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The Unconscious

In The Unconscious: A Contemporary Introduction, Joseph Newirth

presents a critical and comparative analysis of the unconscious
and its evolution from a positivist to a postmodern frame of
reference.
This book presents five theories, each of which offers different
and important conceptualizations of the unconscious, and each of
which contains a rich palate of ideas through which to approach
clinical work. These psychoanalytic theories are thought of as
spokes on a wheel emanating from the center of Freud’s concept of
the unconscious. In addition to presenting Freud’s development of
the unconscious, Newirth includes discussions of interpersonal/
relational psychoanalysis; developmental approaches to the uncon-
scious, including Kohut, Winnicott, and Fonagy; Kleinian approa-
ches to the unconscious; and linguistic theories of the unconscious,
including Matte Blanco and Lacan. The last chapter illustrates the
use of contemporary psychoanalytic concepts in the clinical work
with a contemporary patient. The book encourages a comparative
view of psychoanalytic theory and technique and aims to move to a
more useful, generalizable concept of the unconscious for the con-
temporary patient.
This book will be of great interest to psychoanalysts, psycholo-
gists, and anyone interested in the evolution and application of the
unconscious as a concept.

Joseph Newirth is Professor Emeritus at the Gordon F. Derner

School of Psychology, Adelphi University, USA. He is on the
faculty of several psychoanalytic institutes and was the Director of
the Postdoctoral Program in Psychoanalysis at Adelphi University.
His previous books received the Gradiva Prize (2004) and the
American Board and Academy of Psychoanalysis Book Prize
(2019). He is currently in practice in New York City.
Routledge Introductions to Contemporary Psychoanalysis

Series Editor
Aner Govrin, Ph.D.

Executive Editor
Yael Peri Herzovich

“Routledge Introductions to Contemporary Psychoanalysis” is one

of the prominent psychoanalytic publishing ventures of our day. It
will comprise dozens of books that will serve as concise introduc-
tions dedicated to influential concepts, theories, leading figures, and
techniques in psychoanalysis covering every important aspect of
psychoanalysis.

The length of each book is fixed at 40,000 words.

The series’ books are designed to be easily accessible to provide infor-

mative answers in various areas of psychoanalytic thought. Each book
will provide updated ideas on topics relevant to contemporary psy-
choanalysis – from the unconscious and dreams, projective identifica-
tion and eating disorders, through neuropsychoanalysis, colonialism,
and spiritual-sensitive psychoanalysis. Books will also be dedicated to
prominent figures in the field, such as Melanie Klein, Jaque Lacan,
Sandor Ferenczi, Otto Kernberg, and Michael Eigen.

Not serving solely as an introduction for beginners, the purpose of

the series is to offer compendiums of information on particular
topics within different psychoanalytic schools. We ask authors to
review a topic but also address the readers with their own perso-
nal views and contribution to the specific chosen field. Books will
make intricate ideas comprehensible without compromising their
complexity.

We aim to make contemporary psychoanalysis more accessible to

both clinicians and the general educated public.
Aner Govrin
Editor
Christopher Bollas: A Contemporary Introduction
Steve Jaron

Eating Disorders: A Contemporary Introduction

Tom Wooldridge

Michael Eigen: A Contemporary Introduction

Loray Daws

Psychoanalytic Field Theory: A Contemporary Introduction

Giuseppe Civitarese

Psychoanalysis and Colonialism: A Contemporary Introduction

Sally Swartz

W.R. Bion’s Theories of Mind: A Contemporary Introduction

Annie Reiner

Herbert Rosenfeld: A Contemporary Introduction

Robert Hinshelwood

Neuropsychoanalysis: A Contemporary Introduction

Georg Northoff

Spiritually-Sensitive Psychoanalysis: A Contemporary Introduction

Gideon Lev

Psychoanalysis and Homosexuality: A Contemporary Introduction

Leezah Hertzmann and Juliet Newbigin

Melanie Klein: A Contemporary Introduction

Penelope Garvey

The Unconscious: A Contemporary Introduction

Joseph Newirth

Guilt: A Contemporary Introduction

Donald L. Carveth
I dedicate this book to my family: Eleanor, Mike, Karen,
Tyler, Hazel, and Violet. You have been a constant source
of love, support, and energy throughout this project, and I
could not imagine doing this without your company.
The Unconscious

A Contemporary Introduction

Joseph Newirth
Designed cover image: © Michal Heiman, Asylum 1855–2020, The
Sleeper (video, psychoanalytic sofa and Plate 34), exhibition view,
Herzliya Museum of Contemporary Art, 2017.
First published 2023
by Routledge
4 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
605 Third Avenue, New York, NY 10158
Routledge is an imprint of the Taylor & Francis Group, an informa
business
© 2023 Joseph Newirth
The right of Joseph Newirth to be identified as author of this work
has been asserted in accordance with sections 77 and 78 of the
Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or
reproduced or utilised in any form or by any electronic, mechanical,
or other means, now known or hereafter invented, including
photocopying and recording, or in any information storage or
retrieval system, without permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks
or registered trademarks, and are used only for identification and
explanation without intent to infringe.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library

ISBN: 978-0-367-52516-3 (hbk)

ISBN: 978-0-367-52517-0 (pbk)
ISBN: 978-1-003-05827-4 (ebk)
DOI: 10.4324/9781003058274

Typeset in Times New Roman

by Taylor & Francis Books
Contents

Acknowledgments x

Introduction: You Are Not the Master in Your

Own House 1
1 The Evolution of Freud’s Theories of the Unconscious 17
2 The Unconscious in Interpersonal and Relational
Psychoanalysis 30
3 Developmental Perspectives on the Unconscious 47
4 Kleinian Perspectives on the Unconscious 62
5 Language, Metaphor and the Unconscious 75
6 The Unconscious and the Contemporary Subject 90

