In producing this essay, I have enjoyed exploring twenty three volumes of Collected

Works of the founder of Psychoanalysis, Sigmund Freud (1856-1939). His essays that I
read for the first time in the duration of the Exploring Creativity psychoanalytic
psychology course are, A Dream is the Fulfillment of a Wish (1900), Creative Writers and
Day Dreaming (1907), Leonardo da Vinci and a Memory of His Childhood (1910), The
Moses of Michaelangelo (1914), On Transience (1915), and Dostoevsky and Parricide
(1927). I also discovered several other essays of Freuds that deal specifically with
creativity, but unfortunately due to limits of space and time, I could not study them all.
However in the bibliography, you will find many of Freuds essays listed that I have read
in previous years, so have contributed towards my current level of understanding of
psychoanalysis.

To help structure this essay, I found it necessary to use paragraph

headings relevant to a Classical Freudian understanding of the nature of creativity. I hope

the text is sufficiently integrated, flows and makes some sense.

Play
In his Creative Writers and Day Dreaming (1907) essay, Freud considers the nature of
creativity and traces it and general imaginative psychological activity ideation (creating
new ideas) day dreams and phantasy - to childhood, and he links aesthetic pleasure with
fore pleasure and sexual pleasure. He believed everyone is creative and that an artist
creating, psychologically does the same thing as a child. Watching children play, he
observed they gain an enormous amount of pleasure from it and rearrange things in the
world in new ways which please them. Society says the child is allowed to play and
experience pleasure and phantasies and children know their play is not reality. Here we
have the contrast between the individual childs pleasurable play, and the adults serious
world of society and reality. Freud explains that as children grow up and become adults,
they cease to play and give up the pleasure they gained from it. But he wondered whether
it is really possible to give up a pleasure once experienced and he thought actually, we can
never give anything up, only exchange one thing for another. According to Freud, what
appears to be a renunciation of pleasure, is really the formation of a substitute.
1

If the objects are destroyed, or if they are lost to us, our capacity for
love, our libido, is once more liberated, and it can then either take other
objects instead, or can temporarily return to the ego. (1)
When a child grows up and becomes an adult, instead of playing with toys and loved
friends to the extent it did in childhood, he/she constructs day dreams and phantasies.
Likewise, the creative artist creates a world of its own in its mind, which it invests with
large amounts of emotion, while separating it from reality. For Freud the unreality i.e.
phantasy of the childs and artists world, is important.

Free Association
According to Freud, creativity occurs when phantasy is given free reign, and it is
hindered if reason examines too closely when creative energy flows. Free association was
his theory of ideas/images linked in a persons mind, that correspond to a complex
organization of memories. It is an invitation to the deepest unconscious instincts to express
themselves. The intellect withdraws its critical observation and trusts to a flow of ideas,
images, sounds, words, movements and gestures, in which the mind is directed to ends it
knows not. By permitting the mind to roam freely, unhampered by the egos conscious
restrictions, free association enables a flow of instinctual energy. Phrases such as stream
of consciousness, unloosening of the emotions and pouring out of the soul, all refer to an
unconscious release equivalent to the creative release of the artist. Freud used terms such
as thread, chain and train to describe a series of spontaneous free floating ideas and
images. In The Psychopathology of Everyday Life (1901), Jokes and Their Relation to the
Unconscious (1905), The Uncanny (1919) and other essays of his Collected Works, he
writes that free associations and works of art, like dreams, unexpected incidents,
mischievous behaviours, tics, slips of the tongue, punning, jokes, bungled actions, errors,
forgetting, spontaneous and accidental happenings, contain condensed, distorted,
substituted, fragmented, split off and displaced aspects of an individuals deepest
unconscious wishes, desires and fears.
2

Desire, Wishes, Dreams and Phantasy.

For Freud, everyone is an artist when day dreaming and phantasizing, just like
professional artists who deliberately abandon themselves to the spontaneous generation of
ideas, words and images from their unconscious. In his essays, A Dream is the Fulfillment
of a Wish (1900), The Psychology of Dream Processes (1900), Wish Fulfillment (1900) and
other essays of his Collected Works, Freud compares the creative artist to the dreamer in
broad daylight and artistic creations with dreams phantasy and symptoms. (2) He thought
that the dreams people have are the same as works of art i.e. products of the unconscious.
Their meaning remains concealed because dreams and phantasies and works of art, contain
wishes we are ashamed of and conceal from ourselves and others. To be clear, what Freud
means by wishes, is biological erotic and aggressive instinctual desires.
Psychoanalysis showed how wishes and desires, in the form of a compromise, can be
identified in childrens play, phantasies, dreams, symptoms and works of art. Unconscious
wishes, tend to be satisfied through the restoration of signs e.g. words and images which
are bound i.e. attached, to our earliest childhood experiences of satisfaction. This
restoration operates according to the laws of the Primary Process, described further on in
this essay. According to Freud, through the defense mechanism of repression and other
psychological mechanisms of defense, instinctual desires and wishes unacceptable to
society are pushed into the unconscious part of the psyche, but nevertheless return to
daylight conscious expression in a compromised, distorted form. Therefore, as expressions
and reflections of an individuals psyche, Freud sees works of art as wish fulfillments, in
the same way as other products of the unconscious e.g. symptoms, dreams, phantasy and
play are unconscious desires expressed in an indirect, substituted, compromised and
disguised form. My own tortuous experiences of watercolour painting, have provided me
with evidence that confirm Freuds psychoanalytic theories of the erotic and aggressive
instinctual struggles with society, the deep unmet wishes from childhood and strong
emotions involved in producing art.

