Anda di halaman 1dari 271

THE STRUCTURE OF FANTASY

by

Eric Hall

Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy May 1979

(ii)

ACKNOWLEDGEMENTS

I would like to acknowledge a number of people who made an invaluable contribution to the work involved in the compilation of this thesis. I am particularly indebted to Dr. Jacob Stattman who first introduced me to the techniques of guided fantasy during an extensive experiential training course in humanistic psychology. I would also like to thank Carol Hopkins for the hours of labour she provided in guiding the adolescent group through the procedures and checking the final manuscript, Mick Youngman and Sue Davies provided valuable advice on statistics and computing. Linda Wightman bore the painstaking task of typing the manuscript. Finally I would like to thank the sixty-two subjects whose experiences are recorded in this thesis.

(iii)

CONTENTS page Acknowledgements Contents List of Diagrams List of Tables Abstract CHAPTER ONE: CHAPTER TWO: CHAPTER THREE: CHAPTER FOUR: CHAPTER FIVE: CHAPTER SIX: CHAPTER SEVEN: CHAPTER EIGHT: CHAPTER NINE: Bibliography Appendix: Raw Data for Study 2(a) Raw Data for Study 2(b) Raw Data for Study 3 Introduction Problems of Definition Historical Background Theoretical Considerations Aims of the Studies Study 1 Study 2 Study 3 Critique, Conclusions, Implications and Applications 172 205 213 226 256 (ii) (iii) (iv) (vi) (vii) 1 15 19
kk

58 65 102

(iv) LIST OF DIAGRAMS page 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13* Rearranged Matrix for Subject A Rearranged Matrix for Subject B Rearranged Matrix for Subject C Rearranged Matrix for Subject D Rearranged Matrix for Subject E Rearranged Matrix for Subject F Rearranged Matrix for Subject G Rearranged Matrix for Subject H Rearranged Matrix for Subject I Rearranged Matrix for Subject J Rearranged Matrix for Subject K Resirranged Matrix for Subject L Composite Diagram based on the Factor Loadings of Components One and Two from the Principal Components Analysis of the Group Data from Study 2(a) Composite Diagram based on the Factor Loadings of Components One and Two for Subject C.H. from Study 2(a) Composite Diagram based on the Factor Loadings of Components One and Two for Subject S.L. from Study 2(a) Composite Diagram based on the Factor Loadings of Components One and Two for Subject M.K. from Study 2(a) 79 80 8l 82 83 8k 85 86 87 88 89 90

115

14.

12?

15.

128

16.

129

17.

Composite Diagram based on the Factor Loadings of Components One and Three from the Principal Components Analysis of the Group Data from Study 2(b) 13^ Superimposed Composite Diagrams for the Elements of Study 2(a) based on the Factor Loadings for Components One and Two, and the Elements of Study 2(b) based on the Factor Loadings for Components One and Three. 138 Composite Diagram based on the Factor Loadings of Components One and Two for Subject K.B. from Study 2(b)1^2

18.

19.

(v)

20.

Composite Diagram based on the Factor Loadings of Components One and Two for Subject L.D, from Study 2(b) Composite Diagram based on the Factor Loadings of Components One and Two for Subject G.L. from Study 2(b) Composite Diagram based on the Factor Loadings of Components One and Two for Subject J.M. from Study 3 Composite Diagram based on the Factor Loadings of Components One and Two for Subject R.B. from Study 3 Composite Diagram based on the Factor Loadings of Components One and Two for Subject J. P. from Study 3 Composite Diagram based on the Factor Loadings of Components One and Two for Subject S.B. from Study 3 Composite Diagram based on the Factor Loadings of Components One and Two for Subject J.B. from Study 3 Composite Diagram based on the Factor Loadings of Components One and Two for Subject M.C. from Study 3 Composite Diagram based on the Factor Loadings of Components One and Two for Subject C.J. from Study 3 Composite Diagram based on the Factor Loadings of Components One and Two for Subject A.M. from Study 3

lif2

21.

1^3

22. 23. 24. 25. 26. 27. 28. 29.

151 152 153 154 155 156 157 158

(vi) LIST OF TABLES agj

1.

Factor Loadings for Components One, Two and Three from the Principal Components Analysis of the Group Data from Study 2(a) Factor Loadings for Components Three, Four and Five from the Principal Components Analysis of the Group Data from Study 2(a) Inter-Element Correlations for the Elements from Study 2(a) Factor Loadings for the First Three Components from the Principal Components Analysis of the Group Data from Study 2(b)

1l6

2.

117 123

3. 4.

135

(vii) ABSTRACT The focus of this study is on guided fantasy; a technique which is increasingly used in educational and psychotherapeutic situations. The potential coherence of guided fantasy is

examined by establishing the degree to which the elements of various guided fantasy experiences are perceived as being similar. Two forms of guided faintasy are examined:(a) A situation in which an individual subject is relaxed, with closed eyes and he is given a theme to begin the fantasy journey. The subject describes the fantasy aloud and the

experimenter acts as a guide, using a non-directive mode of intervention. (b) A group form of guided fantasy in which the subjects are relaxed, with closed eyes, and a script of the fantasy journey, with long pauses, is read to the group. The elements of fantasy were evaluated using the subjects' personal constructs, except in the case on one group study where Cattell.'s sixteen personality factors were used. All of the individual subjects, the two group analyses and the individuals within the groups produced significant organizations of fantasy experience. This provides a basis for

discussion of guided fantasy in terms of its meaningful structure. This is relevant to the consideration of interpretation,

the possibility of sub-personalities and the ideas of overdetermination and condensation.

- 1 -

CHAPTER ONE INTRODUCTION

This study examines fantasy and its underlying structure. Fantasy is a term which is used to describe a vstriety of different internal experiences. In this study, attention is

directed entirely to a particular technique for exploring fantasy. This is given a variety of different names in the literature, such as guided fantasy (Assagioli 1965) directed daydreeim (Watkins 1976), guided affective imagery (Leuner 1969) and active imagination (Jung I96I). The term 'guided fantasy'

will be used as a general term in this text. There are slight variations in these different approaches to exploring fantasy, but the procedure is basically the same. The perspn who is to experience the fantasy is asked to relate, with his eyes closed. Tuen he is given a theme or an image as a starting point, from which he is encouraged to permit the fantasy to develop and to attend to it in a deliberate, conscious manner. This tends to produce an experience that is qualitatively different from a daydream. Usually, the daydreamer is not aware

of the beginning of a daydream and tends to get lost in the series of images that develop. Often the daydream provides a

distraction from a. mundane and monotonous task and the person 'snaps out of it' when he realizes what he z doing. In all of the forms of guided fantasy, apsirt from the 'active imagination' of Jung, the person is assisted on the fantasy journey by a guide. The fantasizer is encouraged to

talk out his fantasy aloud, in as much detail as he can. The function of the guide is to help the other person to maintain

- 2 this conscious awareness of what is going on and to help him through the difficult parts. This is done in as neutral a way as possible, so that the guide imposes himself minimally on the person's fantasy. How best to achieve this is described later.

It is claimed that this sort of experience can have a therapeutic and educational effect, although the techniques are not well known in current established therapeutic and educational situations. They are used in a variety of radical therapeutic procedures, such as encounter groups, gestalt groups, psychosynthesis and a variety of other activities with interchangeable names. Leaders of these groups claim that their activities silso Modified forms of these techniques

promote personal growth.

have probably been used for decades in'schools, as a stimulus for creative writing.

Experiencing a guided fantasy seems to proc'uce an altered state of consciousness which is difficult to understand without undergoing the experience. This could create a problem for the

naive reader and to partly solve this problem, the typescript of a short eiample will be given. Unfortunately, a typescript

of a guided fantasy completely removes the emotional quality of the experience. In many cases, the person undergoing the

fantasy journey goes through extremes of emotion and the fantasy has a powerful impact which may last for several days. The

fantasy 'trip' may last as much as an hour, although often the subject feels that it has only lasted a few minutes. Some

individuals have strong physical reactions that accompany the fantasy. Some subjects may claim that they have little or no

imagination and yet in a few moments, they are lost in extended fantasy, rich in imagery.

-3The subject of the following example was a twenty nine year old meui, with no previous experience of guided fantasy. He was

seated in a comfortable chair, asked to take three deep breaths in order to.relax, and then guided in the following manner:-

WRITER;

The theme I want you to use for this fantasy is that of climbing a mountain. It doesn't have to be a

mountain you know, just teike the first image that comes of being at the foot of a mountain and describe what you can see. VOLUNTEER: Er, immediately Switzerland and probably the Eiger, vunm, (PAUSE) well from one of the lower valleys. A big chunk of rock, which has snow on it from about hcilf way up goes to two, two, two peaks, one slightly higher than the other. Er, it seems a, seems another " world. That',*: the mountain I immediately see. W: How do you feel about going up it? V: Well, (LAUGH) er, umm, it appeals to me, I er, it's warm; it*s warm and sort of comfortable on the lower slopes, and even er, even say, a third of the way up it but after that it changes quite rapidly. (COUGH)

I don't know about going to the top; I think that would be quite er, well quite er, difficult. W: Well have a go and just describe what happens.

-4V: (LONG PAUSE) Yes, O.K. yes. At the moment all I can see is er, sort of alpine flowers in the lower slopes and it all looks, it's very warm there, and I sort of get sticky walking through the, the summer heat. quite like that. Well, you can go up/ards, it's always going upwards. W: What's happening now? V: Er, I'm trying to imagine the chamge of scenery, but er W: Just go along with what happens . . . in imagination V: Well, I'm on a track, it's quite, it's quite well-used, it's got a lot of rocks on it now, and the er, the mountain, you can't see much of the mountain at that, you can't see the summit at all from this point. It (LONG PAUSE). I

er, it's beyond the, it's beyond the t^p of the first ridge I cam see, some way over the back of us. We've come so close to it you csm't see the top and er, the stones are pretty loose, er, it's, it's not too bad going. The, the weather's still quite warm, the vegetation's gone, you can look behind you now and there's a, there's quite a slope away at the back of you, right down to the valley. It seems you've come

a hell of a long way but in actuaQ. fact you haven't got very far at all, and it's all before you (PAUSE). I can feel the calf muscles from the, from the walking, and the boots a r so stiff you've gotta use the calves ie quite a lot. (LONG PAUSE) Come over the top of the

-5first ridge you can see the, you still can't see the summit but you can see most of the way up the mountain there, it looks pretty er, (PAUSE) imposing (PAUSE). I haven't got, I haven't got any climbing equipment with me and I realise I'm going to have to climb it. There's no way I'm going to be able to continue to walk shortly. The path's beginning to riui out (PAUSE). All right now we've got, I've got climbing equipment, I've given it to myself. Crampons, ice axe, ropes. PAUSE) W: Even though it might seem strange, see if you can become the mountain. See what it's like to be the mountain and describe yourself: I am the mountain and . , V: Right, I am the mountain (LONG PAUSE) W: What are you like mountain? V: Most solid. High (PAUSE) surrounded by cloud, snow Every (LONG

and all sorts of things I like to come onto me.

now and again people try to climb up me, quite a few are successful these days, they know more about me, but nevertheless, I mean, there's still quite a few who don't succeed. Far more don't succeed than do. W; What do you think of Tony down there? V: Umm, don't know yet he hasn't come f i enough up. ar W: See if you can say something to Tony. Tony . . ,

-6V: (PAUSE) Umm, Tony have you climbed mountains before? I mean once you, once you meet the snow line on this one it's very difficult a i you're all by yourself. ud Nobody climbs me by myself. I don't, I don't imagine

how you're going to try and go beyond the snow line all by yourself. W: Be Tony and reply: Mountain . . . Anything that comes into your head. V: I don't think it's a matter of me being by myself, I just have to climb you, whether I'm by myself or with people doesn't matter. W: Be the mountain and reply. Tony , , . V: But you're by yourself now and you're climbing me, What are you going to do (PAUSE) W: O.K. be Tony and just carry on on your journey. V: (SHORT PAUSE) Now I'm, I'm walking on top of the snow now. It's, it's quite firm. lou can sink a few inches I cam see the

into it but it's not difficult (PAUSE)

start of the walls up ahead of me, it's still, 'omm, it's still quite wsirm: it's not like it was in the valley, it's different, the warmth of the exertion, and I have

proper equipment, I'm not too bothered about that but I'm worried about the time, the daytime (PAUSE). It's

the climbing that worries me now, I'm up to the face, I'm going to start climbing up (PAUSE) I can't, I don't think I can do it on my own. If I fall I've had it.

-7W: Go on and see what happens. V: (SHORT PAUSE) Umm, I put a crampon into er, into the ice and I'm sort of standing a foot off the, off the wall just to see how it holds me. It holds me O.K.

But it's the, it's the feeling of being pressed up against the, the surface of the wall. don't have to do that I can step back. I realise I I can press I kick If I

myself back as long as the crampons are there. it agsdn a couple of steps up. That's alright.

do that it's no sweat because I'm only a couple of feet off the, off the bottom. it would be worrying. It's when I'm 50 foot, 100 foot

I don't like heights that much,

not sheer ones. Now I kick it; start to climb. Uzmn . . I've gone so far and I, er find it er, I've almost gone beyond the point of going back. If I fall now I'm a

gonner. Nothing .natters if I'm another thousand foot up. (LONG PAUSE) I'm still climbing (PAUSE) I begin

to think about the, the height (SLIGHT PAUSE) and it just seems sheer the wall. I've changes, I've changed

the wsJLl is a crevice, I can rest there; I get in there (PAUSE) I don't know whether to go back down or csirry on up the mountain. Er, I've got to go on now. I'm

very worried about it but I know I'll have to go on, I mean that's, I don't really have am option. (PAUSE)

W: What's it like around you now?

-8V: It's er, (LONG PAUSE) I feel very high up, well I am very high up; even though the valley's right below me it's quite cold . . . rock, ice. I think how warm it is in the valley and to be four hours away amd I could be in the heat (SLIGHT PAUSE) I end up in this place. (PAUSE) W: How do you feel about going on? V: I think it's important. W: What's important about it? V: Because I'm frightened of going on. W: And what's frightening? V: Well, the possibility of falling or not falling and going back , , . that's probably more frightening or just as frightening as, as falling and dying. It's

umm, it's always there, I mean, the, the . . . well to do it. Ich, I mean, it'd be something to do, because it's difficult and because there's umm, because you're frightened to be. W: See if you can go on up. V: (COUGH) (LONG PAUSE) I've got the impression this is Er,

the hard part of the mountain I'm on now (PAUSE)

if you can get over this part it'll, it'll be easier towards the summit (LONG PAUSE) My legs are getting stiff at the back the calves beginning to feel the strain - continue to take a lot of weight on my legs.

-9I don't like that I think they may start' shaking, if they get cramp or something. about it. Actually I'm, I'm scaired

I knock in some pegs and hold myself off for

a time (PAUSE) Everything's all right, I mean if the weather stays fine I'll not have any problems, it's only when the weather goes it's really dangerous. That's what I tell myself anyway. Maybe I can go on. I have impressions of running up it nov; . . . I'm just striding up it, W: Is that what you're doing? V: Why not? W: Just go along with that. V: Yes, I've been on it long enough. It's no longer

fearful. All I have to do is have the confidence of continuing. I mean, this step is the iame as a thousand other steps. (SLIGHT PAUSE) You don't fall. (PAUSE)

I've reached the, I've reached the umm, start of the slopfc of the summit . . er . , .it's very, very bright and it's all, it's all snow. It's quite crisp. I a m the snow i

W: Be the snow and see what that's like. and I . . .

V: And I, have lain here for quite a time compacting.

I'm

completely unbroken, but now somebody's walking on me (PAUSE). W: What does it feel like to be the snow?

- 10 V: Well, totally unmoving, it's just like a, I feel like a structure, a tense structure which slowly condenses; and changes ever sc imperceptively. I like it, I like.

it on this, on this mountain like where I aim, I mean, I'm usually in the sun, I shine very white only I stayed haird. Every now and again there's winds whip ajnongst me. And the temperature is very cold, I like it like that when I'm in the bright, W: Be the wind and see what that's like, and I . . . V: Well I career through these mountains, W: What does it feel like to be the wind? V: Well it's nice being the wind (SHORT PAUSE) it's in everywhere, completely encircle everything. Brush against everything, amd I continue, and I coi^tinue, and I continue W: See if you've got anything to say to the snow. Snow . . I am the wind

V: I will madce you hard, I will blow against you and pile you amd make you haurd. W: Be the snow and reply. Wind . . .

V: Wind I like being hard, I like you to blow against me. (PAUSE) Stiffens me and toughens me. Forms me to the mountain. And it blows, keeps blowing cold up here, very cold from all the mountains you've pressed against.

- 11 W: Be the wind amd talk back to the snow. Snow . . . V: Yes, yes I can pick up cold from you, I cam brush agaJLnst you amd I can be ice cold, I can blow up here high, high above the ground, I can swoop down different places carrying all your cold. I can change as I go on,

I can pick up other things; I can pick up heat and slowly change but now I just want to be cold because cold is the only thing left, it's right for me to be up here. W: Be the snow and reply. Wind , . , whatever comes into your head, V: Wind (PAUSE) (LAIfGH) I thought there , , , W: What was the thought? V: Er, I was going o say, "Wind I love you", but it, I was too embarrassed . . . W: What was embarrassing? V: To say, "I love you". W: O.K. be Tony again and see what you think about all that. V: (LONG PAUSE) I thought it, I thought it was hard (PAUSE) I took such a long time to recognise (PAUSE) a feeling of love, or what I was trying to say was love (PAUSE) at the end of it. I was sort of caught out

almost in a way, I'm still embaurraissed about it now, I suppose that's what it was.

- 12 W: V: O.K, stay with being Tony and carry on"up the mountain. (PAUSE) I walk up the mountadn it, it's very easy now, it's in snow (PAUSE) I just traimp over it. feel dairk against it. I'm dark I

(PAUSE) It's very, very bright.

Now I reach the top, I've not looked around, I don't wamna look airound at the moment, ' I wamna wait till I get to the top before I stand there and look. So I

reach the top - it's done I Now it doesn't really matter whether I fall, W: What can you see? V: Other mountains, just great big chasms, blue, blue rocks, ice, sunlight, shadows, dry patches, peaks everywhere, mass of peaks, all slightly below where I am. W: V; And how do you feel about being at t f top? h(GROAN) I feel wonderful about being at the top (PAUSE) I feel pretty small, but wonderful. W: O.K. when it's right for you, come out of the fantasy. (PAUSE)

Another way for the reader himself to experience the quality of guided famtasy is to sit, relaxed and with eyes closed, in a comfortable chaiir, having persuaded a friend to slowly read one or more of the scripts used in study 2(b). Using a script does not permit the free flow of fantasy obtained by using the technique described above. It is however, a

technique which is used and both approaches are used in the studies that are to be described.\

- 13 It is obvious from the example given above,'that guided fantasy is not the normal subject matter of experimental psychology. Indeed, until recently, it would not be considered am appropriate area for investigation. Now that imagery has

returned from its ostracism (Holt 1964) more attention is being paid to visual representation and the part that it plays in internail processes. Much of this work, however, relates to the influence of imagery on cognitive processes such as thinking and problem solving (Pavio 1971)/ and until the work of Singer (1974) the more fantastic aspects of internal processes seem to have been ignored by more rigorous psychological investigation. This neglect could be due to the possibility that many experimental psychologists are not consciously aware of the workings of fantasy. This is suggested by Galton's (l880) early work on the imagery of scientists. the experience of visual imagery. Many of his subjects denied Singer (1976J reports am

usually vivid visual imagination in himself, throughout his life and this may explain the direction of his reseaa*ch activities. Whatever the nature amd status of the fantasy elements of thought processes, most people report a considerable amount of experience that could be described as famtasy. The surveys

described by Singer and Antrobus (I963) and in Singer (1966) imply that daydreaming occupies a high percentage of the waking day of most peoplo and also occurs with a surprising frequency when individuails aire performing tasks that require a high degree of concentration. Gordon (1972) suggests that we all live in a

fantasy world of our ovm, much of wnich we s r not aware of and ie certainly rarely receives our direct attention.

- 14 Th? series of short studies reported in this thesis focus on guided fantasy, either in the form of the verbatim report given above or using a scripted form which is read to the subject. The content of the fantasies, namely those parts of , the famtasy that are looked at in detaiil, will be examined to see if there is an orderliness in the evaluation of seemingly disparate images that are reported over a period of time.

- 15 -

CHAPTER TWO PROBLEMS OF DEFINITION

All of the aspects of fantasy involved in this study are represented in some form of visual imagery which is reported verbally by the person who is experiencing the fantasy. Since this is an internal process that can only be experienced by the person indulging in the fantasy, it is difficult to provide am adequate general definition of the process that is being studied. A recent comprehensive definition of imagery is given by Richardson (1969) in which he suggests that both external experience and internal stimulation cam play a part in the production of imagery. "Mental imagery refers to (1) all those quasisensory or quasi-perceptual experiences of which (2) we are self consciously aware, and which (3) exist for us in the absence of those stimulus conditions that are known to produce their genuine sensory or perceptual counterparts, and which (4)may be expected to have different consequences from their sensory or perceptual counterparts." pp. 2-3 He uses this definition to cover a vau^iety of activities; after imagery, eidetic imagery, memory imagery and imagination imagery. None of these categories would involve fantasy in the Even imagination imagery

context that it is used in this study.

is limited to hypnagogic imagery, perceptual isolation imagery, photic stimulation imagery, pulse current imagery, sleep deprivation imagery and meditation imagery. In these categories,

the subject is a passive recipient of the images and in some cases, the subject is unable to control or stop the production of images.

- 16 The experience of guided fantasy, however, still fits the broader definition. Quasi-sensory and quasi-perceptual experiences are involved, as the subject has an experience which is 'as if he is seeing something. The person is self-consciously aware of There

what is going on and is, indeed, reporting it verbally.

is no immediately external experience which is being described, although some subjects use real people, places and events as elements of their fantasy journeys. Also the fantasy experience

is usuailly reported as being different from similar 'real-life' experiences. The experience is made more complicated by the process of talking through the fantasy and taking part in conversations within the fantasy. This necessarily involves the sensory-

perceptual experiences normally associated with talking. An early distinction made between imagery and normal sensory experience was to suggest that images were more fadnt than sensory experiences. Hume (1809) suggested that they had

less 'force and vivacity' than normal 'sensations, passions and emotions'. This idea was tadcen up by many later writers.

This distinction, however, has been brought into question by Perky's experiments (1910), more recently repeated by Segal and Nathan (1964), which showed that several subjects failed to distinguish between an object they were asked to imagine and a picture of the same object projected onto a screen. This

would suggest that the boundary between fantasy and reality is not as clear as most of us would like to think. Another problem of definition is the view that imagery is neither a suitable subject for empirical investigation nor even a topic that can be talked about in a meaningful way. The

- 17 development of behaviourism produced a period during which internal processes were ignored because they could not be operationally defined. same time. The positivist trend in philosophy developed at the Ryle (1955) maikes out a case that, in being

unobservable, mental images can neither be proved to exist or not to exist. More recent trends in philosophy, however, tend to accept the importance of unobservables. Hannay (1971) points out

that the positivist argument denies the existence of hallucinations and dreams amd goes on to suggest that mental images are sensations that have the look of what is imagined, rather than of something that is inwardly perceived. Certainly the person

who is experiencing the image is doing something and this raises the question as to whether a process can be examined without being able to observe the material involved in the process. Maclntyre (1958) points out that to reject unobservables in such a wholesale way is ". . , too a priori in its framing of criteria by which concepts were to be judged legitimate or the reverse; . . .". This is certainly not the nature of scientific theorizing, in which unobservables play an important and necessary part in the framing of hypotheses. The development

of modern physics depended a great deeJ. on the use of unobservable concepts such as the electron to help the development of experimental work. The objection regarding xmobservable phenomena could also be made concerning the existence of attitudes based on the responses to questionnaires and interviews. In the same way

that attitudes can be confirmed by observable behaviour, so too, reports of imagery can be shown to relate meaningfully to an individual's total life situation.