References 103
Index 111
Acknowledgments

I want to express my deepest gratitude to Aner Govrin and Tair

Caspi, the editors of this series at Routledge, for their enthusiasm
and support during this project. I also want to thank my colleagues
at the Derner School of Psychology, New York University, the
National Training Program (NTP), and National Institute for the
Psychotherapies (NIP) for their interest and support of my ongoing
interest in the unconscious. I want to thank my students and super-
visees at Derner and the NTP and those who I have consulted with
independent of these institutions for supporting my growth through
asking provocative and stimulating questions and being free enough
to expose their vulnerabilities, along with accepting my parallel
experiences of confusion and doubt in our work as psychoanalysts
and psychotherapists. I want to thank my colleagues and friends for
their interest in and support of my ideas about psychoanalysis:
Richard Billow, Karen Lombardi, Robert Schwalbe, Robert Shapiro,
Margret Black, Susan Jaffe, Joyce Selter, Stephanie Lewin, Heidi
Kling, and Michael Garfinkle. Most importantly, I want to thank my
patients for trusting me and allowing me to accompany them on their
journeys of self-discovery and growth, often finding ourselves in the
depths and heights of human experience. Each of you has been an
extremely valuable companion on this ongoing project of expanding
our understanding of the unconscious.
Thanks!
Introduction
You Are Not the Master in Your
Own House

Introduction
Sigmund Freud (Bloom, 1985) was one of the most influential
voices of our time, changing our view on the nature of being
human and arguing that we are not masters in our own house,
that our motives are outside of awareness, unconscious. There are
few people unfamiliar with Freud and the core concept of psy-
choanalysis, the unconscious, representing hidden or shameful
motives, unacceptable thoughts, unbidden actions, and experiences
of guilt. However, Freud did not discover the unconscious; it has
always been a part of common folk knowledge. In earlier times,
unconscious experiences were disowned, attributed to a mysterious
other, seen as demonic possession or fate, expressed in the biblical
expression “the sins of the fathers are visited on the children.”
Freud would have thought of these historic references to disowned
action (Schafer, 1976), ‘not me’ experiences, as expressions of
unconscious wishes, thoughts, and motives which were split off
from conscious awareness and personal responsibility (Newirth,
2003). Freud’s development of psychoanalysis and the concept of
the unconscious was a revolutionary moment in the history of
knowledge, making the mysteries of being human a subject to be
studied and understood; bringing a scientific perspective to what
had primarily existed as folk knowledge. Freud’s many bio-
graphers have highlighted his personal and professional journey;
in this book, I want to focus on the evolution of the concept of the
unconscious and its operational twin, the psychoanalytic method,

DOI: 10.4324/9781003058274-1
2 Introduction

which Freud developed simultaneously with his evolving theory of

mental structure. In this book, I highlight how Freud’s and others’
theoretical concept of the unconscious was an outgrowth of work with
patients, the clinical method, which became an algorithm for under-
standing unconscious phenomena and a procedure for psychoanalytic
therapy; for making the unconscious conscious, creating the condi-
tions for symptom relief and transforming neurotic misery into
normal misery (Freud, 1893–1895).
All psychoanalytic theories differentiate concepts of uncon-
scious and conscious organizations of experience1 which reflect
and define that theory’s method of therapy, its understanding of
psychopathology, psychological health, and the possibilities of
growth. As an evolving and living field, psychoanalysis has had
many contributors who have reworked Freud’s concepts while
maintaining an absolute belief in the importance of the unconscious
as the critical structure of the mind. Although evolution seems to be
a convenient way to consider the expanding field of psychoanalytic
theory and practice, this view suggests a more linear line of devel-
opment than we actually see. A better model for understanding the
multiple concepts of the unconscious within contemporary psycho-
analysis may be a wheel, with Freud’s seminal contributions at the
center and each post-Freudian contribution existing as a spoke
coming from the center, expanding and elaborating a particular set
of ideas in relation to other contemporary ideas emerging within a
particular cultural zeitgeist.
All psychoanalytic theories have a primary belief in the cen-
trality of the unconscious as the source of an analysand’s difficulty
and as an implicit structure which organizes the analyst’s partici-
pation and interventions directed at engaging the patient’s uncon-
scious, facilitating structural change, symptom resolution, and
growth. However, not all theories present an explicit description of
the unconscious as a structure, as did Freud, and often we need to
infer how the unconscious is conceptualized by viewing the ana-
lyst’s interventions, participation in therapy, and understanding of
the patient’s dynamics.
Freud began his career working with hysterical patients who
presented various symptoms often involving inhibitions, difficul-
ties with memory, and odd repetitive movements and sounds. As a
 Introduction 3

neurologist, he thought of these difficulties as reflecting forms of

brain or neurological disorders and focused on finding the
pathology within the patient, analogizing this early approach to
psychological treatment to a surgeon draining an infection. Con-
temporary views of psychopathology, the unconscious, mental
structure, and the psychoanalytic method have moved away from
Freud’s one-person biological perspective, developing two-person
perspectives in which the individual’s early experience and his/her
cultural context determine many aspects of his/her unconscious.
These contemporary psychoanalytic approaches have largely
moved away from Freud’s one-person, intrapsychic perspective,
developing treatment paradigms focused on the “here and now”
experiences between patient and analyst, in contrast to Freud’s
interpretive focus on remembering repressed wishes and events. I
want to begin by describing Freud’s development of the twin
concepts of the unconscious and the clinical method of classical
psychoanalysis and then move on to four post-Freudian approa-
ches to the unconscious and the clinical method.

Overview
The first chapter presents a historic introduction to Freud’s con-
cept of the unconscious, describing how his experiences with
patients led to the development of the concept of the unconscious,
from a simple topographic or phenomenological model of con-
scious and unconscious experience to a more complex, dynamic
model of the unconscious as an active force expressed in symp-
toms, resistance, and unhappy life choices. This discussion will
emphasize the relationship between unconscious experience and
clinical work, including dreams, slips of the tongue, humor, acting
out, interpretation, constructions, and transference enactments.
Freud developed several dimensions of the unconscious which
all psychoanalytic theories should consider in their conceptualiza-
tion of the unconscious:

The topographic model, which is a phenomenological

approach describing the separation of conscious and uncon-
scious experience.
4 Introduction

A structural model defining the relationship between con-

scious and unconscious experience and the interplay between
the structures of the mind such as the id, ego, and superego.