Symbolism
Symbolism, used extensively in Classical and Modern literature, theatre, painting,
sculpture and the plastic arts, embraces all forms of indirect communication and
representation. A symbol is an indirect representation of an unconscious unsatisfied wish
and unresolved conflict. It evokes something absent or some unfulfilled wish and acts as a
mediator in an indirect and disguised way, psychoanalytically through mechanisms of
distortion, fragmentation, displacement and condensation. In psychoanalytic psychology,
any substitutive formation is said to be symbolic e.g. phantasies, dreams, symptoms and
works of art, are all seen as symbolic expressions of a defensive conflict between
unconscious instinctual wishes and conscious ego defences. And in psychoanalysis
practice, the symbolic is a relation that links the manifest content/products of dreams and
behaviour i.e. letters words sounds images colours objects that are incomplete
compromised substitutive and false formations, to their hidden latent more complete and
deep meaning i.e. bodily stimuli, childhood wishes, desires, memories and conflicts.

The Pleasure Principle

In Freuds view, people are driven by powerful biological life (love) and death (hate)
instincts to seek pleasure and avoid pain, and they are continually struggling against a
society that stresses control of these instinctual impulses. It is instinct that drives and
directs a person towards a specific aim, e.g. the instinct to survive, to mate, the maternal
instinct and nesting instinct, to discharge instinctual pressure in the person or object in
which it achieves its aim. The Pleasure-Unpleasure Principle, also called the PleasureReality Principle, i.e. the attainment of pleasure and satisfaction and the avoidance of
displeasure and pain, as expounded in Formulations on the Two Principles of Mental
Functioning (1911), Instincts and their Vicissitudes (1915), Negation (1925) and other
essays, is considered the psychological motivation in psychoanalysis and especially in
creativity. If adult society and reality with its moral laws and prohibitions refuses a child
or adult gratification of an erotic or aggressive instinct, that person will seek its
gratification imaginatively in phantasy, symbolic and creative activity. An important point
4

Freud makes in his Creative Writers essay, is that many things that are unpleasant and
distressing in reality, such as fighting and killing, become a source of pleasure in art e.g.
action packed films, and many pleasurable things in phantasy e.g. an idealized hero, give
little enjoyment in reality.
According to Freud, the creative artist allows their audiences to enjoy their unconscious
wishes without self-reproach or shame, because if they expressed their intense instinctual
wishes in reality, they would no longer gain pleasure from them and would put others off.
However, when an artist expresses their unconscious wishes formerly through artwork,
he/she is said to soften the egoistic i.e. pleasure seeking nature of the intensely personal
desire, by altering and disguising it and offering the audience pleasure through the formal
presentation of a modified instinctual wish. Freud used the term aesthetic pleasure to
describe the pleasure offered to the audience through works of art, which makes possible
the satisfaction of unconscious wishes in the minds of the audience. According to Freud,
the artists and audiences enjoyment of art comes from, a liberation of tensions in our
minds. (3) It follows from this that unsatisfied tense people phantasize and create because,
the motive force of phantasies are unsatisfied wishes and every single
phantasy is the fulfillment of a wish, a correction of unsatisfying reality. (4)

The Unconscious Primary Process

In his essays, The Unconscious and Consciousness (1900), The Primary and
Secondary Processes (1900), Formulations on the Two Principles of Mental Functioning
(1911) and others, Freud expounds the distinction between the Primary and Secondary
Processes of psychological functioning. He approaches from a Psychoanalytic perspective,
the traditional romantic Dionysian view of the artist as bohemian and almost insane, in
which creativity is seen in proximity to madness, because it implies the suspension of
rationality. The Dionysian principle is equivalent to Freuds theory of the Primary Process,
also called The Unconscious, governed by the Pleasure Principle that seeks to maximize
self-gratification, but in its incessant drive for gratification is constantly at odds with
5

society. In the unconscious primary psychological process, instinctual energy is said to be