- 18 Since imagery is reported as an almost universal phenomena, apart from Galton's (188O) scientists and some contemporeiry scientists, the assumption will be made that the reports of imagery reflect processes which play an important part in human experience and therefore justify psychological investigation.

- 19 -

CHAPTER THREE HISTORICAL BACKGROUND

This review of the literature will relate to the development of the use of guided fantasy. It will begin with a brief summeory

of the ongoing work on imagery as reflected in experimental psychology that developed for an English speaking readership. It will then go back over the ground showing the considerable interest in imaginal and fantasy experiences which developed from clinical work. Much of this relates to procedures that

could be described as guided fantasy.

A consideration of aspects of imagery has always played a part in the argument of the metaphysical philosophers. As

psychology grew out of philosophy through the work of Wundt and Fechner in the 19th century, the early psychological studies of imagery were conducted using the process of introspection, culminating in the work of Tichener at the turn of the century. Tichener is reported to have had vivid visual imagery and he argued that all thinking involved forms of visual and auditory imagery. This was opposed by the WUrzburg school in

Germany, led by KUlpe and Ach, who found that the reports of imagery from subjects who were working on simple problems were inadequate to explain how the problems were solved. From this they argued that it was possible to have imageless thought. Studies which stand out during this period include those of Galton (I883) in which he demonstrated the range of vividness of imagery by asking subjects to summon up an image of their breakfast table. Again, in a survey of the imagery of scientists.

- 20 artists, schoolboys and statesmen, Galton (1883) demonstrated a paucity of imagery among scientists and vivid, strong imagery among artists. The statement from one of Galton's scientists

reflects the position of some contemporary amalytical philosophers. ". . . It is really only a figure of speech that I can describe my recollection of a 'mental image' which I can see with the mind's eye." The study by Perky (19IO) described above came from Tichener's laboratory, but still involved reasonable experimental conditions. Similarly, Shaub (191I) demonstrated that some subjects found it difficult to separate auditory imagery from real sounds. It is understandable that the period of introspectionism produced considerable discussion of imagery, as it involved the study of mental content. Following the development of behaviourism in psychology, with its insistence on objective operational methods, mentsuListic concepts such as imagery fell out of favour as appropriate areas of study. This produced a virtual eclipse in the study of imagery in English speaking psychology for a considerable period. There

were exceptions, such as the work of Pear (1937). Also, the work of Jeansch (1930) on eidetic imagery was well known. In the fifties, interest in imagery began to revive. Roe (1951) examined differences in the imagery of different kinds of scientists. Physiological reseao-ch demonstrated that imagery Differences in E.E.G. recordings are Short

could not be ignored.

thought to reflect qualitative differences in imagery.

(1953) reported that subjects with persistent alpha, that was hard to abolish, tended to be verbal imagers, whereas normally

- 21 responsive alpha reflected a predominance of visual imagery. A lack of alpha was associated with reports of vivid powers of visualization. The results of the work of Penfield and his associates (Penfield and Roberts 1959) were extremely dramatic and imply a cortical locailization for the revival of memory imagery. Epileptic patients undergoing brain surgery under local anaesthesia volunteered to have their exposed brains explored electrically. Many patients reported the re-experience of These patients

previous events as if they were being relived.

maintained an awareness of current reality while this was going on. The experiences were predominantly visual, but often

involved other sensory modailities. This revival was formally heralded in the key article by Holt (1964), 'Imagery: the Return of the Ostracized'. Holt

points out that the study of imagery had to be developed because of the practical problems presented by long distance drivers, arctic explorers, astronauts amd individuals involved in continuous tasks that involved elements of sensory deprivation.i In these situations, unwanted imagery and hallucinations intrude and interfere with the task. These intrusions cannot be ignored

because of academic objections based on methodologicfitl arguments. The return has been established by a series of formal textbooks reviewing aspects of reseaurch into imaginal processes. This was anticipated by McKeller (1957) in a book with an emphasis on thinking, but which goes into aspects of imagery in considerable detail. This was followed by Singer's (1966) review of research into daydreaming, which suggests that daydreaming occurs most

- 22 of the time, with most people and even intrudes into complex directed mental activity. Richardson (1969) reviews reseeirch

into a variety of forms of imagery; after imagery, eidetic imagery, memory imagery and imagination imagery. Horowitz

(1970) provides a scholaLrly review of the role of imagery in pathological thought, particularly unbidden images, which intrude into consciousness against the will of the patient. Klinger (1971) focuses particularly on fantasy, with an emphasis on play and the Thematic Apperception Test. Pavio (1971) and Segal (1971) report reseairch that reflects the growing recognition that imagery inevitably plays an important part in the cognitive processes of most people. None of the texts mentioned in the last two paragraphs include any discussion of guided famtasy, or even acknowledge its existence. Singer (1974) in his 'Imagery and Daydream

Methods in Psychotherapy amd Behaviour Modification' presents the first formal and academic analysis of these processes to an English speaking audience, apart from some isolated journal articles. This book was followed by Watkins (1976) superb

integration of literary and psychological approaches to what she calls 'Waking Dreams'. Singer (1976) presents a shorter

and more popularized account. This is the picture that is drawn from the academic literature on experimental psychology, showing a growing interest in imagery, but with only isolated attempts to examine aspects of imagery such as daydreaming and fantasy. Guided fantasy would seem to have been ignored.

- 23 The writer now proposes to go back to the beginning again, to present a parallel review of the historical background which seems to have had little contact with the development described in the previous part of this section. Most of the work that is A clinician

reviewed is written by workers in the clinical field.

cannot ignore the fantasies, delusions, hallucinations and daydreams of his patients, because they often play an important part in the problem that is being treated. Current fashions in

experimental research becojne less important when faced with real problems that urgently require attention.

The revivaQ. of romanticism in the I9th century produced a renewed interest in the imagination and the creative nature of the unconscious. This was partly inspired by the dramatic

results of the earlier work on hypnotism, particularly by Mesmer (l734-l8l5), using what he called animal magnetism and later by Charcot (l825-l893) at the Salpe'triere hospital. (See Ellenberger, 1970) Under a magnetic sleep, several

patients appeared to change personality, as if a new character had emerged, which had am autonomy of its own. This new

personality often showed finer qualities than the patient displayed in his normal life. This relates to the problem of

multiple personality which is discussed later. Early psychologists such as James (1885) and Myers (1885-7) investigated the 'automatic writing' of mediums and saw this as a way of examining unconscious processes. Myers

wrote about the 'mythopoetic function' of the subliminal self, which he used to describe the unconscious tendency to weave fantasies. This term mythopoetic has been taken up by Watkins

(1976) as a descriptive term for the process behind the generation

- 24 Ellenberger (1970) discusses the work of Theodor Flournoy (1854-1920) and Pierre Janet (l859-1947). Flournoy, who was a student of Wundt, examined dreams, daydreaming, somneunbolism, hypnosis, possession, delusion and mediums. He came to similar conclusions as Myers, that these phenomena were manifestations of the creative function of the unconscious and that they could produce material that implied a wisdom and intelligence that was not normally displayed by that person; as well as regressive and bizarre thoughts. Janet combined hypnosis with spiritist procedures such as automatic writing and crystal gazing to generate images from his patient's unconscious. He related these images and ideas

to split-off parts of the personality which were not included in the patient's conscious experience. Having brought this

material into consciousness, Janet attempted to change or even eradicate the unconscious material. Most of Janet's patients

quoted by Ellenberger had been diagnosed as hysterical and experienced internal dramas, similar to dreams, which could be elicited and shared with the doctor, through a lowering of conscious attention or 'abaissement du niveau mental'. Alfred Binet (l857-191l) was a contemporary of Janet and worked on similar lines. He developed a technique of helping

his patients talk to the visual images that they produced and related this material to the expression of unconscious subpersonalities. Psychoanalysis grew out of Freud's early experience with hypnosis, which, as has been suggested above, is related to imagery in complex ways. He later turned to the direct use of

imagery in the case of Elizabeth Von R. (1955)1 who was not a

- 25 good subject for hypnosis. He pressed his hand on the

patient's head to generate images related to the patient's problems. In the case of Lucy R. he offered the suggestion

that images would appear when the pressure on the head was removed. He was soon to move from the direct use of imagery

techniques to a more extended type of free association. This involved keeping the eyes open, and must have diminished the possible use of imagery. Obviously, visual and auditory images still played an important part in the examination of dreams and fantasies and the evocation of early memories. Indeed, many reports of

early memories were often shown to be fantasy experience such as the imagined seductions of several women by their fathers. / Later psychoanalysts who focussed more directly on the use

of imagery in the emalytic situation include Vaorendonck (1921), Silberer (1951), Clark (1925), Kubie (1943) and Reyher (1963). Reyher developed images much in the manner of Jung's 'active imagination' (see later), but worked with the images using the assumptions of a Freudiem psychoanalytic approach to the symbolic nature of the imagery. C. J. Jung (1875-1961) has probably had more influence than any other writer in developing an awareness of the importance of imaginal processes for understanding unconscious processes. After his breach with Freud, Jung went through a This included considerable

period of intense personal analysis.

experimentation with spontaneous activities, such as building sand castles, carving stone, painting mandalas and pictures, generating visual images and holding conversations with persons appearing in the imagination. / Jung (1961) describes these activities as 'confrontations with the unconscious'.''^

- 26 /jung (i960) argued that the process of free-association is often used by the patient as a means to avoid important elements of dreams and fantasies. He stressed the importance of staying

with the feelings associated with the images so that they can be properly understood./ "Fantasy must be allowed the freest possible play, yet not in a manner that it leaves the orbit of the object, namely the affect, by setting off a kind of 'chain reaction' association process." Jung (i960) argued that civilized life, which seems to place a high value on conscious rational directed thought processes, encourages the individual to be split off from or unaware of unconscious processes. However, the energy associated

with the emotionauL aspects of these unconscious processes cam easily break out, often with undesirable consequences. He

suggests that by working with amd elaborating these verbal elements, progress can be made towards the unification of conscious and unconscious. function'. Jung encouraged his patients to use some of the techniques that he had used with himself, such as painting and drawing, in order to explore the imagination. Also, based on his own He calls this 'the transcendent

experience of exaunining his own unconscious, he developed the technique of 'active imagination*. This was done by the patient

away from the consulting room. /He was asked to re-experience aspects of dreams and fantasies. He was asked to encounter and

confront elements of dreauns amd fantasies, engage them in conversations and develop them in imagination.'^ This was said to permit experience of the unconscious while awaike./This approach is similar to the techniques of Gestalt therapy,/which are used in the studies to be described later.

- 27 The material produced by the patient is dealt with in a non-interpretative manner. He (Jung 196I) would ask questions

like, "What occurs to you in connection with that?", "How do you mean that?", "Where does that come from?", "How do you think about it?". (Again, a mode of questioning similar to

that of Gestalt therapy.) The interpretations seemed to emerge of their own accord from the patients' replies and associations. Another aspect of Jung's (1954) view of dream and fantasy elements is that they have an important creative fimction for the individuaLL. This contrasts with the impression given by Freud that the unconscious is merely a sink for experiences, feelings, thoughts and infantile wishes that have traumatic and unpleasant associations. He suggests (1961), that by looking at and concentrating on the images, they become pregnant amd filled with power, implying a purposive ad well as a repressive function of the unconscious. He goes on to suggest that part of the creative

function of the psyche is to provide a dyneunic psychic equilibrium for underdeveloped or missing parts of the personality. These other parts of the personality may

represent aspects of the personality which are no longer a part of the individual's awareness, or they may represent Jung's (1959) 'archetypes', which have developed in man's racial history. ' Jung's work and ideas are probably the most important ( influence on later developments in the use of fantasy and imagery in therapeutic situations.y Another important writer, who was also influenced by Jung, was the poet and philosopher of science, Gaston Bachelard (1964, 1969, 1971)./He stressed

- 28 that human imagination has influence that goes beyond sense experience and makes a unique contribution to man's interpretation of his phenomenal world and hence, his individual perception of reality./ Bachelard uses the term 'valorization' to describe the way in which perception is enriched by affective distortion of reality. Imagination not only deforms the images

provided by perception, but goes beyond reality and surpasses it. In a scholarly review of Bachelard's writing, Kaplan (1972) suggests that the process of poetic reverie is central to Bajfichelard's ideas on imagination. Reverie is described as a creative daydream, in which the unconscious can confront perceptions of reality, giving the latter unique emotional associations. This process continues during both sleeping and

waking life, but while awake, the individual becomes awaure of his own creative activity. Bachelaurd considers that the ability

to exercise imagination is central to mental health, and he discusses the work of Desoille, who appears to be the first to use the waking dream as a central technique in psychotheraphy. Desoille developed the use of guided fantasy as a complete psychotherapeutic system, though previous investigators had used aspects of daydreams, famtasies and imagination in their psychotherapeutic endeavours. similar approach. Happich (1932) describes a

He suggests that it is important to encourage

'emergent images' in a relaxed state. /He argued that working, with and developing awareness of imaginal contents was more important for personal change than the verbal abstractions that are used in Freudian free association. He would stimulate

imagery by suggesting scenes for the patient to visit in imagination.

- 29 Schultz (Schultz and Luthe, 1969) encouraged patients to engage in extended visual exercises, while in a state of relaxation which they had induced in themselves. This

'autogenic state', which has some of the advantages of hypnosis, avoids excessive dependence on the therapist. They also incorporated the ideas of Frank (191O) who suggested that the production of hypnagogic visions in a state of relaxation has a cathartic effect. Guillery (Fretigny and Virel, 1968) in his experiments on 'directed reverie' stressed the relationship between disturbing imagery and motor or physiological problems. He suggests that

autonomic responses effect both the emotional nature of the images and the individual's neuromuscular functioning. This

relationship between emotion, imagery and bodily tension is stressed by the various schools of body therapists, and is reflected in the work of Reich (1949), Lowen (1975) and Kelley (1974). The assumption is made that unconscious material is

held in a mysterious way in individual patterns of muscular tension and by working on the muscular tension, the material may be released, often in the form of vivid visual imagery. Caslant (1921) had a direct influence on Desoille and made specific use of ascent and descent in imaginary situations. found that higher levels were generally associated with good feelings amd lower levels with bad feelings. An imaginary He

journey could be controlled by moving from one level to another. / Desoille has probably played the major role in the introduction of the use of guided fantasy into psychotherapeutic situations.; His use of 'le reve eveille dirige is described as early as 1938 and more recently in a much more extended account

- 30 (Desoille, 1966). Therapy for Desoille consists lairgely of a series of fantasy trips, which he claims are curative in their own right. Analysis, interpretation and re-education processes

are related to the fantasy trip. The patient lies on a couch in a releixed position. He is

given a starting theme and the therapist asks questions in order to develop the fantasy. The main starting themes and their

purposes a r given in the following list:ie

No, 1.

Purpose

Theme

Confronting one's more For a man, a sword obvious characteristics For a woman, a vessel or container Confronting one's more For both sexes, a descent into suppressed the depths of the oceam characteristics Coming to terms with the paurent of the opposite sex For a mam a descent into a cave to find a witch or a sorceress For a woman, a descent into a cave to find a wizard or a magician For a man a descent into a cave to find a wizard or a magician For a woman a descent into a cave to find a witch or a sorceress. For both sexes, a descent into a cave to find the fabled dragon For both sexes, the castle of the Sleeping Beauty, in a forest

2.

3.

4.

Coming to terms with the parent of one's own sex

5.

Coming to terms with social constraiints Coming to terms with the Oedipal situation
\

6.

Frightening images that emerge during the fantasy trips are focussed on and worked with, to try and find out more about them and the emotions that are associated with them. It is

- 31 assumed that this will reduce the negative affective charges. Techniques are used to help the patient cope with difficult emotional situations. Monsters may be tamed with the powers of a magic wand. If the suggestion is made that the magic wand will transform the monster into a real person, it often turns out to be a person close to and important in the patient's emotional life. Another approach to difficult situations in the

fantasy trip is to ask the patient to imagine he is being led by the hand. The guide, again, often turns out to be a person who is close to the patient. Desoille stresses the importance of Caslant's ideas concerning ascent amd descent. He invariably found that

descent was associated with negative feelings and often produced frightening images. Ascent was said to be associated with

positive feelings and played an importamt part in the reeducation process. He suggests that these feelings develop Another

through association with the rising and setting sun.

strange assumption is that for a right-handed person, movement to the left induces feelings about the past and movement to the right induces feelings about the future. left-hamded people. Watkins (1976) suggests that the clearly defined symbology offered by Desoille may be imposing a structure and a value on the patients' inner worlds, which are not necessarily their own. In his later writing, Desoille (1966) used Pavlovian concepts of conditioning to explain the affective changes that are produced by his techniques. It seems reasonable to assume This is reversed in

that the experience of imaginal situations that involves unpleasant feelings is similar to the experiences obtained during the process of desensitization.

- 32 A similar amd more systematic use of imagery trips in psychotherapy is that of Leuner (1969). The patient is relaxed Over a

on a couch, using Schultz's (1959) autogenic training.

series of sessions, the patient is introduced to ten standaird imagery themes, which are said to represent different aspects of the patient's inner psychic life. Initially they are used

for diagnostic purposes (Initiated symbol projection) and later for more extended fantasy trips (Guided affective imagery). Leuner claims that his first three themes, the meadow, climbing a mountain and following a stream, either up to its source or down to the ocean, tend not to produce frightening material. (This was not true in the writer's experience.)

These themes ao:e useful to help the subject become familiar with journeys into the imagination. Leuner claims that other

themes, such as the fierce beast, the dark forest and the swamp, tend to produce material that is more difficult to cope with. Leuner has developed what he calls the 'symbol dramatic method', which includes the following techniquen for helping the individucil through his fantasy trip:1. The Inner Psychic Pacemaiker is represented by elements which emerge from the famtasy; such as a person or an animal. These help to cope with

problems that arise, often leading the patient into difficult areas and helping him to deal with these difficulties. This is possible because these from the patient.

elements are one remove 2.

Confrontation, in which the patient is encouraged to stay with and become more aware of threatening elements in the fantasy.

- 33 3. Feeding, which is used when the threatening element is too frightening to confront. By overfeeding, the

monster may become less threatening. 4. Reconciliation, which involves making friends with the threatening image. 5. Exhausting and killing the threatening element in the fantasy. Leuner suggests that this is a risky

operation since the threatening element could represent a sub-personality of the patient. 6. Magic Fluids, which are used for relieving bodily aches and pains. Leuner claims that a series of fantasy sessions can provide therapy, which is shorter in duration, but as effective as conventional forms of therapy. neurotic patients. Kosbad (1972, reported in Singer, 1974) has developed Leuner's standard themes as part of the training of students of psychiatry at the Virginia Comraonweailth School of Medicine. The Most of his success is with

students were trained in Schultz's autogenic relaxation techniques and then taken through aQ.1 of Leuner's ten standard themes. Then the students carried on a series of weekly sessions on their own, using single themes as a starting point for an extended imaginal exploration. At the end of the series, the

recorded and summaurized material is discussed with the supervisor. Kosbad claims that the case-study material provides some interesting examples of personal growth resulting from these experiences./ This would suggest that guided famtasy can be used privately for individual self-analysis and personal growth.

- 34 Kretscjimer (1969) provides another approach to the use of specific themes as stimuli for encouraging the flow of imagination. He develops the ideas of Happich (1932) who suggested visiting places in the imagination such as a prairie, a mountain, a chapel or sitting by a fountain listening to water. Kretschmer stresses the importance of bringing He

significant imagery to a higher level of consciousness.

uses the term 'exorcism' to describe the process of change that cam take place as a result of these experiences. Thus, it would seem, that most of the work developing the use of guided fantasy as a technique in psychotherapeutic situations took place largely in Europe and mainly in France and Germany. This work has been consolidated and developed by

Andre^ Virel amd Roger Fretigny, a psychologist and a psychotherapist respectively. They use the term oneirotherapy, from

the Greek 'oneiros' meaning dream, to describe these processes and use the term oneirodrama to describe their own form of therapy. Their approach is largely a synthesis of eaurlier techniques. They include a thorough case history, relaxation training and a free approach to the development of imagery. After giving an initial stimulus the patient is encouraged to participate bodily in the fantasy experiences. Some patients

who have difficulties with visualization are given a small dosage of ten to thirty micrograms of LSD 25. They work within a neo-Freudian framework to aid understanding the experience, paying particular attention to problems of resistance and transference.