A developmental model including dynamic narratives such as
the Oedipus myth, the libidinal stages of development, and
the relationship between maternal and paternal behavior and
the developing child.

The nature of mental experience: memory, dreams, psychic
and material reality, and how these inner processes represent
and relate to present experience.

A motivational theory describing concepts such as anxiety,
sexuality, destructiveness, envy, and the pleasure principle.

The second chapter present the interpersonal, relational, and cul-

tural psychoanalytic concepts of the unconscious which focus on
anxiety as a social experience rather than an aspect of instinct or
drive, The theories view parental disapproval as the main motiva-
tion which shapes the self as a system organized to avoid anxiety
and maintain security and the consistency of experience. Rather
than the unconscious being thought of as an inner structure, it
becomes a system of avoidances, of not knowing, and the analytic
process becomes organized as directed towards an expansion of
awareness. As interpersonal theory evolved into relational psycho-
analysis, the practice of psychotherapy moved from an expansion of
the patient’s awareness to an experiential emphasis on mutuality and
symmetry within the transference–countertransference relationship
and a potential dialogue in which both analyst and patient partici-
pate in creating new relationship models. Although interpersonal
and relational psychoanalytic theories do not explicitly talk about
the unconscious as a structure, they focus on the interplay between
conscious and unconscious experience in both the analyst and
patient, often focusing on concepts such as the unthought known
(Stern, 2019) and the dialogue of the unconscious (Bass, 2015). The
contributions of Mitchell, Aron, Bromberg, Davies, and Benjamin
will be used to illustrate the implicit concept of the unconscious in
relational psychoanalysis.
The third chapter presents developmental perspectives on the
unconscious, focusing on the important contributions of Kohut,
 Introduction 5

Winnicott, and Fonagy. These theories argue for the necessity for
a responsive maternal (parental) environment for the development
of the unconscious, which is defined as the capacity to generate
subjective meaning and engage in empathic intimate relationships.
This group of theories reconceptualize the unconscious from the
previous theories, which viewed the unconscious as a largely
pathological, limiting organization of drives and anxiety focused on
others’ disapproval, into an organization underlying the capacity for
growth, warmth, and meaningful relationships. These theories view
the unconscious as developing through empathic attunement and
transitional, playful relationships in which the individual is able
to expand the meaningfulness of their lives. As in the previous
chapter, these theorists present different terms for structural concepts
of conscious and unconscious organizations of experience presenting
models of potential growth and of stunted development. Develop-
mental theorists present different forms of representation in uncon-
scious and conscious experience. Many of these theorists implicitly
emphasize the importance of pleasure and play as an aspect of
growth and change. In this chapter, attachment theory and the
work of the Boston Change Process Study Group will be used to
illustrate similar perspectives on the unconscious as a developmental
structure.
Chapter 4 presents the evolution of the Kleinian perspective,
from her use of phantasy as an organizational concept replacing
the biological concept of instinct through Bion’s concept of the
container contained, viewing the unconscious as the developing
capacity to create meaning. In Kleinian theory, the central moti-
vational process involves the mastery of aggression in the paranoid
schizoid position which results in the development of the depressive
position, reparation, and the capacity for symbolic thought and the
ability to see others as separate, complex, whole people. This theory
centers on the developing capacity for symbolization and making
meaning. Bion’s concept of thinking is a two-person process which
extended Klein’s concept of projective identification, emphasizing
the importance of countertransference as a mode of therapeutic
practice, a basic psychoanalytic tool similar to Freud’s use of free
association and free floating attention. The work of Grotstein,
Ogden, Ferro, and other contemporary third-generation Kleinians
6 Introduction

will be emphasized as they describe how projective identification

becomes the critical transformation process in the analytic relation-
ship. These Kleinian theories conceptualize the unconscious as a
developing intersubjective and intrasubjective structure for creating
meaning.
Chapter 5 focuses on the influence of two theorists who are not
usually presented together but who each developed theories which
differentiate forms of representation, language, and thought which
occur in conscious experience in the external world from that of
unconscious experience of creating subjective meaning through
metaphors and poetic or artistic creations. Both Matte Blanco and
Lacan focused on the Interpretation of Dreams (Freud, 1900) as
Freud’s most significant text in which he presents the unconscious
as a representational structure. Matte Blanco believes that con-
scious thought is based on asymmetrical logic in which we differ-
entiate experience along the dimensions of time, place, person,
and causality, while unconscious thought is based on symmetrical
logic in which differences are effaced and similarities are devel-
oped. Lacan also focused on the Interpretation of Dreams (Freud,
1900), differentiating the importance of metaphor and language
within the development of the unconscious. Lacan’s emphasis on
language is expressed in his metaphor that the “unconscious is
structured like a language” (Dor, 1997). Lacan differentiated con-
scious and unconscious experience, focusing on three registers of
comprehending and generating meaning: the imaginary, the sym-
bolic, and the real. The imaginary register represents conscious
organizations of experiencing oneself in a narcissistic state of
oneness with the other, while the unconscious is formed by the
child being introduced into the world of language, the law, and
culture, which Lacan described as the symbolic register and which
creates the possibility that the individual can know the rules (the
law) of social being and know him/herself and the experience of
desire. Like the theorists in the previous two chapters, both Lacan
and Matte Blanco conceptualize the unconscious as a develop-
mental process. Lacan conceives of the ego as a structure like
Winnicott’s false or objective self which conforms to the rules and
demands of the other. For Lacan, the unconscious is a potential
source of creative energy and also brings to bear acts of freedom,
 Introduction 7