free and mobile i.e. unattached energy and flows towards discharge in the aim/object it
desires. In a hedonistic Dionysian picture then, creativity is seen as an unconscious
primary process free from the constraints of rationality, consciousness and any meaningful
relationships.
Consciousness, rationality and reason however, are applied by the creative artist
secondarily, to organize the free, spontaneous impulses, ideas and images produced by the
unconscious, that is actually not free but responding to both internal and external pressures
of the past and present moment. Our apparently involuntary, spontaneous, creative
impulses and ideas/images, actually derive from our instinctual wishes forbidden in
childhood by our parents and in adulthood by society. Freud thought that forbidding
primitive instincts and their impulses merely forces them out of conscious awareness and
into the unconscious, where they continue to indirectly affect the individual and manifest
destructively as accidents and symptoms, or creatively as socially approved instinctual
behaviours such as sport, art, political activism and religious practices.

Love is Like a Butterfly

Freud wanted to understand how an artist manages to make an impression on its
audience and arouse emotions in them. In The Interpretation of Dreams (1900), he writes
about involuntary ideas and explains how a person gains access to them by relaxing
rational control over their mind. This is Freuds theory of poetic inspiration, as access to
spontaneous ideas. According to Freud, an Einfall i.e. an idea that comes, apparently
spontaneously, out of the blue, is really a wish/desire that refers back in time to an
impression made on that person. Mnemic trace was the term he used for an unconscious
memory that results from an inscription i.e. impression, made upon a persons mind, of a
perception/experience strong enough to cross the defensive barrier/shield between the
unconscious id process and the conscious ego process. So in creating the artists past,
unsatisfied and imprinted wishes spontaneously reappear in the present in a disguised
form, as if something new has come.
6

Three Periods of Time

Imaginative artistic creations are not fixed and unchanging, on the contrary they,
fit themselves into the subjects shifting impressions of life, change with
every change in situation and receive from every fresh active impression,
what might be called a date-mark. (5)
In the Creative Writers essay, Freud says the creative process involves three periods time:
1. The Present - forms a current impression, that arouses a major unsatisfied wish.
2. The Past - a memory of an impression from childhood, in which a wish was unfulfilled.
3. The Future - present impression and past memory, create a potential future situation,
which represents a fulfillment of an unmet wish.
the past, present and future are strung together on the thread of the wish that
runs through them. (6)
This quote reminds me of some gemstone bead bracelets I made as a leaving present,
for Freudian classmates on a psychoanalytic psychology course at Birkbeck College years
ago. The unfulfilled wish, makes use of an occasion in the present, to create a picture of
the future, based on the pattern of the past. Put another way, an experience in the present,
awakens a wish belonging to the past, which finds its fulfillment in creativity. Creativity
then, exhibits a present provoking occasion and a past memory and is a substitute for what
was denied in childhood.

Screen Memories and Compromise Formations

In his essays, The Psychical Mechanism of Forgetfulness (1998), Screen Memories
(1899), Remembering, Repeating and Working Through (1914) and other essays, Freud
explains that screen memories are strong childhood wishes/desires. His attention was
7

caught by the paradox of memory. According to Freud, important experiences from early
childhood are not remembered, a psychological phenomenon refered to as Infantile
Amnesia. But apparently insignificant memories are remembered and spontaneously
present themselves with unusal persistence that contrasts with their banality. Such
apparently insignificant yet persistent memories are said to conceal unsatisfied
aggressive/erotic wishes/desires and like works of art, are a compromise between
instinctual wishes and psychicological denfense mechanisms. Screen memories then, are
compromise formations, like parapraxes i.e. bungled actions, mischievous behaviours,
slips of the tonge, wit, puns, play, jokes, phantasies, dreams, errors, accidents and
symptoms. In psychoanalysis, these products of the unconscious are said to be forms
taken by screen memories, attached to an unsatisfied instinctual wish/desire, expressed as a
persistent feeling that a person is ashamed of, so can only be indirectly admitted into
conscious awareness in a disguised form. In this way, both the unconscious wish and the
conscious mechanism of defence are satisfied in the creation of a compromise.
Instinctual energy is said to be relatively undetermined in regard to its object and is always
capable of changing it, so if a particular instinct cannot be satisfied, an individual can be
compensated by the satisfaction of another instinct, or by sublimation.

