Dreams and Shakespeare: Henry IV Part I

Dreams and Shakespeare: Henry IV Part I by Kelly Bulkeley

Sleep is both a gentle source of earthly pleasure and a stressful battlefield of military violence in Shakespeare’s stirring portrait of a young Prince.

The play opens with Henry IV, the 15th century English King, planning his military strategy against various enemies who are threatening rebellion.  One of the rebel leaders is Henry “Hotspur” Percy, the Earl of Northumberland’s valiant son whose battlefield exploits have become legendary.  As the King reflects on Hotspur’s noble deeds, he cannot ignore the painful contrast with his own unruly, disobedient son, Prince Henry or “Hal,” who wastes his time in “riot and dishonor” with a lowlife gang of drunkards, thieves, and scoundrels.  The King’s first mention of his child is a wish to be rid of him:

O that it could be proved

That some night-tripping fairy had exchanged

In cradle clothes our children where they lay,

And called mine Percy, and his Plantagenet!

Then I would have his Harry, and he mine. (I.i.88-92)

In many cultures around the world, including early modern England, people have been terrified by the evil spirits that strike infants in their sleep.  To protect their children, parents have used prayers, rituals, amulets, and holy artifacts to ward off the malevolent beings who attack newborns during the dark of night.  In this context, it would be shocking for a parent to actively wish that a “night-tripping fairy” would come to steal his true child.  By so wishing, the King reveals the cruel extremity of his detachment from young Henry.

The next scene introduces Prince Hal’s scurrilous but intimate group of friends, led by Sir John Falstaff, a man of grand humor and bottomless appetites.  Hal’s first words make this clear: “Thou art so fat-witted, with drinking of old sack and unbuttoning thee after supper and sleeping upon benches after noon” (I.ii.2-4).  Here is a neat list of Falstaff’s chief vices, which include a gluttonous desire for sleep.  Falstaff enjoys sleeping for the same reason he enjoys drinking and whoring—they feel good.  But he denies the Prince’s moral condemnation of his chosen way of life, now and in the future:

“When thou art King, let not us that are squires of the night’s body be called thieves of the day’s beauty. Let us be Diana’s foresters, gentlemen of the shade, minions of the moon; and let men say we be men of good government, being governed as the sea is, by our noble and chaste mistress the moon, under whose countenance we steal.” (I.ii.23-30)

Dreams and Shakespeare: Henry IV Part I by Kelly Bulkeley

Even though Falstaff is speaking in prose, his words have a roguish poetry.  He casts himself as a member of a mystical lunar guild; he breaks the laws of the daytime not because he is a base criminal, but because he is a true and faithful servant of the “mistress the moon.”

Hal knows that Falstaff is no such thing, but he also knows the fun of hanging around with Falstaff is listening to him spin out absurd stories and fanciful lies.  Even more fun is playing a trick on Falstaff to provoke his boundless capacity for creative falsehoods.  Such an opportunity arises when Poins, a renowned highway robber, arrives and tells them of an excellent opportunity for profitable thievery.  A group of rich pilgrims will be traveling on a nearby road in the pre-dawn darkness, and it would be easy to ambush them and separate them from their valuables.  Poins declares, “We may do it as secure as sleep” (I.ii.132-133).

This analogy emphasizes the simplicity of the plan.  Just as it’s easy to go to sleep, it will be easy to rob the pilgrims.  Falstaff accepts this metaphorical reasoning, given how quickly and comfortably he can fall sleep (more on this in a moment).  Yet the analogy has another layer of meaning that Falstaff does not recognize, of sleep as a descent into a world of darkness and disorientation with strange reversals of identity and startling discoveries of truth and deception.  Falstaff doesn’t know it, but Poins soon confides to Hal that the real plan is to trick Falstaff during the robbery.  To be “as secure as sleep” will turn out to be not very secure at all.

Dreams and Shakespeare: Henry IV Part I by Kelly Bulkeley

What ensues is one of the greatest scenes in literature as Hal and the other “minions of the moon” banter with Falstaff while he tells his thrilling, heroic, and completely fictional account of what happened during the robbery.  The Prince shares the old rogue’s giddy joy in his fanciful flights of imagination.  Despite their radical differences in age and station, they have this creative pleasure in common.  Their playful battles of wit generate an exuberant vitality that enlivens them both.

The jesting abruptly ends when the Sheriff arrives to inquire about the robbery.  Everyone scatters and hides while the Prince must resume his royal identity and assure the Sheriff the pilgrims will be repaid for what they have lost.  After the Sheriff has left, Hal tells Peto to find that “oily rascal.” A moment later Peto calls out, “Falstaff! Fast asleep behind the arras, and/Snorting like a horse” (II.iv.535-536).  The comedy of Peto’s discovery turns on Falstaff’s blithe lack of concern for anything but his own immediate bodily pleasure.  While the Sheriff is in that very room looking to arrest him for a capital crime, Sir John lays down in a dark place and slips into a deep, beastly slumber.  Unburdened by guilt or shame, having no ambition beyond the next bottle of sack, he is not even perturbed by Hal’s recent, ominous words about a future banishment (“I do, I will.”).  Falstaff enjoys sleep as one of the many sumptuous courses in the great feast of life, and he lets nothing distract him from consuming his fill.