separating ourselves from the predetermined aspects of life that we

were assigned to live as members of a family and cultural group.
The final chapter presents a contemporary patient who we
might see as someone who does not know whether he is alive or
dead. Our work in therapy focused on his developing capacity to
feel, a sense of aliveness and an ability to utilize symbolic pro-
cesses and self-reflective functioning. This chapter focuses on an
inevitable lengthy period of deadness in work with these patients,
the analyst’s inability to think, projective identifications with
patients’ sense of deadness and failure, and the slow development
of the container contained function. In this chapter, a view of the
unconscious as a source of aliveness, a capacity to generate mean-
ing, and a capacity to desire and develop relationships with others
is presented.
In describing these different psychoanalytic perspectives of the
unconscious, several themes emerge linking different versions of
the concept of the unconscious. One major theme is that between
phenomenological and structural views of the unconscious. Some
theories emphasize one approach while minimizing the other,
while others utilize both phenomenological and structural per-
spectives. These differences may be a function of the history of the
psychoanalytic movement, how particular theories were formed as a
reaction to earlier theories; some were reflections of the cultural
period, the zeitgeist in which the theory developed, and some are a
reflection of the personal preferences of the theorist and the adher-
ents of those theories. It would seem that most contemporary prac-
titioners develop their own mix of theoretical perspectives of the
unconscious, reflecting and generating how they work with patients.
In presenting this introduction to contemporary psychoanalytic the-
ories, one factor that has been largely left out is how the psycho-
analytic patient, the subject of analysis, has changed as a function of
changes in our culture, the technological and socioeconomic devel-
opments which occurred from the early industrial age of Freud’s time
to our contemporary postmodern time emphasizing consumer
capitalism. The psychoanalytic patient’s unconscious anxieties are
not fixed but reflect the broader cultural, political, and socio-
economic context of his/her time, the anxieties and fears that keep
him/her up at night. For most people, the unconscious is not a theory
8 Introduction

of abstract psychological principles; rather, it is what makes us feel

frightened, numb, avoidant, creepy, ashamed, secretly aroused,
powerful, deeply amused, or fully alive.

Changing Cultural Context of the Unconscious

In the following section, I present a way to think about the chan-
ging cultural context and its relationship to the unconscious, the
central anxieties and concerns presented by the psychoanalytic
patient. Freud’s comment that we are not masters in our own
house was his way of saying that our actions and conscious
understanding are limited by forces outside our control; similarly,
we can think of the cultural as a series of forces outside our con-
trol and awareness. We might think that unconscious derivatives
are only personal and express themselves in an individual’s
dreams, slips of the tongue, defense mechanisms, and a sense of an
alien presence in the self. However, unconscious derivatives also
appear in works of art reflecting cultural moments and challenges.
I hope to engage the readers of this book in several experiences of
the changing cultural framework of the unconscious through an
experience of identification. I want to demonstrate these changing
perspectives of the unconscious not through an individual’s dream but
through works of art that we are all familiar with: films. Like dreams,
films are visual and contain dramatic plots, polarized themes of good
and evil, interesting characters, and powerful visual images, and, like
dreams, films provoke intense affect and personal associations. Films
reflect the anxieties and fears of a particular time, and the popu-
larity of a film reflects its ability to speak to – evoke – unconscious
experiences in the audience.
The films, Frankenstein, Spellbound, and World War Z, reflect
the unconscious anxieties, meanings, and structures within three
socioeconomic periods that have been critical in the development
of psychoanalysis: the early twentieth century, the mid twentieth
century, and the late twentieth century. Films, like myths, are
communal dreams, expressing our concerns, desires, fears, hopes,
dreads, and the ‘not me’ experiences which fascinate us and which
we seek out at the movies. Ezra Klein (2022), a cultural critic,
described the way the media, television, social networking, and
 Introduction 9

movies organize and structure our ability to think about the

world, providing algorithms for our sense of who we are and what
we are afraid of. Like dreams, poetry, and metaphor, films trans-
form and generate conscious and unconscious thought as the
stream of visual, verbal, and affective experiences unfolds within
diachronic and synchronic time frames.

Frankenstein: The Unconscious as Other

Frankenstein; or, the Modern Prometheus, a novel published in
1818 by Mary Shelley (2012), continues to be one of the great
works of science fiction and horror in modern times. The power of
this novel, the movie, and the many derivative versions of the
Frankenstein narrative2 reflect its ability to capture a series of
emotional conflicts which have persisted from the early nineteenth
century through to the present time, reflecting our fear of our
monstrous impulses, of being hated and shunned as an outsider,
death, maternal longing, betrayal, and the relationship between
science and nature.
I want us to imagine that it is 1931, and we are in a movie
theater watching Frankenstein. Two scenes horrify and excite us.
In the first scene, we are in a dungeon-like space in an old castle –
an underground laboratory – surrounded by frightening machines
that attempt to capture the energy of a lightning storm. The mad
scientist is trying to bring to life a large, humanlike thing which he
has assembled from parts of dismembered corpses. In order to
reanimate this body, the crazed scientist captures the electrical
energy of lightning through the manipulation of an apparatus,
which finally makes the body move, act, and live. When he suc-
ceeds, he cries out, “It’s alive! It’s alive!” He soon loses control of
the monster, and the citizens of the town become terrified about
what this mad scientist has unleashed, reacting with fear and
hatred. In the last scene, we see the angry mob setting out with
pitchforks and torches to find the monster and kill him.3
This film represents the unconscious of the early industrial age.
We are afraid of the monster within, afraid of what science, and
perhaps psychoanalysis, will release from the depths: an ugly,
uncontrollable, murderous monster; an ungainly child who has not
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 Transcriber's Note:
For the creation of this e-book the following texts have been
used:

"Homeri Carmina et Cycli Epici Reliquiae—Graece et Latine cum Indice

Nominum et Rerum" (Parisiis, Editore Ambros. Firmin Didot, 1838) for the
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All changes applied by the Transcriber to the Latin text are

explained in the footnotes.

