Martin Mosebach (2014)Martin Mosebach (born July 31, 1951 in ) is a German writer. He has published novels, stories, and collections of poems, written scripts for several films, opera libretti, theatre and radio plays. His first major non-fiction work is the book detailing his visit to Egypt to examine the lives of the in 2015.The German Academy for Language and Literature praised him for 'combining stylistic splendour with original storytelling that demonstrates a humorous awareness of history.' Among his works translated into English is The Heresy of Formlessness, a collection of essays on the liturgy and its recent reform told from the perspective of a literary writer. It has been published in the United States.
The book argues for a return to the, about which the 2007 motu proprio declared that, rather than a 'rite', it is a form of the one, stating also that the 1962, which contained its final form, had never been formally abrogated.Other works include The Turkish Woman, The Tremor, The Long Night and Prince of Mist, in which the author examines the motives behind man's eternal search for a meaning.
Constantly shooting with the Phantasm will gradually increase its firerate from once per 24 frames, up to once per 18 frames, regardless of use time, meaning that the Phantasm does not benefit from speed modifiers. Stopping the attack or switching to another item will reset this effect immediately, making switching weapons inefficient. Define raving. Raving synonyms, raving pronunciation, raving translation, English dictionary definition of raving. Talking or behaving irrationally; wild: a raving maniac. → Phantasien pl. Raving ˈreɪvɪŋ adj raving lunatic → pazzo/a furioso/a you must be raving mad! → sei matto da legare! Rave (reiv) verb.
Professional, Conversational, Occasionally IntimateWhile it's true that Freud's writing throughout The Interpretations of Dreams is suited to an audience of highly trained professionals, Freud does his best to balance his medical terminology and scientific models with conversational, witty, and surprisingly descriptive language. This gives a certain lightness and conversational quality to a book that might otherwise have been lifeless and dull.For every dry passage that appears throughout the book, you'll find another where Freud's personal stories, intimate revelations, and intense love of wordplay give a whole new face to your reading experience.
Genre. Scientific/Psychological Treatise; 'Autobiography'At its most basic level, The Interpretation of Dreams is a scholarly text. As a practicing psychoanalyst, Freud intended the book to contribute to—and maybe even revolutionize—contemporary psychological and psychoanalytic practice. Eventually, it did. As Freud had hoped, The Interpretation of Dreams changed the way that turn-of-the-century therapists understood their patients' psychical and physiological symptoms and disorders.That said, The Interpretation of Dreams has also been called an autobiography—or, as one scholar puts it, a 'disguised autobiography'. Because Freud's interpretations of his own dreams reveal intimate information about his childhood, marriage, and professional life, the book not only made waves in medical circles, but it also provided Freud's readers with a snapshot of the author's own inner life.How's that for a genre-crossing narrative?.
What's Up With the Title? In the final pages of The Interpretation of Dreams, Freud surveys the terrain he's covered and takes advantage of this last opportunity to compare his theory of dreaming to those that have come before it.Freud also uses this opportunity to plug his methodology one more time, and he outlines the contributions that his methods can make to contemporary psychological practice. Ever humble, he also admits that there are some realms of knowledge that are beyond his reach—for instance, ethics.Freud's final paragraph reiterates his position that dreams can tell us nothing about the future. In fact, he says that 'there is of course no question of that' (7.7.18). Readers should be taking this for granted by now (if they hadn't been before), so why does he raise this issue one last time?By lightheartedly noting that dreams can't predict the future, Freud gives himself an opening to drive home one of the most fundamental points that he makes throughout The Interpretation of Dreams, which is that dreams 'give us knowledge of the past' (7.7.18). Not only do they teach us about our individual infancies and childhoods, but, according to Freud, they can also teach us about humanity's archaic past.
That's not nothing. In fact, that's huge.So, by ending the book on this note, Freud leaves his readers with a sense of the sheer potential of his methods. The implication is that by following Freud's lead and engaging in his method of interpreting dreams, psychoanalysts, psychologists, medical practitioners, researchers, and even cultural historians will break paths into exciting new territory.: the interpretation of dreams will bring us to infinity, and beyond.