At the other end of the spectrum, the relentlessly aggressive Hotspur treats sleep as another battlefield where enemies can be attacked, fought, and conquered.  In Hotspur’s opening scene he rages against the King for refusing to help his kinsman Mortimer and commanding no further discussion of it.  Hotspur imagines a nocturnal assault on the arrogant monarch:

He said he would not ransom Mortimer,

Forbade my tongue to speak of Mortimer,

But I will find him when he lies asleep,

And in his ear I’ll hollo ‘Mortimer.’” (I.iii.235-236)

Dreams and Shakespeare: Henry IV Part I by Kelly Bulkeley

He may threaten to attack the King during sleep, but it’s Hotspur himself who has the most troubled slumber of anyone in the play.  His wife, Lady Kate, asks him why he is so agitated and disturbed: “Tell me, sweet lord, what is’t that takes from thee/Thy stomach, pleasure, and thy golden sleep?” (II.iii.41-42)  In contrast to Falstaff, Hotspur has lost all of his normal physical appetites.  Lady Kate goes on to describe in sorrowful detail the frightening spectacle of her husband’s sleeping body:

In thy faint slumbers I by thee have watched,

And heard thee murmur tales of iron wars,

Speak terms of manage to thy bounding steed,

Cry ‘Courage! to the field!’ And thou has talked

Of sallies and retires, of trenches, tents,

Of palisades, frontiers, parapets,

Of basilisks, of cannon, culverin,

Of prisoners’ ransom, and of soldiers slain,

And all the currents of a heady fight.

Thy spirit within thee hath been so at war,

And thus hath so bestirred thee in thy sleep,

That beads of sweat have stood upon thy brow

Like bubbles in a late-disturbed stream,

And in thy face strange motions have appeared,

Such as we see when men restrain their breath

On some great sudden hest. O what portents are these?

Some heavy business hath my lord in hand,

And I must know it, else he loves me not. (II.iii.48-66)

Dreams and Shakespeare: Henry IV Part I by Kelly Bulkeley

Lady Kate’s account opens a window into the war-obsessed, hyper-militarized mind of Hotspur.  Fighting is all he thinks about, day and night, in waking and sleeping.  Her description of his physical reactions have aspects of both sleep paralysis and night terrors, which are often triggered by frightening or unsettling situations in waking life.  His behavior may even reflect the repetitive nightmares symptomatic of post-traumatic stress disorder; his wartime experiences would have given him plenty of raw material.  But Lady Kate is trying to emphasize how frightening it is for her to watch her beloved endure such unconscious torments—he’s sweating, he can’t breathe, he’s in obvious distress.  Her plea for him to tell her what’s wrong is a plea for him to recognize the painful impact of his nocturnal suffering on her.

This passage offers the closest approximation of a full dream report available in the play.  Dreams are mentioned elsewhere twice in turns of phrase (“that thou dreamst not of,” II.i.69-70; “before not dreamt of,” IV.i.78) meant to emphasize something that’s vitally important yet beyond normal reckoning.  Hotspur at one point says he hates foolish talk about “the dreamer Merlin and his prophecies” (III.i.161).  Besides that, the only other reference to dreaming is indirect, in the pre-battle scene where the rebel lords take leave of their ladies.  Mortimer’s wife, who can only speak Welsh, invites her husband to enjoy a final, private reverie together:

She bids you on the wanton rushes lay you down

And rest your gentle head upon her lap,

And she will sing the song that pleaseth you

And on your eyelid crown the god of sleep,

Charming your blood with pleasing heaviness,

Making such difference ‘twixt wake and sleep

As is the difference betwixt day and night

The hour before the heavenly-harnessed team

Begins his golden progress in the east (III.i.230-239)

Dreams and Shakespeare: Henry IV Part I by Kelly Bulkeley

This is a beautiful image of sensual slumber, and one of the most poignant moments in the play.  A woman who cannot speak her husband’s language offers to ease him into a lyrical space of soothing comfort, away from the sharp edges of waking reality.  Indeed, I wonder if she is subtly helping him incubate a dream to guide him in the coming battle. The liminal state she is trying to evoke, just before dawn when sleep is about to yield to waking, is in fact the time when the human brain typically enters its peak phase of REM sleep, generating the highest frequency of remembered dreams.

What about Prince Henry?  How will he sleep and dream?  We do not know yet.  He is still unformed, his identity still in the process of becoming.  He has two more plays to go.  Will he learn from Falstaff and the “gentlemen of the shade” to sleep easily and well, or will he fall prey like Hotspur to the wrenching, inescapable violence of a militarized dreamscape?

####

 

Contemporary performances:

Dreams and Shakespeare: Henry IV Part I by Kelly Bulkeley

Last week I saw a powerful production of Henry IV Part I at the Oregon Shakespeare Festival in Ashland, with Daniel Jose Molina as the young Prince, G. Valmont Thomas as Falstaff, and Alejandra Escalante as Hotspur.  The scenes with Molina and Thomas were magical; at several points in their comedic jousting I had tears of laughter running down my cheeks.  The intimate space of the Thomas Theater enabled both actors to draw the audience into their merry band of criminal conspirators, making everyone feel a part of their antics, adventures, and jests.  I truly lost track of time during the riotous fourth scene of Act II.  When the Sheriff suddenly arrived it felt like a harsh and unwanted intrusion into our fun times, like an alarm clock jarring us out of a good dream. A buzz-kill, in other words.