The Latin translation presented in this work was transcribed from

a Greek/Latin edition. It deliberately tries to stay as close as
possible to the Greek original, not only to make the Greek text
more accessible, but also for other reasons which are best
explained by a review in the French magazine "Le Journal des
Savants":

"Les poëmes homériques remontant à une si haute antiquité,

et ils ont été si différemment interprétés par les anciens
Grecs eux-mêmes, que pour donner une idée de ce
monument qui nous retrace une nature et des mœurs si
opposées à celles de notre civilisation, il était indispensable
de s'astreindre, dans la traduction latine, à la fidélité la plus
rigoureuse, et à conserver les plus faibles nuances de
construction, de peur de dire autre chose, ou du moins de
parler autrement que ne le fait Homère, et de défigurer ansi
la marche libre et naïve de son langage. On a donc eu raison
de conserver l'ancienne manière de traduire Homère mot
pour mot, et même d'étendre l'application de ce système
jusqu'aux limites imposées par la langue latine. Avant les
travaux de Wolf, de Heyne, de Passow, et surtout de
Buttmann, le sens de bien des mots, de bien des phrases,
n'avait point été constaté; c'est ce que la nouvelle traduction
a dû faire en changeant alors en totalité l'ancienne version,
et en offrant ainsi le résumé des travaux les plus récents.
Bien des fautes de traduction qui s'étaient transmises en
quelque sorte traditionellement, un grand nombre
d'incorrections, de négligences, restaient dans l'ancienne
version latine, œuvre primitive de Raphael Volaterranus et
d'André Divus; elles ont disparu dans la nouvelle et sont
remplacées par une explication claire et précise. Toutes les
fois que pour faciliter l'intelligence de certains passages
difficiles on a dû insérer dans la traduction des mots
nécessaires qui ne se trouvaient pas dans l'original, on a pris
soin de mettre ces mots en caractères italiques. Partout la
diction homérique est conservée scrupuleusement, ainsi que
la marche des périodes. C'est ce qui manquait
principalement aux anciennes traductions; et cependant c'est
de la liaison plus ou moins étroite des membres de chaque
phrase que résulte l'appréciation de l'ancienneté relative des
différentes parties des poésies homériques."
 PRÆFATIO.
Inceptum nostrum, quo primi in Gallia Græcos scriptores in unius
corporis æquabilitatem redigere aggressi sumus, commendatione
et notis præfationum artibus egere non videtur; sed paucis
dicendum est, unde ea quam elegimus edendi ratio pendeat.
Dudum ægre tuleramus quod tot scriptorum editiones veteribus
inquinatæ vitiis vulgo circumferrentur atque adeo sæpius
repeterentur, dum exstarent eorumdem scriptorum emendatæ et
a summis criticis antiquo nitori restitutæ: annon oportuit illorum
ingeniorum, quæ optimi quique nostratium laudibus et imitatione
celebrarunt, opera popularibus nostris exhiberi pura, emendata,
quantum fieri potest libera a depravatione barbariæ quam
transierant? Hoc igitur primum et præcipue curamus, ut non
solum ex optimis quæ exstant editionibus scriptorum quisque
exprimatur, sed harum etiam multas criticis celeberrimis
tradidimus denuo examinandas et emendandas; præterea,
ubicumque res videtur postulare, Regiæ Bibliothecæ manuscriptos
imus consultum. Altera cura est, ut ad intelligentiam quoque
scriptorum in Collectione nostra præstemus quod prosit
unicuique: quum enim adnotatio vel præstantissima ex arbitrio
denique pendeat commentatoris, cui plana nonnunquam
videbuntur quæ aliis obscura, interpretationes latinas e regione
græcorum ponere decrevimus, utpote quæ prorsus omnia
reddant, non locos selectos illustrent. Has vero, antequam
tradantur typothesis, doctissimi viri severo examini subjectas
accurate corrigunt; nonnullorum scriptorum plane novæ parantur.
Denique multum augeri putavimus editionum nostrarum
utilitatem, si boni rerum nominumque indices adderentur; nam
vel ii qui scriptorem aliquem sæpe legerunt, nonnunquam haud
satis meminere quo in libro ejus quove versu vel capite narretur
res qua opus habent. Ceterum e cura unicuique scriptori impensa
referetur in præfationibus.

Homeri, ut nunc res sunt, Wolfiana dari debebat recensio, quam

ex Gulielmi Dindorfii editione accurate expressimus.
Interpretationes latinæ, bono ut nobis videtur consilio, in hoc
antiquissimo poeta verbum verbo reddunt, nisi quod sæpe comtas
posteriorum more periodos ingerunt, oppositionibus distinentes,
causalibus particulis vincientes, quæ apud illum ingenue et libere
procedunt. Præterea ipsis inhærent veteris textus græci vitia, et
alia quædam ex vertentium incuria nata, plurima denique in iis
vocabulis commissa, quæ recentiorum demum criticorum et
interpretum sollertia explicuit. In postremis ita versati sumus, ut,
quæ dubitatione carere et firmis niti testimoniis viderentur, ea
haud cunctanter repræsentaremus; at ubi dubitationis aliquid
superesset, sequeremur potius antiquorum interpretationem eam
quæ sententiæ aptissima esset. Hoc autem præsertim enisi
sumus ut quam proxime posset latina langua Græcorum vestigia
legeremus, quo patris poetarum membra et motus omnes,
quantum per latinam vestem licebat, conspiciendi præberentur;
sed in tali incepto non potuit impediri, quin nonnulla quæ
rarissime sibi indulserunt Latini, hæc translatio offerat
frequentissime; nonnulla etiam quæ argenteam ætatem
egrediuntur, recipi necesse erat: a barbaris tamen verbis et
locutionibus sedulo cavimus. Ita, veteribus licet superstructa, hæc
interpretatio pro nova esse possit.

[...]

Reliquum est, ut Tu, benevole Lector, operam huic volumini

impensam æquo animo boni consulas. Vale nobisque fave.

Parisiis, idibus Octobribus MDCCCXXXVII.

Table of Contents.

Ranarum et Murium Pugna.

Hymni vel Exordia.
I. In Apollinem.
II. In Mercurium.
III. In Venerem.
 IV. In Cererem.
V. In Venerem.
VI. In Bacchum.
VII. In Martem.
VIII. In Dianam.
IX. In Venerem.
X. In Minervam.
XI. In Junonem.
XII. In Cererem.
XIII. In Matrem Deorum.
XIV. In Herculem Leonis-Animo.
XV. In Æsculapium.
XVI. In Dioscuros.
XVII. In Mercurium.
XVIII. In Pana.
XIX. In Vulcanum.
XX. In Apollinem.
XXI. In Neptunum.
XXII. In Jovem.
XXIII. In Vestam.
XXIV. In Musas et Apollinem.
XXV. In Bacchum.
XXVI. In Eundem.
XXVII. In Dianam.
XXVIII. In Minervam.
XXIX. In Vestam et Mercurium.
XXX. In Terram Matrem Omnium.
XXXI. In Solem.
XXXII. In Lunam.
XXXIII. In Dioscuros.
Epigrammata.