- 35 Apart from their own developments with regard to the technique of guided fantasy, Fretigny and Virel have played a central role in the development of the 'Societe Internationale des Techniques d'Imagerie Mentale' and the journal 'L'Arbre Vert' as a means of advamcing and disseminating work done in this area. This European work has developed without the constraints of the development of behaviourism that dramatically changed the course of English-speaJcing psychology. It seems to have grown

naturally out of the Romantic era with the work of Jamet, Flournoy, Jung and Bachelard. More recently, the use of imagery techniques has become acceptable in the United States, but even these developments originated largely from Europeans. J. L. Moreno, who was brought up in Vienna, has been working in the U.S. for nearly half a century. He has

probably had more effect on therapeutic and counselling techniques than is generally realised, particularly in relation to the value of role playing and role reversal, which he developed in psychodrama (Moreno 1967). In psychodrama,

fantasies a r acted out in public, which seems to have a ie therapeutic effect on both the patient in the central role and on the 'auxiliary egos'; individuals who are playing subsidiary roles in the famtasy. audience. It even appears to effect the passive

These techniques are being used in a variety of

different educational and therapeutic situations, such as T-groups, encounter groups, Gestalt therapy, simulation games, organizational, development and many others. George Kelly (1955) described a related approach, which he calls 'Fixed Role Therapy' in which the individual is

- 36 encouraged to act out underdeveloped parts of himself, for limited periods of time and in real-life situations. Psychosynthesis, developed by the Italian psychiatrist Roberto Assagioli, is amother approach to personal growth and development using fantasy as one of its central techniques. Assagioli suggests that treatment should go beyond analysis and extend to synthesis, which involves the development and integration of all man's potentialities. This development is taken to spiritual levels amd uses techniques drawn from both western and oriental sources. Assagioli (1969) described various categories of symbols which represent, he claims, man's transpersonal experiences and capacities. These include introversion, light-illumination, fire, development, strengthening-intensification, love, way-pathpilgramage, mutation-sublimation, rebirth-regeneration amd liberation. These symbols form the basis of a large number of techniques using fantasy, ranging from the visualization of extremely specific themes, to extended imagery trips similair to those of Desoille and Leuner. Gerard (1964) played am important part in the development of psychosynthesis in the U.S. and stressed the importance of 'symbolic identification techniques', which involve identification with various parts of a fantasy production. These can be persons, animals, natural phenomena, objects, or any elements that occur in the fantasy, Gerard (1967) has produced a systematic description of the visualization techniques that can be used. this description is given as follows:A bare outline of

- 37 A. Controlled Symbolic VisuaQ-ization, which uses predetermined

images includes:1. Controlled visualization of dynamic symbols either in a static form or changing the image in a predetermined direction. This approach involves such as a sword for

elements of interpretation

masculinity, a cup or vase for femininity and a rose opening as a symbol of growth, 2, Controlled visualization of symbolic scenes, which are based on the particular needs of the patient, such as a couple helping each other along a path. B. Spontaneous Symbolic Visualization, which has a starting

image amd then the images are permitted to arise as they occur. C. Symbolic Visualization for Spiritual Psychosynthesis,

which involves sequences of images for reaching higher levels of consciousness and transpersonal experience. The term existential is often loosely applied to the approaches to self-awareness which involve exploring exactly what is happening to a person as it happens. This approach was

given important theoreticaQ. support in the existential analysis of Binswanger (1947) and developed by Boss (1963). Working

mainly with dreams, it was emphasized that rather than seeing these phenomena as distorted forms of important parts of the psyche, they should be seen as part of 'being-there' (dasein). Rather than try and see through, fathom or decipher dreams, the dreamer should be helped to experience them. It is suggested

that the dream is a message from and to the dreamer about his mode of 'being-in-the-world',

- 38 It is, however, Fritz Perls (1947, I969, 1973) who has provided the most extensive set of techniques for helping the individual develop his awareness of 'here-and-now' experience. Perls makes extensive use of fantasy, which is allowed to develop spontaneously during workshop situations, rather than with the use of specific techniques and themes. The feel of this approach

is best obtained through direct experience, or, in a more limited way, from the transcripts of Perls' (1969) workshops. An

important aspect of his use of famtasy is to help the patient to 'own' his own projections. As in several of the systems described

in the previous pages, such as psychosynthesis and Jung's active imagination, the patient is encouraged to act out the roles of the various elements of dreams and famtasies. Again, the

assumption is made that these elements in some way represent disowned parts of the personality of the individual. Often, conflicting polaurities are identified by the patient and he is encouraged to act out the roles of each of these conflicting poles and engage them in conversation, or even confrontation. An important polarity described by Perls(1969a) The 'top-dog' tends to be

is between 'top-dog' and 'underdog'.

a moralizing part of the individual, emphasizing what should amd ought to be done. The 'underdog' tends to be lazy, backsliding

and fearful, and generally gives in to less noble motives. Perls also used fantasy to help individuals understand what was happpening inside their bodies. Patients would be

asked to take on the role of 'the clenched fist', 'the knot in the stomach' or 'the tears that were locked away'. These

suggestions were developed out of what the patient said or what could be clearly seen. Work on these bodily sensations would

- 39 often develop into a catharsis such as an outburst of temper or a period of deep sobbing. This has been extended by Schutz This is a guided

(1967) with the 'Into the Body' fantasy.

fantasy, in which the individual becomes very small and, in imagination, enters and explores his own body. Three important aspects of Perls' approach are:1. The procedures au"e cairried out in the present, or 'the here and now'. The patient is encouraged to

use the first person present^, rather than distance himself from the experience by using words like one, we, he, it and people. This helps to permit the

patient to experience feeling and imagery as it happens, rather than indulge in an analysis of feelings that took place at an earlier date. 2. The form of questioning used by the therapist madces it a potent, yet non-directive technique. Questions

emphasize the 'what?' and 'how?' of the situation, and avoid the 'why?', which often involve am implicit moral stance on the part of the questioner, 'What is

happening to you now?', 'How are you keeping your shoulders tense?', 'What do you feel about being in this situation?'. The questions ask for information

in a neutral manner amd use words and images produced by the patient himself. The procedure aims to make

the experience amd feeling of the patient clear to himself, rather than impose the feelings and needs of the therapist.

- 40 3. The technique is non-interpretative. Perls (1951)

suggests that all interpretation is a trip laid by the interpreter on the interpreted, implying that interpretations are projections of the therapist. Often, by using this mode of questioning, an important part of Gestalt therapy, the patient is led into making his own interpretations. One person's tree-trunk may

be, phenomenologically, totally different from another person's tree-trunk. A reading of Perl's transcripts,

however, suggests that he often broke his own rules about interpretation.

A considerable number of new and radical therapies have developed in the last two decades, many of them associated with the 'personal growth movement' which often assumes that all individuals aire in need of therapy. Many of these systems use

fantasy as a central technique, maiking the assumption that the use and experience of fantasy can produce important educational and therapeutic effects. Two well developed systems that have

extensive use of fantasy are Shorr (1972) and Progoff (1963). A parallel development has been the publication of self-help books which consist of a series of exercises involving fantasy which can be done at home, alone or in a group. Examples of

this kind of book would include Huxley (1963) and Stevens (1971). The book by Stevens is particularly important for his section on how a group leader should conduct himself when leading a group in fantasy situations. He stresses the point that has already

been made - that it is very easy for a person leading a fantasy exercise to impose his own problems and personality into the

- 41 situation. Other books, such as Masters and Houston (1973)

and Anderson and Savary (1974) provide exercises that take individuals into deeper trance states, which probably approach hypnotic states. The discussion of the literature so far seems to suggest that techniques involving fantasy are being introduced into psychotherapeutic and educational situations, but little attempt is made to find empirical support for the use of these techniques. Indeed, much of the clinical literature involves descriptions of how to use the techniques, with examples of tramscripts. Justification for the use of guided fantasy is based on the clinician's intuitive judgement. Hammer (1967) who is often

quoted by later writers, merely reiterates the general principles laid down by Leuner (1969) and Desoille (1966). Johnsgaird (1969) describes how the techniques cam be applied to the confrontation of frightening images in recurrent nightmaires. Alexander (1971) provides some interesting examples of the use of the 'into the body' fantasy and demonstrates the effect they had on the patient's physical problems. He aurgues that both the content of fantasy and rigidity in the body can be expressions of preconscious material. An extremely useful descriptive survey by Riha (1972) summaurizes interviews with four therapists, all of whom use guided famtasy, but are influnced by different theoretical backgrounds. These therapists were Dr. Hedda Bolgar who used

what she calls the 'waking dream' within a psychoanalytic framework. Dr. Harold Stone who uses Jung's 'active imagination'. Dr. Robert Gerard who has developed the 'guided daydream' within the framework of psychosynthesis and Dr. Robert Resnick who uses dreamwork as a part of Gestalt therapy.

- 42 Many writers describe the importance of fantasy in the form of well written exhortations, but still produce little in the way of empirical evidence. A good exaunple is Ungersma (1976)

who discusses the importance of fantasy in relation to creativity and conformity. There is a recent, but growing literature regarding the application of fantasy techniques in counselling situations. Morgan and Skarholt (1977) stimmairize this development and apply the techniques specifically to career counselling. They develop

fantasy themes that illustrate sexist and racial problems in work situations and also have themes that relate to specific career problems, such as the "mid-cau:eer change" fantasy amd the "retirement" fantasy. A serious attempt to evaluate the use of guided fantasy in counselling situations is provided by Wilson (1975) who made the assumption that experience of guided famtasy would improve the empathy of trainee counsellors. He failed to show any

difference in the ability to evaluate counsellor responses to client statements between a control group amd a group of trainees who had experienced eight guided fantasies. He suggests that

there may be no connection between empathy as an interpersonal experience and guided fantasy as an intrapersonal experience. One form of psychotherapy which makes extensive use of the imagination is the process of desensitization, which is one of the key techniques in behaviour modification (Wolpe 1969). These techniques have been seriously evaluated (Singer 1974), with a rigour that has not been applied to the guided fantasy techniques. This literature will not be reviewed here, but it

should be borne in mind that there are probably similarities

- 43 between the therapeutic effect of both of these procedures. The psychotherapeutic and educational value of visuailization has been known about and developed for many centuries in other cultures. This is particularly true of the Vajrayan system of Various sects within Tibetan

Tibetan buddhism (Blofeld 1970).

buddhism, particularly the Nyingmapa sect use exercises involving forms of visualization that aim to help the adept along his spiritual path to enlightenment. Tarthang Tulku

(1977) a lama of the Nyingmapa sect, resident at Berkeley, California, has produced a handbook, based on these exercises, suitable for the western world.

44

CHAPTER FOUR THEORETICAL CONSIDERATIONS

The discussion so far has not made clear the nature of the state involved in a guided fantasy. Several writers suggest

that there are fantasy and imagination processes going on all the time, but most often, we are not consciously awaire of these processes, except when we catch our daydreams, Fromm (1951)

describes this as 'The Forgotten Language', which is a way of expressing inner experiences as if they were sensory experiences, thus changing them into events in the outer world. He suggests

that this language, still used by infants and primitive man, has been largely forgotten by modern man and only intrudes on him when he is asleep. Fromm's discussion refers mainly to

dreams, but the same ideas could be applied to imaginative processes. Similar ideas would include Myer's (l885-7) mythopoetic function and Bachelard's (see Kaplan 1972) valorization. imply an ongoing, probably unconscious process. Both

Jung's (1959)

airchetypes imply that the process has continued through racial history. Mythomania is a term which was used to describe the

pathological contact with these forms of thinking. Thinking of this nature is often considered to be separate from those required for more rational activities or dealing with the practical needs of day-to-day living. Jung (1954)

writes about directed thinking as opposed to dreaming and fantasizing. Bleuler (1951) prefers the term autistic thinking,

instead of fantasy, as this reflects its inner directedness and compares it to logical or realistic thinking. Both writers

- 45 insist, however, that these forms of thinking are not that clearly separable. The contents of most fantasies are based Experience of frogs is necessary to Experience of beautiful

on realistic experience.

the fantasy of being turned into a frog.

women, even if it were only second hand from literature, would b necessary to having a fantasy about rescuing a beautiful woman. The literature abounds with examplec of scientific and even mathematical ideas being developed in a state of drowsiness or reverie. Indeed, techniques have been developed for using the

imagination to solve scientific and practical problems, such as braiinstorming (Osborne 1953) and synectics (Gordon I961). The state of consciousness involved in guided fantasy has often been likened to hypnagogic imagery. This term is usually

reserved for images that emerge in a drowsy state, often when the person is about to fall asleep. Both Silberer (1951) and Varendonck (1921) state that the condition in which they explored chains of fantasied associations was a hypnagogic state. Silberer suggests that practice is required to stay in

the hypnagogic state so that it can be used creatively in relation to a particular problem. Watkins (1976), however, suggests that attention directed to the imagery processes in guided fantasy makes it qualitatively different from other phenomena such as hypnagogic images, hallucinations, dreams and daydreams. In the latter states, the images tend to intrude and are not attended to consciously. "By waking dream we mean not just an experience of dreamlike character received while awaJce, but an experience in the imagination undertaken with a certain quality or attitude of av.'areness."

- 46 Crampton (1969) talks about the 'exercise of witness* or 'training of the observer self, which is a way of observing the stream of consciousness without judging or analysing the images as they occur. It may be that the process of talking through the fantasy and the interaction with another person is permitting an optimal level of conscious awareness, while still not interfering with the flow of fantasy. The writer's experience during guided fantasy is of an altered state of consciousness which is unique to that situation. The fantasy unrolls with an imaginal self playing a part in the fantasy and at the same time there is a detached observer recounting what.is going on. It is as if there is a rational

part of the self which has separated off from the part that is engaged in the fantasy and both parts are functioning simultaneously. At no time is there any feeling of drowsiness or falling asleep. Although, at times, %here is a high level of emotional involvement, with extremely euphoric or frightening situations, it always seems possible that the fantasy could bo ended at a moment's notice. A small minority of individuals who have been guided

by the writer reported that they would have had difficulty in coming out of the fantasy on their own. This description may seem strange to the inexperienced reader. On the other hand, all of the subjects tested in the

studies to be described later, who were completely naive about the process, slipped quickly into the business of describing their fantasy experiences within a minute or two of closing their eyes for the first time. The writer has described his own experience, which seems to fit the definition by Watkins quoted above. It could be.

- 47 however, that different people are entering different states. More suggestible subjects may be mildly hypnotised. Others

may be experiencing hypnagogic imagery, or may even be experiencing images of an hallucinatory nature. Unless

specific neurological correlates were established for the various states involving imagery, it would be difficult to give specific labels to t'le reported experiences. Given the problem of describing the psychological state of the individual being taiken through a guided fantasy, there is a further problem of the nature of the processes that aire being tapped. All of the writers described in the pr?vious section, who use guided fantasy as part of their approach to psychotherapy, agree that the process helps the individual to make contact with unconscious material. The exception is Perls (1969) who For

preferred to talk about expanding areas of awareness.

Perls, the use of the term unconscious implies a division of experience that is too clear-cut. He suggests that his

techniques can move the individual into areas that would normally be relatively inaccessible by helping him to refocus his awareness. Even though Freud paid scant attention to fantasy processes, in the sense they aire being discussed here, he refers to imagery in many places and suggests (1927) that imagery, in visual form, or thinking in pictures came closer to unconscious processes than thinking in wordo. He suggests that thinking in

images is older, both ontogentically and phylogenetically than thinking in words. So ht is suggesting that imagery is

providing an inroad into the unconscious, as well as the dreams.

- 48 to which he paid so much attention. Horowitz (1970) made a particular study of unbidden images that occurred to patients in his clinical practice. These were images that were usually frightening and emotionally disturbing that appeaured in spite of the patient's attempts to prevent them. He explained this phenomena as a failure in

repression, allowing tmconscious material to burst into consciousness. Watkins (1976) takes a different approach concerning the nature of frightening images. She suggests that some images

have to appear in a frightening form in order to force themselves into consciousness. This suggestion is supported by the fact

that when a frightening image is worked with using guided fantasy or active imagination, it often turns out to be far more benign than it did in the initial experience. This could

lead to the fanciful speculation that there are repressed 'parts of a person' which 'want' to play a fuller role in the individual's psychic functioning and use imagery as a means of intruding into consciousness. Certainly, this way of thinking

implies that imagery provides a means of tapping unconscious processes. It could be that images generated by guided fantasy represent the working of what Freud called the 'primary process and that the images of fantasies and daydreams can be seen as a displacement activity providing an outlet for the chairge associated with repressed ideas. Klein (1967) in a discussion of the motivational intensity of a chain of thought draws of neurophysiological evidence (particularly Eccles 1964) to explain how chains of aissociations

- 49 can be integrated. This integration could be achieved either by This

the facilitating or inhibiting effect of neural firing.

would offer a partial explanation of the motivational intensity of repressed chains and how they can be activated or repressed through association. It would also provide a possible explanation

for the continuation of repressed chains of thought even though the individual concerned is not consciously aware that it is going on. This attempt at a neurophysiological explanation is obviously highly speculative, as there is little evidence to connect specific images to specific aspects of neural firing, apart from the work of Penfield (described above). An important consideration concerning the nature of the unconscious material which is brought to the surface during guided famtasy was referred to previously in terms of the differences between i'reud amd Jung regarding their respective evaluations of the ir.iterial. Freud tended to emphasize the

negative aspects of unconscious material and hqw the problems associated with it had to be resolved for healthy psychological functioning. Jung insisted that unconscious material can have

both negative and positive sides and went further to suggest that unconscious material may r'^present man's highest creative endeavours. Most of the writers who have been involved in guided fantasy agree with Jung and were obviously influenced by him. In the

earlier description of Assagioli's (1965) use of fantasy, it was pointed out that guided fantasy can be used to make contact with spiritual aspects of the person and can be used \.o create a balance between all aspects of the person in a process of iinification that he calls psychosynthesis.

- 50 It could be that the pressures to conform in contemporary society a r deadening us to an awareness of the extremes of ie experience, which may, or may not, be judged as good or bad. This is implied in Fromm's (1951) statement in relation to dreams ". . .we are not only less reasonable and less decent in our dreams, but that we are also more intelligent, wiser, and capable of better judgement when we a r asleep than when ie we are awake". This view is certainly not held in wider society where a distinction is often made between fantasy, which is seen as a self indulgence and imagination which is seen as the application of imagery in the creative process, often playing a part in the creation of works of art. This involves a denial of the value of an uncontrolled examination of the self and reflects the need for control in our anti-interoceptive western culture. This view is well summed up by Iris Murdoch (1978):"Let us establibh, say, a contrast between imagination amd famtasy, with imagination being thought of as a good creative power and fantasy as a sort of private consolation; I think both philosopher and writer have to face a conflict between imagination and fantasy in themselves." Tauber and Green (1959), in an influential book, also st:*ess the creative as well as the regressive aspects of fantasy. They offer a particularly novel suggestion for the

use of famtasy in psychotherapeutic situations, that the fantasies of the therapist may play an important part in the therapeutic process and should be discussed with the patient. In this way, problems of both transference and countertransference can be illuminated by the use of fantasy and dream material.

- 51 Having discussed the state of consciousness involved in a guided fantasy and the processes that may be involved, some issues will be raised regarding the content of these experiences. A great deal of discussion centres on the symbolic meaning of the images and the importance of these meanings to the imager.This has obvious relevance to the problem of interpretation, which has pra-occupied man since the dawn of civilization. However, before discussing the problem of interpretation, it is important to consider exactly what constitutes an image. A guided fantasy may include gross images such as a mountain or a house, but these can be broken down into large numbers of minute elements. A small pebble on the path up the mountain,
I

or the keyhole in the door of the house, may be as significant, to the imager, as the larger images of which they are a part. Some images stand out in an obvious way. The imager is

obviously fascinated by them and there is a clear emotional involvement. Often these images are people, su(;i as a strong

pimter who was working against a powerful current, or they must be animals such as a cat or a fish. One subject was fascinated

by a deep po^l that he came across on a journey down a river. Other images relate to abstract qualities such as light, energy, heat, blackness, emptiness, pressure and so on. Individuals seem to have no problem in identifying with these abstract images and ascribing to them qualities and feelings. It is possible to take seemingly insignificant aspects of the fantasy and, by developing them, show that they are significant to the imager. Often, a useful clue is given when the person

going through the fantasy mentions something apparently insignificant, in passing, and then quickly moves away from it.

- 52 It is implied in Gestalt therapy (Perls 1969) that every aspect of a fanta-^y or dream does, in some way, represent a part of the fantasizer or dreamer. If, however, each one of this

vast number of potential elements uniquely represented a part of the person, then it would be impossible to have a coherent understanding of such a fragmented structure. It would make more

sense if many different elements of fantasy represented the saime thing. Then there would be recurrent themes involved in one

fantasy, or running through several fantasies. Freud (19OO) refers to the continual reappearance of important ideas as multiple, or overdetermination and produces many examples from his own dreams. He suggests that elements

which are emotionally highly cheirged are stripped of their emotional charge, which is displaced into seemingly unimportant elements. censorship. At the same tir;.3, Freud suggests that a considerable amount of material is reduced to a single image. condensation. He calls this process This provides a means of by-passing resistance and

He supports this notion with the fact that he was

able to develop extensive analyses from tiny fragments of dreams. People who appeared in his dreams seemed to be composites of more than one person. He developed these ideas from materials generated This

from dream content during the process of free-association. may be similar to the process of guided fantasy.

Both of these ideas, overdetermination and condensation will be considered in relation to the studies that follow.

- 53If, as the Gestalt therapists maintaiin, elements of dreams and fantasies represent, in some way, parts of the personality of the dreamer or fantasizer, this would suggest that a person may consist of several sub-personalities. It has been shown

how this possibility fascinated writers at the turn of the century, who used the terras 'dipsychism' and 'polypsychism'. Flournoy, Janet and Binet used these terms to describe their experiences with mediums and hysterical patients under hypnosis. There are several well-documented cases of patients who switch from one personality to another. Probably the most famous of Eve, a quiet

these is Eve White (Thigpen and Cleckley, 1957)

conscientious woman would change into the extroverted, highliving Eve Black, without the conscious awaireness of Eve V/hite, Under therapy a more bailanced personality emerged. It has since

been shown that this third personality was developed by Eve Black to fool the therapist, but this still leaves two separate and distinct personalities. Assagioli (1965) stresses the importance of the use of fantasy as a means of coming to an understanding of different 'parts' of the person. Horowitz (1970) suggests that the 'bad

peirts' of the self are often externalized and disguised and may reappeao: in daydreams amd fantasies as frightening monsters. Klinger (1971) refers to 'subselves' in relation to the analysis of T.A.T. stories. He points to groupings of responses and

adjective check-list scores as implying momentary changes in personality, implying that there are discrete parts to the self. Shapiro (1962), in a recent development of ego psychology, implies that the ego is ^ade up of several parts, which may be in conflict with each other. A patient who presents himself

- 54 for therapy may be just one of his several subselves and it may be important for the patient to become aware of the other subselves and how they function, before he can operate as am integrat'^d person. The earlier discussion of Gestalt therapy regarding disovmed parts of the self, relates directly to the possibility of sub-personalities and the standard conflict between 'top-dog' and 'underdog' have already been discussed. In his workshops.

Perls would invite a person who was working on a problem to sit in different chairs or cushions, to emphasize and separate out different parts of the personality. Another popular approach to psychotherapy and personal grov/th, which implies that there are several parts to the person is transactional analysis (Berne 1964).

Much of the discussion so far suggests that the content of fantasy experiences are amenable to interprt tation. These

raay be in the form of specific interpretations for specific images, in which case, it is meaningful to refer to symbols. Freud's (lyOO) forius of interpretation are of this nature and he offers interpretations of dream synbols, which are often related to sexual organs or sexual activity. Another approach is to accept that each individual evolves a set of meanings for his fantasy world which are unique to him, so that it is not possible to make general interpretations that apply to more than one person. Most of the writers involved in guided fantasy go even further and suggest that the only person who can make a meaningful interpretation is the person who is directly

- 55 involved in the fantasy. He would probably have to be trained '

in attending to and developing aspects of his fantasy, before he could recognize that they had any meaning. Paradoxically,

most of these writers go on to suggest general forms of interpretation. The writer can well understand the need to be interpretative, as, in his experience, the process of guiding a person through a fantasy, involves the experience of a parallel fantasy based on the same material. This is accompanied by a

strong need on the part of the guide to share his experience and interpretation of the experience. This is obviously not

a legitimate activity, as the guide is almost certainly having a totally different experience, with different emotional associations. Jung (1961) provides the most extreme example of a writer who advocates allowing the person who experiences the fantasy to analyse it in his own terms, using 'active imagination'. Then he goes on to ^^escribe a set of archetypal images which, he suggests, have developed through the experiences of the race in the past. This obviously implies a genetic basis for certain forms of imagery. Parallel to the archetypal images are those

images that have developed as a result of the individual's personal experience during his lifetime. It is all very well

for a Jungian analyst to deny that he gives interpretations in the sessions with a patient, but many people read about the theoretical basis for the method that is being applied to them and may be producing images to suit the theory. The archetypal images include the 'Shadow', which represents aspects of the unconscious within a person; the 'Anima' which is the personification of the female psychological

- 56 tendencies in a man, both good and bad; the 'Animus', which represents the male aspects of a woman and the 'Self, representing the fully developed psyche, which may even encompass the whole cosmos. Obviously, archetypal elements in

imagery could also be explained in terms of the common experience of the human condition, rather than in terms of Jung's collective imconscious. Assagioli (1955) suggests that interpretations can be made in terms of conflicts within the individual. He suggests that

some images represent inertia, laziness, a tendency to preservation on the one hand, as opposed to growth, self-assertion and adventure on the other. This is possibly an extremely important

dimension, as considerable support for'this particular polarity as a dimension of fantasy was found in the studies completed by the writer and reported in this thesis. Other conflicts relate to times of change in the individual, such as adolescence or the awaking of spiritua?. interests in middle age. Perls' (1969a) idea of 'top-dog' and 'underdog',

described above, represents a form of conflict, which may be expressed symbolically in imagery. The standard themes of both Desoille (1966) and Leuner (1969) described in the historical background have explicit interpretations concerning the nature of the material that is likely to be produced by those themes. Most of the theoretical statements made regarding process of guided fantasy and the nature of the imagery produced, tends to be highly speculative and based largely on the clinical insights of the theoretician concerned. Unfortunately these

- 57 clinical insights might be distorted by the theoretical stance taken by the clinician. With such a labile phenomenon it would

be easy for a clinician to be unaware that he is making suggestions that produce effects that support his particular point of view.