The casting of Escalante as Hotspur gave a fresh look at Shakespeare’s classic portrait of a young warrior, inflamed with a righteous rage for vengeance.  Escalante’s intense performance decoupled Hotspur’s aggression from gender, which is perhaps another way of saying her performance humanized this aspect of Hotspur’s character. I found the effect especially strong in the scene where Lady Kate (played by Nemuna Ceesay) described Hotspur’s frightening behaviors in sleep.  Escalante and Ceesay had a vibrant and mutual romantic rapport that seemed to subtly change these lines from a shameful revelation of cowardly fear into an honest admission of the burden of fighting to uphold one’s ideals.  Instead of driving them apart, this deeply emotional exchange brought them closer together.

 

Note: this essay first appeared in the Huffington Post on April 18, 2017.

Lucrecia the Dreamer

Lucrecia the Dreamer by Kelly BulkeleyI’ve just finished writing a new book about a young woman in 16th century Spain whose uncannily accurate prophetic dreams led to her arrest and torture by the Inquisition.  The book is titled Lucrecia the Dreamer: Prophecy, Cognitive Science, and the Spanish Inquisition, to be published by Stanford University Press in early 2018. Lucrecia’s case is by far the most dramatic and compelling historical example of prophetic dreaming I have ever encountered.  Truth is indeed stranger than fiction.

Below is an excerpt from the first page of the Introduction.

This is the story of a young woman who was violently persecuted because of her dreams.  The fact that she dreamed frequently and vividly from an early age does not make her especially unusual since every society, from ancient times to the present day, has its share of such gifted people.  What makes her story remarkable and historically significant is that she focused her dreaming abilities on gaining insights into the most pressing dangers facing her country. She was born a big dreamer and then, with the help and guidance of various supporters, she amplified her oneiric powers to new levels of visionary intensity.

For that, she was condemned as a traitor and a heretic.

Her name was Lucrecia de Leon.  Born in 1568 in Madrid, Spain, she was the oldest of five children raised in a family of modest economic means… As her parents and neighbors later testified, Lucrecia was an active dreamer from early childhood.  In the fall of 1587, when she was not quite 19, she mentioned one of her odd dreams to a family friend visiting her house.  This friend later described the dream to a nobleman, Don Alonso de Mendoza, who was known to be deeply interested in mystical theology and apocalyptic omens.  Curious to hear more, Don Alonso arranged to record Lucrecia’s dreams on a daily basis.  For the next three years he collected her dreams, analyzed them in relation to passages in the Bible, and showed them to other people concerned about the future of Spain.  Public interest in Lucrecia’s dreams grew, and so did the disapproval of church authorities whose job it was to guard against political dissent and unorthodox spirituality.  In 1590 King Phillip ordered the Inquisition to arrest Lucrecia.  Now 21 years old and several months pregnant, she was brought to the Inquisition’s secret prison in the nearby city of Toledo and tried for heresy and treason.  The carefully recorded collection of her dreams became a primary source of evidence against her.

The first part of the book tells the story of Lucrecia’s life and dreaming and her upbringing as an illiterate but very pious Catholic young woman in the capital city of the most powerful empire in the world at that time.  The second part of the book focuses on her dream reports, which the Inquisition tried for five years to compel her to admit were fraudulent fabrications.  I make the case that the findings of modern cognitive science indicate Lucrecia was not lying but was telling the truth–she was honestly describing genuine dreams that accurately anticipated dangers to her country, specifically the defeat of the Spanish Armada in 1588.  If I could use a time machine to travel back four centuries to the Inquisition’s court in Toledo, this is the expert testimony I would offer based on my analysis of the evidence of her dream reports.

Lucrecia the Dreamer by Kelly Bulkeley

I only wish the book were coming out sooner!  Actually, for a university press, the manuscript is racing through the production process, and I’m grateful for the care and attention of the editorial staff.  The text will be the first entry in a new series, “Spiritual Phenomena,” aimed primarily at academic audiences but also appealing to general readers interested in the creative interplay of mind, body, spirit, and culture.  I certainly wrote Lucrecia the Dreamer with the goal of making her story accessible to readers from all backgrounds.  The historical evidence of her extraordinary capacities for future-oriented dreaming has implications far beyond the relatively narrow concerns of academics. Her story highlights the existence of latent powers of the human imagination that have tremendous relevance today, during another era of unstable leadership and looming dangers for the reigning global empire.

 

Notes:

The first image is a funnel used by the Inquisition to torture prisoners by means of the “toca,” essentially a form of waterboarding.  I took the picture at the Museum of Torture (yes there is such a place) in Toledo.

The second image will be the basis of the book’s cover.  It’s a painting my wife and I bought in Amsterdam many years ago, and I’ve always felt it echoes something of Lucrecia’s story (no direct image of her remains).

Re the word “oneiric,” a friend who read a draft of the manuscript questioned whether I really need to use this term  in the first paragraph.  Here’s the hopefully clarifying endnote I added to the text at the end of the offending sentence: “The English word dream comes from a Proto-Germanic word, draugmaz, which meant dream, deception, delusion, hallucination, festivity, and ghost.  The Greek word oneiros comes from oner in Proto-Indo-European (the oldest known human language), meaning both dreams and the figures who appear in them.  The Spanish word sueño derives, like somnium in Latin and songe in French, from another Proto-Indo-European word, swepno, meaning sleep.”