Setting. Nothing classes up a book like a Latin inscription, are we right?Well, the epigraph to The Interpretation of Dreams is a line from Virgil's classical epic (Book VII: 312).Freud's editor James Strachey translates it like this: 'If I cannot bend the Higher Powers, I will move the Infernal Regions'. A more recent translation by Joyce Crick renders it a bit differently: 'If Heaven I cannot bend, then Hell I will arouse' ( ).In The Aeneid, this line is spoken by Juno, jealous wife of head-honcho Jupiter.
According to Crick, Freud didn't actually take it from The Aeneid directly but found it in 'a political text by Ferdinand Lasalle'—the man who founded the German Social Democratic movement.Whichever way you want to slice it, Strachey's editorial commentary in The Standard Edition shows us that Freud intended this expression of extraordinary determination to illustrate the power of our 'repressed instinctual impulses'. Check out this passage from the final chapter of The Interpretation of Dreams, where Freud quotes the same line again:In waking life the suppressed material in the mind is prevented from finding expression and is cut off from internal perception owing to the fact that the contradictions present in it are eliminated—one side being disposed of in favour of the other; but during the night, under the sway of an impetus towards the construction of compromises, this suppressed material finds methods and means of forcing its way into consciousness. Flectere si nequeo superos, Acheronta movebo. The interpretation of dreams is the royal road to a knowledge of the unconscious activities of the mind. (7.6.41-42)We're telling you, Shmoopers: the next time you want to make one of your ideas sound AWESOME, throw a little Latin in there. (10) Mount EverestBy virtue of its length alone, The Interpretation of Dreams is a doozy. Even the starchiest of couch potatoes might find the muscles in their legs getting stiff after days and days on the cushions with this one.On top of the massive length of the book, readers also have to reckon with Freud's language.
For one thing, Freud's turn-of-the-century medical training is on full display: he uses a lot of technical terms for psychological and physiological phenomena. On top of that, Freud is a dude who loves wordplay. Scratch that: Freud is the of wordplay. That creates a lot of extra work for those of us who are dealing with him in English translation instead of in the original German.But don't worry, Shmoopers: reading The Interpretation of Dreams doesn't have to be a nightmare. English-language translators like James Strachey and Joyce Crick do a bang-up job of explaining Freud's linguistic riddles and terminology.
So, even if sauerkraut and frankfurter are the only German words you know, we promise you'll be fine.And as for the length of this baby—just do what Freud did. Indulge in a good night's sleep whenever you feel wiped out. Writing Style.
Scholarly, FormalAlthough Freud can be very frank and revealing throughout The Interpretation of Dreams, his writing style still sticks to the formal academic and professional standards of his day. Want a taste of what that means? Check out this passage from the preface to the first German-language edition of the book, where Freud attempts to explain himself as tactfully as he can:The only dreams open to my choice were my own and those of my patients undergoing psycho-analytic treatment. But I was precluded from using the latter material by the fact that in its case the dream-processes were subject to an undesirable complication owing to the added presence of neurotic features. But if I was to report my own dreams, it inevitably followed that I should have to reveal to the public gaze more of the intimacies of my mental life than I liked, or than is normally necessary for any writer who is a man of science and not a poet.
Although Freud acknowledges that some of the content of The Interpretation of Dreams may seem better suited to the realm of 'poetry' than to the realm of 'science,' he nevertheless tries to maintain a formal, scholarly style in his writing—no matter how intimate or sexually explicit things get. Context. Context, Context, ContextNo, context itself isn't a symbol for Freud, but we're going to start here because Freud pretty much reinvented symbolism—or at least the way people thought about symbolism in dreams. If we want to understand how symbolism works for Freud, we've got to lay a little groundwork first.Early in The Interpretation of Dreams, Freud challenges previous methods of dream-interpretation that use 'universal' indexes of dream-symbols.
He doesn't have a lot of patience for the kinds of popular 'dream-guides' that insist on some standard symbolic meaning of dream-elements. He straight-up disses the kinds of dream-guides in which, say, a 'letter' in a dream is said to represent 'trouble,' while a 'betrothal' is said to represent a 'funeral' (2.1.4).In his own practice—and especially in the early years—Freud insisted that the symbolic meaning of dream-elements could only ever be understood within the specific context of an individual dream and the individual dreamer's unique associations. In his view, dream-guides were untrustworthy because they assumed that the same symbol would always mean the same thing in any dream for any person. But Freud says that the exact same thing dreamed by two different dreamers could easily mean two totally different things.Freud also argued that even within a single dream, a symbolic element might have multiple meanings. As he says in the book's fifth chapter:Dreams frequently seem to have more than one meaning.