RANARUM ET MURIUM
PUGNA.
Incipiens primum Musarum cœtum ex Helicone
venire in meum cor oro, gratia cantus,
quem nuper in tabellis mea super genua posui:
certamen immensum, bellico-tumultu-plenum opus Martis,
optans hominibus in aures omnibus immittere,
quomodo mures in ranas, strenue-pugnantes, irruerunt,
Terrigenarum virorum imitantes opera Gigantum:
uti sermo inter mortales erat; tale autem habuit principium.
Mus aliquando sitibundus, mustelæ periculum elapsus,
prope in lacum tenerum admovit mentum,
aqua se-delectans dulci: eum autem conspexit
lacu-gaudens multisona rana, verbumque locuta-est tale:
Hospes, quis es? unde venisti ad litus? quis vero tuus genitor?
omnia autem vere dic, ne mentientem te advertam.
Si enim te cognovero amicum dignum, in domum ducam,
donaque tibi dabo hospitalia multa et bona.
Sum autem ego rex Physignathus (buccas inflans), qui per lacum
color, ranarum dux diebus omnibus:
et me pater Peleus (lutosus) olim genuit, Hydromedusæ
(aquarum reginæ)
mixtus in amore apud ripas Eridani.
Sed et te video pulcrumque et fortem præ aliis,
sceptriferum regem, et in bellis pugnatorem
esse: verum age, ocyus tuum genus narra.
Huic autem rursus Psicharpax (micarum fur) respondebat
dixitque:
cur genus meum inquiris, amice? manifestum est omnibus
hominibusque, diisque, et aereis volucribus.
Psicharpax quidem ego vocor: sum autem filius
Troxartæ (panum rosoris) patris magnanimi: verum mater
est Lichomyle (lingens molas), filia Pternotroctæ (pernarum
rosoris) regis.
Genuit autem in tugurio me, et enutrivit cibariis,
ficubus et nucibus et eduliis omnigenis.
Quomodo vero amicum facias me, ad naturam nulla-re similem?
Tibi quidem enim vita est in aquis; sed mihi,
quæcunque apud homines, rodere mos est; nec me latet
panis ter-pistus in rotundo canistro,
nec placenta extensa, habens multum sesamum inspersum,
non segmen e perna, non jecora induta-alba-tunica (peritonæo),
non caseus recens-coagulatus e suavi lacte,
non bonum dulciolum, quod et beati (divites) desiderant,
nec quæcunque ad cœnam hominum parant coqui,
ornantes ollas condimentis omnigenis.
Neque unquam ex-bello malum aufugi clamorem,
sed recta pugnam ingrediens, primis-pugnatoribus me-
immiscebam.
Non metuo hominem, quamquam magnum corpus gerentem;
sed ad lectum vadens, mordeo ei digitum summum;
et calce prehendi, et quando dolor virum occupavit,
suavis subito aufugit somnus, mordente me.
Verum duo præ-omnibus timeo totam per terram,
accipitrem et mustelam, qui mihi magnum dolorem afferunt,
et decipulam luctuosam, ubi dolosum esse-solet fatum:
plurimum sane mustelam pertimesco, quæ potentissima est;
quæ et foramen-ingredientem, in foramine perquirit.
Non comedo raphanos, non caules, non cucurbitas;
neque brassica viridi pascor, neque apiis:
hæc enim vestra sunt edulia, qui in lacu vivitis.
Ad hæc subridens Physignathus contra locutus-est:
hospes, valde gloriaris de ventre: adsunt et nobis
multa valde in lacu et in terra mirabilia visu.
Anceps enim dedit pascuum ranis Saturnius,
saltare per terram, et in aquis corpus cooperire.
[elementis duplicibus divisas ædes habitare.]
Si autem vis et hæc scire, facile est:
ascende mihi in terga, (tene vero me, ne-quando pereas,)
quo lætus meam in-domum pervenias.
Sic igitur dixit, et terga præbebat: ille autem inscendebat
citissime,
manus tenens tenerum ad collum, saltu levi.
Et primum qudem gaudebat, quando spectabat vicinos portus,
natatu se-delectans Physignathi; sed quando demum
undis purpureis alluebatur, multum lacrimans,
inutili pœnitentia querebatur; vellebatque comas,
et pedes astringebat ad ventrem; intus vero ei cor
palpitabat rei insolentia, et in terram volebat venire;
graviter autem ingemiscebat, timoris frigidi vi.
Caudam primum extendit in aquis, tanquam remum
trahens, supplicansque diis in terram ut-veniret,
aquis purpureis alluebatur: multum autem clamabat,
et talem dixit sermonem, et ab ore profabatur:
 Non sic in-tergis portavit onus amoris
taurus, quando Europam per undam vexit in Cretam,
ut me natans in-tergis vexit ad domum
rana, elevans palidum corpus in-aqua alba.
Hydrus autem subito apparebat, horrendum spectaculum
ambobus; erectum vero super aquam habebat collum.
Hunc conspicatus demersit Physignathus, nequaquam cogitans,
qualem socium erat pereuntem derelicturus:
subiit autem profundum lacus, et evitavit fatum nigrum.
Ille vero, ut derelictus-erat, cecidit supinus statim in aquam,
manus autem stringebat, et periens stridebat.
Sæpe quidem submergebatur in aqua, sæpe autem rursus
calcitrans emergebat; fatum vero non licebat effugere;
madentes autem pili, plurimum pondus, trahebant in ipso:
tandem vero periens, tales locutus-est sermones:
Non latebis dolose, Physignathe, hæc qui-fecisti,
naufragum me dejiciens a corpore, ut a petra.
Non me in terra potior fuisses, pessime,
pancratioque, luctaque, et ad cursum: sed ubi-seduxeras,
in aquam me projecisti. Habet deus vindicem oculum;
pœnam inde lues tu murium exercitui, neque effugies.
Hoc locutus, exspiravit in aquis: eum autem conspexit
Lichopinax (lingens lances), ripis insidens mollibus;