Dreaming and Theater: A Dynamic Connection

Dreaming and Theater: A Dynamic Connection by Kelly BulkeleyIn August of 1991 I joined a group of dream researchers from the U.S. and Western Europe on a journey to Golitsyno, a conference center just outside Moscow in the former Soviet Union, where we planned to meet several Soviet researchers for a gathering organized by Jungian analyst Robert Bosnak.  Just hours after our plane landed in Moscow on August 19, the airport was suddenly shut down by the Red Army; a military coup against the Soviet president, Mikhail Gorbachev, had begun.  All communications with the outside world were cut off.  Our only source of information was the state television, which offered nothing of substance and simply told everyone to stay calm. Alas, we didn’t.  As heavy tanks and armored personnel carriers rumbled through the streets, our jet-lagged brains struggled to process a surreal mix of fear, disorientation, and uncertainty about where this violent rebellion might lead.

But we had come to Golitsyno to talk about dreams, so that’s what we did, as reality itself took on a strangely dream-like quality.  Amid the various lectures and panel discussions, the most memorable session by far was a workshop on dream theater.  One person shared a dream, the rest of us chose a role to play based on an element from the dream–e.g., a character, object, setting, or emotion–and then we all performed the dream as a group, with the dreamer as the audience.  The process brought out incredible moments of insight, collaboration, creativity, and much-needed comic relief.  We were connecting with each other in a way none of the other conference sessions had allowed.  The attendees spoke a dozen different languages, so every verbal exchange involved a slow and laborious system of translation.  But here in the dream theater, we could act and react to each other immediately, spontaneously, right in the moment.  We found the best way to make sense of a world teetering on the brink of chaos was to play with each other’s dreams.

Dreaming and Theater: A Dynamic Connection by Kelly Bulkeley

Among the many vivid impressions from Golitsyno, this workshop gave me a deep and lasting curiosity about the oneiric dimensions of live dramatic performance.  Plays are collective dreams. That has been my hypothesis ever since.  A live theatrical show provides a magical space where people can dream together, where shared imaginal experiences can be created, enjoyed, explored, and amplified.  

Dreaming and Theater: A Dynamic Connection by Kelly Bulkeley

It turns out this hypothesis has a long history in the psychology of dreaming.  When Carl Jung (1875-1961) taught classes on dream analysis to graduate students at the University of Zurich in the late 1930’s, he told them to start the interpretation of a dream by treating it as the personal theater of the dreamer.  Many dreams have a “dramatic structure” that directly parallels the structure of a theatrical play.  Jung showed his students how to identify four elements commonly found in stage dramas: 1) the locale, where the dream is set and who is present as a character; 2) the exposition, what kind of problem motivates the characters and launches the plot; 3) the peripeteia, how the plot unfolds and changes over time; and 4) the lysis, how the plot ends, with or without a clear resolution.  Analyzing a dream in these terms does not automatically produce a definitive, unambiguous answer.  That was never Jung’s goal.  Rather, his theatrically inspired approach was aimed at opening up new vistas for interpretative inquiry, highlighting potentials for creative growth while making sure the meanings stay grounded in the dreamer’s lived experience.

Dreaming and Theater: A Dynamic Connection by Kelly Bulkeley

The Gestalt psychologist Frederick Perls (1893-1970) took Jung’s approach a step further.  In his workshops and seminars Perls taught his students to reimagine dreaming as a theater of their own minds: “Every part, every situation in a dream is a creation of the dreamer… Every aspect of it is a part of the dreamer, but a part that to some extent is disowned and projected onto other objects.”  Perls emphasized the value of dreams in helping us become more aware of the alienated parts of our psyche, with the goal of eventually embracing those detached elements in a greater whole: “Dreamwork is the royal road to integration.”  By “dreamwork,” Perls meant a process of live psychodrama very similar to what we practiced in Golitsyno.  He asked for the dreamer to narrate his or her experience in the present tense, like a story happening right now, because “we want to bring the dream back to life.”  He gave the dreamer the title of “stage director” for an impromptu dramatic recreation of the dream, with various members of the group serving as characters, settings, and props.  Perls encouraged the performers to engage in spontaneous dialogues, the better to highlight unconscious projections and alienated parts of the psyche.

The dream theater method my colleagues and I learned in Golitsyno was not as directive and goal-driven as Perls’ approach, which focused on the therapeutic effects of provoking confrontations and reconciliations among the various elements of the dream.  Our practice was more open-ended, exploratory, and self-guided; it was not therapy, although it felt deeply therapeutic for many of us.

In his 1984 book Film and the Dream Screen, the literary critic Robert Eberwein used psychoanalytic language to account for the dream-like qualities of watching a movie.  Drawing on Freud’s theory that dreams reveal our earliest childhood memories of total fusion with reality, before there were boundaries between self and other, Eberwein claimed:

“Our experience of film permits us to return to the state of perceptual unity that we first participated in as infants and that we can know as dreamers. The ‘sleep’ in our experience of film, that is, will be seen to return us to the primal sense of unity with our dreams. As a result, we are able to watch and feel a sense of involvement in the images on the screen, the distinction between res cogitans (the mind) and res extensa (external reality) having dissolved as we enter into the oneiric world of film.”   

