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… if thou hast lived in despair —whether for the rest thou didst win or lose —, then for thee all is lost, eternity knows thee not, it never knew thee or — even more dreadful — it knows thee as thou art known, it puts thee under arrest by thyself in despair….
Kierkegaard, Sickness Unto Death1
Existential novels and plays, not unlike most folklore, have a revolutionary, unstructuring, and restructuring core.2 Everyday concepts and images are extended into extraordinary ones and convey concealed messages concerning the deeper origins, conditions, and goals of the human being and his culture. Since these messages appeal to the whole experiencing, feeling, and striving individual, they transcend mere rationality. They can provide a wider understanding of basic existential problems. If well chosen and introduced into the psychotherapeutic dialogue at the proper time, they promote genuine and lasting insights.
This paper aims at elucidating some characteristics of inauthenticity on the basis of Kafka's The Trial and at showing how the discussion of some of the novel's themes proved useful in clarifying the meaning of a significant dream.
Mr. T is an exceedingly bright, fortyish, well-groomed, and attractive physicist. For nearly twenty years he has done excellent work for his company, has advanced to a high position, and is both liked and highly regarded by most of his subordinates, colleagues, and superiors. He earns more than he needs, has a fine modern house, and drives a luxury car. His avocation is history, and he is better versed in this field than most high school or college instructors.
Mr. T consulted me because he could no longer swallow. For weeks he had limited himself to frequent small sips of liquids and consequently had lost some forty pounds. Before he became ill, his time was spent either in the plant where his functions were interesting but well defined, or in his home where an intelligent but chronically neurotic, depressed, and alcoholic wife rendered impos