- 58 -

CHAPTER FIVE AIMS OF THE STUDIES

All of the studies to be described in the later sections are attempting to provide an answer to one main question. That

is, to what extent are the various elements generated from a variety of guided fantasy situations, perceived by the person experiencing the fantasies, to be similar to or different from each other. Some form of evaluation is necessary to establish degrees of similarity or dissimilarity. The phenomena to be evaluated

are often fleeting, ephemeral and unique to the individual concerned. It could well be argued that most of the conventional

psychometric techniques cannot convey the quality of personal fantasy. Even where forms of quantification are being used,

there is no way of snowing how the estimate of one person compares with another, as there is no external criteria against which any form of standardization can take place. Using

estimates of the vividness of imagery (see Betts, 1909), it is possible that a person who gives a maximum rating for vividness is, in fact, having a less vivid experience than a person who gives a minimum rating. One approach to the evaluation of personal experience which involves a degree of quantification and at the same time leaves intact the phenomenal world of the individual is the use of personal constructs and their evaluation using the repertory grid technique (Kelly 1955)* One of the main assumptions of personal construct theory is that a person has a limited repertoire of bi-polar constructs

- 59 that he uses fairly consistently to order his perceptions of other people. In spite of the rich vocabulary available for

describing people, few individuals operate with more than twenty five of these bi-polar constructs and these aire often closely interrelated. The techniques for eliciting amd evaluating personal constructs(Framsella and Bannister, 1977) have been applied to a variety of different human situations. This application

of constructs to external events has proved to be a productive way of demonstrating the coherence and structure of the person's perception of the external world. There is no reason why the

same procedure should not be applied to the individual's internal world. This has been done in the evaluation of

Rorschach responses by Salmon et al (1972), who found an internal structure in the organization of responses, but not the same as the one described in the handbook for the Rorschah Test. Kelly (1955) himself suggests that his c.jproach is a projective technique, in that it demonstrates how a person uses internal structures to organize external experience. He

goes on tT argue that, being projective, his approach is more objective than the conventional objective techniques. This is turning the traditional argument upside down:"Indeed, we see this approach to the clients as being more objective than that of the old-fashioned psychometrician. It is more objective, not because it is more legalistic a feature which is often confused with objectivity - but because it is more object orientated. It recognizes that it is the client who is the primary object of the psychologist's investigation and not the test. Thus we would agree that the psychology of personal constructs is more objective because it is more projective." (Kelly, 1955 PP. 207-6)

- 60 The products of famtasy as elicited by guided fantasy techniques provides projective material par excellence, in that, contrary to the use of standardized projective tests, such as Rorshach plates or the T.A.T. test, all of the imaginal elements have come from the person himself. If these are not

just random chance associations, then they probably reflect psychological structures that represent important aspects of that person. Salmon (1976) extends Kelly's argument:"Although repertory grid technique sheires with projective techniques, the focus on the subject's unique subjectivity world and though, again like these techniques, it is a vairiable assessment procedure rather than a standaordized test, here the similarity ends. Because the technique consists essentially of a sorting task of one kind or another, the results lend themselves to statistical amalysis. Data yielded by the test are therefore 'heird' amd, though making proper sense of the results will depend on the good judgement and imaginativeness of the investigator, the nature of the data will prevent the technique from being merely a projective test for the tester - a chacrge which has been levelled at certain other assessment procedures." In order to make an evaluation of an experience, the person has to be clear as to what the experience was. It

has already been mentioned that fantasy experiences can be fleeting amd ephemeral phenomena. One approach which is

specifically organized to medce the person more aware of his experience is Gestalt therapy and in fact these techniques have been applied to more extended forms of guided fantasy (Crampton, 1969). The mode of questioning developed in Gestalt

therapy provides a means of keeping the fantasy going, particularly when the person doing the fantasy gets stuck. Questions beginning with 'What ?' and 'How ?' provide

- 61 a neutral way of exploring what is going on and helps the person to extend the fantasy without the introduction of content by the guide. The question 'What is happening to you now?' is a good'

way of coping with a pause and 'How do you feel about climbing the mountain?' makes the person examine the emotional aspects of the imaginal situation more closely. A more detailed exploration of seemingly important eleraenib can be effected by using the Gestalt technique of asking the individual to take on the role of the element concerned. "Be the mountain and say what it is like to be the mountain. Say I am the mountain and ...". Initially this may appear to

be a somewhat bizarre procedure and a gross intrusion into the fantasy and yet- most people seem to slip into it quite easily and seem to have no difficulty in personalyzing inanimate and abstract elements. The elements can be explored even further

by setting up conversations between the elements, such as between the 'wind' amd the -snow' in the example given in the introduction, or between the person and the elements. This approach aims to use only material that is provided by / the person undergoing the fantasy and not to allow the guide to influence the fantasy by imposing v;hat he feels is, or ought to be, going on. Obviously, the fantasy can be affected in more

subtle ways, such as by the tone of voice, the points at which interruptions are made, or the exact elements that are chosen for amplification. On the other hand, the Gestalt mode of

questioning could be seen as an ideal manner for a guide to taike a person through a guided fantasy, since it does set out deliberately to minimize the potential distortion of the fantasy experience by the guide.

- 62 The following studies all involve guiding a number of subjects through a series of guided fantasies, using Gestalt modes of questioning to amplify the experience. The elements

generated by the fantasies, that is, those elements that were amplified, are evaluated either by the subject's own personal constructs, or by supplied constructs.

Study 1 Twelve subjects were guided through a series of seven fantasy situations; four standard guided famtasies, an examination of fantasy elements taiken from a drawing of a tree, an exploration of a dream and an exploration of 'parts of the person' as it is traditionally used in Gestalt therapy. After each fantasy, the amplified elements were checked against the separated poles of personal constructs generated by the subject, who is free to use one, both, or if he so chooses, neither of the poles of each construct. This is a

violation of Kelly's (1955) 'Range of Convenience Corollary', producing problems of quantification which will be described below. On the other hand, a useful visual representation

of the relationship between the fantasy elements is developed, u-Jing a reairrangement of the construct poles and elements that have been checked. In thio study, all the subjects necessarily had a completely different experience, making it difficult to generalize across subjects.

. 63 Study 2 This study attempts to exeimine the structure of fantasy elements generated from groups of subjects who have had a shared ercperience.

(a)

Twenty four adults were 'talked through' five guided fantasies that had been scripted. four elements were emphasized. In each of the scripts,

These elements were rated

against what could be seen as universal constructs, namely the bi-polar descriptions of Catell's (1965) Sixteen Personality Factor Scale. From this, an evaluation of

both individual amd shared experience could be obtained as they were using the same elements and constructs.

(b)

Twenty nine adolescents were given the same fantasy experiences that were used for Study 2(a). However, the

common elements were evaluated individual.'y, using the unique personal constructs generated from each subject.

A cruJe comparison of the adult and adolescent data was made. Although the constructs used to evaluate the elements

were different for each group, a comparison can be made cf the relationships between the elements which were common to both studies.

Study 3 This study involved a return to the free, individual guided fantasy of the first study, but with a reduction of choice in the evaluation of the elements. This was done by using

personal constructs in the conventional manner, which permits a

- 64 quantitative evaluation of the structure of the relationships between the elements. Eight subjects were led through five

guided fantasies, which t^ey evaluated against their own self-generated personal constructs.

- 65 -

CHAPTER SIX STUDY 1

In this first study, twelve subjects were guided through a series of situations involving the extended use of fantasy, in order to see if the varied images produced by the different themes and situations were perceived by subjects in similar ways. This was examined in terms of the way in which their

personal constructs were applied to those elements produced. Groups of students enrolled in courses at the School of Education, Nottingham University, were asked if they were interested in taking part in a research project on fantasy. It was explained to them that the project would involve talcing part in nine sessions on their own with the writer, each lasting up to one hour. There were twelve volunteers who came to the writer's office once a week, at a mutually convenient time. The sessions

were planned to involve them in a different experience each week, and they are described as follows:-

1.

In the first session, the subject was asked to generate

personal constructs using the conventional triadic technique (Kelly 1955). They were asked to produce a list of people who These names were written on

were important in their lives.

cards and presented randomly in threes using Kelly's standard question, "In what important way are two of them alike, but different from the third?". By repeating this procedure, a The procedure was

series of bi-polar constructs were generated.

stopped when the subject dried up, or the constructs kept repeatinf^ themselves.

- 66 Then the elements, in this case the people who were used in the triads, were written across the top of a sheet of squared paper and the constructs were written down the left-hand side with the implicit pole written below the emergent pole. (The

emergent pole is the term used for the pole of the construct that is produced first and the implicit pole is the term used for the opposite pole which is produced next.) The subject was

then asked to tick any poles of the constructs which could be meaningfully applied to any of the elements written along the top. The following diagram shov/s the top left-hand corner of one of the matrices so produced:-

n o
..

K W

^ < p^

H K H to

^
rs Pi

w
P-. X

^T:;

^ p>> i-l

w
"

CONCERNED DISINTERESTED TOLERANT INTOLERANT KNOWLEDGEABLE IGNORANT

y
/

y
:

In this way, the subject could choose to tick one, both or neither of the poles of each construct. is a violation of Kelly's As suggested, this

'Range of Convenience Corollary',

v/hich states that the constructs should be within the range of

- 67 convenience of all the elements, so that a subject should be able to apply one or other pole of each construct to every element. It was felt that this assumption could not be borne out when applying personal constructs to aspects of fantasy and that the subject should have the choice as to whether a construct was applied to a particular fantasy element. In

order not to confuse the subject in later sessions it was decided to use a similar procedure to check that the constructs had different meanings, to that used to evaluate the fantasy elements in later sessions. The grids were inspected visually, using Kelly's (1955) sliding paper technique. For this, a blemk sheet of paper is

placed under the first construct pole and any ticks eure mairked on the paper. These marks are then compaured with the ticks for

each of the other construct poles to see if they are being used in an identical way. In this way, the tick for every construct

pole is compared against every other one. If constructs were being used similarly, or there were other anomalies in the grids, the subjects were approached during the week to ask them what they thought about their use of the constructs. If they wished to retain both constructs,

this was accepted, and if they wished to remove one, they were allowed to choose which one was retained. A large, squaired sheet was then prepared with the constructs typed down one side, with the emergent poles placed above the implicit poles and spaces were left along the top to write in the fantasy elements, to be generated later.

- 68 2. At the second session, the subject was seated in a It was suggested that the most relaxed

comfortable arm-chair.

way of sitting was probably to have a straight back, with the head hanging slightly forward, the feet slightly apart, resting on the floor and the hands laid gently in the lap. If the

subject did not feel comfortable in this position, he was 1 allowed to sit in any way he wished. He was then informed that the procedure would be that he would be asked to relax and close his eyes. Then he would be

given a theme which would be used as a starting point for a fantasy. He would be asked to describe the fantasy aloud, as He was told that he

it happened, in the first person present.

would be asked to take on the roles of people, objects and ideas in the fantasy. He was assured that although these

activities may seem unusual, most subjects found it an easy task to do and soon became involved. He was then given the following instructions:"Make yourself as comfortable as you can - relaix - take three deep breaths (pause). Helaix. I wsmt you to use, as a theme

for this famtasy, the idea of climbing a mountain, steirting in the foothills and going to the siunmit, and if there is time, of finding a way down into the mountain. Taike the first image of

a mountain that comes amd describe what you can see and what you feel about being there," The subject was next led through the fantasy using the Gestalt techniques described earlier. At points where it was

appropriate, the subject was asked to take on the role of parts of the famtasy. These were aspects of the fantasy that Invariably, this included

seemed, intuitively, to be important.

- 69 elements such as wind, snow, ledges, jagged rocks amd paths. Dialogues were set up between the subject and the elements and sometimes between the elements themselves. If the subject got himself into a difficult or demgerous situation and appeared to be stuck, he was asked to become the obstacle, such as an overhemg. If he remained stuck, he was

asked to find an easy way round or to use fantasy to find a way of overcoming the obstacle. The famtasy was allowed to continue until at least four elements had been experienced amd worked with. The fantasy

was brought to a conclusion when the subject was having what appeaa*ed to be a positive experience, or when the fantasy seemed to reach a natural end-point. This was done with the phrase,

"When it seems right for you, come out of the famtasy". The elements which had been worked with were written across the top of the squared paper and the subject was asked to tick any of the construct poles which could be used meaningfully to describe these elements. The following diagram shows part of the sheet for the first subject:-

- 70 -

^ ^ S S ^ 5
LIKEABLE

J
/

>/

NOT LIKEABLE J OUTGOING INTROVERTED MALE FEMALE SEXUAL NON-SEXUAL


/ /

y
/

s/

/ /

}
3. In the third session, the subject was told that he would

be asked to go through a similar experience to that of the previous week except that a different theme would be used. Again he was asked to relax, breath deeply, and close his eyes. He was given the following instructions. "I want you to

use the theme of exploring a river from its source in the mountains down to where it joins the ocean. Take the first

image that comes to you of the source of a river and describe what you can see, and how you feel about about being there," The same form of questioning was used. One licence which

was taken with most subjects was to ask them to forget the problem of breathing and to submerge themselves in the river. This seemed to have an important 'letting go' effect and appeared to encourage a freer flow of fantasy. Elements that occurred frequently include the stream, the larger river, waterfalls, pools, fish and often forms of pollution.

- 71 At the end of the fantasy, the elements that had been worked with were written on a continuation of the squaured paper, with the previous week's ticks folded over, so that the subject could not see how he had used the constructs at the end of the previous session. Again, he was asked to tick amy of the construct poles that could meaningfully be applied to the new elements.

4.

In the fourth session, the subject was seated at a table.

A large sheet of white paper and a box of wax crayons were placed in front of him. He was given the following instructions

"Use the paper in any way you wemt amd draw a picture of a tree. Artistic ability doesn't matter, just draw the tree you want to draw - your tree. Take as long as you like." Most of the subjects completed the task with apparent pleasure. When the drawing was finished, the subject sat with his drawing in front of him and was given the following instructions:- "In fantasy, I want you to try and become the tree and describe yourself in as much detail as you can describe what it feels like to be the tree." When the subject had finished, he was asked about parts of the tree that seemed to have been ignored, using questions such as, "What is this part?" and "What happened here?" This was often done in the case of sawn-off branches and parts of the tree that were dying. Moving from this initial description, the writer asked the subject to take on the role of the various parts of the tree. For example, "Be the trunk and see what it feels like to be the trunk. Describe yourself in as much detail as you

- 72 can." Four elements would be chosen, and conversations set up between the various parts of the tree. The most usual elements were the trunk, the branches, the foliage amd the roots. If the roots were mentioned, but were not visible in the drawing, the volunteer was asked to close his eyes amd imagine what it was like to be the roots. Other elements might be holes in the

tree, sawn-off branches, the sap, the bark, knot-holes, buds and occasionally a comparison between the inside and the outside of the trunk. Again, the subject was asked to tick the constructs which could be applied to these new elements amd, similarly, the early responses were folded over to avoid compeirisons with the previous week. There is no way of describing the degree of involvement with the trees in a written report of this nature. Most of the subjects were extremely keen to take their trees awaiy and several said that they were going to put them up on their waG.ls at home. There seemed to be a high degree of identification with the drawings.

5.

In the fifth session, the normal procedure for a guided

fantasy was used, with the theme 'Into the Body', adapted from Schutz (1967). The following instruction was given:- "I want you to imagine that you are becoming very small. So small that you Let

could go into your own mouth and explore your own body. yourself become very small and imagine that you are just

outside your own mouth and begin your journey. What you know about the physiology of the body does not matter, just go along with what happens,"

- 73 The elements that were developed during the course of the fantasies were usually, but not exclusively, known parts of the body. These often included the stomach, because it was The heart and the

the first part of the body to be reached.

braiin were included in a high proportion of these 'journeys into the body', To conclude the fantasy, the subject was asked to find an easy way out of the body. Then he was asked to tick

appropriate construct poles, for the new elements, in the usual way,

6,

The sixth session consisted of a conversation between

parts of his own personality which the subject had identified for himself. This type of structure is often described in the

transcripts of Gestalt therapy in action (Perls 1969). First the subject is asked to identify two conflicting parts of himself. Having suggested two opposing aspects of One, for exaunple, Two chairs were

his nature, he was asked to label them.

was 'accepting Keith' and 'rejecting Keith'.

placed opposite each other, one for each of these parts amd he sat in the chair representing the part he most closely identified with at that time. He was asked to describe

himself in detail and the writer used the Gestalt mode of questioning to elicit more detailed information. Then he was

asked to physically move to the other chair and the process was repeated. Next a conversation was set up between the two

parts and they were asked what they thought of each other. Invariably, during this latter part, other aspects of the person would emerge and these would be labelled and given a chair, setting up a complex conversation. In the exaunple

- 74 already quoted, 'reactive Keith' and 'guilty Keith' also emerged. Only one subject failed to go beyond two aspects When the conversation had reached its natural

of herself.

conclusion, the volunteer was asked to tick construct poles that applied to the 'parts of the person' that he had generated.

7.

At the end of the previous session, the subject was aisked

to try to remember a snippet from a dreaun, that he had had during the week and to have it ready for this session. If

they failed to remember a dream, they were asked to use part of an old dream or a recurrent dream. The subject was asked to close his eyes and relax in the usual way. Then he was told, "I want you to retell the dream The

as if it were happening now, in the first person present".

volunteer was allowed to finish his description and then, still keeping his eyes closed, he was asked to take on the roles of elements in the dream and again, engage them in conversation. Often this would involve an extension of the dream. This is

identical to the procedures in the 'Dreamwork Seminars' described by Perls (1969). At the end of the session, the subject was asked to tick the appropriate construct poles for the new elements.

8.

In this session the subject was prepared for a guided

fantasy in the mamner that has already been described. The following instruction was used:- "The theme I wamt you to use in this fantasy is that of seeo^ching for and finding a rose." The elements generated were worked on in

the usual way and often included the rose itself and paurts

- 75 of the rose. Leuner (1969) suggests that this theme brings out

unconscious attitudes to sexuality in males, but there was no evidence for such a claim, in this series of sessions. The constructs were ticked to evaluate the elements.

9.

In a final session, the subject was shown a tentative The aims of the study were

analysis of what he had done.

explained to him and any queries that he may have had were answered.

Results With the completion of all the procedures described above, all of the twelve subjects had each produced a pattern of ticks which represented the construct poles that they considered could be meaningfully applied to each element. The next stage in analysis involved establishing which fantasy elements were perceived to be similar to each other, and which were perceived to be dissimilar. Had all the squao'es

in the matrix been completed in some way, then a measure of similarity could easily have been established by using a form of correlation analysis. Since, however, the subjects were

allowed to choose whether they ticked either fend of a construct pole or not, there is a high proportion of 'missing data' for conventional forms of statistical analysis. in each column varies considerably. For the purpose of this particular study, a form of cluster analysis was developed, which would provide a clear visual representation of the relationship between the elements, by resorting them, so that those which had the largest number The number of ticks

- 76 of construct poles ticked in the same way, were placed together. The same process was applied to the constructs, using the rows of ticks and establishing which constructs were applied similarly to the elements. A simple formula was devised to provide a crude computed estimate of the degree of similarity of any two elements by comparing the columns of ticks and then the degree of similarity of any two construct poles, using the rows of ticks. This

formula was the number of similar ticks minus the number of dissimilar ticks. Using this simple counting procedure, the

higher the number produced by comparing amy pair of elements or any pair of constructs, the more they were seen to be similar. Obviously this will not be a consistent estimate, as a comparison of a row with twelve ticks against a row with only four ticks produces a set of relationships different from a comparison of em equal number of ticks. This form of comparison was used to redraw the matrix so that the elements which were most similair were placed together and then redrawn again so that the construct poles which were most similar were placed together. This procedure produced groupings of ticks on a redesigned matrix and yet the raw data remains exactly the same. On the

other hand, the underlying relationships can be seen much more clearly in the new matrix. Because of the inadequacy of the

initial measure of similarity, several of the rows and columns were still not in the optimal positions for showing the closest concentrations of ticks. The columns of elements and rows of

construct poles were then successively redrawn to try and find the 'best fit', which showed the closest concentration of ticks.

- 77 The criteria for 'best fit' was to first establish the lairgest grouping of ticks and then the second largest and then the third and so on. Often this involved a subjective judgement

on the part of the writer, where a row or a column could have been used as a part of more than one grouping. Some of the matrices were redrawn up to seven times to produce what appeared to be the optimal au'rangement, and usually had to be left with several anomalies. If there

were only one or two ticks in a row or column, then they were usually placed at the sides. In principle, this procedure produces results that are not unlike the focussed grid described by Shaw (1978), which involves a computed reconstruction of grids which do not involve missing data and are combinations of cluster analyses of both elements and constructs. The approach used here has an

advantage, from the point of view of visual inspection, in that the unticked areas make the clusters of related ticks stand out more cleaurly. Possibly this is removing some of

the 'noise' inherent in a grid that has adhered unnecessarily to the 'Range of Convenience Corollary'. The reaurranged matrices are shown in diagrams 1-12 on the following pages. The names of the construct poles are

written down the sides of the matrices and the neunes of the elements aire written along the tops. The situations from

which each element was drawn is identified below the neune with the following letters:-

- 78 M - mountain S - stream T - tree B - body Q - gestalt D - dream R - rose Thus, a cluster can be identified by reading up the columns for the names of the elements that have been ticked and along the rows to obtain the construct descriptions for those elements.

Discussion In the diagrams 1-12, all the data is presented as it was provided by the subjects except that the rows and columns have been rearranged. The only analysis of the data is in terms of its geographical position on the grid. It could be argued that the relationships between the elements and hence the structure underlying the famtasy experiences is revealed in the shaded areas in the diagraims. It is as if the related aspects of the famtasy appeau: like clouds of crosses on the matrix. The groupings appear in varying degrees of clarity. One

source of confusion occurs where one pole of a construct has been ticked consistently for most of the elements. These are

obviously not discriminating between elements, amd could have been omitted from the diagrams. Another complication which occurs several times is where there is an L-shaped cluster of ticks. This is clearly

demonstrated in diagram 1, which consists almost entirely of

- 79 Diagram 1. Rearranged Matrix for Subject A

1 1

1
1

1
1

1
1 1 1
t

[S NOW

i
PI
1

\
1

ffi PAST

1 a. SED 1

!
<l

!
1

0.1 2I Wl i W

< -*
El OS

^l O

!
pi

! -l g' ^

S
o
M

Q . liq 1 <

^ g
6

g W & a O P T

EH

w| a.

