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CERTAI~ ASPECTS OF SUBLIMATION AND DELUSION 1

BY
ELLA SHARPE
LONDON

In 1879, a Spaniard, interested in)roblems of the evolution of culture,

was exploring a cave on his estate at Altamira, in Northern Spain.
He was searching for new examples of flint and carved bone of which
he had already found specimens. His little daughter was with him
The cave was dark and he worked by the light of an oil lamp. . The
child was scrambling over the rocks and suddenly called out' Bulls,
Bulls!' She pointed to the ceiling. so low that he could touch it
with his hand. He lifted the lamp and saw on the uneven. surface
numbers of bison and other animals drawn with great realism and
painted in bright colours. These drawings are now accepted as the
work of the Hunter Artists of the Reindeer Age, computed to be
17,000 years ago.
To execute these drawings, paleolithic man penetrated to the cave
and must have burned animal fat III a stone lamp in order to sec. It
was a purposeful act and a purposeful journey, for the people actually
lived at the entrance to the cave or under shelving rocks near the
entrance.
• Seventeen thousand years later a man by the aid of a lamp pene-
trates to those recesses. A child sees the animals first and points them
out to her father.
At that dramatic moment of recognition in the bowel of the cave
a common impulse unites the ancient hunter artist and modern man.
Between them lies the whole evolution of civilization, but the evolution
that separates them springs from the impulse that unites them. By
which I mean that the Spaniard is driven to the far recesses of the
caves by the same inner necessity that sent the hunter artist there.
The hunter-artist goes to make life-like representations. The Spaniard
goes to find flints and carved bones, in order to piece together evidence
of the life of primitive peoples. In other words to reconstruct. to
make a representation of, life that has passed away.
My intention in this short paper is to deal with certain aspects of
this many-sided complicated subject of sublimation, viz. in dancing,
singing, painting and historical research, since my clinical experience

1 Read at the Eleventh International Congress of Psycho-Analysis.

Oxford, July 31, 1929.

J2
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CERTAIN ASPECTS OF SUBLIMATION AND DELUSION 13

has enabled me tosee that these sublimations have a common root, an
inner necessity that is in essencein no wise different from the necessity
that animated the first artists. The dawn of civilization is the dawn of
art. The two are inseparable. From the moment man began to carve
\

his flints and make drawings on the walls of his cave, there begins
recorded history and civilization has started on its intricate develop-
ment.
Behind that first appearance of man with whom we claim our
kinship, that is when man appears as Hunter Artists, there is conjecture
and dispute. Mousterian Man, it is computed, says Falaize in Origins
of Civilisation, lived 50,000 years B.C. He says evidences of canni-
balism practised by Mousterian Man are afforded by human remains
found in Croatia. Behind the appearance of the mummification rites
of ancient Egypt, Flinders Petrie has deduced the age of cannibalism.
From dismemberment of bodies which accompanies cannibalism we
pass to the age of mummification in Egypt, to the building of tombs
and to ceremonies for the dead. Eliot Smith sees in the tombs of the
Egyptians the beginnings of architecture in stone, and the beginnings
of overseas trade in the search for wood and spices for embalming pur-
poses. The death mask in ancient Egypt was followed by the making
of the statue.
Sublimation and civilization are mutually inclusive terms: canni-
balism and civilization mutually exclusive. Civilization begins with
the first art forms, and these first art forms are inseparable from the
problems of food (life) and death.
The first drawings were those of the animals that primitive hunters
killed for food. The explanation given is that it was a magical way
of producing and ensuring the food supply. Draw a bison and bison
will be plentiful. But this does not explain why the first artists crept
to the recesses of the cave to draw their pictures. Other hunter
artists followed, driven by the same necessity, and superimposed their
drawings over the ones they found in these hidden places. We see here
an inner compulsion first to make a vividly realistic drawing, secondly
to place that drawing within the bowels of a cave. The problems of
food and of death are implicit in these cave drawings, for the animals
drawn were the food supply of the hunters. The drawings are life-like
representations.
I would next recall to your memory the fact that the figure of man
appearing in these cave drawings of paleolithic times often wears an
animal mask. Behind the animal we have the man. So I see in the
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ELLA SHARPE

