Author: Kelly Bulkeley

Posted on

Dreams and Shakespeare: Romeo and Juliet

Uncanny dreams and deathly sleep haunt the most famous lovers in literary history.

The woeful story of Juliet and her Romeo has several ominous references to beds, sleep, and dreams.  These nocturnal elements reflect the tension between the passionate yearnings of the young lovers and the tragic fate that awaits them.  As Friar Laurence vainly warns, “these violent delights have violent ends.” Romeo and Juliet discover both ecstatic delights and annihilating ends in the darkest, dreamiest realms of night.

Romeo’s First Dream and Mercutio’s “Queen Mab” Speech

In one of the early scenes of the play (currently in production at the Oregon Shakespeare Festival, with Emily Ota as Juliet and William Thomas Hodgson as Romeo), a moment of witty banter suddenly turns into a long, weirdly unsettling monologue about the nature of dreaming.  It is, I believe, the most extensive treatment of dreams in all of Shakespeare’s works, and it encapsulates in a single surreal passage the inspiring-yet-terrifying energies of human dream experience.

At the start of Act I, scene iv, Romeo meets with his friends Mercutio and Benvolio on a street outside the family house of the Capulets, sworn enemies of Romeo’s family, the Montagues.  The Capulets are hosting a feast and masquerade ball, and Mercutio, Benvolio, and Romeo have decided to wear masks and sneak into the party.  Just before entering the house, however, Romeo abruptly stops and questions the wisdom of their plan.  Even though the woman he desperately loves, Rosaline, will be attending the festivities, he worries that something bad will happen if they go forth.  Mercutio demands that Romeo explain his sudden misgivings, and the following exchange ensues:

Romeo: I dreamt a dream tonight.

Mercutio: And so did I.

Romeo: Well, what was yours?

Mercutio: That dreamers often lie.

Romeo: In bed asleep, while they do dream things true.

(1.4.51-56)

Romeo believes his dream is warning him of danger in the future.  Mercutio is more interested in the party, however, and he tries to deflect Romeo’s gloomy prognostication with a sharp-edged jest: he lures Romeo into asking him if he really had a dream, and then calls into question the veracity of anyone who claims to have a dream to tell.  But Romeo has a strong feeling about the potential significance of his dream, and he tries to persuade Mercutio to take it seriously.

Romeo gets more than he bargained for.  Mercutio launches into an elaborate and fanciful speech that covers more than forty lines of text, starting with this:

Mercutio: O, then I see Queen Mab hath been with you. She is the fairies’ midwife, and she comes in shape no bigger than an agate stone…

(I.iv.57-59)

What follows is a strange, magical journey into the realm of the fairies and their nocturnal activities.  As he does at greater length in the romantic fantasy “A Midsummer Night’s Dream,” also written around this same time (1595-1596), Shakespeare draws upon popular folklore to envision a colorful world of tiny tricksters who, hovering just outside the range of our ordinary awareness, are busily influencing our lives in ways both fair and foul.  Despite her miniscule size and delicate nature, Queen Mab wields total power over us when we sleep and dream.  Mercutio goes on describe what happens when she visits various kinds of people in their slumber:

Mercutio: And in this state she gallops night by night through lovers’ brains, and then they dream of love; O’er courtiers knees, that dream on curtsies straight; O’er lawyers fingers, who straight dream on fees; O’er ladies’ lips, who straight on kisses dream.

(I.iv.74-78)

What Mercutio describes is quite similar to the continuity hypothesis of dreaming, which states that people tend to dream most frequently about things that emotionally concern them in waking life. Lovers dream of love, courtiers dream of kneeling in court, lawyers dream of receiving money from clients—whatever is most important in a person’s life, that’s what they’re most likely to dream about.  Mercutio describes other examples of Queen Mab’s dream-stimulating activities: she tickles a minister’s nose, and he dreams of a financially secure job; she drives over a soldier’s neck, and he dreams of cutting enemy throats.  The common thread throughout these examples is that dreams are personalized reflections of people’s current concerns and not, as Romeo assumes, prophecies about the future.  In this regard, Mercutio’s speech is a remarkable anticipation of a modern psychological theory about dreaming.

Queen Mab takes mischievous delight in causing chaos and disorder, a fairy trait she shares with Puck, Oberon, and Titania in “A Midsummer Night’s Dream.”  As Mercutio continues his speech, this quality comes to the fore, and at a certain point Mercutio seems to lose control of his own story:

Mercutio: This is the very Mab that plaits the manes of horses in the night and bakes the elflocks in foul sluttish hairs, which once untangled much misfortune bodes. This is the hag, when maids lie on their backs, that presses them and learns them first to bear, making them women of good carriage. This is she—

(I.iv.92-98)

Here, Shakespeare condenses several folk-beliefs about the dark forces behind dreaming. Queen Mab morphs into a relentless incubus or night hag who tangles hair, presses on bodies, preys on fears, and forces sexual submission.  She is the embodiment of all the nightmarish powers set loose within our sleep, and she devotes especially malicious attention to the torments of “sluttish” young women.  The physiological effects described here could, in modern terms, be diagnosed as night terrors, with the sensation of pressure and feelings of overwhelming fear.  They could also be explained in terms of psychoanalytic theory: Queen Mab is the primal Id of the human unconscious, running wild through our dreams while the ego slumbers in blissful ignorance.

Most productions of the play have Mercutio delivering these final lines of his speech in a manic frenzy, as the fairies’ malevolent mayhem threatens to overwhelm him.  The OSF version, with the incandescent Sara Bruner as Mercutio, follows that traditional staging, but with an intriguing gender twist that gives the speech a deeper level of emotional resonance.

