to look at a photograph representing a man and woman riding on a crescent (moon). At that time the position of the two young persons on the crescent rather pleased him, and he remarked to her that he would like to ride with her on the moon-then recalls things which he does not wish to explain-probably some erotic thoughts. R. 12, to frighten-epilepsy-refers to an incident in the ward; an epileptic had a fit which frightened him, as it was the first time he ever saw any such thing. R. 14, tired-rest-have been-refers to his state before admission to hospital. R. 16, to dance-Polish. This reaction is explained as follows: "Saturday eve, December 7, I went to the Polish dance where I met my three lady acquaintances, Heda, Mina, and Dina. My main object in going there was to gather some material for an article on the life of the Russian and Polish students in Zurich." He stated that when he got there he saw Miss Dina, whom he had known some time, in the company of some gentlemen. He was not indifferent to her; he always found "something pleasant in her "; she impressed him differently from the others because she was rather outspoken. On a number of occasions she did not hesitate to tell him that he was only a poser, etc., a thing which rather wounded his vanity, but yet he does not know why she continued to be of more interest to him than the others. For some reason when he noticed her at the dance, he purposely turned in another direction, but did not lose sight of her. On that evening he felt some change coming over him. Of a usually cynical and taciturn disposition, he suddenly became very cheerful and loquacious; the music exerted an unusual influence on him; he said and did things which are still enigmatical to him; the women especially pleased him, and realizing this the words of Mephistopheles recurred to him: "Du siehst mit diesem Trank im Leibe, Bald Helenen in jedem Weibe." Many women seemed to make advances to him; they sent him all kinds of notes and made flat

tering remarks about him. One elderly lady made such remarks as "Just see this handsome boy," etc.; another lady, totally unknown to him, sent him a senseless note about "loving, human, and erring." Another sent him a gillyflower. On later losing his necktie he stuck this flower into his collar and wore it thus for the remainder of the evening. Another peculiar action was this: Everybody was requested to wear numbers, which were distributed to all present, and the gentleman and lady drawing the same numbers were supposed to exchange souvenir cards. When he received his number he scratched it out and wrote on it a big "I," and this he wore the whole evening. He further recalled that he was very restless for a few days previously; he spent money uselessly, went to many concerts, felt freer than usual, and thought of traveling. R. 17, eye-eye-refers to his own eye; he thought that his left eye was somewhat smaller than his right, and this he considered a sign of paresis. This gave rise to a number of hypochondriacal and depressive ideas. In a letter written to his father long before this suicide episode took place, he signed himself "Candidate for Paresis." R. 19, to aimcandle-explains as follows: "At the moment that I grasped the revolver I felt some fear but aimed it at my breast. The discharge confounded me. I was convinced that I struck myself and dropped the revolver, but I immediately grasped it again and fired four times. I seemed to look for something to aim at. I remember distinctly aiming at the candle standing not far from the window, and at a picture of a bust of Ibsen on the opposite wall." More of this later.

R. 22, modest-violet—is explained as follows: "The violet is a symbol of modesty. Miss Dina always repeated that I was not

modest. Many people reproached me for the same thing, but I always sought refuge in Goethe, who says, 'Only scamps are modest.'" R. 23, ground-seed-onanism. By way of explanation he quotes the Bible: “He (Onan) spilled it on the ground lest that he should give seed," etc. When asked whether he masturbated he at first denied it, but when told that the associations gave distinct evidence of it, he said: "Well, since you know it, I may as well tell it. I began to masturbate when I was 14 and continued it up to about a year ago; I then knew what harm it did me and I stopped it." When asked in what way it affected him, he said that he read or was told that one is liable to get paresis and many other diseases from it. R. 27, death-accidentallyrefers to his attempted suicide. He fitly remarks: "I could have died through accident." R. 30, bad-very-night-refers to the night of January 15, which he claims to have passed very restlessly. He was frequently terrified by his rocking chair, the coverings on which made him think of the dying Bajazzo. On the 12th Mina and the others went to see Bajazzo. He was to have gone, too, but at the last moment he changed his mind and remained at home. This also recalls a conversation with Dina. She told him that his mania for originality, etc., was simply a desire to pose. He retorted by saying: "But don't you think that there is something tragic even in the poser, in the comedy-playing Bajazzos? If they really perceive the real feeling, such apparent comedies may sometimes lead to tragedies." R. 34, pretty-fairly-refers to Mina. R. 40, to crack-arms-means the revolver with which he attempted suicide. This recalls his friend R., concerning whom he read that he blew his brains out. This happened some time before the Polish dance, and on the day of the dance he received a letter from him describing the attempted suicide, and stating that it concerned a woman, and that he was well. R. 47, weapon-unskilled-refers to himself. He said, "I never in my life used any firearms, and when I made up my mind to kill myself I selected a pretty little revolver." R. 48, forget-love. He said, "I am trying to forget my love." R. 51, to dare-to win-was not explained; he began to speak about courage and daring, and he suddenly stopped not wishing to continue.

FEIT

61, stone

80, to understand

83, sofa

.....

87, snake

94, to write

95, horse

.to cast

..saying.

.to sit

.Eve

. feuilleton

..ghost

·3.2". .2.2". .2.2".

+

+

.3.6". .2.8".

+

girls

·3.4′′.

+

·3.2".

spirit

R. 54, quick-to press-refers to his suicide; he was frightened when he grasped the revolver, so that he quickly pulled the trigger. R. 55, child-big. Mina often called him a child, which greatly offended him, as he considered himself a man “in every sense of the word." R. 56, enjoy-life. He said, "I was tired of living and wanted to die, but now I would like to be discharged so as to enjoy life." R. 61, stone-to cast-recalls the sentence, "He that is without sin among you, let him first cast a stone." He always condemned people who committed suicide; he never liked a play or book where the heroes ended their lives; he thought of writing a different ending to Ibsen's Rosmersholm. R. 80, to understand-saying-" the saying is, 'To understand all is to forgive all,' that is what she said to me when she rejected my proposal. Her friend told me afterward that she was abnormal, and was unable to love any man." R. 83, sofa—to sit―girls— refers to a dream which he had while in the hospital, in which the three girls were sitting on a sofa, etc. R. 87, snake-Eve. "A snake was the cause of Eve's fall; a cat and a snake are symbols of falsehood." Snake made him think of penis. R. 94, to write-feuilleton-spirit-he explains thus: "When I decided to commit suicide I immediately thought of writing a number of articles, one a dialogue, a witty interview between A. St., the collaborator of the Pesti Naplo, and his spirit. I also intended to write to Dina that just as Tshepurnoy (refers to Gorky's "Children of the Sun") saved the honor of the veterinary surgeons by committing suicide, I saved the honor of the posers.'" R. 95, horse-ghost-Rosmersholm-referred to the white horses which play such a part in Ibsen's Rosmersholm.

A brief examination of these associations shows that most of them belong to the erotic complexes, a thing usual not only in