drawings of primitive man, in the animals, and men with animal

masks, the first attempt in art to resolve a conflict raging around the
problem of food and of death.
The first dancer in Europe, perhaps in the world, was the cave
dweller. The cave drawings of paleolithic man illustrate dancers.
In the earliest rock drawing of a ritual dance, the figures appear in
processional formation in connection with a slain bison.
Dancing, like drawing, was a magical performance. Like drawing
it is, from its origin, associated with the same problems of food (or life)
and death. The dance was part of ancient Egyptian funerary rites.
The cave dweller wearing an animal mask imitated the movements of
the creature he had slain. The impersonation of ghosts, the enacting
of the resurrection of the dead person by the dancer, point to the same
motivations in the origin of dancing as in the origin of drawing. The
dead are made alive again by magical acts.
From the dramatic dances, which the world over are connected with
ceremonies for the dead, arose the beginnings of drama. Ridgeway
contends that wherever they are found tragedy and serious drama
have their roots in the world-wide belief in the continued existence of
the soul after the death of the body. Drama began, not as enter-
tainment, but as ceremony. This aspect is voiced in modern times by
Bernard Shaw, who considers art as a department of social hygiene.
• The swaddling clothes of drama are the winding-sheets of the
hero king' (Ivor Brown). The masks worn by early actors were for
the purpose of portraying the dead. The persons who wore the masks
were for the time being the incarnations of the spirits of the dead.
A modern writer has said, ' At least we need not relate our play-
going to our food supply or regard our actor as the most likely guarantor
d our survival after death'. I believe that art rises to its supreme
height only when it performs the service-first for the artist, and un-
consciously for ourselves-that it did in ancient times. That service
is a magical re-assurance. Great art is a self-preservative functioning.
A vital communication is made to us in picture, statue, drama, novel.
It is life that is danced, a world that is built in music. When these
things are supreme, are perfection, we rest satisfied in contemplation.
From a world of apprehension and anxiety, a world of temporal things,
of vicissitudes and death, we temporarily escape. In those few
moments of conviction, immortality is ours. 'Because I live, ye shall
live also '.
The word 'drama' is derived from the Greek, 'a thing done'.
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CERTAIN ASPECTS OF SUBLIMATION AND DELUSION 15

, To do' is the characteristic of the artist in distinction to the philo-

sopher. whose necessity is ' to think'. In ancient days these' doings'
were vital to the prosperity of the community. More complicated,
more subtly interwoven in our lives, they remain as vital to-day. The
great artist must (do '-driven by an inner need. It is the actual
painting, the actual doing, that is the vital thing for him.
An analysis which removed an inhibition against dancing revealed
the following: The patient knew within herself how to. dance. She
knew how to have control over her muscles. To see new steps, a new
dance, was to receive a picture through her eyes. She could then
practise 'in her head'. Like a negative she had taken the image.
Then it could be re-produced as a picture taken from a negative. She
was the negative and she re-produced the picture. Sounds of music
suggested dance. Sound and movement went together naturally.
The body bent this way an~ that, swayed and moved as though it
were one thing-all one thing-as a bird in flying is all one thing.
She was like a bird, was a bird. She was it and it was herself. That
is, she was the magical phallus. The dancing was in her. She had
become the thing she once saw through eyes of desire, love and hate.
She had incorporated it and after the manner of cannibalistic beliefs
she had become endued with the power of the thing incorporated.
The ancient dancer became the dead of whom he was afraid. He
imitated the movements of the thing he had slain and eaten. The
mourner at the ceremonial funeral in Rome imitated the dead. The
white face of the clown even yet testifies to the ghost he once imper-
sonated of intent.
A delusion of omnipotence finds a reality channel. Eyes have seen
and ears heard and body felt, and the ego in some cases uses its func-
tioning and says' I can do that'. In the stress of anxiety this' can '
becomes 'must'. The phallic personification in dancing is a 'must
be,' , am ' as powerful as the father, psychically' I am the father'-a
delusion and yet an ego-functioning result.
One has to search further to understand why this magical per-
sonification was for my patient a talisman for prosperity, a talisman
against an evil fate, for herself, even as dancing was in ancient times
for the community. I found that men's admiration and approval
were a support for her, but it was clearly not to secure it that her
dancing was unconsciously a necessity. It secured no release from
anxiety. She needed their support and admiration for precisely the
same reason that she needed to identify herself with the father's phallus.
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16 ELLA SHARPE

