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'Ferdinand behaves as if the world were not real, but as he wishes it to be: peaceful.' He does so by remaining in a state of primary narcissism where neither danger nor guilt yet exist. 'He remains an eternal child, knowing neither the obligations and conflicts, nor the challenge which is connected with the fate of being a bull. He does not regress. He simply remains locked in his happy innocence, nursing himself with the abundance of infantile pleasure.' Everyone would like to regress to that state but harsh reality does not permit it. If it can be enjoyed in identification with this happy animal, all expenditures for mastering the difficulties of reality become superfluous. Ferdinand enjoys eternal oral omnipotence 'with all the pleasure of a suckling he drinks the smell of the flowers', not at all 'unsexually', but 'with all the sense of real excitement'. The symbolic cork tree represents his primary unity with both parents, the 'oceanic', yet unindividualized, but also undangerous world. 'Ferdinand and Chaplin … do not believe in castration, always asking in moments of danger, "So what?", with disarming results.' Grotjahn makes interesting remarks about the sense of humor. Reality and superego can be mastered better after having been submerged in fantasied recollection of the lost paradise. 'The aggression stimulated by all associations contained in the idea of being a bull is suppressed and the emotional pity for the castrated father is saved by the happiness of Ferdinand who succeeds in gaining a happy reunion between father and son, not even losing the mother's love.'