Discussion of Hanna Segal's Article, Delusion and Artistic Creativity: Some Refiections on Reading William Golding's The Spire

As a preface to my discussion of Dr. Segal's reflections on The Spire, I should like first to make a few cautionary remarks

on the methodological hazards of such endeavors. Literary criticism, in its many forms and intents, is beset with pitfalls, even deadfalls. Dr. Segal has presented her views with forthrightness and vigor. The ready use, however, of psychoanalytic concepts and interpretations and the ease with which such dialectical formulations find their way in our approaches to the study of creativity should be a matter of concern to psychoanalysts and literary critics alike. The prevalent use of neologisms such as “psychohistory,” “psychobiography,” “psychodrama,” “psychosocial,” “psychosexual,” “psychopolitical,” et al. attests to how widespread “psycho” jargon has become. Signals which formerly slowed scholars as they approached the conceptually hazardous interdisciplinary crossroads have given way to fast freeways connecting the unconscious way stations with all levels and forms of human endeavor, from artistic to political.

In a recent paper on methodological problems of applied psychoanalysis, the late Dr. Schmidl recalled how Freud first applied psychoanalytic concepts to problems lying outside the field of psychoanalysis proper. He cited Freud's restraint and modesty in such undertakings, in contrast to the boldness of his clinical interpretations. Indeed, Freud maintained a remarkable humility and humor about his contributions in this area. In one of his later prefaces to Moses and Monotheism he commented, “To my critical sense … this book appears like a dancer balancing on the tip of one toe.”

Psychoanalytic interpretations or “reflections,” no matter how brilliantly conceived, will remain mere speculations unless they are based on hard facts. Even “reflections” on a fictional work must be supported by an understanding of the mores and beliefs prevalent at the time in which the literary work was set. This is especially so in the case of Golding's n