Sublimation
Freud thought all behavior originated from and is powered by instinctual libidinal
forces of nature, whose aims are often in conflict with societal and cultural directives.
Consequently, the concept of sublimation was formulated to describe psychological
processes in which instinctual desires are turned towards socially valued aims.
Sublimation was first conceptualized by Freud in his Three Essays on the Theory of
Sexuality (1905) essay, to account for human activity which has no apparent connection
with libido, but actually is motivated by the instinctual forces of nautre. Inspirations,
inventions, intellectual inquiry, political, religious and social struggles as well as the
struggle of artistic creation, are some of the sublimated activities described by Freud. In
his Civilized and Sexual Morality and Modern Nervous Illness (1908) essay, he writes
8

Important political, industrial, financial, (and environmental) crises, carry

excitement into far wider circles of people than they used to do.. Political,
religious and social struggles, party politics, electioneering and trade
unionism inflame tempers. (7)

(bracketed words my addition)

Through the creative process of sublimation, aggressive and erotic instincts are
deflected, diverted and displaced from their original aim, without diminishing their
intensity, to socially acceptable and valuable aims, making repression unnecessary. This
capacity to substitute and exchange an original natural instinctual aim, for a modified
formal instinctual aim, which is no longer overtly erotic or aggressive but still
psychologically associated to the original instinctual aim, is the capacity for sublimation.
In the Civilized Sexual Morality essay, Freud goes on to say that cultural products such as
literature, theatre, painting, sclupture and the plastic arts,
stir up all the passions and encourage sensuality and a craving for pleasure
and contempt for every fundamental ethical principle and every ideal. (8)
This is because artistic and cultural products express and reflect an individuals
instinctual pressures, tensions, struggles and conflicts as well as the peace, beauty and
order within the psyche, and also express and reflect struggles/conflicts and harmonious
relations in the family, neighbourhood and the wider society, culture, religion, country, etc.

Artist and Poet

In his essay Dostoevsky and Parricide (1928), Freud analyses the creative artist
Fyodor Mikhaylovich Dostoyevsky (1821-1881), a Russian writer of novels and essays
who explored human psychology in the troubled political, social and spiritual context of
19th century Russian society. Freud says that Dostoevsky is not far behind Shakespeare
and wrote his most famous sentence about the creative artist,
Before the problem of the creative artist, analysis must, alas, lay down its arms. (9)
9

Transience, Beauty and Nature.

In his On Transience (1915) essay, Freud writes about the transience of the beauty of
Nature. He says a friend of his, a famous poet whos identity remains concealed, admires
nature but feels sad because beauty is fated to decay and extinction. All he loves and
admires is transient. Freud says the proneness to decay of all that is beautiful, gives rise to
two different impulses in the mind, despair and rebellion.
No! It is impossible that all this loveliness of Nature and Art, of the world of
our sensations and the world outside, will really fade away into nothing. (10)
Freud sees the poets demand for immortality and says what is painful may be true, but he
disputes the poets pessimistic view that the transience of beauty involves any loss of its
worth. On the contrary, the transience of beauty increases its worth says Freud, as
limitation of the possibility of an enjoyment, raises the value of that enjoyment.
A flower that blossoms only for a single night, does not seem to us on that
account less lovely. (11)
For Freud, the beauty of nature, works of art and of intellectual achievements do not
lose their worth, because their value is determined by their significance to our own
instinctual lives i.e. on the impression they make on us. Powerful unconscious emotional
factors are at work in the creation and appreciation of art, that effect both the artists and
audiences judgment. What really spoils beauty and enjoyment then, according to Freud, is
the revolt again mourning. But in sensitive minds, the sense that beauty is transient, gives a
foretaste of its decrease and the artists and poets enjoyment and pleasure transforms into
mourning and loss.

10

References
1. Freud, S. (1995) On Transience (1915), in Vol. XIV, On the History of the Psychoanalytic
Movement, Papers on Meta-Psychology and Other Works. The Standard Edition of the Complete
Psychological Works of Sigmund Freud. The Institute of Psychoanalysis and The Hogarth Press,
London. p.306
2. (1995) Creative Writers and Day Dreaming (1907), in Vol. IX, Delusions and Dreams in
Jensens Gradiva and Other Works. The Standard Edition of the Complete Psychological Works of
Sigmund Freud. The Institute of Psychoanalysis and The Hogarth Press, London. p.149
3. ibid p.153
4. ibid p.146
5. ibid p.147
6. ibid p.148
7. (1995) Civilized Sexual Morality and Modern Nervous Illness (1908), in Vol. IX, Delusions
and Dreams in Jensens Gradiva and Other Works. The Standard Edition of the Complete
Psychological Works of Sigmund Freud. The Institute of Psychoanalysis and The Hogarth Press,
London. p. 183
8. ibid p.184
9. (1955) Dostoevsky and Parricide (1927), in Vol. XXI, The Future of an Illusion,
Civilization and its Discontents and Other Works. The Standard Edition of the Complete
Psychological Works of Sigmund Freud. The Institute of Psychoanalysis and The Hogarth Press,
London. p.177
10. (1995) On Transience (1915), in Vol. XIV, On the History of the Psychoanalytic
Movement, Papers on Meta-Psychology and Other Works. The Standard Edition of the Complete
Psychological Works of Sigmund Freud. The Institute of Psychoanalysis and The Hogarth Press,
London. p.305
11. ibid p.306

11

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