At this point, Mercutio has become so unhinged that Romeo steps forward to interrupt him and snap him out of the psychotic spell of his own words.  Now it’s Romeo’s turn to play down the significance of dreams, in an effort to calm his friend’s frazzled nerves:

Romeo: Peace, peace, Mercutio, peace! Thou talk’st of nothing.

(I.iv.100-101)

Mercutio responds with another unexpected shift of tone and attitude:

Mercutio: True, I talk of dreams; which are the children of an idle brain, begot of nothing but vain fantasy; which is as thin of substance as the air, and more inconstant that the wind…

(I.iv.102-106)

After dwelling at such length on the wondrous exploits of Queen Mab and her fairy consorts, Mercutio abruptly concludes with a rejection of dreaming as a whole.  A modern materialist could not express any more eloquently the idea that dreams are sheer nonsense.  Here, Mercutio is anticipating the basic themes of neuroscientific reductionism, another strand of current thinking about dreams that treats them as the disordered and meaningless by-products of an “idle brain” during sleep.

In the context of the play and this particular scene, Mercutio’s claim is not very persuasive, since he just spent several minutes giving a highly detailed account of the meaningful connections between people’s dreams and their waking lives.  Indeed, his belated rejection of dreaming seems more like a desperate attempt to deny what he has just openly acknowledged to be real and true.  He’s trying to put the lid back on the magic box, but it’s too late.  The fairies have already escaped.

Benvolio finally draws their attention back to the matter at hand, and on they go to the party.  But Romeo has been deeply rattled.  More than ever, he feels a prophetic sense of darkening gloom ahead and the inescapable prospect of “untimely death.”

So this is Romeo’s frame of mind when he puts on his mask and walks into the party at the Capulets.  He is deeply depressed about his unrequited love for Rosaline; he just had a very worrisome dream portending some future ill; and his friend nearly goes mad talking about the supernatural powers of malicious mischief set loose in our dreams.  Plus, he knows that if his true identity is discovered, he will likely be killed.  By entering the party, Romeo is entering a perilous, uncertain, and potentially transformative space.

Juliet’s Merging of Beds, Sleep, and Death

We do not know what Juliet dreams about.  We only know what she does not dream about.  In her first appearance, Juliet’s mother calls for her to discuss an important question:

Capulet’s wife: Tell me, daughter Juliet, how stands your disposition to be married?

Juliet: It is an honor that I dream not of.

(I.iii.68-70)

Juliet’s reply is both modest and diplomatic.  As an obedient and virtuous daughter, she accepts that her parents will decide when, where, and to whom she will be pledged in the sacred bond of marriage.  Until that time, the topic is the farthest thing from her mind, something that does not even appear in her dreams.  Her reply also includes a subtle degree of reluctance to think about marriage at this stage of life.  Her nurse has just given a long and rambling speech, the upshot of which is that Juliet is not yet 14 years of age, barely past childhood.  But Juliet’s mother insists that other “ladies of esteem” in Verona are married by this age and already bearing children, as did she when she first married Juliet’s father.

This is preamble to dramatic news.  Her mother says that a well-regarded gentleman by the name of Paris has shown marital interest in Juliet (he “seeks you for his love”), and he has come to their house that very evening to win her hand.  Juliet’s mother gives her virtually no time to react—“speak briefly, can you like of Paris’ love?” Juliet dutifully answers that she will try to like him, but no more than her mother says she should. The nurse shows no such reluctance, as she makes abundantly clear the sexual implications of this sudden turn of events: “Women grow by men… Go, girl, seek happy nights to happy days.”

Juliet speaks very few lines in this scene, which is fitting since she really has no say in any of these choices or decisions.  She dreams of none of this because she has no agency, no creative investment in any of it; it all happens to her, by decree of her parents, leaving her imagination no reason to wonder about alternative possibilities.

So this is Juliet’s frame of mind when she puts on her mask and joins her family’s feast.  After dwelling on the fact that she is currently 13 years old, she is informed by her mother that she has reached a marrying age, that a particular gentleman has already expressed his romantic interest in her, and that said gentleman is present in their home right now, ready to secure her affections.  Thanks to the nurse’s bawdy commentary, she cannot avoid the reality that she will be expected to engage in sexual relations with him.  Thus when she goes to the party, Juliet enters a perilous, uncertain, and potentially transformative space.

And once there, she meets Romeo.  Their magical first encounter surprises them both; this is not what they were expecting when they walked into the party.  Completely forgetting the people they were supposed to seek (Rosaline for Romeo, Paris for Juliet), they almost instantly fall in love with a masked stranger, in a moment of mysteriously intense romance.

When the gathering ends, Juliet anxiously begs the nurse:

Juliet: Go ask his name.—If he be married, my grave is like to be my wedding bed.

(I.v.73-74)

This is the first of many instances in which Juliet and other characters make symbolic connections between beds, sleep, and death.  These references are also intertwined with the bed as a physical space for passion, love, and the creation of new life.  The grave and the wedding bed—they occupy opposite ends of an existential spectrum, and yet in this story they inexorably draw towards each other and finally merge into a tragic unity.

The early references are the happiest.  As Romeo stands beneath Juliet’s balcony exchanging vows of love, he marvels at the incredible magic of the moment:

Romeo: O blessed, blessed night! I am afeard, being in night, all this is but a dream, too flattering-sweet to be substantial.

(II.ii147-149)

A few moments later he bids a final farewell to Juliet at her balcony:

Romeo: Sleep dwell upon thine eyes, peace in thy breast! Would I were sleep and peace, so sweet to rest!