< o

.i 8 $

~ 1 s o o
lA

.^1 "^i ?^l

a g!

s -4A sfs
I

1
1

T.T'K-AF ARI

D M T ] 0 G- S Mi 8 T 1 / o ; fe -7 / t U i< 2 ' '? i 3 : H i i<? 1 3 ' n 8 ii'*-' ( ' J^ ! 5" ! x | x i x j x 1 X i X x x ! x X | X

G1S
1

Tlc^ s 1 s
X 1X 1 X v

1
1

4
12 X' V

i
!
1

Ix-; X X

l x | x | x i x : X X jX j X
X X X X X

' i1
i

NDfr M OODTT WAIRM 1

1 J

x|x
X X

X X
X

X | X | X

1 1

'

M i l 1 ' 1
1 1

T^
1

:1

/f 1
lit20

xlx XI
X
'

X X

X X

1
X i X
1

1 ! iTNnKMA M D r r N Q 1 1 i 0P<^ MTNpEq 1 1 <

1
I

1
X X

X
X X X

X ! X X X X
X

i
1

'^
X
X

X X X X X 1 X

X X X X

X X

It,

XjX

X 1 X ; X X 1
X

X^ 3 ^
X

xjx

X X

; X 1 X X1 Xj X
X X X X X

1
1
i 1

i
j

1 1 onrroarNf? r.cMPrpF.-N TFl

^
X X X X X
X

X1 X
X X X

X
X X

.qrlvrrAiT,
1 1 1 TT^finKPlRNriKNT

n
IS
12 2

1
1
1

i
!

;<

X
K

X X X
1

11
)
1

1 AT^iTTT.T m\v

1
X
X

X
X

x:
X X X
X

<
X X X X X X X X K X X X
X

X 1 X I

T.lrKAiRr,-F

X X X X X

X X X
X X

i
1

1 1

1
i

1 r, DE lANDIN
-DQ 3M Tir,

MAV.F. 1 1 EMDTTDNA

5
II If IC

X
X X A

X
X

'^
X X X

X
X X X
X

X K

X X X X X

i
X X
X X
X

cu 3.SE?
_MQ2ni D J^ L i 1 IN teOVERTED i 1 NOir-AlcONFI DEN rE
i 1 NO ^-SEXUAL

22
M l(.

1 1
1 !
1

1 1 1
1

%
X

'X

X X
X

V
10

"
X

X
X
<

X[ X
X

'^i i

!
1 1

X X X

X1 X: X
1 1

1
1

8
21 17

x!
X

!
1 i

X X
X

1 i
1
1

CHJrLDISHi i

PE P N E bENT

X1< 1 xi 1 1

1
1

1
j
1

x|x

x | x !
1

1' 1 1 11
1
1

1 1

1 1
1

L 1
1

1
1

- t

1
1

1 i 1
1

1
1

1
1

1
1

1
-1

1
t

1 1

- 80 Diagram 2. Rearranged Matrix for Subject B

- 8i D i a g r a m 3
i
1 i

]R e a r r a n g e d
1 , ^ 1

_i
!
1

'

!
1 ,

i ! 1 i
t
, \

1 i
:
^ : '

t r i x i o r S u b j ec t c : 1 ! : ; i , 1 : 1 i i : ; . i ; i ; ; i ' i I I 1 ' : 1 ;
^a
I I I ; : ' 1

1 ; ' : ! ,
1 i '
! : ' :

1 !

i . '

i ,
I

:
1

i
'

1
1 , 1
.

1
:

1
'

'

h i
1

1 ;

'
! :

'

! i ' ,^i 1

' . . . i ; 1 . 1

1 ' ' i
i ! :

1
1 i

1
1 i
l '

i ' i
' : 1 1

i
'

1 '

1 '
" 1

;
i :

I
' 1

'

'
'

.
'

'
i

i
l

1
1

1
! ,

i i i
' H s 1

i
' 1 1

'

i
1

!
^

;
.

' ^ ^

'

Ml Q
Z

'

"^i

1 M

^ ,

i 1

M : ^ ! 1 1

'
,0-.
Ql

i S'
,

<

' ^,J ^

\
1

' ^ ^
tri G o

\
a

'.
. HJ

^ ^
^

'.

1 ! 1 : : : ! ; i 1
1
i I 1 1

i ; Ml R s Z.\

: !
1

' j

,g

03

8' S S' ^ O O
fi o

1 21 W uj '; Fi ^

' '
^ _g cJ

s ^
S>

M'

d t o m a 3 c o u E - i S : o f f l C N < x w > c r ] a H

1 Li(fflT

1 1 i _ ; i i i i i ' ! .

___ 1 UNEEALI. i n c
SI

1 '1 " i^
l i X

T o j / e J c i s D J s S f l i T i & J M C - j T M I S ' T M , t ) | S , / < | M ' ^ . e S e 9 n l j o i i f lij 'i<t: 7 1 / t ! II , j i t . l l i | i a i V 1 9 10 1 ;Aj 4 a i a .11 n /T <

x[
Xj X 1 X X
1 !

lo X i K 1 X "l

1 i
"i
X IX

1 1
X 1

i i

ClmiTiv E

? ?0L5mi': " il"'


1

x| 1 1 ! 1 1
I i 1
1

I 1 1J
i
; 1 X

i 1
1

1 1
1

|x| 1 ! ' .

: !

!
1

1 1

' '
1

'

'

1 ' ! i 1 ! 1 M i
' \ i

'
'

' 111EFTIC" 32(1-- j " Iii ' H..OCKED.


i NEQArnrE
1 :

1
X X 1 1 ; X| X

' i
'

x 1
I l

i 1
l

x ! :

x
I I
1

l
I

'

'
,
'

'.
:
1

'
'

'
;

,
,

1 moRiaiNAL
' BDRINQ !

'^ /? a<f ' 1 i'l ,


V
' l ,

i 1 j

Ix
]

" ' i ii 1 ^
X
X

'
1

; ;

; 1

' ,

1 ' 1

1
;

1 ! 1 1
;

' ' 1 '


1

! ' i
:

1 1

! '
,
I

i SHALLOW! 1 ' i
EASTIOOINQI
' l I '

1 1 1 J.. : 1 .i
i 1 ' 1 1 1 ' 1 1 !

' i i i '
ix i i 1 1
1

;>< 1 . 1 X
1 1

'

'

'

, : 1 1 1
. 1 1 1 : '

1 I I I :

' '

'
1

EBTEETAINING ' I H 1 : PLIANT ] I -2


DisciPLINED '*'
"^

1 : i 1
' 1 ' j i 1 1
1

i I ; 1 .
' 1
1 '

: i i Mx 1 1 i 1 -x! ! . 1 ix i 1 , 1X;X1 ' i


X xl
X

:X 1
\ ' \ [ >

i 1 ' Ix!

j 1 '

i 1

t ' 1 ' 1 1 x'

ixjxixl X X ' 'x;


' 1

'

j Ixi

' t 1 M i 1 ;
1 1

i i

, : ,x

1 'X '<

1 ,

'

PRACTICAL

! ! 1 1 ; !
i

i
vj 1 j 1 i ! 1 1 : 1 ; i 1 1

1 X i X I X 1 X 1 , 1 ! 1 ; 1 1 ' ! , x j x | x l x

'PEOVTldQ ' 5NCHMS 1

'3

JRJ3THIES'
' : , [

.' ."
! 1 '1'

'xl i

i x ; x ! x ! x | x x x < i ix'
'

x' 'x
'

i
1 !

'

'

HC

ST i 'TIVE

'

| X x ! x ' X ' x ^ x
1

i^
'< D 37KP

j 1 [xi 1 1 1 1 i
; !'<,
i

1 i i'2
lit
'15'
1

'
:

! X, I
'

, !
1

' X : :x: ix,

X l X i X . X ' X i x ' 1 X
' X

x ' x , X ' X x X X
' X X .

^ J . J O T E P E N D E N 'p

i : U
i ' i
1
,

:
i '1 : N '
1

1 EETICJ E J J I -

Ix
; X 1

X .
| X ,

'

X
X . X

' 1
.

' '
,

'

! irJTKfI S E

'

'

^" ' p c)SI1Tin ; ' . i S] in , vm.T.m ^ 1 ^


i AUTHORITATIVi:!''' i DEPENDKNT \

i ' i 'x: ' 1 1


' X 1 ! X

1
1 ' !
1 1

1
1 1
!

ixi
I X ' "
; '

;x'

x . x i x x x x
I X X X x ' x
X ' x ; x X

' : 1 '

! ' 1

i i

i'!
!
X <

i ^ ^ _Xj

L '
1

1 1 i
1

1 i ,

1 i i

j mrai ' CaiTICAl , 1

1 1

la? 111

1 i 1
i 1

i i i

1 '
'

'1
'

'

1
'1

11
!

11

' ^ i i i M
I ' l l '

1 J 1..
11
! i 1 i 1

'Xi ; 1 1 1
' 1

1
1 i i
1 1 ; 1

x|
'

i
1 1
1

!'<'
1 i i i
1

1 i
1 !
1

i
' 1 :
1 , '

:x'
' X. ! 1
1 . i 1 l 1

i
; i '
1 l i 1 ; 1

.
1 . .
1 J

1
! I
1 : ,

'

.
X

1 '<l ' 1

.Xi_ ,

'
1

1 1 ! 1 ! i i 1
1 i !
1 1

'
1 i , 1

1
1

i ' 1 i
' i : 1 i i ! ! ' 1 ; 1

'
!
!

I
1 '
i

'
'

1 > ;
'

! '

1 1 i

1 1 1 1

1 1

'

'

1 i
1 1 ' ! 1 : 1 '
: i

1 '

: 1 1

i 1

' 1

' 1 '

i i! 1
1 i

i
1

i . 1 ' 1 , : : ^ 1
' '

j
1

1 : 1 i i 1 ; ;
i , ' , ' :
,

: '

1 j ' 1 ! ! (

1
i

1 1 1 : : 1 1
1 ' 1 1

1 1 ' ' 1 .| 1
1 ' 1

,
1 1 1

'

< i M

! * 1

: ;
1..

1 \ ; ! '

' i ' , : , ! : :
'

i 1 1 1 ' !
^ l 1 '
1

: '
:

! i '
'

I !

1 i 1
: i

1 1 i
'

: . ' ' i
.

: . '
,

i :
'

' '

: '

' 1 :

' ; 1

1 '

; : ! i 1
;

: : ' '

, ; ^ ^
: :

: ; ! ^

1 ! ' :

1 i ;

. .
^ : ' i

1 . . . . . . . ,,i.

: ! i 1 ' 1 '
: ;
' '

i : 1 1 '
: :

' : : ' ^ 1

'

, ,
'

I 1
' '

^ .
'

'

: :
,

; !
':

^
^

: :
' 1

l '
'.

, !
1 ,

' ; '
.

,
.

, '
'

l '
1 1

: '

,
'

'
!-

'

'

, 1

I L...',

1 !

>

- 82 Diagraim

' 1 ; 1 i
1

4.
i 1 i

Rearr ange d Matrix for S u b j e c t D


' '

1 1
i :
' '

! i
1
1

'
i :

i i i
1 1 1 1

' i

! 1

1 1

' 1
! : 1 1 1 :

' :

'

; 1 '
1 ;

'

-1 1

1 ' 1
I

'

\ :

I i 1 ! i 1 : 1 ! 1 i 1 ! ' i .' !
:

1
A

1 '

' i
' 1 \

I ' l l 1 ' i
\ : \

'
'

'

;
i

1 1 1 1
1

i
1
1

1
'

i 1 M ' 1 M '

'
' ' !

i
1 i
:

1 ' '
1

'
1
!

i
1

M
:
;

i
!

:
1
1 1

I
1

1 i 1 M 1
' ] '

'

'

'

i
^

i i i !

'M ' i i
~^ 1 i
'

MJ
' ??

1I ', '' ^ ' 1


i 1 '
H'

' ' '

; '

i ,

! : - 1 i
1 1 1 . , 1

1 i ' 1
! 1

1
1 1 1
i J

1 M 1 1 M y A 1 i m g ! 1 1^J 1e ^ d i w g g ^
1 m 3 1 *-* s

' ' M a

'

! M T ' g

^ g'

S .'

' ^' ^

'
1
1

1 ,

! . ' 1 ^ .1

^JJ_P ki

i s ^ ' ^ i p

.1^ ^

'

'5"^

! !

M
' 1

t^t
II 1

t 3
C

S ! P

l ^ e i i i s i ^ ^ ^ ^ ^ " 'a^o "a ^E-,^J^^ ^ a c^H^et1T gT' 8 s Rs 3 a a. P, ^1 ^1 ri b 1 j j


" > ! A ' B I I : S M / , - r i M i t) '

1 i
! j '

Mil
. 1 AvfRTT^rnns

1
S
IV l l IS"

1 8 1 1 l i l S' IC 1 iavi i<? 10 i l l ! n' in' i ^ ' i i ' II ' i l i a f c ' i - l i f i f i i i i 8 . i, 1

li 1 i 2 i l l i !
1

KimHTiKIX!fjRT.r

'
1

:x|

ixl

'

xl

1
X,'

X X 1 X
X ^X ; ' X ! X 1 X ! I

'

1 i 1 M ix

' i i i
X1 X1

' I ' l

'
'

M
'..

M i
i
: !

M
ixi

' ' 1 '

' ' 1 ! j '

' 1 '

TTARCKS-'III; TNTni.KRHT 1 1 ' ! Tj.i.Qffjr.t,j. 1

ar
V ao
1

. i _ ^ ^ 1 \ 1 ' 1 1 1 1 1 1

i
I

I ' l '

' X ,X '

1 X '

i x ' x i x i x x '

'X,

x'

ixi
1

.
1

'

Ixixxx'x'x'x'
l x x x ' x , X | .

,x
X, ,XiX

i 1 ^\

l ] ! - !

1 ' 1 j ' x | x i x ; x ; IX

1 , ' ;
I
1

'

IGNOKAWl'

(,
le
II

' "Xi| i :
i I

I
'
X 1

| x x | x ] x i x x .
; X X

x ' x i x x i

j I ,

'
1 ' '

'
'

1 TTurtfiiES-?,
1 p/iTrmT ' 1 TOLTTHANT

1 1 1 1 x M j '
X1 X1

ixi

M
j 1

i^i
1

M
' 1

1
.

i
!

,
' 1 ;

'
X ; X X

X ix

1 X! 1

3 X
13

: 1 1 1 ! :
' 1 : 1 1 ;
i ' ,

CAEING 1
FpnmriT.T

1
xl

1 CONCERNED 1 1 I sKrnD 1 i LOGICAL

i '
if

-r i 1 1 1
1 1

1 :

1 X : X i X !X 1 1 X ! X 1 X 1 X X X 1 X 1 X X X '
X 1
1 1 '

1 Xi

: : i

1 i

' 1

'

: 1

X ; x'

xl

i
1

. i i
1

: ^i'*!

Ix
X

X 1 X XI
X . X 1 X

X ! X 1 X ' 1 X j :

i
1 ! '

M
' 1

;
'

.
, 1 '

M
. .

:
1

1
'

2v
11 10 1

1 ' i !
\ iX
X

1 X , X
1

X1X1Xi

, 1 1

I ' x l , 1 i '

X , '

1 cAtmonsi
' RpsgWEDJ
, i 1 ' I : 1 ' l 1 ' i SCCIAHLB ' ' TVPAmMT

1 i^'i"; 1 ix | x 1
1 1

' i
' : i
'
; ,

;xM

1>
1
12

! i
i 1 1 1
X X '

1X1

1X

'^M

1 'M
1
1 1

! . M , ' :
M
X
'xi '

! EXTRAVEKT i

1
'

M
1 Ix- x

I'ti"!
1
x:
1

I ' M '
1
;
'

'
IX, ,

i",
X

'
-r. . .,
X

'
. ' 1

1
1 '

'
. . 1

1
1

pfrisgiYC
1 HTTMmj; i 1 1 , 1 SET i 1 [ UTJFRTENDLY ,

2fc /t
21

1 1 X. 1 X , I X X ; X . X 1 X 1 1 X X 1 j

1
1

'
. . .

:
1

'

!
, ,
1

xixixi
X I ,

'
:

1
1 1

:
'

'
1

!
1 ;

1 1 1 !

1 X 1 X 1 1 : !* i 1 ' , i

1 1

1 X 1 1 ' ! ' I X : , 1 . 1

'

8
! j

' ' 1

' X ' .

' , ; 1

' 1 .
. . 1

1
1

; 1

' 1

: ; 1

' 1

'

7
1
1 i
1

^ ' 1 ' i
' 1

1 '

i 1 1' i 1
1

1
1
;

1
1
1

1 i 1

M i !

! 1
1 1

1
1 ,

1
'

1 1 M 1
1

1 1 i i i 1 i 1 M
' 1 1 1 1 1

M '

'

I i ! M M
M
;
1

'

'

'

'

'

: 1

M
: :
.

'

' i
: i

'
!
' 1

: i
i ' M "" "
1 i

(. i I i ' i 1 ' :
1 . ' ' ....+. 1 ' 1 ' i_ 1 : ; ,' , ' 1 ' 1 ' 1 1

' '

1
;
1

1 1 ' ' ' M i : ' ' ' ' M 1 M 1 ' : i ' l ! 1 ^ i : : i . , ! : 1 i


1 1

1 ,
' 1 ; !

: .
1

',
' i 1

1
i ' 1

i ' ! :
1

' 1 i

:
1 1
1

:
1

1 ' 1

'

1 1 i 1 '

! ! i
1 1 1

11'

' 1
i 1

' M ;
1 1 1

: :

'

' ;

'

L : 1 : :.
' '

'

-r 1

! M' 1 ; i I i M , 11 '' :: ' 1 -T


i ' , ' 1

M l ! !
; 1 ! i r ' ' " "
! !
,' '

i 1 1

;
: ; , i

1 1
;

i M M _'
:
1
:

,
1

'
'

I
1
1

.
' '
;

.
,

;
1
(

1
.
.

'
'
1

i
1
1

: 1 i : i
1.'. .
'

i , i :
: ^ ; ; 1 ^

1 1 > M M :
'
!

' M l ' 1 i l l ' 1 i 1 M i I


'
:

1 1 1 M i i M i i M ! ! M 1 ' : i ' 1

1 ' 1 1
! ' 1

M , M '
I

'

.'1-. ; ' '


^

: f
1 :

'
:

: '
'

1
i

1 1
l l

'
'

i
;

!
i ,

M
'

'
1 ,

i ii i
1 1 1

i ! M '
1 ! 1 1 ;

MM;-' ,
- .. 1 i i

I ' M
: ! :

1 1 ! M

1. 1 .

- 83
Diagram 5. Rearranged Matrix for Subject E
I I
I " I t - 1 -1

.-: -.-4:-i

-iH---J--, \.
.l._^L._iSI

- ] - 1-1- 4I I

--\ i
j 1

I - I

-;- H -

.I.

H-^i^-ii E-t,

-f-dip., f-i
W , W

-f^ C C
HJ

i
U , . H. p . .J, tti t^

t-li H , < i t-i, a

col u l w, M ' E

E' s

-r

T . T
1

s i ' s i S j S C - T . c . ' l s ' 8 j _ l TI /^i o b M , a ; s D fl I II '13 21 ' 8 l i e ' I t ' It I n lio n . i3 I S ' IS a t '11 '!< i<t a j i i . 7
^ X^ K ; ' X X X X X i X X ' X X ' " X I X ^ X X , X X I "' '

-7-4-H-

Mb-M

a j < 3 . cic:o m ,c a 3 :o p o ' jQC ' <t a t^,- ii-,

a
"-^

gM

W '- E-i W

5 &a < K
t_' EH

WJ

to 1

-4-

MMI? D 3 aT 20

I "I
: _^WEAK
.

r0.1*
-_ J

I'l
"1
_29

.,__l-J_. i._J5^
T : i xl ;X
IX
i _ j . 1

*'" 1

FTTr.YTKT.Tl '

EMOnONAL

I x l X'
X I X X

EAS1-Tpj:0t. MUH '.'


EIIMULATING._ , _ FOLLOWPE, rnnR-mFBAnr. MK-Brtgi-g i _; , - FKKI.TIIG.- - J .-

-4-X X x X

M +

,.5- X \^- X X 1'?. ' d

I X X X , X I Xl X X , X

:i. i - ; - 1XX

I _; ' _

XIX x l x x l x i X ' x ' X x.x.x x'x Jtjxlxlx r v x x x x x x ' lX r


-T-

' _ l I
I , X '
X X , X X ' , X X

__ELQSE.J !-_ -iI TRDTHFtJL^ J -.PEEEICIABLEI __X>MTENTEE . ^ 1 _ ._LEAPEIi. ^ ^ _-XONFIBEllt_^,-

i-^ _L15 _17 111


11

X X

xlx

x i x i x i x ' X
X I X I X X , X X X

-r

.
X ' X
X X X

X 1 X 1 X 'X 1x1
tX X ' X I

X , X I X
X ! X

r
X

x ' x j x x x x

HMX
X X ' X'X X X X X

X X X

- 1

'

'

JiELJABLE . _; _ BOEiPfii ! ; \lt _ UMFEEUNQ ;__ 130 ..._UIffiMOIIQMAL^_ _ _DISIAm,_._.^ ^ i t _._PIET.. trO XOMiM..WlTH '} . ..UMPBHilCmBU . _ BNFLEXIELE , , J^". . .DISLI.'Cefl/iJ,e j_*. _.UIffiELIABLE: :*. .. raCONSIDERAEE J " _!LrQ1G ;_'__ |. ^ . . ^ . * i II - jmCOMTENTED,
-L

x x ' x ' x x '


[ X

i x x ' , x11
' X i X

, X x l x x ' x . X | X ' X X X X X

X X X 1 I

X ' X ' X X X X X X X X . X , X X X X X

-1

X X X ^Jf X X X

-r--t

-1T-TTIX

n "

-H"T

i "M

'X
X

^r

'.

-T - !

a.-j

; I ' ! ' I 1 i I

.i.._._J.
-4-...

'^

_1

p_

- 8^ Diagram 6.
1

Rearranged Matrix for Subject F

T- 1--':i:]:i:i M-'1" ~
--!-~T
'

-r]

)-

._^J..

M-

+r

---i-

-p-rT r 1
1 EXPLOITED . i i _ j PEOPLE OBIEIJTAIED^ ' AWABE!, ; .', _.,_,.4'? _iCOBPUCENT.J - - i ^ - J ' ^ __ARTISTIC __ .ANARCHIC. __:PPSN I ..^. .._(HO_rJES|. _ . _^ACCJ5TIN_0 _,jsEguR5 i_^ L __jSYMPATHETIC __VULNEEABLE t TRODBLED ,CpiJFnSED_ _^ _ INSECURE i ^SELF OBSESSED __^DEPENDEHT_ i._ ARMqTOED,._i_ , _.iRIGID_ ^ REJECTING _PRIVIiEQEDj _tmSYMPATgjETIC_ _ L. _ J'HILL|STINE_ jCONFOiy^ING __|PI.SH0NESt _THING_ORIEinATKD..i 7 . lEXPLOITING ' . '2 L^ j - J ..JINPEPENPENTJ '. ^ ; ^ '^

"T"
' ' ' 1

....;_,
1 1

SELF SACRIFICING 'DEPRIVED__.

'

' i 1 _.: i 1 p ' ; " ! U i-i-^' ; ' 1 ' - 1 1 1 1 u^ p-1 '-r , t 1 M^-iin:+'^ I ' M
, 1 1 1

' M ] ' ' M ^ i M j M ' ' M


I I I " " " , ; ,

':

M ' ' ' ' ' '


1

'

'

'

.. -1
1 ' !

M
; 1

t
1

-^
!

'-' i
' ;

:-

4..!....
' i i
1

:
1

I.

M:.
1 ]

I
-t

'
,

!
.