Perfect dancing released her; reaching a standard that satisfied an

inexorable demand within her gave her security. In reaching this
standard, she had then gone beyond anything expected of her; that
is, she had more than satisfied her ballet mistress. At that moment
she felt care-free, could snap her fingers at one of whom she was in
constant dread, until she left that mistress in a state of ecstatic approval.
I came thus to a certainty that the person of whom she stood in terror
was unconsciously the mother. On to the mother had been projected
those wishes that were inimical to life itself. As she would have
taken those things from her mother she desired and envied, from milk
to children and the father's penis, so there had been projected on to
the mother intents as destructive to herself.
From this terrifying situation she is saved by perfect dancing.
She becomes the magical phallus. She restores in herself what her
hostility wished to take away, to destroy.. It is an omnipotent restitu-
tion, an assurance of life. You will remember the bison were drawn
in the recesses of a cave. The father is restored to the mother; the
penis, the child, are back again magically in the womb.
Dancing is a magical control of the parents by becoming the
father. The need for it is anxiety due to hostility which itself derives
from frustration. By this delusion of omnipotence, the dancer is the
father, and dancing is an atonement, a restitution. It is life that is
being danced, and the evil that the hostile wishes to the mother would
bring is averted.
A singer revealed this. Analysis enabled her to get rid of bad
habits in her voice that she had contracted through trying to follow
the instructions of various singing teachers. She is now able to say
, But I knew how to produce it quite naturally myself, all the time,
ever since I was a child. Their instruction has made me go wrong
always. I knew instinctively, but teachers assume you don't know;
they alone know; you know nothing-as if it were wrong to know.
When they said, " Your voice is so big, we must be careful nothing spoils
it ", I thought, .. How big? How can it be spoilt? Is it so big it can't
get through " ? '
Now that she has lost her voice-tricks she says: 'The voice is
inside you. All you need 1.0 do is to relax. Breathing takes care of
itself if you let your diaphragm work in and out, up and down. The
voice pours out like water, like cream. You remember you are not
really reaching up higher and higher, only pretending to do so, for the
notes are all in one place. You put them where you like, control them.
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CERTAIN ASPECTS OF SUBLIMATION AND DELUSION 17

Y60 are 't bird flying up in your voice. It draws people to you. They
feel as you feel, sad or gay. The Pied Piper drew children from their
homes by music. Orpheus drew stocks and stones. The Sirens drew
men to destruction '.
She is, in singing then, the powerful parents. Her very body is
the breast and the penis. The voice is the milk, the water, the
fructifying semen. She has identified by incorporating the power of
both parents. By the magical singing she is reproducing, exter-
nalising again what is incorporated. It is a delusion of control over
those whom she feared. As they made her feel sorrow and joy, now
she has the power to make others feel these emotions.
The ego secures release from the anxiety ofthe incorporated hostile
parents by a power of external ising it into an art form, and this art
form is an omnipotent life-giving, a restoration, milk, water, semen, a
child.
The way in which an artist worked revealed this: She said in
effect: 'It is strange people have to learn perspective, rules for fore-
shortening. If you see a flower looking as if it were coming towards
you, you draw it as you see it. That is all. The eyes take it in just
as it is. The pictures in my mind, I see on the blank paper, or canvas,
and I just put outlines round them and paint '. That is, the pictures
were outer realities once, the images of infancy. They are incor-
porated. Then they are projected on to a blank sheet, like the bison
in the cave.
Thus the hostility of the incorporated object no longer menaces the
ego, for the omnipotence has become an adjunct to the ego. Eye and
hand deal with it. Every stroke of the brush is a power over the
parents. To paint a picture, no less than to have a piece of toe-nail,
is to have the real person magically in one's power. Yet painting is a
restitution too. The blank space is filled. All those things which the
child would wrest from the mother are restored, the food eaten, the
children, the father's penis. The first drawing at the age of three this
patient did was intended to represent a mother holding a baby under
a bower of roses.
I would gather up these arguments briefly:
A patient bordering on a delusion of persecution is obsessed by a
prophecy of a woman palmist that she will have a child who will die.
The patient cannot rid herself of this fearful future. She harbours and
plans revenge on the palmist. Analysis speedily transferred thoughts
of the palmist to the analyst. The analyst, she thought, was doing
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18 ElLA. SHARPE

