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Patient Lene was recommended to me for treatment by Professor Freud. The patient does a lot of work with opera singing and therefore can easily use symbols from her experience in this field as it is at her disposal. One day she dreams1: “I go to a lady and an older gentleman. I ask him for lilies of the valley, but he won't give them to me” (italics included by the author).
Here the patient resists further telling. This manifests itself in her believing not to have dreamt anything more because her mother woke her up at this point, but she soon remembers that this was not the case: “No!” she says, “I also dreamed I was going to Father Freudenreich … or Heidenreich … (can't remember) to sponsor me. Miss Minna (an acquaintance) said, “go up the wide hall and up the steps.” 2 I went back into the hall and heard ringing and singing. Minna said to knock hard because he sings all day and doesn't hear well.”
“What did he sing?” I asked. “He sang … ring, little bell, ring, bring me the girl. Then he whistled, too.” I replied, “Have you ever known anyone to sing like that?” Patient: “Papageno has the little bell. It is like one of those things you give to little children, many little bells in one piece; the whistle is of Tamino … A girl was brought to Papageno; this was then a witch, who then turned into a beautiful young girl. They were to have a child; she was already cradling it in her arms. — — — They sing, “You will become Papa Papageno.””
Now the patient has explained it to us: Father Freudenreich was modeled on Papageno in her dream, who conquers his girl with singing and ringing. Papageno is an elderly gentleman and is translated into German as “Der zeugende Vater” (Papa genos, the siring father).3 The name indicates how the bard himself understood this type. The patient also emphasizes
Papageno's paternal importance by mentioning the song of Papa-Papageno and by comparing his little bell with the little bell for small children. Papageno's girl was under a spell for a