(II.ii.202-203)

After the friar performs their secret wedding, Juliet eagerly anticipates her first opportunity to be alone with her husband:

Juliet: Come, night; come, Romeo; come, thou day in night; for thou wilt lie upon the wings of night whiter than new snow upon a raven’s back. Come, gentle night; come, loving, black-browed night; give me my Romeo…

(III.ii.17-21)

Romeo and Juliet finally get to celebrate their marriage with a “love-performing night” together in her bed (III.v), and they lament the coming of the day (Romeo says, “I must be gone and live, or stay and die”).

Now everything darkens, and fate closes in on the young couple.  After they part, Juliet learns that she will soon be wedded to Paris, while Romeo finds he has been exiled from Verona for the killing of Juliet’s brother Tybalt in a street brawl.  With the friar’s help, Juliet decides to take a sleeping potion that will “wrought on her the form of death”:

Friar Laurence: And in this borrowed likeness of shrunk death thou shalt continue two and forty hours, and then awake as from a pleasant sleep. Now, when the bridegroom [Paris] in the morning comes to rouse thee from thy bed, there art thou dead.

(IV.i.106-110)

The friar promises to tell Romeo to go to Juliet in the Capulet tomb after she has revived, so they can secretly escape the city together.  Alas, the plan goes badly awry.  Paris gets to the tomb first, and mourns at what he believes to be the dead Juliet’s side:

Paris: Sweet flower, with flowers thy bridal bed I strew—O woe! Thy canopy is dust and stones.

(V.iii.12-13)

Then Romeo enters the tomb.  Paris draws his sword and attacks; Romeo kills him.  He then goes to Juliet’s motionless body and falls for the deception, too: he thinks she is truly dead.  Unable to distinguish death from sleep, Romeo decides to join her in death.  Immediately upon his doing so, Juliet awakens.  The friar arrives at this point, and he urges Juliet to leave at once:

Friar Laurence: I hear some noise. Lady, come from that nest of death, contagion, and unnatural sleep.

(V.iii.156-157)

Juliet refuses.  Instead, she decides to join her beloved Romeo in eternal slumber.  After a final kiss, she takes his dagger and presses its point against her chest:

Juliet: This is thy sheath; there rest, and let me die.

(V.iii.175)

Romeo’s Joyful Dream

The agonizing conclusion to the story makes it all the more peculiar that, just before he learns of Juliet’s apparent death, Romeo awakens with a happy dream.  His speech at the start of Act V is a final beam of light in the gathering darkness:

Romeo: If I may trust the flattering truth of sleep, my dreams presage some joyful news at hand. My bosom’s lord sits lightly in his throne, and all this day an unaccustomed spirit lifts me above the ground with cheerful thoughts. I dreamt my lady came and found me dead (strange dream that gives a dead man leave to think!) and breathed such life with kisses in my lips that I revived and was an emperor. Ah me! How sweet is love itself possessed, when but love’s shadows are so rich in joy!

(V.i.1-11)

What are we to make of this dream?  At one level it seems horribly misleading—Romeo is about to receive absolutely terrible news about Juliet, and death will soon consume them both.  The dream seems like a cruel hoax, and a painfully ironic example of why we should not “trust the flattering truth of sleep.”

But at another level, perhaps the dream is leading Romeo towards an awareness of a different realm of union with Juliet, a transcendent realm where he will be “an emperor,” and where life will conquer death.  For the truth is, there is no hope in the present waking world for him and Juliet, not with their families’ violent hatred of each other.  Romeo’s dream offers him an alternative way of understanding what the future is about to bring.  Their love is, by its very existence, a miraculous triumph over the rigid constraints that govern their lives.  They have successfully defied the social authorities and asserted their own desires for romantic fulfillment.  Their kisses have the power to transport them beyond the petty feuds of this world to a beautiful and joyful world all their own.

Romeo notes the strange element in his dream of a dead man thinking living thoughts.  Today we might call this a variation on metacognition in dreaming, a type of “thinking about thinking.”  Here, it’s Romeo thinking about what he would be thinking if he were dead.  This seems impossible from a conventional waking perspective, just as it’s impossible that he could ever actually become an emperor in the waking world.  But these things are possible in the realm of dreaming, and this suggests an expansion of normal awareness, a dissolving of ordinary boundaries, and the discovery of new potentials beyond the limits of the present.  That does seem to be the tangible effect of the dream on Romeo once he awakens.  It breaks through his fears, lifts his spirits, and stimulates a welcoming attitude towards the future. For one last moment he feels pure lightness and joy, and he revels in the wonders of his love for Juliet.

Is that a cruel deception, or a profoundly truthful vision?

Earlier in the play, Mercutio gives a variety of reasons why we should ignore dreams: dreamers lie, the fairies manipulate people’s minds, and anyway it’s all nonsense from the sleep-addled brain.  But by the end of the play the references to dreams shift towards an emphasis on their accuracy in reflecting reality.  After killing Paris in the Capulet tomb, Romeo briefly wonders about something his servant, Balthasar, said to him on the way to the tomb:

Romeo: I think he told me Paris should have married Juliet: Said he not so? Or did I dream it so?

(V.iii.78-79)

Balthasar probably did say so, but for Romeo it could equally have been a dream; all are one in his mind now.

A few moments later, Friar Laurence encounters Balthasar outside the tomb.  Romeo had told Balthasar to wait for him, and under no circumstances to follow him into the tomb.  Now Balthasar anxiously tells the friar he fears something terrible has happened:

Balthasar: As I did sleep under this yew-tree here, I dreamt my master and another fought, and that my master slew him.