1 !
1

'

M
1 . '

i ' i M
' '

;
1

-.i-. _
i 1 1 1

' '

' -

r -T-"n : j p :
' 1 ' ' ' '

. ,. 1 ..LM ' ILJ


:

'

' '

'

' :
1
1 1

1
' ' ,

'

'

li

_ '_ i._ 1 '___:. ! : _ M M : '

!
1

, 1 ' ' ; , :
, j
1 ,

' M i ' M ' '


: 1

' P 1 P i i i ^ ! i 1 ' i M. , ' j


'
_ . . ' . ' '
1 ' 1 '

M
i 1
'

i
'
1

'
i
'

i
.

i
'
1

I
'

'

M MM
i 1 1

'

' , ' 1

, 1 1 p
. '

' 1 ' ' i


1 1 ' 1 '

; 1
1 '

P
i

1 ' i

_......
i . 1 1 . 1 1
1 ,

1 '

'

<

' i
I 1 1

'

'

'

; i

I "

. i I

: ' i : 1 1 1 1

- 85 Diagram 7.
-h-!-

Rearranged Matrix for Subject G


"1^

--^

.L.^. L.
r

-f
I

8 S s
W O !>. to O <

^ o'

g g. M e g h-tO-^
K O C O H >-* O ts o O S.

^ o. g e S ^
^
M M o

--2; Di

Si
to E5 -. tr. & to to S ; I? 5 6 ti

3 g

9a
f-. O .J t*. Z Ur.O O S

- W o E-. .J p to < S Ui r: _) G ../;

-T-l\ ^
I

Oiw T: ^M 2* Z

cm i3 i"?

M I

D I 5

&! S M j T p ^.l/'i?

Cr 7 10 a o 11 11 !<. ( 4 2-! 3

'<
DPEN.__i I COKTORMIST

r
._
21

(f

2.T 14

fc.n'g

aa 28 I I 18

NOtl-MAlNIF'nLATIlffi I ' ' 1 ;

3o

.1 j__L..:-^..

ATTRACTIVIE RE.SPOMSIHLE ' PLATS-SAFE ' INT*IMATE __ _ -EliOTJQNALLr, TH0UGHTF1 rTFUX I

1
-T

:s
'IS ^ II -7 n < ?

-r-r

EARTHI
1 '

1
,

COftST/mT 1 ETFtoNG

J33
i 1

_WELL-DEFENDH)

AGCTESSIVE _nGLY ;__^ ;

n2. 10

MANIPO!LATTVE _EGO-CENTHIC _ _ _ MEAN_j__ _iREESPpHSIH.E__ -1-4


WINWER 4 ..i

i^
l3l

X X

: :
1 i 1
! ' 1 i--

1 X ] X

1X1X
: X

1 X IX . X _1
X

I X

X X

MOODY __ J_ _ ; !
NOU-CONFORHIET

; :
1 1 ' 1
1 1

-^y

X
X

'1

i1'- -

VOLATILE _;^ CIIARMIf)G^

M"'"!'T

"

- 86
Diagram 8. Rearranged Matrix for Subject H

M"

JEMEWY. . . .
NOfl-SEXUAL

...

NOri-F.RATERtl/U,.

1 cLOsro _;_
; DISTANT ,_ ^REJECTING [_ARCHAIC i OLD _ _ _ : _ _ \ AUTHORITRRIAM . INTOLERANT . .AGGRESSIVE .MALE.__ J PASSIONATE .VIOLENT ! FAMILIAR. .LIBERTARIAN.. FRIEI^p ..OPEN^' ;GENTLE__ :.ACCEPTING. . TOLERANT
1 I I"

CpOL_j_. .J...

1 YOOTia

'PASSIVE..^, _ . SEXCAL ^. l_

+.i.

; HETEROSEXUAL ! MODERN ! FEMALE 1 NOTJ-FRATERNAL 1 HOMOSEXUAL

]-::::l.:;:.
.^ .._-!_ (-

.4

r--t-

- 87 Diagram 9. Rearranged Matrix for Subject I

I 1 -.4 - 1 -

- T-r-' 1

-j ^- r

n
_ t - j . ^ bi 1^ 5 tM f K p c + -m-. . - J. .4.

j-_:

J '^ ^ g" g s I i E s
6
(4 to 3*

K & a g~

i
..-.I

iaE^
- i . . . ' ' . . I . ' ^ . s: g R 0 I f 28 3 fe /* 24 13 15" 31
I

I I g3
t) T
/O

D
20

tn

T R M
<7 1^ I

21.

to

T
H

(3
if

hi

tn

to

t_i

b i<? ? a
X

i3 I I

HON-HELIGIOUS
. . .

-- _.J

JELIGHpns; _ 1 PRIM . .1 . ;

1_JI

1..; ^ t

- . H,

-t-pi-^
<[x ' X 1 IX1X I

.j_..:_4.
X I

pCRUFFY. . .J__421 GETS WORRIED I __ 6 GULLIBLE _ SUBMISSIVE ORDINARY , i

. P.L.4
X X X '

_-_l

-1 LESS AMBITIOUS DEPENDENT _QniET ^ _WARJJ ^ ^

XIXIXj .:iS X X X xl x; X '2- x l x X 'T^ : I 'X IV X


r

X'

X I

J
X '

I.

'

X I X

X X

'5 X I X , X

_ __^2o !_ i ^. X l_ ^ n X

^ X X ' X X ; _ X

3:

X ' I X 1

_CONCERMED_

PASSIVE i 123 X X X X TIPPRECIATES ' X POINT OF VIEW_i. X X X a X X X _ CALCULATED -XOrFORMEE-MATURE. _ 1 STAYS .CALM J. ..INDEPENDEI>IT.i_._ _CONFIDf;NT._^ ... .ACTIVE FORWARD FLIRTACEOUS EPONTAtffiOUS r .: : !.
II

X . X I X X

X ^ X

X , X

x l x '
X 1 X X

X
X
) X

'33 I 29
S

X I ' X ' X : X X X <^ X : << X X . X X X

x j X j X X.' j< I

X ; X I X X X X X X

;.^* 3 ^* ' -' 1 . I i ' r - - - i - i - ^ I : I---r

X X X X X X X

X X

;< X

. AMBITIOUS __^. . : ' _.' INTELLECTUAL....I1 ...BMART_ 6ELF .CENTRED; PUSHY J PIG; HEATED iTEAZINC .' 1 3.1 I 34 30
II

;i

I X

X X X

-f1

r; L i - _ _ . . - _ x . .
1 1 '

tfON-CONFOPMEP
I I

_.;M.;.__4.

IMMATURE, i -1 r -

1-1

1^ ^"]M'"IT~"1"'
......
__ _ ^ .

M--4.j
J...,

4-

1 -

i ,

'i:;z^Tr
I

4. 4 -

- 88 Diagram 10. Rearranged Matrix for Subject J.


_ - l _ l

L._,_..4_.^

1.

j.. ^ . . ^ . J .
_---4 I , L i

- I- -I

fI I

.. . M J -

'- J .

M.j
B

cq

to

i
^^p
INTELLIGENT_ | ' ' HUMOUROUS EXTRA VERT i ^''_ 1.'.'. J\.

I
a
t3

ti^i

?
M

E
H

z
2

3 g ffi E5 to e t>
T le I t 22

3 g S
M:IS:C;|G-,S
1

e g

3 12 T

20il

6 24 IS"

2i

25"

<-

I1
! I 1 4
X X

SUCCESSFUL . . i-^2

]x j
- ^ 1 .

-4-

--

IHPATIEI-rr ENERGETIC

. . |i^ -T

.U.NSYl-tPATHETIC,.|2' .4,I

-h

1 1

, X
X X X X X X X X X X

. U I ^ R E L I A B L E ; . . . ii*"

ERRA.TIC_1.._. J ">
OTISUPPOjJTIVEj.f .DISAGREEABLE.J.t., UlfRIENDLY _ J V DISTANT^ _ ' I 2. _FaRCEFnL__.__].'?. STUBBORTl ; II i If . .3i
i<
-I-11 I

_.4...p._|_|_^^^.

X
X

X t X r ^
,_x

X X

I
I

X
. X I X , X

t""":

PRACTICAL _SEDENTAI1Y STEADY .RELIA5LE ._ . SUPPORTIVE ; FRIENDLY AGREEABUE .CLOSE EASY.iGOING 1 .MILD _.:

1 X I X ,

1 X , X :

X
X X I
X . X

ir

-L. . . . ix ' x

X , X

X I X '

"t"

x_
X ,

x x " " * * x ' X i X i ^ X X


X ' X i X . X ^ x ' . X x X x l X ' y X i X i X

x x ' x x x x x

I X ' X . X I
X X

;i ^T ,. ' ^ '^ io ' l-. ^'

' X ' X I X X

X
I I

X x

I X I X

X ' X x ' x l x l
X ' X X X i X . i

.PATIENT.;

x X
X ' X

X X '
, ' , '

.SYMPATHETIC. . 2"' ItfTROVERT , _:'^_ IMPRACTICAL. _ j ^^ m<SUCCESSFUL_ [ i 4 DULL. DRY


I II?

_4 - ^ - f - ^ .

1 < -

..Mi-.-l
j I '

l-M^-1 7 1-^ -:
-L...

I..1_..-JM...
...__, ^.._i..4

..-J...;,,i.:.i.

1
-; - -1
-i~

H-

- 89 Diagram 11. Rearranged Matrix for Subject K

...._ ^
S 3
(X
*

-.)

...4

. g

- o

" a 5

:U
b e
R S

g g g i 8
EH cq to CO <

> 28
I>

Ul

u.

S
.-;

OZ.X o. Sno

u.

a": H s a

S T T B T 8 M b i J M ( J M * ^ S I "7 l l 11 IT (o ( t ? n l> 2 i l 1 l"! < ? ... OBJECTIVE J . . . . ] CONVENTIONAL., . : .SAFE. -r--t---t---' STABLE 1 . . J . .: ; ..J.
12 23 12. If
l<

(^M
it 1

G
8

to C

C.

j i n 20

- r 2.S fe
I I

1 ^ 2Jf

X '
X X < : x

.
x . x , x

i . " I '^ I
x ' x X ' x i X ]

: X : X

tr+^
x x x

X X
X x x x x

X X

^ DEPENDENT _ _ ; ..
4 -J J-

"' I
X X

' 1 '

EQUAI, . ( . . _ ^ . .i. _

'1 S iS 1

''j." X X I X .X

" ' X ; X

OUTWARD;LOOKING
CARING

. X X

X X X X X J 1 X , X X X X X 1
X I X X i

1- i1
x x

rr
.J L_J.

... FLEXIBLE, . j . l._4-'-, INDEPEJroENI . _ _ ! ' . < ...STIMULATING _. ACraNTUROUS I " ;*'

I
X
x

X , X t - I- X X ' X X

X X X X X X X I X X X X X X X X

X i X i X < 1 X X

_. UUCOIfVENTIQUAL ^ 1 ^ ' ' SUBJECTIVE iT X X NEUROTIC _ j

;/3

INWARD L 0 0 p N G _ _ ] 7

RIGID

_ '

i J ^
\2C '"^ I '. ,''f, ;._,:'^ I ;.?. li^ X

imCARING DOMIffEERINg MALE CLEAN CUT_^ SCRUFFY FEMALE BOURING HUNG UP SEXUALLY i 'ADJUSTED

X X X

(_

IHT.T.Y

^I-

... -^

I . J..

-..-.p. 4 _
-L....

-L.u_.i._.

.J__^.-.;

tliti^ii-.: _.. 1.

4-;-M.
+ --4--.-.

- f --; I- - f - ' _^_I..

.l._

90 Diagram 12. Rearranged Matrix for Subject L

p.

(.

I g IS 3 g S 5
T T lo q 8
i<>

'^

-I

[MM 8 '2. 4

ffl cj T &
I I If

w S P e S (J D
I? a t 22. a I

r, ^
D D
11 1 " ZT

g fe
S ->

CC O

o
CL.

trj

C
l

& & S 2 V i T fe

...'

. 1 , .. .CHAuabiG; 4.._! ,'" '. 4 .HIEHONESI vaTH..SELF. .;.''3_

....^.-: ,...._.M..M-i''.l.;-, ,-^i... , .


1 ' i M ' _i..^_i_...
j x i x i 1 : ' 1 1

X X X X X 1" X X X X X X X X X X X X X X X X X K X X X

-:-.-

- -f;sFBffi?s&'TO-- '^'
_ . . G E T WHAT THEY WANT. -* .,2>" 34 , , ^ i ''^ * UNHELPFUL . ; '

i - i -'"-''-

r-i'-i-:--

i^

'-

_ i . _ : -.^ _ . . _ _ . ... BACKWARD, LOOKIIJG ^

,.1- . _ | . . i - . j .

- 4 - P - - --!._;_ .'..-J.^.4. .4- - . - - '-^ A -^;--

M '
1

M
1

1 p
' X ' X X , X 1

M i "
IX,

'4 ' ]

UNREALISTIC NEEDS PHYSICALCONTACT , . mWPAFONfimf ' -. .

. ._
X

'

M ix'
1X1 '

'
X' :

1
i '

'

'x
.-1

- ..J _....^ [

... ..INDECISIVE. ^ . _ DEPENDENT

T " T T " T - - --1-1


' '
'
' I

--- 4^1-.--I

'' X

:..:,,'' '^ , 1 _i_ j 1 1 ' . ' ^*' ^ l3 " < ^..^*. '(5 X *" .
" 1 jM X K X

UMBUCCESSFUL i REPRESSED NOT ASSURED . ANXIOUS , UNHAPPY PASSIVE . J ' ' J CLOSED 4

XX,x'^
' 1 '

, 1

p , ' . 1
l ; i

X X X X X X X X X X X X X X

' - ' X . ,

M 1 M M
1
I ' l

_p__^j_^___^_^__ixix,_P__; :_; ^ ;
'

--X
X X

- K x .

xjx

' ;

x'Xxl

'xj
.

'
IX

'
X X XX X ' ' I
' 1 , , X

X X

M : ' M
X , X X

HELPFUL ' DOESN'T NEEI' . . . PHYSICAL CONTACT DETERJ-IINET' TO SET


WHAT TITRY WANT SDCCF.'-.SrUT,

X l X i x i x ' _ [ _ ' . ; '

X x x x
X X X X X X
X

.
1

X X

1
' , ' X 1 '

1
1 '

'

'
: X ^ ,

'
' X 1X

x x x
X X X X X X X X X

X X X X X X X K X X X X X X X X X X X X X X X X X X X X X X X X X X X X

COLD TENSE . _._ . ... . .^ ;_ . ;RI.Q.ID.. . ; DECISIVE ' . 1 ; ,

I' <^ J^ i"*

'

X ^ x ' x . X ; x | X X X | X

iX'' , X X X , x X X

; X x X | x X X X x X X x X

X x X

X x y

...

INDEPENDENT.. J CONSTANT . . . ASEUKTO.^

...,^^ X X X X X 1 ^ .'
,

X ,

X X K X X

X X X ' X X

X Xl XX ,X 1 1 X X

y X i X x i x

X X X , x , x x x x x x 1
X X X X

... . ,.^;

1 . ' CALM _

_ .

^ I ._j _ _ . " ' _ ; ;'' 4i J'

X X ' X i X ' ^ x ^ x jx X'X x ' x X,X x ' x


X

x x x l x x x x
X X X X x X x x X X X x

REASONABLE

J HONEST WITH SEU~ .. .. ;_._ ' ' ._ . REALISTIC,^ _ ACTIVE J _ | 1 OPEN FLEXIBLE . _ ._. ... _. ^ _ _ FOKWABIi I.OOPNG . _ _ RECEPTIVE WARM HAPPY :.... _i ' 1 .. . ^ . .

x , x ' XX XX

x ; x ' x ' x

X X

'^ >* X ; X 'i^ H !*' 37 X X ',"' X X ^Y 3V X Xl

'''I'M
X ! X 1 1 ' 1 , '

... X ^

x ' x ' x

x l X X X X '
X X X

X I X I X X X X .
X ' l x X X

i x x i x x x x ;
1 1 ' X I X ' X ' k :

XiX
; X X

, '
' ' , l

jx'.x,
i j x i

IX
X i j

:xx'
. X X X
.1

' , '

N0N-I1ATERIALISTIC RELAXED

1X
iX

1
X

. X X I
X X y

- 91 two L-shapes. It is possible that there are two underlying

structures in an L-shape, and that the elements of one structure also contribute to the second. This could be explained in terms

of Freud's (19OO) idea of condensation, described above, which implies that the elements of dreams can relate to more than one psychological function. In the case of the hypothetical L-shape

drawn in the following diagram, two overlapping, but possibly distinct clusterings have been outlined and the elements 5, 6 and 7 involve condensation as they relate to both. ELEMENTS 1 1 2 3 k CONSTRUCTS 5 6 7 8
\,

1 X
1

X X X

X X X

> >^ ; X X

X X X X X X

X J

X i
X !

1 ^ j X I X

X {
X

All of the matrices produce clustering, but inevitably there were a number of isolated crosses. Each individual

cross may be psychologically significant to the person who produced the matrix. Indeed, it seems likely that the emotional

- 92 charge of a single element is best described by one of the construct poles. This relates to the problem of significance in the statistical sense. To what extent does the distribution of

crosses in the matrices differ from a random distribution? The 'missing data', that precludes the calculation of a correlation between any two rows or columns, also precludes the use of the conventional measures of significance. On the

other hand, a visual inspection of the matrices would suggest that none of them are chance distributions using the conventional criteria for significance.

Each of the subjects' matrices will be discussed briefly in turn:-

A.

The elements in this matrix appear to be in two main

clusters (l, 10, ^, 7, l6, 12, 15) and (3, 11, 8, l4, l8, k, 5). They could be identified by the gestalt personalities they include. In the former grouping, 'Confident P' is perceived

as similar to the surrounding elements and is described as not-lilceable, male, emotional, demanding, dogmatic, cussed and cold. In the latter grouping, 'Happy P' and her surrounding

elements are seen as likeable, female, warm, placid and easy going. It is interesting that these clusters could also be

identified respectively by the element, 'life as it is now' and 'memory of the past". There are reasons for suggesting that these two clusters represent the male and female aspects of the subject. This

emerged from a later discussion of the results with the subject.

- 93 Also twice, during separate fantasy trips, she made the strong statement, 'the problem is with the man', which on both occasions seemed to be out of context. A closer inspection suggests that there are two smaller clusters, made up of different parts of the other clusters in terms of the construct poles used. (13, 17, 19) consist of

Shy P' and 'Confused P' who seem to be perceived as simileur to each other and also to the 'dress-meiker's dummy' from the dream. (2, 9), the 'cave' and the 'roots' are similar to each other, but described by different construct poles from the previous small grouping. These smaller groups would probably emerge as third and fourth principle components, if such a calculation could be made. The subject was unable to complete the series and has a smaller matrix than the other subjects.

B.

This matrix also contains two main groupings of elements,

which can, again, be identified by the gestalt personalities. The top left-hand grouping includes 'Stay at home J' and 'J who lives in the present'. 'Career woman J'. The bottom right-hand grouping includes

The descriptive construct poles fits these A possible third

differences in an appropriate manner.

grouping could be taken from the middle overlapping area and would consist of (20, 10, 12) and is labelled by 'Dreamy J' and is described as idealistic, releuced, drop-out, unpredictable, ambitious and volatile.

- 9^+ -

C.

This is a different pattern, as the subject has used the

construct poles sparingly. Four groupings catch the eye, but they don't readily fit the gestalt personalities. An

exeimination of the construct poles applied to these groupings suggests that they are meaningful combinations. These are;

firstly, light, unrealistic, self-involved and creative; secondly, blocked, negative and unoriginal; thirdly, approving, concerned for others, honest, receptive, deep; and fourthly, independent, efficient, intense, positive, strong willed and authoritative. These groupings are a little rough at the edges and for some elements it could be argued that there are not enough parallel crosses for them to be included in the groupings. Also, by combining some of the 'stray' crosses, (7, 3 and l8) could be seen as a fifth grouping, which is disciplined, practical, concerned for others and dependent,

D.

This matrix probably presents the clearest separation in

terms of the combinations of both elements and construct poles. It appears to consist of four, possibly five distinct

clusters. These are; (8, 1, 20) identified by 'Lonely G' which is passive, humble and shy; (7 2k, 19) identified by 'Logical G' which is concerned, settled, logical, cautious and reserved; (17, k, 1^, 12) identified by 'Passive G' which is patient, tolerant, caring, friendly and concerned. The larger grouping in the top right-hand corner is more confusing. Possibly it

could separate into a group which is illogical, disinterested and ignorant and would include (11, 13. 26) and a second group

- 95 which is intolerant, forceful, hauty and ambitious, including (27, 18, 6) and could be identified by 'Forceful G'. 23, 25 and 15 contribute to both of these groupings. Curiously, this subject, having produced the most clearly separated groupings, could not see any point in what he was doing. He thought he was behaving in a fairly random manner However,

and did not experience much emotional involvement in the fantasies.

E.

Here, there are, proportionally, many more crosses and (9, 11, 23, 21, 8, 28, 4, 6,

the groupings tend to overlap.

18, 19) seem to represent a softer positive grouping, identified by 'Social T' and 'Guilty T'. This can be compared with

(10, 17, 13, 5 15, 26) which is a stronger positive grouping, identified by 'Independent T' and is described as strong, confident, reliable, leader. (25, I6, 24, 22, 1, l4, 7, 2) are

seen as unfeeling, unemotional and distant, merging into boring, difficult to communicate with and unpredictable. (27, 20) are

on their own to a certain extent and appear to be particularly unpleasant. This matrix provides a possible example of condensation. Elements 10 and 17 seem to play an important part in two clusters and as such may each represent more than one set of psychologiceil processes.

F.

This matrix is different from the others in that almost The main

a third of the construct poles have hardly been used.

grouping in the top right hand corner merges from a grouping (18, 1, 8, k, 16, 9) which is sympathetic, secure, accepting, honest, open and independent, to elements that are also

- 96 artistic and anarchic such as (15, 22, 11, 3, 6, 25, l8). of these groupings can be identified by 'Risky C , Both

This larger

grouping is clearly separate from the left hand section, which can be identified by 'Hurt C' and merges from vunerable, troubled, confused, insecure, self-obsessed and rejecting to dependent, armoured and rigid,

G.

The overlap in this matrix is particularly interesting.

The construct poles strong and well defended are applied to two large clusters. Firstly (15, 1, 27, 26, 6, 17, 8, k, 11,

9, 2^, 2) which is constant, earthy, thoughtful, emotionsQ-ly stable, intimate, plays safe, responsible, attractive and nonmanipulative, and could be identified with 'Giving C . (I3t 19f 5 22, 28, 25, l8) which is aggressive, ugly, manipulative, egocentric, mean, irresponsible, winner, and could be identified by 'Possessive C and possibly 'Selfish C . These clusters merge down into (10, 20, 21) who are moody, non-conformist, volatile, charming, highly strung, not welldefended, generous and could be identified by 'Funny C. This Secondly,

finally merges into (21, 12, Tk, 23) which, among other things is a weak, meek, loser. Possible examples of condensed elements are l8 and 21 as they each contribute to two of the clusters that have been described.

H.

A higher proportion of crosses have been used in this The main grouping in the bottom left-hand corner could

matrix.

be identified by 'Accepting K' and could be seen as a softer female grouping. The top right-hand grouping could be seen as

- 97 two overlapping groups; one identified by 'Reactive K' and is defended in an aggressive manner, compared with one identified by 'Rejecting K' and 'Guilty K', and could be seen as defended in a withdrawn sense. The construct poles fit these groupings extremely well.

