Some authors maintain that this ordering and interpreting activity begins even in the dream and is continued in the waking state. Thus Paulhan (p. 547): "Cependant j'ai souvent pense qu'il pouvait y avoir une certain deformation, ou plutot reformation du reve dans le souvenir.... La tendence systematisante de l'imagination pourrait fort bien achever apres le reveil ce qu'elle a ebauche pendant le sommeil. De la sorte, la rapidite reelle de la pensee serait augmentee en apparence par les perfectionnements dus a l'imagination eveillee." *

* However, I have often thought that there might be a certain deformation, or rather reformation, of the dream when it is recalled.... The systematizing tendency of the imagination can well finish, after waking, the sketch begun in sleep. In that way, the real speed of thought will be augmented in appearance by improvements due to the wakened imagination.

Leroy and Tobowolska (p. 502): "Dans le reve, au contraire, l'interpretation et la coordination se font non seulement a l'aide des donnees du reve, mais encore a l'aide de celles de la veille...." *

* In the dream, on the contrary, the interpretation and coordination are made not only with the aid of what is given by the dream, but also with what is given by the wakened mind.

It was therefore inevitable that this one recognized factor of dream-formation should be over-estimated, so that the whole process of creating the dream was attributed to it. This creative work was supposed to be accomplished at the moment of waking, as was assumed by Goblot, and with deeper conviction by Foucault, who attributed to waking thought the faculty of creating the dream out of the thoughts which emerged in sleep.

In respect to this conception, Leroy and Tobowolska express themselves as follows: "On a cru pouvoir placer le reve au moment du reveil et ils ont attribue a la pensee de la veille la fonction de construire le reve avec les images presentes dans la pensee du sommeil." *

* It was thought that the dream could be placed at the moment of waking, and they attributed to the waking thoughts the function of constructing the dream from the images present in the sleeping thoughts.

To this estimate of the secondary elaboration I will add the one fresh contribution to the dream-work which has been indicated by the sensitive observations of H. Silberer. Silberer has caught the transformation of thoughts into images in flagranti, by forcing himself to accomplish intellectual work while in a state of fatigue and somnolence. The elaborated thought vanished, and in its place there appeared a vision which proved to be a substitute for- usually abstract- thoughts. In these experiments it so happened that the emerging image, which may be regarded as a dream-element, represented something other than the thoughts which were waiting for elaboration: namely, the exhaustion itself, the difficulty or distress involved in this work; that is, the subjective state and the manner of functioning of the person exerting himself rather than the object of his exertions. Silberer called this case, which in him occurred quite often, the functional phenomenon, in contradistinction to the material phenomenon which he expected.

"For example: one afternoon I am lying, extremely sleepy, on my sofa, but I nevertheless force myself to consider a philosophical problem. I endeavour to compare the views of Kant and Schopenhauer concerning time. Owing to my somnolence I do not succeed in holding on to both trains of thought, which would have been necessary for the purposes of comparison. After several vain efforts, I once more exert all my will-power to formulate for myself the Kantian deduction in order to apply it to Schopenhauer's statement of the problem. Thereupon, I directed my attention to the latter, but when I tried to return to Kant, I found that he had again escaped me, and I tried in vain to fetch him back. And now this fruitless endeavour to rediscover the Kantian documents mislaid somewhere in my head suddenly presented itself, my eyes being closed, as in a dream-image, in the form of a visible, plastic symbol: I demand information of a grumpy secretary, who, bent over a desk, does not allow my urgency to disturb him; half straightening himself, he gives me a look of angry refusal." *

* Jahrb., i, p. 514.