(V.iii.141-143)

The staging of the scene leaves Balthasar’s exact position unclear (“I’ll hide me hereabout”), so we don’t know if he saw or heard Romeo and Paris while they were fighting; either way, Balthasar’s dream accurately reflects what did in fact happen in the tomb.

In both instances during this final climactic scene of the play, the distinction has dissolved between dreaming and waking reality.  Dreams have become transparent to the actuality of what’s happening in this world.  That is the final, spiritually illuminating context for Romeo’s joyful dream and its flattering truth about the eternal love he shares with Juliet.

 

####

Yew tree photo is from Roi.dagobert

 

Posted on

Dreams and Shakespeare: Othello

Shakespeare’s most cunning villain turns sleep and dreaming against his enemies.

At the center of Shakespeare’s dark tragedy is the cruel dynamic between Othello, a magnificent warrior and heroic leader, and Iago, his resentful subordinate. (In the current production at the Oregon Shakespeare Festival, Chris Butler performs in the title role, and Iago is played by Danforth Comins). Despite being a dark-skinned Moor, Othello has earned the trust of the white Christians of Venice because of his military valor and success in defending their city.  But Iago secretly hates Othello, and he launches a devilish plan to ruin, humiliate, and destroy him, all while pretending to be Othello’s most faithful servant.  A subtle weapon in Iago’s arsenal is his malicious manipulation of people’s perceptions of sleep, beds, and dreaming.

The play opens with an overwrought gentleman, Roderigo, furiously accusing Iago of betrayal.  Roderigo is in love with Desdemona (played in the OSF production by Alejandra Escalante), a Senator’s daughter, and he has been paying Iago for help in wooing her. Now comes the shocking news that Desdemona has already married Othello, and Roderigo demands to know how Iago could have let this happen.  These are Iago’s first words of the play:

“’Sblood, but you’ll not hear me. If ever I did dream of such a matter, abhor me.” (I.i.4-5)

Iago tells Roderigo his suspicions are no more credible than the fleeting whimsies of a dream.  He relies on a kind of proverbial phrasing that equates dreams with something as far as possible from the conscious mind.  He’s telling Roderigo: Not only did I not know about this, but it was not even in the furthest reaches of my awareness.

In fact, Iago did know about it, and he may well have dreamed about it, too (more on that below).  He already knows about Desdemona, and he already has a plan for using her against the Moor.  While he and Roderigo have been talking about their mutual hatred of Othello, Iago has been steering them through the dark nighttime streets of Venice, straight to the home of Desdemona and her family. Their yelling brings Brabantio, Desdemona’s father, to the window. Prodded by Iago, Roderigo informs the Senator that his daughter has secretly married Othello (Iago puts it in more inflammatory terms: “your daughter and the Moor are now making the beast with two backs” (I.i.115-116)).  Brabantio urgently calls for all the servants of his house to awaken, light candles, and search for his daughter.  For a moment he pauses to reflect:

“This accident is not unlike my dream, belief of it oppresses me already.” (I.i.141-142)

Iago slinks into the night before Brabantio confirms that Desdemona is missing, but his dastardly work is done.  Brabantio has awakened to his worst fear—the dishonoring of his daughter—and Iago has insured that all his paternalistic rage will be aimed straight at Othello.

It seems unlikely that Iago knew Brabantio was dreaming right before he awoke, but it certainly works to the villain’s advantage.  In a way, Iago both creates Brabantio’s dream and interprets it.  If he and Roderigo had not caused a noisy uproar, Brabantio would have kept sleeping, and might not have remembered this dream at all.  Once Brabantio is awake, if he had not been immediately confronted with the shocking news of his daughter’s betrayal, he might have associated the dream with something else in his life.  Although he seems slightly ambivalent about the dream’s relevance to the situation with his daughter (they are “not unlike”), it takes no time for the two to become fused emotionally in his mind (“it oppresses me already”).  This is just as Iago would want.  Iago has manipulated Brabantio into using the energies of his dreams to fuel his vendetta against Othello.

From Brabantio’s perspective, everything in the play turns out just as badly as he feared it would.  In that regard, his dream could be regarded as an accurate prophecy of the doomed future.  Even though he’s wrong about Desdemona’s virtue and integrity, he’s right about the danger to her posed by the Moor.  Iago is the interpretive agent of this realization, and he turns Brabantio’s insight into a weapon aimed straight at Othello’s heart.

Alas, the shot has no effect.  Brabantio cannot persuade the leaders of Venice to act against Othello, given their overriding need of his military protection, plus Desdemona’s sincere declarations of love for him.

Thus Iago must devise a new plan to destroy Othello.  In the final lines of Act I Iago is onstage alone, pondering the question “How? How?” In a burst of malevolent inspiration, he envisions an intricate plot using people’s fears and biases against them, all leading to a single violent end.  Iago revels in his own nightmarish brilliance:

“I have’t, it is engend’red: Hell and Night must bring this monstrous birth to the world’s light.” (I.iii.410-411)

Later, just before a key piece of action begins, Iago refers again to the nocturnal provenance of his plan:

“But here they come: if consequence do but approve my dream, my boat sails freely, both with wind and stream.” (II.iii.61-62)

He likens his scheme to a prophetic dream that predicts the future.  At one level this is quite ironic, since Iago is anything but superstitious.  His behavior reflects a pure form of willful, defiant individualism; he is determined to create his own chosen future, not wait passively for his fate.