Not only, as our examples have shown, may they include several wish-fulfilments one alongside the other; but a succession of meanings or wish-fulfilments may be superimposed on one another. (5.3.49)Freud calls this potential for multiple meanings 'overdetermination,' and it's why he argues that 'we are not in general in a position to interpret another person's dream unless he is prepared to communicate to us the unconscious thoughts that lie behind its content' (5.5.1).Let's take water symbolism as an example. Freud says at more than one point in The Interpretation of Dreams that 'water in a dream often points to a urinary stimulus' (5.4.14)—that is, that dreams of water sometimes emerge from real bodily needs, like the need to pee. But is this always the case? Do flowing rivers, waterfalls, or dripping taps always symbolize the dreamer's need to take a leak?If we take Freud at his word, then the answer is 'no.' It's possible to imagine that a dream of water could fulfill a whole slew of different wishes. For instance, imagine that a dreamer dreams that she's floating in a river and being carried swiftly downstream.
Given her personal history and the associations that she brings to bear on the dream, we might conclude that the dream fulfills a wish for freedom or escape—possibly even the dreamer's wish to be taken away from something in her life that's troubling her, without having to exert much energy herself.It's totally possible, right?The point is that if we consider Freud's interpretive methods on the whole, we'll remember his insistence that symbols 'frequently have more than one meaning,' and that 'the correct interpretation can only be arrived at on each occasion from the context' (6.6.7). But Wait, There's More!Now, with that said, it's also the case that Freud seems to contradict himself on this point more than once throughout The Interpretation of Dreams. In fact, as he continued to expand the book over the course of its eight German editions, he gradually incorporated more and more materials that seemed to recognize 'universal' symbols for people, things, and activities.By the time James Strachey prepared The Standard Edition of the Complete Psychological Works of Sigmund Freud, The Interpretation of Dreams included a long section (50+ pages) that hadn't appeared in the original. This section on 'Representation by Symbols in Dreams' was added to the sixth chapter of the book in its 1914 edition, and in later editions Freud continued to make it longer, harder, faster, stronger.In this section, Freud lists dozens and dozens of symbols that he says will always represent the same kinds of persons, things, or activities. For example, he writes that when the 'Emperor and Empress (or the King and Queen)' appear in dreams, 'as a rule they really represent the dreamer's parents; and a Prince or Princess represents the dreamer himself or herself' (6.6.8).As you might imagine, there's no shortage of sexual symbolism, either. Freud writes that 'all elongated objects such as sticks, tree-trunks and umbrellas (the opening of these being comparable to an erection) may stand for the male organ—as well as all long, sharp weapons, such as knives, daggers and pikes' (6.6.8). Likewise, 'boxes, cases, chests, cupboards and ovens represent the uterus, and also hollow objects, ships, and vessels of all kinds' (6.6.8).Over time, Freud's changing opinions on the role of symbols in dreams also affected his analytical practice.
By the 1914 edition of The Interpretation of Dreams, he had this to say:As a rule the technique of interpreting according to the dreamer's free associations leaves us in the lurch when we come to the symbolic elements in the dream-content. Regard for scientific criticism forbids our returning to the arbitrary judgments of the dream-interpreter. We are thus obliged, in dealing with those elements of the dream-content which must be recognized as symbolic, to adopt a combined technique, which on the one hand rests on the dreamer's associations and on the other hand fills the gaps from the interpreter's knowledge of symbols. (6.6.7)Let's break this down.
Here, Freud is warning psychoanalysts not to trust their patients' associations too much, and he's encouraging them to rely more on their own 'knowledge of symbols.' This comment is significantly different from others in which he insists that it's through the dreamer's associations specifically that the true kernel of a dream can be discovered.So, what gives? Is eighth-edition Freud stabbing first-edition Freud in the back? That's one of the most intriguing questions you can ask yourself as you get acquainted with the long evolution of Freud's practice and ideas. Chew on ThisOne smartypants scholar thinks that Freud's 'original dream theory is based on a much more flexible and sensitive interpretation of dream imagery' than the version that began to take shape in the later editions.That's a valid interpretation, and it gives us lots to chew on. The first specimen dream that Freud examines in The Interpretation of Dreams is the famous Dream of Irma's Injection.