magical evil against her. Further analysis revealed that she believed
her voice had been spoilt by a singing mistress. The patient had
previously given up painting because she thought her originality was
being taken from her. Dancing had been abandoned in late childhood.
Out of twelve months' brooding she emerged into high states of
excitement, and activity gradually became a necessity. Anxiety
broke out, and with it bursts of hostility which became most marked
against a mistress on whom was projected her own hostility to the
mother-imago. The repressed hostility to her mother in childhood
has become quite accessible. Meanwhile, her voice has broken loose
from all the tricks she acqui red. The delusion of persecution has dis-
appeared, and anxiety has become more manageable. It disappears
entirely when she sings. Then she is care-free. That is, a delusion of
being persecuted is resolved when sublimation goes forward. The
sublimation springs from the same ,oot as the delusion of persecution.
It is worked out from inside into a form of art. This form of art is a
bringing back of life, a reparation, an atonement, a nullification of
anxiety, It is an omnipotent phantasy of control, of security from
evil, in a world of reality, because it finds expression in ego functioning.
The delusion serves the purposes of the super-ego. The hostility
is feU as emanating from another. The patient feels persecuted. It is
the other person who is wrong, not herself who is to blame. Analysis
brings to consciousness the repressed hostility to the mother. The
super-ego is modified to the degree that the repressed hostility (and
its causes) becomes conscious. The delusion disintegrates. In its
place sublimation occurs. The hostility is worked out from inside,
extemalised into a form of art.
A state of unstable equilibrium was reached and maintained for a
period of years by a psychotic patient under the following system ;-
1. The crystallization of a fixed delusion.
2. The operation of an intense super-ego severity in the rest of her
psychic life.
3. The carrying on of routine work which was clearly punitive. It
called for diligence and loyalty. It was a ' making good' for childhood
misdemeanours and offered psychically as a propitiation to the mother-
imago.
4. The last stabilizing factor in this system WQS the possessionof a
doll. The period from twenty to twenty-nine years of age in her life was
covered by the power of this doll. It was a lady doll, holding a baby.
During these years the doll was reverently treated. Every week it was
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CERTAIN ASPECTS OF SUBLIMATION AND DELUSION 19'