I don’t entirely agree with his views of early child development (humans are relational beings from the start), but I do believe Eberwein’s approach is helpful in highlighting a powerful dimension of dreaming energy that becomes activated when watching a movie.  Indeed, I believe this argument can be made even more strongly in relation to attending a live theatrical performance, where the visceral immediacy of the drama comes closer than any other art form to invoking the startling beauty and electric intensity of an actual dream.  In a play, the audience and actors share an imaginal space they create and hold together.  Within this space, a story emerges that grows and takes a unique shape according to their dynamic interactions during the performance–the live presence of the actors intensifying the emotional responses of the audience, and the live presence of the audience stimulating the creative talents of the actors.  The best plays are like the best dreams: surprising, decentering, mind-expanding, awe-inspiring, emotionally exhausting, and acutely memorable.  They are unreal, yet realer than real; retreats into fantasy that catapult us into fresh engagement with the world.

Dreaming and Theater: A Dynamic Connection by Kelly Bulkeley

Last year I joined the board of directors of the Oregon Shakespeare Festival in Ashland, Oregon, where some of the greatest theater on the planet is being created and performed.  From February to November, eleven plays (usually 4-5 by Shakespeare, one big musical, and the rest original commissions for OSF) are presented in three interconnected theaters.  The 2017 season performances began a few weeks ago, and just recently the 2018 season was announced, with favorable attention to OSF’s passionate commitment to presenting plays, both classic and new, that reflect the full range and diversity of the world in which we live today.  I’m very excited to do what I can to support the members of this amazing artistic community as they weave dreams and cast dramaturgical spells that transport audiences into imaginative spheres of beauty, wonder, and fiercely relevant insight.

 

Notes:

I wrote more about the Golitsyno experiences in a chapter titled “Dreaming in Russia, August 1991,” in my 1999 book Visions of the Night (SUNY Press).  My roommate at the conference center, Michael Dupre, wrote about his experiences in a 1992 article titled “Russia. Dreaming. Liberation.” (Dreaming 2(2): 123-134).

The Jung quotes come from the 2010 book Children’s Dreams (Princeton University Press).

The Perls quotes come from the 1970 book Gestalt Therapy Now (Harper).

In a future post I will write in more detail about the work of Robert Bosnak, who organized the “Dreaming in Russia” conference and who has done extensive work connecting dreams and theater, and Janet Sonenberg, who wrote the 2003 book Dreamwork for Actors and who has worked with Bosnak in theatrical contexts.

This essay first appeared in the Huffington Post on April 4, 2017, and has been slightly revised.

The Study of a 32-Year Long Dream Journal

The Study of a 32-Year Long Dream Journal by Kelly BulkeleyThe latest series to be uploaded into the Sleep and Dream Database (SDDb) is the biggest yet: the “Brianna Journal 1984-2016,” 2,448 dream reports from a woman who kept a journal fairly consistently for 32 years.  This series offers an amazing opportunity to observe in unusually close detail the emotional contours of an individual’s life as she makes her way through a challenging and often dangerous world.

Brianna (not her real name) shared these dreams with me and Deirdre Barrett last year, which we initially studied for a presentation at the 2016 conference of the International Association for the Study of Dreams.  Using the word search functions of the SDDb, I performed a “blind analysis” on three subsets of Brianna’s dream journals, meaning I 1) tabulated the frequencies of word usage for several categories of dream content, 2) compared her frequencies with baseline averages for each category, and 3) made inferences, based on nothing other than her dream patterns, about her concerns and activities in waking life.  For instance, I inferred that Brianna is closer to her mother than her father, is interested in books and writing, is not interested in sports, and has significant involvement with issues of death and dying.  Brianna herself, who attended the conference presentation, confirmed these and other inferences, which helped demonstrate the general idea that patterns in dreaming can accurately reflect people’s waking life concerns.

Now I have finally uploaded the complete collection of dreams Brianna shared with me, which provides a broader overview of her dreaming experiences over the span of more than three decades.  I will share more details from my analysis at the upcoming 2017 IASD conference (held in Anaheim, California, June 16-20).  For now, here are some of the initial findings of my study of this remarkable series.

Length: This is a long series in at least three ways: total number of dreams (2,448), time span covered by the journals (32 years), and average number of words per report (292).  The median word length is 168 words, meaning half the reports are shorter than that, and half the reports are longer.  Looking at the distribution of word lengths in the series as a whole, 851 of the dreams have between 1 and 99 words, 794 of the dreams have between 100 and 299 words, and 803 of the dreams have 300 or more words.  A series with this many dreams at both the short and long ends of the spectrum poses special challenges for analysis.  For now, I will study the series as a whole, but at some point I will look at subsets of varying lengths (e.g., the dreams of 50-300 words in length, of which there are 1,192).

Cognition: The series as a whole has a remarkably high frequency of dreams with at least one word relating to thinking (71%), speaking (56%), and reading/writing (19%).  The dreams have lots of strange, irrational material, too, but much of the content is oriented around normal cognitive activities that are also important in her waking life (Brianna is, in fact, a literate, well-educated, and sociable person).  The high proportion of cognition references could be a result of the unusual length of her dreams, and/or it could be an accurate reflection of her waking personality.  Either way, this is a topic worth further investigation.

Death: One out of every seven (15%) of Brianna’s dreams has a reference to death.  That is quite high compared to other dream series I have studied, and it strongly suggests that death and dying are major concerns in Brianna’s waking life.  I know enough about her to confirm the general accuracy of this inference, and now I am curious to look more closely at how this theme weaves its way through her series as a whole.