Let's unpack some of the symbolic elements that give this stunner its meaning.Irma's paleness and puffiness: Because the real 'Irma' was neither 'pale' nor 'puffy,' dream-Irma's paleness and puffiness symbolize her 'identification' with someone else (2.1.21). As Freud soon realizes, dream-Irma isn't simply a representation of his real-life patient; she's also a representation of two other women in his life—including his own 'pale' and occasionally 'puffy' wife (2.1.23).The 'white patch' in Irma's mouth: Freud notes that the white patch in Irma's mouth was an allusion to a real-life friend of Irma's, but he also says that it reminded him of the anxious concern that he had felt two years earlier when his own daughter had suffered from a serious illness (2.1.24). In combination with the 'whitish grey scabs' that also appear in dream-Irma's mouth, the 'white patch' is one of the dream's many symbols of Freud's professional anxieties and regret.The 'whitish grey scabs' in Irma's mouth: The 'whitish grey scabs' (2.1.16) in dream-Irma's mouth symbolize a number of interconnected elements. Freud notes that they remind him of a time when he was using cocaine to treat one of his own illnesses, and one of his women patients had harmed herself by following his example (2.1.24).
For similar reasons, they also call to mind the death of Freud's colleague and friend Ernst Fleischl von Marxow, who died from an overdose of cocaine after Freud suggested its use as a painkiller (2.1.24).Trimethylamin: Freud sees the chemical formula for trimethylamin in his dream, and it brings to mind his friendship with Wilhelm Fliess. Fliess was of the opinion that 'one of the products of sexual metabolism was trimethylamin' (2.1.39). With this in mind, the appearance of the formula in the dream not only symbolizes Fliess; it's also a window into the underlying sexual content of the dream.The 'remarkable curly structures' in Irma's mouth: Once Freud realizes that the presence of trimethylamin in the dream alludes to his friend Wilhelm Fliess, he also realizes that the 'remarkable curly structures' (2.1.16) in dream-Irma's mouth are symbols of one of Fliess's theories.As Freud says, Fliess had 'drawn scientific attention to some very remarkable connections between the turbinal bones and the female organs of sex' (2.1.40). The 'remarkable curly structures' in his dream represent those same connections.
So, like the trimethylamin in the dream, they symbolize Fliess and provide windows into the dream's underlying sexual content. The Dream of Uncle Josef.
Freud's Dream of Uncle Josef is short and sweet, and it doesn't include any elements that he would list as 'universal' or 'common' symbols. But, as Freud's interpretation of the dream makes clear, its hidden meaning hinges on one crucial symbolic element: a yellow beard.Let's take a closer look. Here's how Freud tells the dream:I. Was my uncle.—I had a great feeling of affection for him.II.
I saw before me his face, somewhat changed. It was as though it had been drawn out lengthways. A yellow beard that surrounded it stood out especially clearly.
(4.1.10-11)Although the dream seems at first to be about his friend 'R.,' the yellow beard makes it clear to Freud that the dream has identified 'R.' With someone else—specifically, his Uncle Josef. Once he makes this connection, Freud is able to interpret the 'latent' content of the dream.In most of Freud's dreams, the symbolic meanings of various dream-elements are specific to his own experiences and associations. Although 'yellow beards' don't have universally symbolic meanings in the same way that 'long cylindrical objects' (phallic symbols, naturally) do in Freud's thinking, within the context of this particular dream, the yellow beard signals the dream's 'condensation' of two very different men.
The Dream of the Botanical Monograph. Freud's Dream of the Botanical Monograph is a short and sweet little ditty that goes a little something like this:I had written a monograph on a certain plant. The book lay before me and I was at the moment turning over a folded coloured plate. Bound up in each copy there was a dried specimen of the plant, as though it had been taken from a herbarium. (5.2.7)Freud's interpretation of this dream is complex, and he returns to it multiple times throughout the book. The most important symbolic significance that he teases out of it relates to the meaning of the 'certain plant' that he studies in the dream.Because Freud 'really had written something in the nature of a monograph on a plant' (5.2.10), the monograph in the dream reminds him of his work on the coca-plant. That's cocaine, ladies and gents.
