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> 1950a

The Origins of Psychoanalysis

Freud, Sigmund 1950a [1887-1902]), The Origins of Psychoanalysis, trs. Eric Mosbacher & James Strachey from Aus den Anfängen der Psychoanalyse. Briefe an Wilhelm Fliess, Abhandlungen und Notizen aus den Jahren 1887-1902, 1950a, edited by Marie Bonaparte, Anna Freud and Ernst Kris, Imago Publishing Co., London, Basic Books, New York. Partly, including A Project for a Scientific Psychology, in SE 1, 175.

[The page numbers in what follow are from SE.]

Freud, Sigmund 1950a [1892-1899], Extracts from the Fliess papers, SE 1: 175-280.
Freud, Sigmund 1950a [1895], Project for a Scientific Psychology, SE 1: 281-397.


"Holiness" is something based on the fact that human begins, for the benefit of the larger community, have sacrificed a portion of their sexual liberty and their liberty to indulge in perversions. The horror of incest (something impious) is based on the fact that, as a result of community of sexual life (even in childhood) the members of a family hold together permanently and become incapable of contact with strangers. Thus incest is antisocial—civilization consists in this progressive renunciation. Contrariwise the "super-man". DRAFT N [NOTES III] of 31 May 1897, 1950a [1897]: SE 1: 257.

Project for a Scientific Psychology

Letters of 1 January and 6 December 1896: 388 and 233
Chapter 7 of 1900a
1911b, The two principles of mental functioning
1915, metapsychological papers
1920g, Beyond the Pleasure Principle
1923b, The Ego and the Id
1925a,The 'mystic writing-pad'
1940a [1938], Outline of Psycho-Analysis

Poetry and Fine Frenzy
The mechanism of creative writing is the same as that of hysterical phantasies. Goethe combined in Werther something he had experienced (his love for Lotte Kastner) and something he had heard of (the fate of young Jerusalem, who killed himself). He probably toyed with the idea of killing himself and found a point of contact in this for identifying himself with Jerusalem, whom he provided with a motive from his own love-story. By means of this phantasy he protected himself against the consequences of his experience.
So Shakespeare was right in his juxtaposition of poetry and madness (the fine frenzy). Origins (Draft N: Notes (III): 208.


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