But at another level this comment appears as an honest self-recognition of his unusual powers of imagination.  Iago’s “dream” is a detailed prediction about what will happen if certain people’s emotions are stimulated in specific ways and channeled towards certain other people.  He has set this dream in motion, and he can accurately foresee where it will lead.  He knows that Othello’s downfall will begin with the destruction of his sleep:

“Not Poppy, nor Mandragora, nor all the drowsy syrups of the world, shall ever medicine thee to that sweet sleep which thou ow’dst yesterday.” (III.iii.320-323)

While he steals the sweet sleep of Othello, Iago adds bitter falsehoods to the sleep of the Moor’s top military assistant, Cassio.  To persuade Othello that Cassio has illicit desires for Desdemona, Iago tells the following story:

“I lay with Cassio lately, and being troubled with a raging tooth, I could not sleep. There are a kind of men so loose of soul that in their sleeps will mutter their affairs: one of this kind is Cassio. In sleep I heard him say, ‘Sweet Desdemona, let us be wary, let us hide our loves.’ And then, Sir, would he gripe, and wring my hand, cry ‘Oh sweet creature,’ and then kiss me hard, as if he pluck’d up kisses by the roots that grew upon my lips; laid his leg o’er my thigh, and sigh’d and kiss’d, and then cried, ‘Cursed fate, that gave thee to the Moor.’” (III.iii.403-415)

This story serves Iago’s cause in several ways.  Because of the nature of the circumstances (it’s night, they’re asleep), it cannot be checked or verified.  It appears to be a special, unguarded insight into Cassio’s true character, and it fits with other clues Iago has laid before the Moor.  It allows Iago to insert the most blatantly sexual and jealousy-stimulating images into Othello’s mind, but from a source that can easily be dismissed as trivial and foolish.  Indeed, Iago bolsters his own credibility when he feigns skepticism about the waking-world significance of Cassio’s strange sleeping behavior:

“Nay, this was but his dream.”  (III.iii.416)

As Iago intends, Othello replies by insisting that he shall decide for himself what to think about Cassio:

“But this denoted a foregone conclusion: ‘tis a shrewd doubt, though it be but a dream.” (III.iii.417-418)

From here, Iago immediately pivots to the topic of the precious handkerchief that Othello gave as a present to Desdemona, and that Iago has stolen and is about to plant in Cassio’s possession.  Iago thereby weaves together “proofs” from various sources, each one small in itself but together forming a larger pattern of meaning, a pattern that, unbeknownst to Othello, has been predetermined to drive him mad.  The mighty warrior is no match for his malevolent servant’s interpretive reasoning.

For the most part, Iago acts as a mere assistant, letting Othello feel like he is in charge of determining what his wife has been doing and how he should respond.  But at one crucial moment Iago gives the Moor a shocking directive.  Othello has just decided he must kill Desdemona for her infidelity, and he asks Iago to get him some poison.  Iago replies:

“Do it not with poison, strangle her in her bed, even the bed she hath contaminated.”  (IV.i.214-215)

Iago makes this horrifying proposal because he knows that Othello’s rage is also mixed with sadness (“but yet the pity of it, Iago”) and might distract him from carrying out his deadly intentions.  By demanding that he kill Desdemona in their marital bed, Iago helps Othello perceive it as a heroic act with an epic meaning, a violent but noble triumph in the cause of restoring moral order to the universe.  Othello replies:

“Good, good, the justice of it pleases; very good.” (IV.i.216)

Iago has persuaded Othello to think of murdering his wife in their bed as pleasing, as “good, good… very good.”  This line is chilling testimony to Iago’s success in warping Othello’s soul.

This is the same bed that Desdemona, just a few scenes earlier, has playfully described as a “school” where she hopes to teach her husband about empathy and compassion for others (III.iii.24).  She is planning to devote herself to expanding his emotional self-awareness, but she never gets the chance.  The bed where she wants to cultivate their relationship in new directions becomes the place where he, in a single-minded rage, will destroy it.

Othello likes to think of himself in larger-than-life terms, as a legendary hero bursting forth from a realm of mythic dreams.  Desdemona loves him for his adventurous spirit, but she is also trying to temper his warrior instincts and bring out a fuller human being.  Iago, however, feeds his grandiosity, stokes his reflexive aggression, and encourages his naïve assumptions.  Othello, the proud and courageous veteran of so many fearsome battles, chooses, at this decisive moment in his life, to follow the easier, cowardly path.  Death and destruction for all is the result.

Posted on

The Dreams of a Sight-Impaired Person

A study from 2015 about the distinctive patterns in the dreams of “Jasmine,” a young sight-impaired musician.  First presented at the annual conference of the International Association for the Study of Dreams, in Virginia Beach, Virginia.

Introduction

This presentation demonstrates the use of a digital word search method to study 800 dreams recorded in a personal journal over a period of several years by a female participant.  A “blind” analysis, focusing exclusively on the frequencies of word usage in her dreams, enabled several accurate predictions about her waking life, including the fact that she has been sight-impaired since early childhood.

Methods

The word search method I will describe has relevance for researchers from any background who are interested in the systematic study of dream content.  The great advantage of quantitative approaches to the study of dreams, like the Hall and Van de Castle system, is that they provide objective statistical results that other researchers can compare, replicate, and extend.  However, there are serious disadvantages to traditional hand-coding methods—they are time-consuming, labor-intensive, hard to learn, and vulnerable to problems with inter-coder reliability.  Particularly when the coding systems being employed are untested or idiosyncratic, the results can be disappointing.  Digital word search methods provide a viable alternative: they are fast, easy to use and share, and reliably consistent in their results.  Of course, such methods do not supplant other approaches to dream research.  Digital tools are best used as complementary resources in the study of dreams, providing an empirically grounded assessment of basic patterns of dream content.