graviter autem exululavit, currensque annuntiavit muribus.
Ut vero didicere fatum, subiit ira gravis cunctos.
Et tunc præcones suos jusserunt, sub diluculum
convocare mures ad-concionem in ædes Troxartæ,
patris infelicis Psicharpagis, qui in lacu
supinus extensus-erat mortuo corpore, nec juxta ripas
erat adhuc miser, medio vero innatabat ponto.
Ut autem venere festinantes simul-cum aurora, primus surrexit
Troxartes, super filio iratus, dixitque sermonem:
O amici, etiamsi solus ego mala multa passus-sum
ex ranis, hæc sors mala omnibus facta-est.
Sum autem nunc infelix, quippe tres filios perdidi.
Et primum quidem occidit corripiens
invisissima mustela, extra foramen deprehensum.
Alterum autem rursus viri crudeles ad mortem duxerunt
recentioribus artibus, ligneo dolo excogitato,
quam decipulam vocant, murium perditricem.
Qui tertius erat, dilectus mihi et matri castæ,
hunc suffocavit Physignathus, in profundum ubi-duxerat.
Sed agite, armemur, et exeamus in ipsas,
corpora ubi-ornaverimus in armis artificiosis.
Hoc locutus, persuasit, ut-armentur, universis.
[Et hos quidem armavit Mars, belli curam-gerens.]
Ocreas quidem primum circa tibias posuerunt,
confractis fabis viridibus, beneque præparatis,
quas ipsi per noctem ingressi arroserant.
Loricas autem habebant calamo-tectis a coriis,
quos, mustela excoriata, scite fecerunt.
Clypeus autem erat lucernæ medius-umbilicus; ac lancea
erat prælonga acus, totum-æreum opus Martis:
et cassis in temporibus testa nucis.
Sic quidem mures stabant in armis. Ut autem viderunt
ranæ, emerserunt ex aqua; et in unum locum
profectæ, consilium coegerunt de-bello malo.
Considerantibus autem ipsis, unde hæc seditio, vel quis hic
tumultus,
præco prope venit, gerens sceptrum in manibus,
Tyroglyphi (casei rosoris) filius magnanimi, Embasichytrus
(ingressor ollorum),
nuntians belli malam famam, dixitque sermonem:
O ranæ, mures vobis minati me misere,
edicturum vobis armari ad bellumque pugnamque.
Viderunt enim in aqua Psicharpaga, quem occidit
vester rex Physignathus. Verum pugnate,
quæcunque inter ranas fortissimæ estis.
Sic locutus renuntiavit: sermo autem in aures omnium
ingressus turbavit mentes ranarum superbarum.
Accusantibus vero ipsis, Physignathus dixit, assurgens:
O amici, non occidi ego murem, nec vidi
pereuntem: omnino autem suffocatus-est ludens apud lacum,
natatus ranarum imitans: hi autem pessimi
nunc me accusant, insontem: sed age, consilium
exquiramus, quomodo dolosos mures disperdamus.
Etenim ego dicam, ut mihi videtur esse optimum.
Corporibus instructis in armis stemus cuncti
summas ad ripas, ubi præceps est locus:
quando autem impetu-facto in nos exiverint,
prehensis galeis, quicunque prope obvius venerit,
in lacum ipsos cum illis statim dejiciamus.
Sic enim ubi-suffocarimus eos in aquis, natandi-nescios,
statuemus alacriter de-muribus-occisis hic tropæum.
Sic igitur locutus, armis indui-fecit universos.
Foliis quidem malvarum tibias suas circumtexerunt;
loricas autem habebant viridibus latis a betis;
folia autem brassicarum in clypeos bene aptaverunt;
tanquam lancea vero, acutus-juncus unicuique longus aptabatur:
et galeæ e-cochleis tenuibus circumtegebant capita.
Armis-munitæ autem steterunt in ripis altis,
quassantes lanceas; ira vero implebantur unaquæque.
Jupiter autem deos ubi-vocarat in cœlum stellatum,
et belli molem ostenderat, fortesque pugnatores,
multos et magnos, et hastas longas ferentes,
qualis Centaurorum exercitus procedit et Gigantum;
suaviter ridens interrogabat, quinam ranis auxiliatores sint,
vel qui muribus afflictis: et Minervam allocutus-est:
O filia, muribus nunquid auxiliatura ibis?
etenim tuum per templum semper saltitant omnes,
nidore delectati, et cibariis ex sacrificiis.
Sic igitur dixit Saturnius: eum autem allocuta-est Minerva:
o pater, haud unquam ego muribus afflictis
venerim auxiliatrix, quoniam mala multa mihi fecerunt,
coronas lædentes, et lucernas, olei gratia.
Hoc autem meam nimis momordit mentem, quale mihi patrarunt:
peplum meum corrosere, quem texui laborans
e trama subtili, et stamen subtile nevi,
foraminaque in-eo-fecerunt; at sartor mihi instat,
et valde me urget: hanc ob-causam irata-sum.
[exigitque a-me usuram; hoc autem horridum immortalibus.][TR1]
Mutuata enim texui, et non habeo unde-restituam.
Sed ne sic quidem ranis auxiliari velim.
Sunt enim neque ipsæ mentibus integræ; sed me nuper
ex bello reversam, postquam valde defatigata-eram,
somno indigentem, non siverunt, tumultuantes,
ne parum quidem oculos-claudere; ego vero insomnis jacebam
capite dolens, donec vociferatus-est gallus.
Sed age, desistamus, dii, ab-iis juvandis,
ne-quis nostrûm vulneretur telo acuto,
ne-cujus etiam corpus hasta percutiatur vel gladio;
sunt enim cominus-pugnantes, etiam si deus obvius venerit;
omnes autem de-cœlo delectemur pugnam spectantes.
Sic igitur dixit: ei autem paruerunt dii alii
omnes, simul vero intrarunt conferti in eum locum.
[Devenerunt autem præcones-duo, signum belli ferentes.]
Et tunc culices, magnas tubas habentes,
terribiliter canebant belli strepitum; cœlitus autem