I.

This matrix also demonstrates a high degree of overlap of

related elements, because the subject has often used construct poles for more than fifty per cent of the elements. There are still three distinct clusters. (l8, 28, 3 6,

1 + 26, 23, 25, 12) can be identified by 'Submissive S' and has ^, all the appropriate construct poles. This merges into (7. l6, 20, 9, 2k, 1) which is passive, calculated, conformer, mature, stays calm and independent. This is more clearly separable from

(21, 10, 11, 15, 27, 19, 8) which is active, forward, spontaneous, ambitious, intellectual and can be identified by 'Bossy S'. The top left-hand quadrant of the matrix contains a large L-shape, which raay involve aspects of condensation.

J.

This was a difficult matrix to rearrange, but it is still

possible to identify a pattern running through the overlapping groups. Starting in the top right-hand corner (8, 21, 25, 2, k) are unsupportive, disagreeable, unfriendly, distant and identified by 'Angry R'. This merges into (l8, 6, 26, 15, 17) identified by 'Independent R', with mainly positive qualities, but also unfriendly and distant. (The use of the word positive is an

intrusion of the writer's constructs.) This then merges into (19, 3, 28, 7, 20) identified by 'Considerate R' and 'Insecure R' with positive but passive qualities. This grouping probably

- 98 continues to the left, but there are more gaps in the grouping of crosses. The matrix is further complicated by the two pairs of elements (20, l8) and (8, 21). The latter pair invite interpretation since it involves a high correlation between the deep side of a river and 'Angry R'.

K.

This was another difficult matrix to reso'range and the

groupings are vague and overlap. Possibly (2, 21, 1, 29, 9) make the larger cluster and could be identified by 'Ideal B'. However, 'Ideal B' also contributes to a vaguer cluster, with many gaps, moving to the right and including 'Accepting B'. (17, 26, 8, k, 19) appear to make up a further cluster and include 'Angry B'. (3, 22, 27) make up a further cluster and are conventional, safe, stable and rigid.

L.

This matrix is confusing and was the most difficult one to Much of the difficulty comes from the fact that

rearrange.

several construct poles have been ticked for more than fifty per cent of the elements. The main cluster includes (21, I8, 19, 20) which were all images developed from a recurrent nightmao-e. The distinguishing

construct poles are; doesn't need physical contact, determined to get what they want, successful, cold and tense. This includes 'Teacher A' and the subject suggested that she had to become like this in order to survive as a teacher. (3, 7, 2k, 23) seems to be a highly negative set of images and includes 'Fearful A' and 'Worthless A'. (12, l f 17, I6, ^, 11, 25, 13, 26) are a positive group and include 'Changing A'

- 99 and 'Little A', (1, 10, 9, 15) using less of the construct poles and also including rigid. Thus, in spite of the confusion, there does seem to be a raeajiingful set of relationships underlying the matrix. This subject was the only one who reported having a difficult time emotionally and this occurred when she was working on the nightmare. She was, however, glad to have

gone through the whole series.

Much of the interpretation in the above analysis is highly speculative, but the important feature revealed by the matrices is that the elements do cluster, which supports the main hypothesis for these studies. If the matrices represented

scatter plots of correlation coefficients, a visual inspection would suggest that they were highly significant. Groupings can be seen clearly in matrices A, B, C, D, and E. In matrices F, G, H, I, J the clusterings merge and yet the Matrices K and L are more

groupings are still fairly clear. confused.

It is clear that there are relationships, but

difficult to define clear cut structures. The loose edges do, in fact, give a more accurate representation of the underlying reality, than would a simple statement regarding principal components or clusters taken from a computer analysis. Analyses of this nature usually involve a

similar vagueness and yet the presentation in a quantitative form implies that clear-cut structures are being identified, when often this is not warranted. It is surprising that so few clusters are produced, considering the disparate nature of the situations that were

- 100 used and the idiosyncracity of the elements that were produced. Indeed, matrices A and B seem to have divided all the elements into two large clusters. In most of the matrices, there are few

isolated crosses which could be seen as a measure of randomness. If these limited, tight clusters genuinely represent the psychological processes underlying fantasy experiences, it would suggest that fantasy is a much more highly structured phenomenon than is usually supposed. Some speculation was made regarding the process of condensation. The fact that elements are perceived similarly As is implied

would suggest the process of overdetermination.

in the previous paragraph, it could be that overdetermination occurs much more than is appreciated with merely a casual experience of fantasy. All of the subjects enjoyed going through this series of experiences and some were disappointed that it came to an end. It is unfortunate that their reports of the experiences were not collected systematically. Several subjects described the Some said that they

fantasy journeys as a relaxing experience.

felt they were saying important things about themselves and that the sessions were an important learning experience. Unfortunately, they found it difficult to state exactly what they felt they had learned. The form of the diagrams seemed to be a useful one for giving feedback to the subject, since it was merely a rearrangement of what he had done. This is, of course, all that is done in a

more complex statistical analysis, but it tends to be much more difficult to explain what is implied in a principal component or a cluster. Possibly, this form of representation could be

a means of giving a person information in a clinical situation.

- 101 though the procedures leading up to the production of the matrix are lengthy and cumbersome. On the other hand, if

Kosbad's (1972) conclusions are accepted, then the procedures could be of therapeutic value in their own right. Certainly

all of the subjects in this series were glad that they had acted as volunteers.

- 102 -

CHAPTER 7 STUDY 2

In the previous study, the emphasis was on the individuality of experience, in that each subject was allowed to generate fantasy elements spontaneously and to evaluate them, using their own self-generated personal constructs. In this second study,

every effort was made to give two groups of subjects a similar experience, so that comparisons could be made between individuals to see if there were any common structural features emerging from the group consensus.

Study 2(a) Procedure Seven men and seventeen women, all students on the Postgraduate Certificate in Education course at the School of Education, Nottingham University, volunteered to take part in a series of sessions designed to investigate aspects of fantasy. A much larger sample began the series, but only those students who completed all the sessions are included in this study. The volunteers had been asked if they were willing to take part in an experiment on fantasy and that they would be expected to attend five weekly meetings of half an hour. Two meetings

were arranged for each week so that the subjects could choose which was the most convenient. Scripts were prepared for five fantasy journeys. The

content of the scripts was based on ideas and themes taken from the literature or from the writer's experience in workshops.

- 103 At this point, the reader may choose to experience one or more of these fsaitasy journeys in the same manner as the subjects. This would be the best way to obtain the flavour of

the experiential nature of these procedures. This would involve asking another person to read the scripts while the listener was relaxed and with his eyes closed. The fourth

script, 'The Tree', requires the participant to produce a drawing of a tree, preferably using coloured crayons on white paper. The scripts are given, verbatim, as follows. The gaps in the scripts represent pauses.

Bird in a Cage I want you to take the first image that comes into your mind of a bird in a cage and take a good look at it. - - - - try and hang on to that image, unless something forces you to change - - - - - take a good look at the bird and look at its shape and its colouring - and see what that is like - take a good look at the cage see how you feel about the

bird and the cage - - - - - even though it may seem strange, I want you to try and become the bird see what it feels like to be the bird feel like to be in that cage? be the bird and what does it and now, which may seem

even stranger, become the cage, see what it feels like to be the cage you? what is it like to have that bird inside and now become the bird again and see if, in

imagination, you have anything to say to the cage. Say, "Cage _ _ _ - - and go along with whatever comes - - - - - now become the cage again and reply to the bird. anything that comes into your head. - "Bird change again and

- 104 become the bird and reply to the cage. "Cage - - - - - change "Bird - - - - -

again and become the cage and reply to the bird.

Now become the bird agsiin and in imagination, find a way out of the cage, and in imagination see where the fantasy takes you. Go wherever you want to go - - - - - (long pause). Now, in imagination, find your way back to the cage - - - - - See how you feel about being back in the cage.

The Mountain I want you to imagine that you are going to go up a mountain. It doesn't have to be a mountain you know. Take

the image of the sort of mountain you would like to go up and imagine you are at the bottom of it. Take a good look at the Be aware of

mountain - - - - - now set off on your journey.

what you are wesuring and what the surrounding scenery is like - - - - - be aware of how easy, or how difficult it is to go up. - - - - - have a good look at what the ground or rock is like and the view - - - - - carry on in the way that suits you best until you find a place to sit down and rest - - - - - sit down and look around - - - - - and now, become the mountain, see what it feels like to be the mountain - - - - - as the mountain see what you think of the person sitting there - - - - see if you have anything to say to that person. Address that

person and go along with whatever comes - - - - - now become yourself again and talk to the mountain. "Mountain - - - - -

now become the mountain again and reply - - - - - In imagination, continue up to the top of the mountain, where there is snow under your feet and you can feel the wind. Look at the view

_ _ _ _ - now become the wind and see what it is like to be the

- 105 wind what do you think of the person there and the

snow - - - - - now become the snow and see what it feels like to be the snow and the wind what do you think about that person - - become the wind again and see if you Address them -

have anything to say to the person and the snow.

- - - - - try and get them all to talk to each other - -

now I want you to imagine that there is fire in the centre of the mountain and that you can find a way down into the centre of the mountain and approach the fire - - - - - become the fire and see what it is like to be the fire - - - - - See if you have anything to say to the mountain. "Mountain - - - - - go

along with anything that comes into your head - - - - - become the mountain again and reply. "Fire - - - - - become the fire "Mountain - - - - - now

again and talk back to the mountain.

become yourself again and imagine that you can find a way out through the foot of the mountain.

The River In this fantasy, I want to take you on a journey down a river, from its source in the mountains, down to the oceaji. Take the first image that comes of the source of the river, the place where it begins - - - - - take a good look around you and see how you feel about being at the source of the river - - - - - now steirt to follow the stream and see where it goes and what it is like. Look at the country it is going

through - - - - - for a moment, become the stream and see what it is like to be the stream - - - - - what do you think of that person on the beuik - - - - - see if you have anything to say to the person on the bank: say whatever comes into your

- 106 head - - - - - change and become yourself again and talk to the stream. "Stream - - - - - change again to become the

stream and talk back - - - - - now become yourself again and, in fantasy, without worrying about the problem of breathing, let yourself submerge in the stream and allow yourself to be carried along with the current - - - - - keep on going downstream until the stream joins a large river - - - - - now come out of the water and walk along the side of the river - - - - - see what the river is like and the scenery it passes through - - - - . now become the river and see what it is like to be the river. Describe yourself. "I am the river and I - - - - _ now see if

you have anything to say to the person on the bank - - - - now change back to yourself and reply to the river. "River

- - - - - now become the river again and talk back - - - - become yourself again and find a way of submerging yourself in the river and allow yourself to float along with the current - - - - - imagine that you are floating out into the ocean and that you are floating on the surface with the sun above you - - - - - feel the sun and the breeze on your face, and listen to the sounds of the ocean - - - - - slowly allow yourself to sink into the depths of the ocean - - - - - now become the ocean - - - - - See if you have anything to say to the sun. "Sun - - - - - change and become the sun and see if you have anything to say to the ocean. and talk to the sun. the ocean. "Ocean "Ocean - - - - - change again

"Sun - - - - - change again and talk to - - become yourself again and slowly

come up to the surface of the ocean.

- 107 The Tree Take a good look at the tree you have drawn - - - - - now close your eyes and take three deep breaths - - - - - and become the tree - - - - - silently describe yourself as that tree, "I am the tree and I much detail as you can, that tree in that place describe yourself in as how do you feel about being now I would like you to

become the trunk of the tree and describe yourself in more detail. "I am the trunk and I - - - - - What does it feel what is it like inside you,

like to be the trunk. - - -

trunk - - - - - how do you get on with the roots below you and the branches above - - - - - now become the branches - - - - - describe yourself. "I am the branches and I - - - - .

What does it feel like to be the branches. - - - - - How do you get on with the trunk and the leaves of the tree - - - - - now go right down into the earth and become the roots - - - - describe yourself. "I am the roots and I - - - - - What does

it feel like to be the roots - - - - - see if you have anything to say to the rest of the tree, "Tree - - - - - Now become the leaves and if there are no leaves on your tree, become the leaves that could be there - - - - - describe yourself. "I s m i

the leaves and I - - - - - What does it feel like to be the leaves. - - - - - how do you relate to the rest of the tree _ _ _ _ - imagine a conversation between the different parts of the tree - - - - - (long pause) now become the whole tree and see how you feel about your various parts and how they get on with each other - - - - - Now what do you think about the place you are in and perhaps how you would like to change.

- 108 The Body In this fantasy I want you to imagine that you are getting very very small. So small that you are tiny enough to go into In a moment, I am going

your mouth and explore your own body.

to ask you to go inside your body, but I don't want you to worry about what the body is really like inside - just go along with the images that come. Now imagine that you are the small person in front of the mouth of your own body and find a way inside the mouth - - - - see how you feel about being there - - - - - take a good look around - - - - - What is the throat like - - - - - how do you feel about going down the throat - - - - - and for a moment become the throat - - - - - see what it feels like to be the throat - - - - - what do you think of that tiny person who wants to get past you - - - - - talk to the person - - - - - become yourself and talk back. "Throat - - - - - become the throat

again and reply - - - - - now become yourself and stand at the top of the way down to the stomach - - - - - let yourself go down and see what happens - - - - - have a good look around to see where you are - - - - - how do you feel about being where you are - - - - - now in fantasy stau?t to explore the body and see if you can find a way to the heart - - - - - what is the heart like - - - - - what do you think of the heart - - - - become the heart and see what that feels like - - - - - describe yourself "I am the heart and I - - - - - Now become yourself and carry on exploring the body and see if you can find a way to the brain - - - - - have a good look at the brain and see what it is like - - - - - now become the brain and see what it feels like to be the brain - - - - - describe yourself, "I am the brain and

- 109 - - - - - as the brain, see if you have anything to say to ^ the heart, "Heart - - - - - change and become the heart again and see if you have anything to say to the brain, "Brain - - - - - keep the conversation going and see where it goes - - - - - now become yourself again and continue exploring your body until you can find your way to the centre of the belly - - - - - as the small person find your way right into the centre of the belly see what it is like

become the centre of the belly and see what it feels like - - - - - talk to the tiny person inside you - - - - - change and become yourself and talk to the centre of the belly, "Belly - - - - - change and become the belly amd reply - - - now become yourself and in imagination, find a way out through your navel.

The first fantasy journey in the scripts included two elements that were worked with in detail - 'the bird' and 'the cage'. The subsequent four fantasy journeys each had This emphasis is made

four elements which were emphasized.

by asking the subject to identify with the element and engage in fantasy conversations between the elements. In order to provide common constructs, the subjects were supplied with sixteen pairs of adjectives taken from Cattell's (1965) 16 P.F. Scale. The writer is somewhat abashed at using

this device, as he is emotionally committed to the phenomenological advantages of Kelly's (1955) theory outlined in the Psychology of Personal Constructs. The sixteen personality

factors could be seen, with a stretch of the imagination, as universal, superordinate personal constructs.

- 110 A small booklet was prepared for each subject, with a page for each element, so that he could rate each element on a seven point scale between the opposing adjectives of the sixteen personality factors. The first page is reproduced with

hypothetical ratings as follows:-

BIRD RESERVED LESS INTELLIGENT EMOTIONAL HUMBLE SOBER EXPEDIENT SHY TOUGH-MINDED TRUSTING PRACTICAL FORTHRIGHT CONFIDENT
CONSERVATIVE GROUP-TIED RELAXED CASUAL
_i

OUTGOING

y
/

MORE INTELLIGENT STABLE ASSERTIVE HAPPY-GO-LUCKY

y
/

y
y y y y y y y y y y

CONSCIENTIOUS VENTURESOME TENDER MINDED SUSPICIOUS IMAGINATIVE SHREWD


APPREHENSIVE EXPERIMENTING SELF-SUFFICIENT TENSE

CONTROLLED

After the sixth page, there was a page for 'myself and after the fifteenth page, there was a page for 'myself as I would like to be'. This gave a total of twenty elements, which are given as follows in the order in which they were rated.

- Ill -

1. 2. 3. k. 5. 6. 7. 8. 9. 10.

BIRD CAGE MOUNTAIN WIND SNOW FIRE MYSELF

11. 12. 13. 14. 15.


16.

SUN TRUNK BRANCHES ROOTS LEAVES


MYSELF AS I WOULD LIKE TO BE

17. STREAM 18. RIVER 19. OCEAN 20.

THROAT HEART BRAIN BELLY

The subjects were seated on upright chairs, at tables, with the booklets in front of them. They were asked to make

themselves comfortable, which they did in a variety of different ways. They were then asked to close their eyes, take three deep breaths and relax as completely as possible. script was slowly read to them. Then the first

Afterwards, they were asked

to make the appropriate ratings for the two elements emphasized in the script, namely 'the bird' and 'the cage'. A similar procedure was used with each fantasy, with the exception of 'The Tree'. In this latter case, the subjects

were provided with a large sheet of paper and crayons, and then given instructions similar to those for 'The Tree' in the first study. "I want you to use the paper in any way you wish and Artistic quality does not matter, You have ten

draw a picture of a tree.

just draw the tree you want to draw - your tree. minutes to draw the tree."

The subjects were asked to rate 'myself after completing 'The Mountain' and 'myself as I would like to be' after working on 'The Tree'.

- 112 The subjects were told at the end of the series that they could come to visit the writer individually to look at a preliminary analysis of their results and to discuss the experience.

Results When individual subjects had completed the booklets, the ticks were converted into ratings from one to seven. Then

twenty-four grids were compiled with identical elements, which were the elements identified with in the fantasy journeys and identical constructs which are the descriptive adjectives of the 16 P.F. Scale. These were analysed with two programmes taken from the Grid Analysis Package (G.A.P.) compiled by Slater (see Slater, 1977). First the programme SERIES was used, which averages

the ratings in each equivalent cell of the matrix for all of the subjects involved. This produced a composite grid for the

whole group, which was then analysed by INGRID 72. INGRID 72 is a principal components analysis designed for the analysis of grids of elements and constructs. The array of data is analysed both in terms of the relationship between the elements as defined by the constructs and the relationship between the constructs in terms of how they are applied to the elements. The programme first extracts the main set of relationships in terms of both constructs and elements to provide the first principal component. From the variation that remains, a second principal component is extracted, and then a third and so on.

- 113 This approach has been criticized because the components have not been rotated. Slater (1977) argues that the unrotated

approach provides an ordered series of components clearly separated in terms of the variation they account for. There is,

however, still an ongoing debate as to which is the most appropriate analysis. In theory, the programme could produce as many components as the number of constructs used in the grid. However, when

the amount of variance accounted for by a single component drops to below 2% it becomes relatively meaningless. In many

grid analyses, the first three components account for more than 80% of the variance in the grid. Using an application of the Bartlett Test (Slater 1977), INGRID 72 also gives e n approximation of how many of the i principal components are statistically significant in terms of the degree to which they differ from a randomly generated grid. There are still methodological problems associated with a calculation of this nature and Slater himself admits (Slater 1977) that it sometimes produces results that are difficult to explain. Often, a surprisingly high number of principal

components are shown to be statistically significant, A further problem, which has already been raised in relation to Study 1 refers to the difference between psychological significance and statistical significance. single tick on a sheet can have important implications in terms of what it reflects in psychological terms and yet play a minimal part in determining the significance of a principal component. A

- 114 The analysis of the combined grids produced in this study, using SERIES, followed by INGRID 72 suggests that there are six significant principal components, whose latent roots and percentage varicince are given below. Component Root As per cent

1
2

7.19
3.74

kk.ok
23.39

3 k 5 6

2.02 1.34 0.59 0.45

12.60 8.40 3.72 2.79

This would suggest a definite structure underlying the composite grid; the significant components accounting for almost 96% of the variance in the grid. This high percentage

would suggest that most of the data fits into some form of structure. A useful way of illustrating the information provided in this analysis is to plot the elements and constructs onto a two dimensional graph, in which the horizontal axis represents the first principal component and the vertical axis represents the second principal component. This is done by using the

loadings for each construct and element for both of the first two components. This diagrammatic representation is shown on the next page, followed by tables showing the loadings for all of the six significant components. The diagraia accurately reflects the geographical position of the elements in relation to each other as projected into two-dimensional space, in terms of the first two components. The same is true of the constructs, but constructs cannot be directly related to elements in the same manner. This is true

115 Diagram 13. Composite Diagram based on the Factor Loadings of Components One and Two from the Principal Components Analysis of the Group Data from Study 2(a)

V4I

.A
VI

u J o
2

4.
>

Ul

o* > ^

<x
o
3

X2

.a
J J

is
I t/1 Ul

<0

o 4

O c X*
I

wX

o
)2
Ul

u.

0^3

z
vu J:

P
l

00

2
14 Ul
X

2 O

r
Q.X X

!?
o :
Ul

>y
>-

11 1

I Y

ft. 3 a. J

?^X
V)

liO

Table 1.