Over the past several years, and usually in collaboration with G. William Domhoff and Adam Schneider, I have pursued several studies using word search methods to analyze particular sets or series of dreams:

The Religious Content of Dreams: A New Scientific Foundation. Pastoral Psychology 58(2): 93-101.

[Merri, Barb Sanders]

Seeking Patterns in Dream Content: A Systematic Approach to Word Searches. Consciousness and Cognition 18: 905-916.

[Paul, HVDC Male and Female Norms]

Detecting Meaning in Dream Reports: An Extension of a Word Search Approach. (co-authored with G. William Domhoff).  Dreaming 20(2): 77-95.

[Van]

Dreaming in Adolescence: A “Blind” Word Search of a Teenage Girl’s Dream Series. Dreaming 22(4): 240-252.

[Bea]

Digital Dream Analysis: A Revised Method. Consciousness and Cognition 29: 159-170.

[The Engine Man, Barb Sanders, HVDC Male and Female Norms]

All of these studies, and several others not yet published, have led to new insights about using word search methods to identify meaningful patterns in dream content.  I have focused special attention on projects using a “blind analysis” framework in which I start with as little information as possible about the dreamers, focusing exclusively on the statistical frequencies of word usage in their dreams.  I make a point of knowing nothing about the dreamers’ personal lives, and I do not read the narratives of their dreams.  This approach imposes an artificial set of constraints that concentrates all my analytic attention on the word usage frequencies.  By bracketing out every other source of information, I try to glean as many insights as possible from the word usage patterns alone.  The present study is the latest in this series of word search investigations.

Participant

“Jasmine” (not her real name) contacted Domhoff in 2014 and offered to share her lengthy dream journal with him for research purposes.  He then contacted me, and with her permission we arranged a blind analysis process whereby I uploaded four sets of Jasmine’s dream reports into the Sleep and Dream Database (SDDb) in order to perform the subsequent word searches.  I knew nothing about Jasmine besides her being female, and my only other bit of knowledge was that the four different sets of her dreams followed a chronological order.

Procedure

Once the dream reports were uploaded, I used the SDDb’s 2.0 word search template to calculate the word usage frequencies for each of 40 categories (many of which overlap with Hall and Van de Castle categories), for each of the four sets of dreams.  I then compared the results with the SDDb Baselines, a large collection of “most recent” dreams from various sources that provides a measuring stick for looking at how a given set of dreams relates to what current evidence suggests are the normal patterns of ordinary dream content.  I also compared the four sets of dreams with each other, looking for patterns of consistency and variation from one set to the next.

Based on these word search findings, I formulated 21 inferences about Jasmine’s waking life.  These inferences derived from the continuity hypothesis that patterns of dream content accurately reflect a person’s concerns, relationships, and activities in the waking world.  I used as a working assumption the idea, supported by previous studies, that frequencies of word usage in dreams are continuous to some degree with the individual’s waking life concerns.  My inferences about Jasmine’s waking life were predicated on that assumption.

I sent the inferences to Domhoff, who forwarded them to Jasmine.  Once I received her responses, I was no longer “blind,” in the sense that now I knew a great deal about her personal life and could see where her waking life concerns had crossed over into her dreaming.  We engaged in several more email exchanges to answer her questions and learn more about various details of her personal upbringing and family background.

Results

Appendix 1 presents the results of the word search analysis using the SDDb 2.0 template.  Below are the 21 inferences I formulated based on the word search results, and Jasmine’s initial responses to them (in bold italics):

1. Jasmine is blind or sight-impaired. yes

2. Hearing is an especially important sense for her. yes

3. Jasmine has very close relations with her family.

Well, it’s complicated.  I would say that I’m close to some of them, particularly on my mom’s side.  My siblings live far away, and so sometimes I miss them and remember things we used to do together.  I have complicated relationships with those on my dad’s side in general. 

4. Her most important relationship is with her mother. Yes!

5. She is very involved with birds, especially chickens.

Yes, I had pet chickens almost my whole life growing up, and other feathered pets as well. J 

6. She enjoys books, reading, and writing. Yes

7. She is very active musically, especially singing and playing

piano.    Yes!

8. She is, or recently has been, a student in college. yes

9. She was raised as a Christian and she now regularly attends church.

Well, this is complicated too.  My family wasn’t really that religious, but sometimes we would go to church when I was little. 

Domhoff also asked that, in addition to making general inferences, I make some specific inferences based on comparing the first two sets to the third set, and the third set to the fourth set.

Looking at the time period covered by the third set compared to the earlier two sets of dreams, Jasmine was:

10. More fearful and anxious. Not sure, I can’t really remember.

11. But also happier than before.

           This is possible.  I started to gain more independence in this period, so I think 10 and 11 might both be true, to a degree. 

12. Less involved with her family. Yes, this jives with the above. J

13. Drinking more coffee. I don’t remember starting then, but I like coffee now.

14. More involved with piano music. yes

15. More involved with religion and church. Yes, because I started playing the organ. 

Looking at the time period covered by the fourth set of dreams compared to the time period covered by the third set, Jasmine was:

16. Less fearful and anxious. Not sure

17. More involved with her family. No, not really.

18. More involved with birds.

No, I didn’t have any pets, and my last chicken and my cockatiel died before this time.  This didn’t really happen, but I can remember dreaming a lot of dreams centering around forgetting to feed, or otherwise take care of them. 

19. More actively engaged with the public world (indicated by more references to movement, travel, work, clothing).   Yes, we could say that I gained even more independence at this time. This is when I got my first real job!