Religion: The frequency of references to religion is also unusually high in this series, and the list of specific words used in the dreams makes it fairly easy to accurately infer that Brianna is Jewish.  In previous studies I have found that patterns in dreaming offer good clues to a person’s beliefs and attitudes towards religion.  The Brianna series seems to be another illustration of that premise, and through deeper analysis I hope to understand better how religious and spiritual themes in the dreams track with Brianna’s waking life interests, concerns, and experiences.

Note: this post was originally published in Psychology Today, March 10, 2017.

Dreams and Shakespeare: Julius Caesar

Dreams and Shakespeare: Julius Caesar by Kelly BulkeleyProphetic dreams of doom go unheeded in Shakespeare’s tragedy about violent political strife among the greatest leaders of ancient Rome.

In Julius Caesar, strange dreams and nightmares join with other frightening portents to besiege the people of Rome from all sides.  Terrible storms, weird avian behavior, and a haunting Soothsayer add to the pervasive sense of inescapable doom pressing down on the city.  The very foundations of the world, both political and cosmic, are cracking apart.  Forces of chaos have been set loose within the empire.  And yet, not a single one of Rome’s political leaders has the visionary capacity to recognize the signs of danger. For their failures to heed these warnings, they pay with their lives.

The great Caesar himself sets the tone in an early scene, when the Soothsayer gives him an unmistakable warning: “Beware the Ides of March.”  Caesar is the first character to make the grievous mistake of dismissing as trivial something that turns out to be a vital truth.  For the supreme leader of the Roman empire, the reason for rejecting the Soothsayer boils down to one word: he is a dreamer.  To be a dreamer, then, is to have nothing of significance to say to the ruling authority.  But as the play later reveals, it is the dreamer who had the most significant message of all for the ruler.  This complex polarity of dreaming and political power recurs throughout this play, and in many of Shakespeare’s other plays as well.

Though named after Caesar, the play focuses more attention on Brutus, the popular Roman senator who faces an awful moral choice: Should he stay loyal to his long-time friend and comrade-in-arms, who has shown no evidence of tyrannical tendencies?  Or should he defend the city and people he loves from the imminent threat of a dictator seizing total control of their government?  The agony of making a decision has disrupted his sleep, to the point where nightmarish feelings and images begin seeping into his waking mind, threatening his mental balance.

His sleep-deprived condition makes Brutus easy prey for the deception of Cassius, who fabricates the letter from the people of Rome urging Brutus to take charge of the rebellion against Caesar.  Brutus muses over the line about needing to “awake.”  What he really needs is to sleep, yet the letter urges him (metaphorically) to do the opposite. By taking the letter at its face value, Brutus compounds his mistake—accepting something as true that is in fact the opposite.

The most powerful prophetic dream in Julius Caesar is also the one that receives the most egregiously mistaken interpretation.  The dream occurs to Calphurnia, Caesar’s wife, one of the only female characters in the play.  She does not narrate the dream herself; her husband tells it for her.  He relates that she cried out three times in her sleep about his murder, then woke up and told him about a dream of a statue with blood pouring out from all sides.  This is almost exactly what happens to Caesar later that day, and at first he accepts the dream’s warning and plans on protecting himself at home rather than going out.

But Decius has been sent by the conspirators for the exact reason of luring Caesar out of his palace and escorting him to the Senate, when they will lie in wait, knives at the ready.  Calphurnia’s dream poses a direct obstacle to their plan, so Decius must quickly devise an alternative reading of the dream, one that calms Caesar’s fears and persuades him to lower his guard.  Using a combination of fawning flattery and rank misogyny, Decius leads Caesar away from the dream’s true meaning and toward a false interpretation that actually facilitates the fatal fulfillment of the prophecy.

Immediately after this debate over the proper interpretation of Calphurnia’s dream, the next scene opens with the reading of a letter by a character named Artemidorus of Cidnos, a well-regarded teacher who finds out about the assassination plot.  His letter contains a true account of the plot, and if he had succeeded in giving it to Caesar, it would have saved the ruler’s life.  But as with all the other portents of impending doom, Caesar ignored this one, too, and Artemidorus calls for the ruler’s attention in vain.  The character of Artemidorus of Cidnos may have had a historical source, but at least some of the people in Shakespeare’s audience would also have associated him with Artemidorus of Daldis, another famous Roman teacher who wrote the Oneirocritica, the most influential manual of dream interpretation for many centuries.  The Oneirocritica was well-known in Shakespeare’s time, and most of the popular dream interpretation manuals available to the public were based on the system of Artemidorus of Daldis.  Perhaps it is just a coincidence that a scene with a failure to properly interpret an important dream about Caesar is followed by a scene in which a character named Artemidorus fails to convey an important message to Caesar.  But some of the audience, and maybe Shakespeare himself, would have followed a connecting thematic thread through these scenes, and many other as well, about the dangers of missing a warning of dangers in dreaming.

The murder of Caesar sets loose a similar dynamic in the streets of Rome.  A young poet, Cinna, awakens with a dream of feasting with Caesar, and like Caesar he hesitates in setting foot out of the house that morning because of the ill omen.  But some irresistible force compels him to go forth, where he encounters a mob of people inflamed by Marc Antony’s speech against Brutus and the other assassins.  The mob confuses Cinna the poet with another man named Cinna who helped the conspiracy against Caesar.  Even though the young poet tells the angry people of their mistake, they violently attack him anyway.  The madness of the vengeful crowd dispenses with the need to distinguish truth from illusion.