Jupiter Saturnius intonuit, signum belli mali.
Primus Hypsiboas (alte-clamans) Lichenora (linctorem) feriit
hasta,
stantem inter primos-pugnatores, in ventrem in medium jecur:
conciditque is pronus, tenerosque pulvere fœdavit crines.
[insonuit cadens et strepuere arma super ipso.
Troglodytes (cavernas subiens) post hunc feriit Peliona
infixitque pectori validam hastam: et lapsum
cepit atra mors; animaque e corpore evolavit.
Seutlæus (betæ esor) inde occidit, icto corde, Embasichytrum:
[at Ocimiden (ocimi esorem) dolor cepit, et icit illum acuto junco;]
Artophagusque (panis esor) Polyphonum (clamosum) in ventre
feriit:
qui cedidit pronus, animaque membris evolavit.
Limnocharis (lacus amator) vero ut vidit pereuntem Polyphonum,
Troglodyten petra molaris-instar feriit prævertens
cervicem ad medium; et huic nox oculos operuit.
Lichenor autem in-ipsum collimavit hasta splendida,
et feriit eum, neque aberravit, ad jecur. Ut vero vidit
Crambophagus (brassicæ esor), ripis altis incidit fugiens:
sed ne sic quidem cessabat a-pugna, sed feriit ipsum:
qui concidit, nec resurrexit: tingebaturque sanguine lacus
purpureo, ipse autem juxta litus extensus-est,
in-chordis pinguibusque provolutus intestinis.
Tyrophagum his-ipsis in ripis interfecit.
Pternoglyphum vero videns Calaminthius (menthæ amator) in
timorem venit;
saliitque in lacum fugiens, clypeo abjecto.
Philtræum autem interfecit fortis Borborocœtes (in cœno cubans.)
[Hydrocharis porro occidit Pternophagum regem,]
saxo percussum ad sinciput; cerebrum vero
e naribus stillabat; fœdabatur autem sanguine terra.
Lichopinax inde occidit eximium Borborocœten,
hasta adortus; ei vero caligo oculos cooperuit.
Prassophagus (porri esor) autem intuitus, pede traxit
Cnissodiocten (nidoris sectatorem)
in lacuque suffocavit, prehenso manu tendine.
Psicharpax vero pugnabat sociis de mortuis,
et feriit Prassophagum, nondum in-terram quum-ascendisset;
ceciditque is ante ipsum, animaque ad-Orcum ivit.
Pelobates (in cœno gradiens) autem conspicatus, luti pugillum
jecit in ipsum,
et frontem illevit, et excæcabat propemodum.
Iratus-est autem inde ille: arripiensque manu forti
jacentem in campo lapidem gravem, pondus terræ,
eo feriit Pelobaten sub genua: tota autem fracta-est
tibi dextra; cecidit vero is supinus in pulveres.
Craugasides (clamator) autem defendebat et rursus ibat in ipsum:
feriitque eum medium in ventrem; totus autem ei intro
acutus-juncus subiit, humique effundebantur omnia
intestina attractâ sub hasta manu crassa.
Sitophagus (frugum esor) autem, ut vidit in ripis fluvii,
claudicans e bello recedebat; affligebatur vero graviter:
saliitque in fossam, ut effugeret grave exitium.
Troxartes autem feriit Physignathum ad pedem extremum.
[cito vero is afflictus in lacum saliit fugiens.]
Prassæusque (porri esor), ut vidit adhuc semianimem prolapsum,
ivit per primos-pugnatores, et jaculatus-est acuto junco:
nec fregit scutum, sistebatur autem ibidem hastæ cuspis.
Ejus vero feriit galeam eximiam[TR2] ex-olla-quadrata
divinus Origanion (origani amator), imitans ipsum Martem,
qui solus inter ranas fortiter-pugnabat in turba;
irruerunt autem in eum; is vero, ut vidit, non sustinuit
heroas validos, sed subiit profunda paludis.
Erat autem quidam inter mures juvenis puer, præstans aliis,
cominus-pugnans, carus filius eximii Artepibuli (pani insidiantis,)
princeps, ipsum Martem repræsentans, strenuus Meridarpax
(frustorum fur).
[qui solus inter mures præstabat pugnando.]
Stetit autem ad lacum glorians, seorsum ab aliis:
jactabatque perditurum se ranarum genus bellicosarum.
Et jam perfecisset, quippe magnum ei robur erat,
nisi cito vidisset pater hominumque deûmque.
Et tunc pereuntes ranas miseratus-est Saturnius;
motoque capite, talem emisit vocem:
Dii boni! profecto magnum opus in oculis video!
non parum me perculit Meridarpax, ad lacum
trucidare ranas truculenter-minans: sed citissime
Palladem mittamus tumultuosam, vel etiam Martem:
qui ipsum arcebunt a-pugna, validus licet sit.
Sic igitur dixit Saturnius: Mars autem respondebat sermone:
nec sane Palladis, Saturnie, vis, neque Martis,
valebit a-ranis avertere grave exitium.
Sed age, omnes eamus auxiliatores: vel tuum telum,
[moveatur magnum, Titans-occidens, validissimum,]
quo Titanas occidisti, fortissimos præ omnibus,
quo quondam etiam Capaneum occidisti, immanem virum,
Enceladumque ligasti, et feras gentes Gigantum,
moveatur: ita enim superabitur fortissimus quisque.
Sic igitur dixit: Saturnius autem dejecit ardens fulmen.
Primum quidem intonuit, magnumque concussit Olympum;
ac deinde fulmen, terribile Jovis telum,
misit contortum; illud autem evolavit e-manu regis.
Omnes quidem terruit jaculatus ranasque muresque,
sed neque sic cessabat murium exercitus, sed adhuc magis
cupiebat depopulatum-ire ranarum genus bellicosarum,
nisi ab Olympo ranas miseratus-fuisset Saturnius,
qui tunc ranis auxiliatores statim misit.
Venerunt subito tergis-incudum-instar, curvis-ungulis,
oblique-gradientes, tortuosi, forcipibus-circa-ora, pellibus-
testaceis,
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