taken out and looked at to see that it was intact, without harm oro
blemish, and then gently laid by again, wrapped up and put in a drawer.
The fixed delusion was in essence the CEdipus fulfilment, a belief
that a doctor had made sexual overtures. There was no affect, no
feeling of guilt. The super-ego was served because the overtures were
projected on to the doctor delusionally. Anxiety was held in check
and controllable through the doll, for since the CEdipus wishes are
inseparable from hostility to the mother and the desire to get rid of her
and to have the father's child, the patient had provided for the pro-
jected menace of the mother by a magical assurance. The doll was
the uninjured, unbereft mother.
It has taken seven years to disintegrate the delusion and reach the
embedded memory traces and childhood wishes. It has taken seven
years for the doll to shrink down to the proportion of a real doll. This
doll was the magical talisman, the mask, the statue of primitive times.
The slow disintegrating of the delusion, the shrinking of the doll,
the loss of interest in routine work, the lessening of super-ego severity
went on simultaneously with the emergence of hidden interests that
had been latent since childhood. The major of these was a confession
of interest in history. This became the main avenue of the subsequent
analysis. The first figures elaborated were those which in the closest
way were representative of her unconscious phantasies concerning her
father and mother and herself. She began to dramatise, to project
her own identification on to figures that represented the mother and
father in the world of history. These figures became extraordinarily
real. She lived their lives and no searching out of detail was too
fatiguing in order that they might be completed.
The pursuit of this led eventually to the patient leaving routine
work and becoming a university student in history.
The interest here lies in what happened during analysis. I do not
think there was any diminution of omnipotent phantasy, but a different
disposal of it. Briefly I would track the path in this way :-
I. An extremity of anxiety in childhooddue to real frustration. An
actual trauma that exacerbated anxiety.
2. This led to violent aggressiveness. Analysis showed that owing
to her own hostility in frustration her safety lay in being omnipotent
over her parents. This was delusionally accompanied by a male
identification and played out by being a warrior. She massacred her
dolls and so symbolically she had power of life and death over her
parents.
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20 ELLA SHARPE
3. At puberty the super-ego reinforcement brought a complete
change of behaviour, complete suppression and condemnation of her
former misdemeanour. This was another form of omnipotent control.
Honour thy father and mother that thy days may be long in the
land'. The good behaviour achieved the same end omnipotently as
the previous violence, viz., self-preservation. At the same time there
was a postponement, not a relinquishing, of id wishes-one day, if not
now, there, if not here, in Heaven, if not on earth.
4. The ffidipus wishes then emerged in a delusion of fulfilment.
This delusion fulfilled demands of both id and super-ego, for it was
projected on to the doctor, whoseguilt it nowwas. The delusionof the
doll went alongside, a magical restoration of the mother and therefore
a guarantee of her own safety.
The disintegration of the delusion laid bare the ffidipus wishes and
brought back memories of her violent childhood. This brought about
a diminution of the super-egoseverity, and a correspondingstrengthen-
ing of the ego. This ego-strengthening led to increase of social con-
tacts, and self-confidence. This was accompanied by giving up of
routine work and a sublimation in the study of history. The omni-
potence that found a pathway to a delusion and expressed itself in a
magic doll now found a pathway in terms of reality, a sublimation
vested in the ego. The first figures in history were parent imagos.
From them interest passed to the period of time in which they were set
and gradually, as anxiety lessened, the historical interest broadened
and deepened in its range.
In history the people are all dead. They are brought to life again
by the vital interest put into them. Their lives are re-lived, re-
constructed. Their lives are first absorbed by the student. There is
an imbibing of knowledge, symbolicallyno separation from the parents.
In the essays and theses written there is an externalising of what
has been incorporated, a re-creation, and therefore a nullification of
anxiety.
The sublimation has at its roots the same phantasy of omnipotence
as the delusion, it has become an ego-adjunct, has found a pathway
into reality.
Behind the ego-ideal, says Freud, • there lies hidden the first and
most important identification of all, the identification with the father' .
Perhaps it would be safer to say' with the parents'. Later he says,
• At the beginning, in the primitive oral phase of the individual's
existence, object cathexis and indentification are hardly to be dis-
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CERTAIN ASPECTS OF SUBLIMATION AND DELUSION 21