So, the 'certain plant' in the dream becomes a symbol of Freud's work on the medicinal properties of cocaine—as well as a symbol of his mixed feelings about that work.Freud viewed his work on the coca-plant with both positive and negative associations: positive, because he prided himself on having made important contributions to anesthesiology; and negative, because his recommended use of cocaine as a painkiller led to the death of his friend and colleague Ernst Fleischl von Marxow. With this in mind, the symbolic significance of the 'certain plant' in the dream doesn't just relate to the coca-plant itself, but to a whole slew of Freud's professional ambitions and anxieties as well. In Freud's multiple Dreams of Rome, Rome itself has many symbolic meanings.For one thing, as one Freud fan points out, it's 'an object of both enmity and desire' that Freud associates with the Roman Catholic Church, which 'represented for him the stronghold of religious obscurantism in contrast to his own scientific enlightenment'. For another, it's also a symbol of 'the anti-Semitism which was indeed rife, often with clerical support, in Freud's Vienna'.Not too tricky, right? Let's take a closer look at one of Freud's Dreams of Rome to see how other kinds of imagery and symbolism combine to give 'Rome' its symbolic meaning.In one of his Dreams of Rome, Freud sees ' a narrow stream of dark water; on one side of it were black cliffs and on the other meadows with big white flowers' (5.3.9). He also sees 'a Herr Zucker and determined to ask him the way to the city' (5.3.9).Freud's interpretation of this dream's symbols goes a little something like this.White flowers: These flowers symbolize Ravenna, a city that Freud had actually visited, and 'which, for a time at least, superseded Rome as capital of Italy' (5.3.9).
Since Freud was unable to visit Rome before 1901, his dream uses the white flowers to symbolize a city that he had visited and that replaces Rome to some extent in the dream.Black cliffs and Herr Zucker: Freud notes that 'the dark cliff, so close to the water' reminded him of 'the valley of the Tepl near Karlsbad' (5.3.9). Once he makes this connection, Freud realizes that the name 'Karlsbad' reminds him of two Jewish anecdotes that also explain the significance of Herr Zucker in the dream.
These two symbolic elements come together to signify the phrase 'Asking the way,' which Freud interprets to be 'a direct allusion to Rome, since it is well known that all roads lead there' (5.3.9).As in Freud's, in this Dream of Rome, there are very few 'universal' or 'common' symbols. Instead, the symbolic meanings of the dream-elements are unique to Freud's own experiences and associations. The Dream of the 'Aegean Stables'. We'll close with a fun one, Shmoopers. Freud's Dream of the 'Aegean Stables' isn't the only one of his dreams to include gross-out humor and poop jokes, but it may be the most memorable. Take a gander:A hill, on which there was something like an open-air closet: a very long seat with a large hole at the end of it.
Its back edge was thickly covered with small heaps of faeces of all sizes and degrees of freshness. There were some bushes behind the seat. I micturated on the seat; a long stream of urine washed everything clean; the lumps of faeces came easily away and fell into the opening. It was as though at the end there was still some left.
(6.9.20)For starters, it's important to note that when Freud says 'open-air closet,' he's using the word 'closet' in the same old-fashioned sense that gives us the noun 'water-closet.' That is, what he's talking about here is a kind of toilet or outhouse that is 'out in the open'—kinda like.As Freud's interpretation of the dream makes clear, the imagery makes him think of the legendary hero Hercules, who cleaned out the colossally messy Aegean Stables by diverting a river through them.This means that in the dream, the 'small heaps of faeces'— nasty, Freud—symbolize the 'errors and prejudices' in contemporary medical knowledge that Freud's own theories and practice were helping to sweep away (6.9.23). Likewise, the act of 'micturating' (urinating) symbolizes Freud's own psychoanalytic practice and research.Although these might not seem like positive comparisons, the dream is actually representing Freud as a great man, like Hercules, who has the power to make radical changes in his field. Narrator Point of View. First Person (Central Narrator)The Interpretation of Dreams is a scholarly, scientific text, so it's a little strange to think of Freud as its 'narrator.' But if we remember that Freud thought of his argument as a kind of hike or 'walking tour' through new and exciting territory, then thinking of him as our narrator—or even as our walking companion or guide—makes a lot of sense.Throughout The Interpretation of Dreams, Freud's voice is ever-present.