In the bloody battles for power that follow Caesar’s murder, the forces of Brutus are soon pushed to the brink of defeat.  Brutus senses his time has come because the ghost of Caesar appears to him in a quasi-dream state, terrifying him with the presentiment of his own impending death.  When the ghost departs, Brutus awakens Lucius and asks if he has been dreaming and cried out; Lucius confusedly says no, and Brutus struggles to process the uncanny reality of what he has just experienced. His epistemological uncertainty signals the further dissolution of his capacity to keep his waking and sleeping states from blurring into each other.

When the end comes, Brutus welcomes it as a long-desired rest.  Only now does he clearly foresee his future.  He conscripts the last of his friends, the slumbering Strato, to awaken and help ease him into an eternal slumber.

 

Contemporary performances:

The amazing production of Julius Caesar I saw at the Oregon Shakespeare Festival in February, directed by Shana Cooper, had a setting so abstract and desaturated it could have been anywhere, or everywhere. Untethered to any specific time period, it explored the dark psychological dynamics of male aggression, vanity, and ambition.  The bloody choreography of masculine violence overshadowed the fine speeches about political virtue.  By the end of the play all the physical structures on stage had been torn to pieces and cast to the ground.  Tyranny had been averted, but at the cost of chaos.

Two casting choices made this production especially powerful.  First, Brutus was played by Danforth Comins, who performed as Hamlet in last year’s OSF production of that play.  Like Hamlet, Brutus agonizes over existential questions of duty, justice, and personal loyalty, and Comins gave the character a tremendous depth of consciousness, especially during his scenes of sleepless brooding.  Second, the part of the Soothsayer was played by Brooklyn Williams, a 12-year old girl who wore a sleeveless green dress.  This was a brilliant move, jarring to audience expectations perhaps, but unforgettably effective in showing that true wisdom, and even a hint of future growth, may come from the most improbable of sources.

  

References to sleep and dreams in the play:

I.2.29

Julius Caesar waves away the Soothsayer (who has just told Caesar, “Beware the Ides of March”): “He is a dreamer. Let us leave him. Pass.”

I.2.203

Caesar says he prefers to be surrounded by agreeable men who are “fat, sleek-headed,” “such as sleep a-nights.”

II.1.4

Brutus tries to awaken his sleeping assistant Lucius, whose deep slumber he envies: “I would it were my fault to sleep so soundly.”

II.1.48, 50

Brutus opens a letter supposedly sent to him from the people of Rome, encouraging him to lead the rebellion: “Brutus, thou sleep’st. Awake, and see thyself!”  He then repeats this line to himself.

II.1.64, 68

The stress of the conspiracy against Caesar has taken its toll on Brutus: “Since Cassius first did whet me against Caesar, I have not slept.”  Brutus goes on to describe his agonized mental state as something “like a phantasma or a hideous dream.”

II.1.214

Cassius tells the other conspirators that Caesar has become more superstitious recently, a change from his previously skeptical views “of fantasy, of dreams, and ceremonies.”

II.1.248-252

Brutus finds Lucius asleep again, and praises the youth for his innocence: “Thou hast no figures nor no fantasies/Which busy care draws in the brains of men”

II.2.1-3

At night during a terrible storm, Caesar comes out of his bedroom and says “Thrice hath Calphurnia in her sleep cried out/’Help ho, they murder Caesar!’”

II.2.80-4

Caesar says he will stay home today because of the warning vision seen by his wife in her sleep: “She dreamt tonight she saw my statue,/Which, like a fountain with an hundred spouts,/Did run pure blood; and many lusty Romans/Came smiling and did bathe their hands in it.”

II.2.88-111

Decius, one of the conspirators, persuades Caesar that Calphurnia’s dream actually has a more favorable meaning: “This dream is all amiss interpreted./It was a vision fair and fortunate./Your statue spouting blood in many pipes,/In which so many smiling Romans bathed,/Signifies that from you great Rome shall suck/Reviving blood, and that great men shall press/For tinctures, stains, relics, and cognizance./This by Calphurnia’s dream is signified.”  Caesar is more pleased by the interpretation of Decius (“And this way you have well expounded it”) than by his wife’s (“How foolish do your fears seem now, Calphurnia!/I am ashamed I did yield to them”).

II.3.1

Artemidorus of Cidnos reads a letter of warning that he plans to deliver directly to Caesar.

III.3.1-4

Cinna the poet goes out in the streets despite having just had an unsettling dream: “I dreamt tonight that I did feast with Caesar;/And things unluckily charge my fantasy.”  Moments later he is attacked by a mob who mistakes him for one of the conspirators.

IV.3.286

Brutus invites his comrades to rest before the next day’s battle: “I pray you, sirs, lie in my tent and sleep.”

IV.3.318-323

After Lucius and the others fall asleep and the candle burns low, Brutus sees the ghost of Caesar: “Ha, who comes here?—/I think it is the weakness of mine eyes/That shapes this monstrous apparition./It comes upon me.—Art thou any thing?/Art thou some god, some angel, or some devil,/That mak’st my blood cold and my hair to stare?”

IV.3.333-350

Deeply startled, Brutus wakes everyone up and asks if they saw anything: “Didst thou dream, Lucius, that thou so criedst out?”

V.5.1

Facing the end, Brutus says to his weary comrades: “Come, poor remains of friends, rest on this rock.”

V.5.20-3

Brutus says he knows his “hour has come” because he has seen the ghost of Caesar “two several times by night.”

