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Two letters from the 'Wolf Man' are published, the first to Freud, dated June 1926, the second to the Freud Archives in June 1957.
The first letter appears in photostat as well as in translation. It starts by saying that in deference to Freud's opinion, the Wolf Man will do no more about 'the motion-picture piece' and 'the newspaper article'. He then confirms the accuracy of his memories about his dream and states that he told it to Freud for the first time near the beginning of his analysis. The Wolf fantasy dominated his childhood, and he now brings further associations. These are to the opera Pique Dame, the first he and his sister attended. In this opera, which uses a story by Pushkin, a young officer breaks into the room of an old lady known as the Queen of Spades and forces from her the secret of the three cards by means of which one can win every game. After this, the 'Queen of Spades' dies of a stroke. In the next act the officer is alone. Suddenly a window opens, just as in the Wolf Man's dream, and a dazzlingly lit white figure (the 'Queen of Spades') passes by. The Wolf Man considers that the 'wolves' of his dream were sheep-dogs, and associates them, or their tails, to the perruques of the shepherds and shepherdesses in the opera. Moreover, the officer was a Russian-German, which, through a verbal bridge, brings him into connexion with the mute water-carrier of his analysis. The letter ends by stating that two other memories have occurred to the writer recently: both of these are concerned with castration.
The letter to the Archives (1) adduces evidence suggesting that, in spite of the similarities between the opera and the dream, the visit to the opera none the less occurred after the dream; and (2) states that the letter to Freud was written only a few days before the onset of the Wolf Man's paranoia.