He outlines the critical territory for us, he tells us lots of personal stories and dreams, and he even retells his patients' stories and dreams. Freud may not be telling us a 'story,' exactly, but he's certainly showing us the way. Exposition (Initial Situation) Covering Critical GroundFreud begins The Interpretation of Dreams by surveying the major scientific, philosophical, and pop cultural theories of dreaming that predate his own. By covering this critical territory before jumping into his own methodology, he lays the groundwork for the argument that follows. Rising Action (Conflict, Complication) A Little Taste of the Good StuffIn the second chapter of The Interpretation of Dreams, Freud introduces some of the basic principles of his peculiar methodology. After that, he jumps straight into an illustrative example. Freud recounts his famous Dream of Irma's Injection, then interprets it step by step.
As he moves forward, Freud's analysis reveals many of the essential insights that he'll build on throughout the rest of the book. Climax (Crisis, Turning Point) The Great DiscoveryThe first climax of The Interpretation of Dreams arrives at the end of the book's second chapter, when Freud concludes that every dream 'is the fulfilment of a wish' (2.1.46). From this point on, chapters three through six are simply expansions of and elaborations on this essential point. Falling Action Making the Argument StickAfter Freud delivers the climactic conclusion to the book's second chapter, chapters three through six of The Interpretation of Dreams expand and elaborate on his theory of dreaming. Over the span of hundreds of pages, Freud supports, justifies, and gives nuance to the conclusion he's already come to.
Rising Action (Conflict, Complication) Taking Another New PathIn the final chapter of The Interpretation of Dreams, Freud makes another new beginning. After spending the previous 500+ pages presenting a detailed theory of dreaming, Freud uses his final words to develop a striking new model of what he calls human psychical (psychological) processes.
In this quasi-neurological chapter, Freud attempts to demonstrate how his theory of dreaming corresponds to a complementary theory of human cognition. Resolution (Denouement) Surveying the Road Less TravelledThe newly rising action of the book's seventh chapter doesn't result in another climactic revelation. Instead, Freud admits that a lot of new work will remain to be done if his readers expect to push his theories further. By way of conclusion, Freud turns to survey the ground he's covered throughout The Interpretation of Dreams, and ends simply by reminding his readers that dreams are precious windows into an individual's past. Three-Act Plot Analysis.
As Freud's editor and translator James Strachey tells us, Freud thought of The Interpretation of Dreams as being 'planned on the model of an imaginary walk'.In an 1899 letter to his good friend Wilhelm Fliess, Freud wrote: 'First comes the dark wood of the authorities (who cannot see the trees), where there is no clear view and it is easy to go astray. Then there is a cavernous defile through which I lead my readers—my specimen dream with its peculiarities, its details, its indiscretions and its bad jokes—and then, all at once, the high ground and the open prospect and the question: 'Which way do you want to go?' '.With this in mind, let's see what happens when we transpose Freud's 'imaginary walk' into a three-act plot analysis. Act I: The Dark Wood of the AuthoritiesAccording to Freud's model, Act I of The Interpretation of Dreams begins and ends in Chapter 1.
There, he surveys the major scientific, philosophical, and pop cultural models of dream interpretation that predate his own. His conclusion? No one has yet discovered the crucial insight that he's about to bring to bear on our dream-lives. In other words: hold onto your butts, Vienna! Act II: The Cavernous DefileKeeping on with Freud's model, Act II of The Interpretation of Dreams begins and ends in Chapter 2, where Freud records and then interprets his first 'specimen dream.' In doing so, he unfolds a revolutionary new method of dream interpretation and reveals a little something about his own mental life in the process.
Act III: Which Way Do You Want to Go?According to Freud's model, Act III of The Interpretation of Dreams begins in Chapter 3 and stretches on until the very last page of the book.At the beginning of Chapter 3, Freud writes:When, after passing through a narrow defile, we suddenly emerge upon a piece of high ground, where the path divides and the finest prospects open up on every side, we may pause for a moment and consider in which direction we shall first turn our steps. Such is the case with us, now that we have surmounted the first interpretation of a dream. We find ourselves in the full daylight of sudden discovery.
(3.1.1)From this great height, Freud feels free to explore whatever new prospects he chooses. This means that from this point on, the remaining chapters of the book simply add texture and detail to the crucial insight that the young dreamer lays out at the conclusion of the book's second chapter—that is, that every dream is 'the fulfilment of a wish' (2.1.46). But, before you get to thinking that it's a walk in the park from here, remember that we're talking about 500+ pages' worth of added texture and detail. That's some final act.
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