20. Still very musically active with piano and singing. yes

21. Even more involved with a Christian church. Yes, playing the organ and attending regularly, but not always seeing things like they do. 

 

Discussion

Of the 21 dream-based inferences about her waking life, Jasmine confirmed 15 of them as accurate (and 9 of 9 for the general inferences at the beginning).  She said she was not sure about four of the inferences, although she allowed that two of those “might both be true, to a degree.”  That would raise the total number of correct inferences to 17 out of 21. Either way, this is an accuracy ratio comparable to previous studies of the Van series (12 of 14 inferences correct) and the Bea series (11 of 15 inferences correct).

On the issue of her blindness, I based my inference on the fact that her frequency of vision-related words was lower than her frequency of hearing-related words.  That is a very rare pattern that I have only found in one other group—the blind people whose dreams Hurovitz and his colleagues wrote about in their 1999 study.  I’m not sure this will hold up as a universally valid principle, but in Jasmine’s case the relatively low frequency of vision-related words combined with the high frequencies of other sensory terms made it led me to infer that she was blind or sight-impaired in waking life.

In their 1999 study Hurovitz et al. found some evidence of continuity between blind people’s difficulties moving around in waking life and their dreams of movement and transportation.  I did not think of that when formulating my inferences, but now that I look at the findings with Jasmine I do see elevated levels of references to walking & running, falling, and transportation, compared to the frequencies in the SDDb baselines.

The accurate inferences about her family and her mother underscore the strong continuities between waking and dreaming in terms of social relationships.  This is one of the areas where dream content most directly mirrors the feelings and concerns of a person’s waking life.  Further evidence of the same point comes with the correct inference about chickens.  Such a high frequency of words relating to chickens and other birds is quite rare, and in this case it accurately reflects the emotional importance of her relationships with these creatures over the course of her life.

Jasmine’s extremely high frequency of references to art-related words involving music, combined with her high frequency of hearing words, suggested that music plays a big role in her waking life, as indeed it does.  It turns out that Jasmine is quite gifted musically; she sings, plays piano, and in recent years has been playing the organ at churches.  Her religious activities have in fact increased in recent years, as I inferred, but she expressed some discomfort with the doctrinal teachings at these churches.

The inferences about changes in her life from one period of time to another were less successful than the inferences about her waking life in general.  Jasmine disagreed with two of my inferences predicting that between the third and fourth sets she became “more involved with” her family and with birds.  One possible explanation for the mistaken inference is that I used the word “involved” ambiguously in the question.  Jasmine seemed to take it as asking whether or not she had more direct physical interactions with her family and birds.  To that question she answered no, she was not more involved with them in that literal sense, in large part because she had just started a new job and was away from her usual home setting more than ever before.  However, if I had phrased the inference to include not only “physical interactions with” but also “thoughts or emotional concerns about,” she may have responded differently.  At this key transitional time in her personal development, the rise in dream references may have reflected a greater emotional concern about her relations with family and birds, even though she was not actually interacting with them as much as in the past.  As Jasmine herself said in her response, her dreams at this time had many instances of worrying about her birds, despite no longer having any actual birds in her life.

A similar phenomenon arose in the study of Bea’s dreams, when she dreamed more often of her family and her pet dogs when she left home to go away to school.  Here’s a quote from the Bea paper: “In college Bea was physically present with her parents less than before, but she was thinking and worrying about them more than ever. Her anxious feelings, not her physical interactions, carried over into her horrible dreaming.” (248)  The two mistaken inferences I made in analyzing Jasmine’s dreams may, in retrospect, be consistent with what I found in the Bea series, namely that “dreams accurately reflect emotional concerns but not necessarily actual events.” (248)  They are more like a poetry journal than a newspaper article.

Limitations

There are several limitations to this study.  Jasmine’s dream reports were unusually long, so it’s unclear to what extent we can compare her word usage frequencies with those gathered from shorter dreams.  There may have been demand effects in terms of influencing Jasmine to give us socially pleasing answers (although she did disagree with two of my inferences and expressed uncertainty about four others).  The word search method does not distinguish between literal and metaphorical uses of words, and the analysis is vulnerable to distortions from dream reports that include spelling mistakes, non-dream associations, and extraneous comments.  These limits add a note of caution to any conclusions drawn from this approach.

Conclusion

This study of Jasmine’s dreams has shown that a blind word search method can accurately identify many important concerns in a person’s waking life, including her relationships, interests, activities, and personal attributes.   The results add evidence to support of the continuity hypothesis, and they shed new light on patterns in dream content among sight-impaired people.

Looking at the findings of this study in the context of the other word search projects mentioned earlier, I would like to close with the two observations.

First, these methods are helping to lower the cost of entry for innovative dream research.  Databases like the SDDb and Domhoff and Schneider’s DreamBank offer free and open access to large collections of dreams from various sources, along with powerful tools of word searching and statistical analysis.  In coming years there will hopefully be more online resources like these, with even better analytic tools.  This bodes well for our field in terms of enhancing accessibility and stimulating creativity among scholars from various backgrounds.

Second, blind analysis studies are the incubators of proto-algorithms for future technologies of digitized dream interpretation.  What I am doing when I perform a blind analysis is essentially the same as what a well-designed computer program could potentially do when presented with the same information.  My inferences are attempts, using high-quality data and systematic methods of analysis, to identify the highest-probability correlations between dream content frequencies and waking life concerns.  The more of these correlations we identify using blind analysis and other methods, the better those interpretive algorithms of the future will be.

 

Note: this paper has been posted on Academia.edu as SDDb Research Papers #4.