tinguished'. Mrs. Isaacs 2 pertinently says in her paper on 'Privation

and Guilt' , that Freud's primary identification may perhaps play in
the total drama a greater part than was originally thought'.
Freud says the relation of super-ego to ego is not exhausted by
the precept, , You ought to be such and such' (like your father): it
also comprises the prohibition' You must not be such and such (like
your father), that is, you may not do all that he does'. Many things
are his prerogative. One form of this prohibition, • Thou shalt not'
is embodied in Mosiac law. 'Thou shalt not make unto thyself any
graven image, nor any likeness of anything that is in heaven above,
or in the earth beneath, or in the waters under the earth, for I, the Lord
thy God, am a jealous God'. The artist has clearly not succumbed
to this prohibition. I think the reason for this is to be found in
the primal identification with the parents, where Freud says object
cathexis is hardly distinguishable from identification. These parents
are the active sexual parents. They are very human beings, per-
mitting themselves much in the infant's presence, because of its
infancy.
In the stress of anxiety caused by super-ego severity and the
claims of the id I see three extreme contingencies.
I. The ego may be rent from reality and overwhelmed by
the ide
2. The ego may remain true to reality, but its functioning impaired
by severity of the super-ego. Sublimation will be curtailed by a
• Thou shalt not'.
3. We have the artist. H:UlDS Sachs has said, 'in spite of his
specially developed sense of guilt, the artist has found an unusual way.
closed to most men, of reconciling himself to his super-ego·. He
suggests that this escape from super-ego severity is through the media-
tion of his work.
Art, I suggest, is a sublimation rooted in the primal identification
with the parents. That identification is a magical incorporation of
the parents, a psychical happening which runs parallel to what has
been for long ages repressed, i.e, actual cannibalism. After the manner
of cannibalistic belief psychically the same magical thing results,
viz. an onmipotent control over the incorporated objects, and a magical
endowment with the powers of the incorporated.

I This JOURNAL, Vol. X.

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22 ELLA SHARPE

The safety of the ego will depend upon its ability to deal with the
incorporated imagos. We know from the mechanism of melancholia
that when the ego itself becomes identified with the reproached love
object, super-ego sadism, reinforced by id sadism, may destroy the
ego.
At the oral level the ego must magically control the seemingly
hostile parent, because of the infant's inadequate knowledge of
reality.
Then everything depends upon the ability of the ego to eject this
hostile incorporation from itself. This means in effect an ego control,
in the outer world, of something which can represent the primarily
introjected hostile imago.
The artist externalizes that hostility into a work of art. In that
work of art he is making, controlling, having power over-in an
external form-an introjected image or images. During creative
periods omnipotenceis vested in the ego, not in the super-ego. At the
same time that he is externalizing the introjected hostileimage,control-
ling it in a definiteform, moulding,shaping it, he is re-creating symboli-
cally the very image that hostility has destroyed.
Should we find, if we looked deep enough, that all sublimation
depends upon the power of the ego to externalize the incorporated
imagos into some form, concrete or abstract, which is made, moulded,
and controlled by the ego in a reality world?
If for us the idea of the dead is freed from the cruder super-
stitions and fears of past ages, it is because we are phalanxed right
and left, behind and before, by a magical nullification of fear in
sublimation that is the very woof and weft of civilization. The
past lives in our consciousness, in history, which is the living past,
in anthropology, in archeology, Music, art, drama, creative litera-
ture, perform their age-long service. Of all arts, the last, the
moving picture, is destined for the widest human appeal. The
resources of scienceand art here converge in answer to man's deepest
necessity and will consummate the most satisfying illusion the
world has. known. Future generations will be able to see the past
as it really was. The great figures will move and live before them
as they did even in life. They will speak with their authentic
voices. There, in that darkened theatre, with all our knowledge and
enlightenments we will not hesitate to reach out a hand through
time to the first artist painting his bison in the dim recesses of
the cave.
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CERTAIN ASPECTS OF SUBLIMATION AND DELUSION 23

If the red slayer think he slay.
If the slain think he is slain,
They know not well the subtle ways
I keep, and pass, and turn again.'

or as the English magician puts it :-

Graves, at my command,
Have waked their sleepers, op'd and let them forth
By my so potent art:
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User in accordance with the terms of this Agreement. This indemnity shall survive the termination of this agreement. NO LIMITATION
OF LIABILITY SET FORTH ELSEWHERE IN THIS AGREEMENT IS APPLICABLE TO THIS INDEMNIFICATION.

Commercial reproduction. No purchaser or user shall use any portion of the contents of PEP-Web in any form of commercial
exploitation, including, but not limited to, commercial print or broadcast media, and no purchaser or user shall reproduce it as its own
any material contained herein.