V.5.36-46

Brutus bids farewell to his friends, even one who has fallen asleep on the rock: “Strato, thou hast been all this while asleep,/Farewell to thee, too, Strato.”  By this point he welcomes death: “Night hangs upon my eyes; my bones would rest,/That have but labored to attain this hour.” A moment later, his other friends run away. Strato awakens, and holds the sword by which Brutus kills himself.

 

Updated notes:

Here’s an article by Mary Beard in The New Statesman about the unintended political consequences of the assassination of Julius Caesar.

Dreaming Is Play: A New Theory of Dream Psychology

Dreaming Is Play: A New Theory of Dream Psychology by Kelly BulkeleyThe scientific study of dreams has fallen on hard times.  In an era dominated by cognitive-behavioral therapy, psychoactive drugs, and computer models of the mind, dreaming seems less relevant to psychology today than at any time since Sigmund Freud published The Interpretation of Dreams in 1900.

The problem, ironically, is not a lack of empirical evidence about the nature and function of dreams.  Rather, the problem is too much evidence that does not seem to add up to a coherent theory or a useful guide for therapeutic practice.

Psychoanalysts from Freud onwards have used clinical case studies to argue that dreams, despite their cryptic symbolism, are meaningful and can be tremendously helpful in therapy.  In the 1950’s, however, neuroscientists discovered that dreaming correlates with automatic processes in the brain during sleep, suggesting that dreams are in fact nothing but neural nonsense.  At about the same time, quantitative researchers began using statistical methods to analyze tens of thousands of dream reports.  Instead of bizarre symbols or random nonsense, these researchers found a large number of clear, straightforward continuities between dream content and people’s emotional concerns in waking life.

The results from each of these areas of research appear to contradict the other two, making the quest for common ground all the more difficult.

New developments in cognitive science offer a better way forward, by illuminating the evolutionary features of the human mind as they relate to the survival needs and adaptive challenges facing our species.  When we look at dreaming in this broader context, a simple yet powerful thesis emerges: dreaming is a kind of play, the play of the imagination in sleep.

Zoologists have found evidence of play behaviors in all mammals, especially among the youngest members of each species.  Play occurs within a temporary space of pretense and make-believe where actions are not bound by the same constraints that govern the normal, non-play world.  A major function of play, most researchers agree, is to practice responses to survival-related situations in a safe environment, so the young will be better prepared when they become adults to face those situations in waking reality.  Creativity, flexibility, and instinctual freedom are the hallmarks of play, in humans as well as other animals.

All of these qualities of play are prominent in dreaming, too.  Dreaming occurs within sleep, a state of temporary withdrawal from the waking world in which the imagination is given free reign to wander where it will.  Dreaming tends to be more frequent and impactful in childhood; young people experience dreams of chasing, flying, and lucid awareness much more often than do older people.  The contents of dreams often have direct references to survival-related themes like sexuality, aggression, personal health, social relations, and the threat of death.  Although dreams in general are not as wildly bizarre as often assumed, they do have the qualities of spontaneous creativity and rich variation that stimulate the mind to look beyond what is to imagine what might be.

Thinking about dreaming as a kind of play has many advantages, foremost of which is overcoming the conflicts between the different branches of dream research.  Dreaming is indeed rooted in natural cycles of brain activity, as neuroscientists have argued, but it no longer makes sense to treat dreams as meaningless by-products of a sleep-addled mind.  If we saw a group of children playing an imaginary game of house, would we be justified in assuming their brains are somehow malfunctioning?  Not at all.  In the same way, we should recognize the playful qualities of dreaming as integral to healthy cognitive functioning.  In the language of computer programming, dreaming should be appreciated as a vital feature of the mind, not a bug to be fixed or eliminated.

A dreaming-is-play perspective has clear benefits for the practice of psychotherapy.  Rather than laboring to uncover deep hidden messages, therapists can explore the imaginative dynamics of their clients’ dreams for useful clues to their emotional concerns and waking life challenges (while still pursuing deeper symbolic levels, if so desired).

This can be especially helpful in caring for trauma patients.  Research on post-traumatic stress disorder (PTSD) has shown that during successful treatment the patients’ recurrent nightmares gradually become less fixated on the trauma and more open to an increasing variety of dream themes, characters, and scenarios.  In other words, the more playful their dreams become, the more progress the patients are making towards psychological health.

I once did a research project with a woman, “Nan,” who was nearly killed in a car accident and spent several days in intensive care with severe spinal injuries.  Her dreams following the accident were filled with fear, aggression, and misfortune, exactly what we would expect of someone with acute PTSD.  But Nan told me she put her hopes on one unusual dream, which came about four months after she was hurt.  In this dream there was a magical paintbrush that allowed her to paint the colors of the rainbow, just like a beloved character she remembered from a childhood story.  This was the first time since Nan’s accident that one of her dreams had so many references to colors, positive emotions, and good fortunes.  The green shoots of playfulness that emerged in this dream anticipated, and perhaps even stimulated, her eventual recovery of health.

The evolutionary success of our species is largely due to the tremendous flexibility and adaptive creativity of our minds.  Current scientific evidence is telling us that dreaming is a powerful, neurologically hard-wired process that strengthens precisely those distinctively human psychological abilities.  Our playful reveries during sleep function like mental yoga: stretching our cognitive abilities in new directions, exploring the boundaries and potentials of awareness, and preparing us for whatever the waking world may bring.