The accompanying appendix has been posted here.

 

 

Posted on

Meditation and Dreaming

A new study suggests that people who are experienced meditators have dreams that differ in at least two interesting ways from non-meditators.  The study was conducted by Elizaveta Solomonova, Tore Nielsen, and their colleagues at the Dream and Nightmare Laboratory at the Universite de Montreal.  Their findings shed new light on the interactions between meditation and dreaming consciousness. The results appear in the latest issue of the journal Dreaming (volume 28, number 2, pp. 99-121).

Twenty-two people (11 male, 11 female) with training in Vipassana meditation were given a procedural learning task, and then slept for a daytime nap in the laboratory.  Their dreams at sleep onset and upon awakening were gathered, and they were given a follow-up test on the procedural learning task.  The same protocol was used with a control group of twenty people (10 male, 10 female) who were not active meditators.

The researchers found many more similarities than differences between the dreams of the two groups.  Both meditators and controls were basically the same on measures of dream content, and their performances on the procedural learning task did not vary significantly.  This in itself is an interesting finding, insofar as it testifies to the steadiness and consistency of basic patterns in dream content across variations in personal circumstance.  It takes a lot to alter the fundamental rhythms of human dreaming.

The researchers found two main differences between the two groups.  The meditators had longer dreams, and more instances of friendly interactions with other characters.

The lengthening of the dream reports makes sense as a reflection of the meditators’ greater experience and skill at introspection, which would make it easier and more natural for them to describe their dreams in detail.  It might also correlate with longer dream experiences (i.e. not just longer descriptions of ordinary-length dreams), but that’s hard to determine based on this evidence.

The higher frequency of friendly interactions in the meditators’ dreams also makes sense as a reflection of the main tenets of the Vipassana tradition, emphasizing compassion towards others.

Perhaps the most interesting negative finding was the lack of higher degrees of lucid dreaming among the meditators.  Many studies by Tracey Kahan, Jayne Gackenbach, Stephen LaBerge and others have made connections between meditation and lucid dreaming, so the lack of a correlation in this study was a surprise.  And yet the researchers offer a plausible explanation, based again on the characteristic features of the Vipassana tradition:

“It may be that Vipassana meditation does not increase the frequency of lucidity qualities during dreaming because of its particular emphasis on bodily experience. Rather, lucid dreaming might be more prevalent among practitioners of dream yoga or Shamatha meditation because these are more directly focused on the cultivation of metacognitive skills, such as the observing of thoughts, images, and other explicit mental contents.  In other words, Vipassana meditation may be less likely than other forms of meditation to induce lucid dreaming because of its greater dependence on bodily self-reflection and lesser dependence on cognitive self-reflection.” (113)

This is a very important and helpful distinction to make, whether or not it’s the best explanation for the results of this study.  It’s always good to think about the influence of cultural variations.  There isn’t just one kind of meditation; there are many different traditions and lineages.  Once we acknowledge this, it becomes less surprising perhaps that a form of meditation emphasizing metacognition will lead to more lucid dreams, while a form of meditation emphasizing embodiment and compassion will lead to more dreams of friendliness with others.

 

Note: this was first posted in Psychology Today, July 11, 2018.

Posted on

Plane Fiction

The satisfying nightmares of Paula Hawkins’ novel “Into the Water.”

I mean it as high praise when I call a book “perfect for a long plane ride.”  To qualify for this lofty accolade, a book must meet every one of several demanding criteria.  The prose can’t be too dense, conceptual, or experimental; the reading has to feel effortless.  The plot should be driven by an ever-mounting sense of intrigue, mystery, and suspense.  There should be lots of dialogue, action, scene changes, and sudden revelations.  The characters should feel like a living presence in the reader’s mind.  The story must be emotionally intense, but it can’t be relentlessly gross, cruel, or perverse. This is the only time I consider reading contemporary realist fiction, which usually feels boringly mundane.  But for the purpose of totally immersing myself in a vivid literary world when cooped up in a plane for hours on end, this kind of fiction can do the trick.

I have two additional criteria that are probably peculiar to me.  The book should not be too focused on dreams and dreaming, lest I have to find a pen and start underlining passages and taking notes.  That would pull me out of the fictional world for sure.  Yet the book shouldn’t completely ignore dreams, either, because then I’m going to start wondering if the author has an adequate understanding of human nature, consciousness, desire, etc., and I’m pulled out of the story again.

All of which is to say, Paula Hawkins’ Into the Water (2017) is a perfect book for a long plane ride.  The new novel from the writer of The Girl on the Train (2015), Into the Water has everything I’m looking for in this infrequent but high-pressure situation.  Hawkins weaves an emotionally complex narrative about the experiences, memories, and dreams (more often nightmares) of a community of people living, and dying, along the banks of a river in rural England.  I didn’t take notes while reading the book, so I’m not going to quote specific lines, but at several points I remember feeling pleasantly satisfied as a character slipped into a reverie or was consumed by a terrifying dream.  In each instance it seemed just the right time for that character to have that kind non-rational experience.   Authentic moments of dreaming flowed in and out of their waking lives, enhancing the overall sense of enjoyable fictional immersion.

I finished the book about a half hour before landing,  giving me time to ponder the surprise ending and figure out how the story ultimately hangs together.

Exactly what I was looking for!

Note: Thanks to the bearded dude with the Blue Oyster Cult tattoo on his right shoulder working at the Casa del Libro bookstore in San Sebastian, Spain for pointing me and my wife to their small but excellent selection of English-language books.  He also recommended for plane reading the magically engaging Career of Evil (2016) by Robert Galbraith.