Factor Loadlings for Components One, Two and Three from the Principal Components Analysis of the Group Data from Study 2(a) Component 1 Component 2 Loading -0.17 -0.25 0.72 0.30 -0.93 0.29 -0.29 0.11 0.34 0.40 0.43 0.16 -0.46 0.03 -0.85 0.29 -0.16 0.35 0.22 -0.53 Component 3 Loading 0.08 0.00 -0.14 0.50 0.26 0.91 -0.23 -0.32 -0.04 0.16 -0.13 -0.26 -0.13 -0.10 -0.09 -0.62 0.26 -0.20 0.19 -0.10 BIRD CAGE MOUNTAIN WIND SNOW FIRE MYSELF STREAM RIVER OCEAN SUN TRUNK BRANCHES ROOTS LEAVES IDEAL SELF THROAT HEART BRAIN BELLY

Element 1 2 3 A 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 Construct 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Loading -0.07 0.79 0.51 -1.07 0.74 -0.36 -0.15 -1.15 0.66 0.08 -025 0.69 0.60 0.57 -0.90 -0.51 0.55 0.16 0.06 0.28

-0.95 0.11 0.86 -0.61 -0.97 0.71 -0.92 -0.15 0.37 -0.88 0.27 0.38 -0.90 -0.22 0.47 0.80

0.11 0.80 0.32 0.67 -0.20 0.25 0.32 -0.76 0.10 -0.21 -0.18 -0.82 -0.13 0.83 -0.36 0.43

-0.01 -0.18 -0.31 0.24 -0.03 -0.52 0.02 -0.50 0.88 -0.02 0.29 0.13 0.08 0.12 0.64 0.05

RESERVED LESS INTELLIGENT EMOTIONAL HUMBLE SOBER EXPEDIENT SHY TOUGH MINDED TRUSTING PRACTICAL FORTHRIGHT CONFIDENT CONSERVATIVE GROUP TIED RELAXED CASUAL

117 Table 2. Factor Load ings for Components Three Four and Five from the Princip al Components Analysis of the Group Data from Study 2(a)

Component 4 Element 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 Construct 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 0.02 -0.48 0.06 0.08 -0.08 -0.28 -0.09 -0.28 -0.01 -0.34 -0.75 -0.21 -0.31 -0.19 -0.10 -0.27 Loading -0.19 -0.01 0.35 0.22 -0.10 -0.15 -0.31 0.28 -0.29 -0.01 0,02 0.09 0.13 0.28 0.06 -0.44 0.36 0.15 -0.60 0.14

Component 5 Loading -0.25 -0.10 -0.09 0.15 0.03 -0.09 -043 -0.05 0.36 0.09 -0.08 0.11 0.08 -0.14 0,11 0.08 -0.10 -0.03 0.05 0.29

Component 6 Loading -0,24 0.01 -0,24 -0.04 -0.12 0.10 -0.00 -0.11 -0.17 -0.08 -0.04 0.22 0.16 0.16 0.04 -0.05 -0.02 0.33 0.18 -0.08 BIRD CAGE MOUNTAIN WIND SNOW FIRE MYSELF STREAM RIVER OCEAN SUN TRUNK BRANCHES ROOTS LEAVES IDEAL SELF THROAT HEART BRAIN BELLY

-0.01 -0.23 0.14 0.03 0.01 -0.11 0,05 0.02 0.14 -0.10 0.47 -0.22 -0.14 -0.11 -0.39 -0.13

0.19 -003 -0.07 0.21 -0.01 0.22 0.07 -0.08 -0.13 -0.05 0.10 -0.19 -0.02 -0.41 0.24 0.10

RESERVED LESS INTELLIGENT EMOTIONAL HUMBLE SOBER EXPEDIENT SHY TOUGH MINDED TRUSTING PRACTICAL FORTHRIGHT CONFIDENT CONSERVATIVE GROUP TIED RELAXED CASUAL

- 118 of all of the diagrams of this nature that appear later in the text. The difference between the dispersion of elements or constructs within component space varies according to the niunber of constructs or elements (Slater 1977). Hence the

distance between any construct and any element will vary according to the number of constructs and elements. other hand, the angular distauice remains the same. On the For the

purpose of examining the aims of these studies it is probably most meaningful to first look at the organization of the elements in the diagrams and then identify the constructs that are applied to the elements in terms of a line from the centre of the diagram passing through the position of the construct. This problem is often solved by placing all the constructs suround the outsides of the diagram. The writer has chosen not

to do this and has plotted the positions of the constructs according to their factor loadings, as this gives an indication of which constructs have been applied in a more extreme way. The constructs that have been written into the diagrams tend to be the poles written down the right-hand side of the list of 16 personality factors given in the earlier section, going from outgoing to controlled. The opposite poles, going

from reserved to casual could be placed in the diametrically opposite part of the diagrams. cluttering up the diagrams. Similarly, in the discussions of individual components, if one construct pole or personality factor is used to describe one end of the component, the opposite pole automatically applies to the other end. These were not put in to avoid

- 119 Discussion The first principal component sorts out the fantasy elements silong a dimension which is described by the construct poles, venturesome, outgoing, experimenting, imaginative, '

happy-go-lucky, assertive, casual, emotional and expedient at one end. These are generally ^plied to elements, 'the wind',

'the stream', 'the leaves' and to a less extent, 'the bramches' and 'myself as I would like to be'. in all of the diagraims. ) The other end of the dimension is described by the constructs controlled, stable, conscientious, shy, reserved, conservative, practical, sober and humble, which are used to describe 'the mountain', 'the river', 'the trunk', 'the roots', 'the throat', 'the cage' and 'the snow'. This would suggest that the main set of differences aimong the fantasy elements as they are perceived by the whole group of subjects is between those that involve change, growth and being undefended. 'the stream'. These are best represented by 'the wind' amd (M.V/.L.T.B. as it appears

The opposite elements are those which are heavily

defended, perhaps best represented by 'the river', 'the trunk', 'the roots', 'the throat' and 'the cage'. Intuitively, this would seem to be appropriate and lends support to the suggestion by Assagioli (1965) that this is one of the major dimensions of the structure of fantasy.

The second principal component sorts out the imagery elementi along a dimension which is described by the construct poles, less intelligent, humble, tender-minded, apprehensive and group tied and are ^lied to 'the belly', 'the leaves' and 'the snow'.

- 120 The other end of the dimension is described by the construct poles intelligent, assertive, tough-minded, confident and self-sufficient and are applied to 'the mountain', 'the sun', 'the ocean' aind 'the heart'. This would suggest that the main set of differences implied by this component is between fantasy elements that are generally fearful and are best represented by 'the belly' and those that are strong and are best represented by 'the mountain'.

The third component sepairates out the fantasy elements along a dimension that, at one end, is described by the constructs, conscientious and tenderminded and is most clearly represented by 'myself as I would like to be'. The other end of this dimension is described by the construct poles, suspicious and tense, which are used to describe 'the fire' and 'the wind'. 'Myself as I would like to be' has the highest loading on this component and it is interesting to note how this element fits into the overall structure of fantasy elements. It would

appear that this group did not particularly want to be like 'the fire' and 'the wind'. 'Myself as I would like to be' is

most like the stream (INGRID 72 expresses the inter-element relationships as cosiness, which Slater (1977) states are mathematically equivalent to correlations. This gives a The writer

correlation of O.56 between these two elements.)

suspects that the stream represents aspects of childhood which have been lost and that many individuals would like to regain aspects of this state.

- 121 The fourth component sorts out the elements along a dimension that is described a s shrewd a n more intelligent at i id one end and best represented by 'the brain' and to a less extent by 'myself as I would like to be'. This is not a

surprising result from a group of academics. The other end of this dimension is described as forthright e n less intelligent, referring to 'the mountain' and 'the id throat'.

None of the component loadings for components five and six are greater than 0.5. (The component loadings are derived from

rating scales that have been normalized and range from 0,0 to -1.0 with a small minority of loadings above - 1 where extreme ratings have been given.) The clearest difference in component five suggests that 'myself (loading 0.43) is tense (0.39) as opposed to 'the river' (0.35) which is shrewd (0.47). The neairest element to myself is 'the bird'. There is, in fact, a correlation of 0.62 between 'the bird' and 'the river'. The writer noted with interest

that the average member of this group might see themselves as tense and like a bird that is in a cage. The writer has often

used this fantasy trip in a variety of workshop situations s n id it invairiably produces a great deal of discussion from the participants about themselves. In the sixth component, 'the heart' (0.33) is seen as group-tied (0.41). Loadings at a lower level could be important, but they could reflect the extreme ratings of a single subject and will not be considered in this examination of group data.

- 122 So, it would appeao" that the combined results of these 24 subjects presents a definite structure in terms of the groupings of elements and also in terms of the descriptive labels that the subjects have applied to these groupings. The

degree of sepairation demonstrated in the diagram for the first two components is all the more surprising, considering that there are marked individual differences between the subjects, which will be described later.

Another way of looking at the structure of the relationships between the elements is to examine the matrix of correlations between the elements, which is taken from the 'Inter-element relations expressed a s cosines' produced by INGRID 72. i This

will give a measure of the degree to which individual pairs of elements aire seen to be similar to or different from each other. This table is given on the following page.

There is some evidence within this structure supporting Freud's ideais on overdetermination and condensation. Heavily

defended images such as 'the river', 'the trunk', 'the roots', 'the throat' and 'the cage' seem to be representing the same underlying structure. are given as follows:The intercorrelations of these elements

1
CAGE RIVER TRUNK ROOTS

1.
2. 3. 4.

' '

0.51 0.67 0.66 0.76 0.67 0.36 0.23 0.83 0.47 0.73

THROAT

5.

- 123 Table 3, Inter-Element Correlations for the Elements from Study 2(a)

eg 0^
.I

CO
*

oo r^ rv.

I t o^ O eg P- CM sO

-4
vO ^

o CO <r


C^ O C ^ vO * 00 < < <N C^ 0 0 O -' "-1 u^ i-i >3- i n CO CM 0 O CO 0 0 - * r^ l O ir> r-- CO CM eg r^ ~ -a- ^ N J eg 0 0 J 0^ CM - J CO CO 1

ONCooocor~moi~ inoovOcg^jioocM OvCOOr^CMCMOOO^-* .ii-icOi-iioinroor^


..3-i-ivOOvOOOCMcou-i

~a-r~-<foor~.eMi-icor~0

o >
00

p^uor 00vOCOO^COli11I ^ 0 > O P ~ t o r - O c M c M . < l ' . - i

o^in^oooooO'-t^oooegm
sOiimvOvOvOvOUOvO^HCOCO a > C M 0 0 i O 0 ^ e g o o r ^ ^ O 0 ^ v O i - i - 3 - i O O c M c o e g v 3 - c O c o c o o O

87 .26 28 .61 66 .23 14 .23


i-i CM 1 1

o o o ^ O l ^ O ^ v O O ^ C M e J O ^ C ^ O e l 0 , _ ( < j - , _ t ^ O c o o c M O ' - t - * m OOO^-00^0^10'0<ICOCMO^OO v O " l - 3 ' 0 0 c g o c 0 O O ^ - 3 " O P .^vOi-l~a'00vOrCMrHvOO^C0r^

r^ineg<i-r--vrvO-*egs3-,iO>* cMuovocomr^moO'-'couoiicM

00 o O < l < ^ ^ - ' . O c o e g o c O u - l l O c M o O


CM r . , - ( . - ( O r ^ > l " v o r - - o O v O i O t - i c o O ooiO'-<vOvouOvO<t'nr--<-40''0

CO

p~.

CM

CO

vO CM CM t - l CO O

CM CM

cOr-ivocoo^'-tO"OvOoO'-'r~in
OegcocM^i-tcocMOOvfiOO

.-lcMC0-3"iOvOr^00O'>O'-''^f^-*''^^f^00CT>O

00

M -<SO O M ZMI > I ' >HJ M o ;O3 M ) M Z H M

e)SaBoedMBS>wzo5o<!g<<iJ at:p2ou.xuo2cd aQUS:x(ObScoodOcoH(aaSi-)SHXcq09

- 124 Possibly this hypothesized psychological structure has to be overdetermined to counteract the extremes of the other end of this component such as 'the wind' and 'the stream'. (The

ratings for 'the wind' and 'the stream' correlate 0.74.) Some fantasy elements play an important part in more than one principal component. 'The leaves' are perceived as free

and fearful. The snow is perceived as fearful and defended. The mountain is seen as defended and strong. It is possible

that more than one underlying psychological structure has been condensed into a single fantasy element. Many of the descriptions of the elements appear to fit common sense as the writer sees it. It may seem strange that

the river is seen as a defended element, but in the context that it is used, it is compared with the stream at its source. Intuitively, the writer feels that 'the streaun' in some way represents childhood a n youth, whereas 'the river' represents id adulthood. The identification of the throat with tension is interesting, as some of the radical psychiatrists who have developed Reich's (1949) work, such as Lowen (1975) and Kelley (1974) suggest that the blocking of emotional tension is often effected by tension in the throat. These writers also see the

belly as the locus for the experience of fear and 'the belly' contributes strongly to the fearful end of the second component. Another connection between the physical body and fantasy experience came out of 'The Bird in the Cage' fantasy. The cage appears in the defended grouping and three of the subjects reported that they could actually feel 'the cage' as tension within their own bodies. 'The bird' emerges as being similar

- 125 to 'myself with regeird to both components one a n two, and id also component five, as has already been mentioned. This could be interpreted as part of the self represented by 'the bird', being trapped inside another highly defended part of the self represented by 'the cage'. The natural progression of this idea might be that the defended images are preventing the individual becoming like 'the stream' (previously described as correlating O.56 with 'myself as I would like to be' and 0,52 with 'the sun').

Individual Results The composite structure described in the previous section is made up of twenty-four individual grids. These were each computed separately, using the INGRID 72 prograun. In terms of the number of significant principal components produced by each subject, the following results were obtained:No. of Sig. Com. 11 7 5 4 3 2 NEGATIVE No. of Subjects 1 1 2 7 6 5 2

A 'negative' result means that there is not more than one significant component but does not mean that there is no underlying structure. Slater (1977) states that the use of the Bartlett Test as a measure of the significeince of components produces occasional results that are difficult to explain. The analysis which

produced eleven significant components is probably an example of this. It is, of course, a possible result as there a r more ie

constructs or elements than the number of components extracted.

- 126 Thus, using the analysis provided by INGRID 72, every individual grid has a structure of its own, underlying the group structure. The individual results vary in terms of the

number of significant components produced, though the majority have between three and five. The diagrams on the following pages have been constructed from the results of three subjects: C.H., who had a negative result from the test of significance, S.L., with four significant components and M.K., with eleven significant components. These

diagrams will not be discussed in great detail, but will be related to the consensus grid for the complete group of subjects. The internal structure of these three grids differs considerably, and yet marked similarities appear between these diagrams and the combined group diagram in terms of the first two significant components. The faintasy elements 'the wind' and 'the stream' appear to be consistently placed at one end of the dimension for the first principal, component. 'The cage', 'the river', 'the trunk', and

in two of the examples, 'the mountain', are placed at the other end. Both C.H. and S.L. appeair to have a strong-feeirful

dimension as the basis of the second component, which is also true to a lesser extent of M.K. Thus these diagrams appear to match the combined diagram in terms of the first two components, even though individual elements are placed differently. snow' are placed close together. In C.H., 'the sun' and 'the In S.L., 'the heart' has moved In C, 'the roots'

to the undefended end of the first component.

have moved to the undefended end of the first component.

127 Diagram 14. Composite Diagram based on the Factor Loadings of Components One and Two for Subject C.H. from Study 2(a)

Ui
>

o
^m

h
v u

t* ^ ^J

+
MX -,
VII

;^(
z '
v>

u.
J Ul

c
V Ul

v2>
O
X ^V)

^x
A u 2
M Ml

Iox

s^

'Z

> ux
J Ml 2''
'lU
4

-^

\
X^

v Vtl

5 o
y-

vu >
I I)

3X
Vi
VU

>
o
VflX

V
Oi VU

u>

o
f

^x

2 c HI o
-I** Ul 40

a u
vulMl

V||U

CO

u.

' -I

j
V O

x
X

ix

i^x
ox o of

9 o

z
2 O

x5

I- x
^
J o

o u

o X

128
Diagram 15. Composite Diagram based on the Factor Loadings of Components One and Two for Subiect S.L. from Study 2(a)

If o

z
2 vu S v<iX

J
o
vu z ox
t/1

>

w
Ul \u

- X?
5'" Ul

X
Ul

<; W^
vll

VU
>

>

X?
VI

vu
Z

Of (S

4 uix
I2 Ul <i>

ix
XA

o
r

>X.
VlJ

I-

Ul

Ifi'
X?
3X vu

u Ox
I-

'I
7

V)

Oi

Xw 3

2
:> o

t/l

J
3. o

P
J

s
O

Ul Ul

Ul

X 'C X vu U X
2

2 ex
V flO

2. o vjk

<

X ul
<o
.J

<t

129 Diagram 16. Composite Diagram based on the Factor Loadings of Components One and Two for Subiect M.K. from Study 2(a)

o
o X^

4
X

ix
-I

h
V|l

xz
a
Ul VO

o
X.2
X u VI J o o

x<
v

fie

IL J Ul

VI

2
-k.
Ul

XX -x w

X?
J

so

*2

xl
lU

uc

3 O

V(J

vu

ix
vi 2 o J> Io si

I 2 <

2
2 Ul

S ?x
x/i Vlu

0 O

w
X
I2
X Ul

)<
X Q J>> / V

Ul v^X Ul

5^x1

JH
Ul

%*
(II

)-o
U. 3 . J

I'

h z 'Jl >

*JX

>
Oi

vu

- 150 These individual results show clear, individual differences in both internal structure and in the placing of elements and yet they also relate closely to the combined structure of the group.

Study 2(b) Procedure This study is an attempt to provide a similar experience to that of Study 2(a) for a group of thirteen to fo^irteen year old children. The only difference is that the children used

their own personal constructs for rating purposes, rather than Cattell's sixteen personality factors. It was felt that there

would be confusion over the meaning of several cf the words. The procedures for this group were carried out by their English teacher, Carol Hopkins, who knew them well and maintained a good relationship with them. This sort of relationship is

probably necessary to provide the trust and co-operation needed in a task of this nature (see Hall 1977)The group consisted of fourteen boys and fifteen girls, aged between thirteen and fourteen who were in the top band of a comprehensive school. This meains that they were in the

top twenty per cent of a cross-section of the local population in terms of ability and possibly in terms of intelligence.

In order to generate individual sets of constructs, they were given a group form of the repertory test (Kelly 1955). They were talked through the test, using the following procedure (see Hall 1978), "Think of your father". Mr. Bullock" (a teacher they knew well). "Now think of "How are they different

- 131 from your cousin?" It was then explained how they were to

write down the two poles of the construct. The questioning continued in the same way. your mother". "Think of me." "Think of

"How are both of us different

from the headmaster?" Kelly describes the list of people used for this purpose as the 'role title list'. Subsequent role

titles included suggestions such as 'someone you really fancy', your best friend', 'someone you dislike intensely', 'someone you have respect for', 'someone you are jealous of and so on. Alternative role titles were supplied for individuals to whom the initial role title did not apply. When they complained

that they could not think of anything, they were prompted with questions like "What is the first thing that comes into your mind when you think of ?"

The children found this an involving task and generated meaningful lists of bi-polar constructs ranging from seventeen to eleven constructs. Any anomalies in the list were checked In particular, there was a tendency In

with the person concerned.

to use the same pole twice, with different opposite poles.

caises like this, the individual was asked to choose which of the conflicting poles they preferred. Using the constructs they had generated, individual booklets were prepared with pages similar to the one illustrated in Study 2(a). Thus each child had his own personalized rating

booklet, with his own constructs typed down the side. There were five weekly sessions. The teacher used exactly

the same procedure as used in the previous study - relaxation, the reading of the script and the rating of the elements.

- 132 Results As each subject had used his own set of personal constructs, the grids produced by the ratings could only be aligned by elements and not by constructs. From this, a consensus can

only be obtained of the relationships between the elements. This was done using the programme PREFAN, from the Grid Analysis Package (see Slater 1977) which is specifically designed for this purpose. This programme amounts to a

principal components analysis of the correlations between the subjects. As Slater describes it, "The constructs aire centered and standardardized and the resulting array of deviations is premultiplied by its transpose to form an 'm' by 'm' product matrix, to which the analysis is applied" (Slater 1977 P l47). The analysis of the data from this study suggests that there are eleven significant principal components. The amount

of variance contributing to each of these components is given in the following table:Component 1 As per cent 18.88

2 3 4 5 6 7 8 9
10 11

8.64 7.59 6.67 6.36 5.^3 5.24 4.78 4.58


4.25 4.10

There is a definite structure underlying the ratings of fantasy elements obtained in this study. It is, however, a

much more complex structure compared with the results of Study 2(a) with a much smaller first component, whereas the fifth and subsequent components account for a larger share of

- 133 the variance. It could be that several of the lower components

are accounted for by the results of one or two subjects. A diagram showing the combined results for components one and three is given on the next page. The reason for using the

third component rather than the second is that the third component of this study appears to be most lilce the second component of Study 2(a) and this helps to illustrate the possible comparisons between the two studies. It must be

remembered that the two components shown in this diagram account for only 26.4% of the variance of the analysis of this group. The diagram is followed by a list of the component

loadings for the elements from the first three components. It has already been suggested that some of the smaller significant components can be accounted for in the results of one or two subjects. Since the following discussion is concerned

with group structure, it will be limited to the first three components.

Discussion The results suggest that there is a definite struct^xre underlying the combined ratings of the elements as they were experienced by this group of adolescents. It is, however,

a much more complex structure, as the first three components only account for 351% of the total variance compared with 80.9% in Study 2(a). Chetwynd (1977) suggests that complexity can be seen as an inverse measure to the amount of variation accounted for by the first component. The significant

components account for 72.5% of the total variance.

- 134 Diagram 17. Composite Diagram based on the Factor Loadings of Components One and Three from the Principal Components Analysis of the Group Data from Study 2(b)

HI O

V 3 3
VII

^P^
< Ul > 3x*
^x
viX

s
4
tm.

3 o Z

o It

O t

J VU

2 9 XV

I. <
Ul

y
V4

>
ta.
Ul

?x

V)

x5

Ix z

Table 4.

Factor Loadings for the First Three Components from the Principal Components Analysis of the Group Data from Study 2(b)

1st -8.20 14.04 6.80 7.39 3,32 9.73 -9.84 -6.13 7.63 5.71 -4.56 11.62 -2.50 9.49 -6.53 21.62 1.15 -7.10 -9.20 -1.20

2nd 4.46 -4.81 -1.76 8,52 2.43 8.24 -2.73 4,55 0.67 -1.08 2.88 -9.48 5.20 -6.07 14.28 -7.60 -3,70 -4,27 -6.49 -3.24

3rd -9.43 -0.05 4.92 4.77 -6.59 6.86 -0.02 0.04 4.69 7.65 7.20 -2.33 0.07 -6.79 -5.94 7.00 -7.49 -2.09 5.20 -7.68

Element BIRD CAGE MOUNTAIN WIND SNOW FIRE MYSELF STREAM RIVER OCEAN SUN TRUNK BRANCHES ROOTS LEAVES IDEAL SELF THROAT HEART BRAIN BELLY

-136 There are a high number of significant components, but Slater (1977) suggests that the assumptions of the Bartlett Test axe more appropriate to this form of analysis than for a grid analysed individually by INGRID. It is not surprising that a more complex structtire was obtained in this study as the constraints placed on the subjects were much less, since they were allowed to use their own individually generated personal constructs to evaluate the fantasy elements. Having given this freedom, it is then difficult to ascribe meaning to the structures because there are no common identifying labels. An attempt will be made to do this by showing similarities

between the relationships between the elements in this study and those in the previous study and to extrapolate meaning from one to the other. Support for taking this procedure is obtained by calculating a measure of similarity in the organization of the elements. elements being common to both studies. The

The programmes SERIES and

PREFAN each provide a measure of the distance between each of the elements as they are situated in relation to each other in a multi-dimensional space, With twenty elements, this allows one hundred and ninety possible comparisons of each element with all the rest, within one group, in terms of distance. Using

Pearson's r a correlation of 0.28 was obtained between the two sets of measiires of distance, which is significant at the 0,01 level. This reflects a mere 7.84% of the variance common to the two sets of differences. A low correlation is not surprising,

considering the nature of the task and the differences in the

- 137 two groups. The group diagrams for these two studies reveal

clear differences in the placing of certain elements, such as 'the wind'. Since the comparison of some elements would

contribute towards a negative correlation, then the relationship between the remaining elements must involve a higher correlation. The correlation obtained does suggest that there

is a common core to the structure of the experience of fantasy in these two groups. The following discussion of the structure

obtained in this study will be related to the similarities between the two groups. The diagram on the following page consists of the distributions of elements from both studies, superimposed on each other. An exact comparison of the two sets of elements

cannot be made as the two sets of calculations use different scailes. The relationships are best seen in terms of the

direction from the intersection of the axes.

The first component obtained in Study 2(b) makes a similar separation to that obtained in the previous study, between 'the roots', 'the trunk', 'the cage', 'the river' and 'the mountain' on the one hand and 'the stream', 'the leaves' and 'myself as I would like to be' on the other. The grouping including 'the roots' has been joined by 'the ocean', 'the fire' and 'the wind'. 'The wind' has made the most The

obvious move from one end of the dimension to the other.

group including 'the stream' has been joined by 'the brain', 'myself, 'the heart' and 'the bird'.

- 138 Diagram 18, Superimposed Composite Diagrams for the Elements of Study 2(a) based on the Factor Loadings for Components One and Two, and the Elements of Study 2(b) based on the Factor Loadings for Components One and Three

o 4
Ui

lOX
Ul

XUI

H
VO

>x o* z

^ o o

r O

'Or

2 Ul Vlf.

2
Ia

oj-

x:?
Ul eg

"i

o 4

Ul

uX o

I?
oX
2
X X
Ul

Xf

o
I

x i i fi

x3;
Ul

?xi
vyi

oiyl.
S

>
vii
J
V/)

x? > X

.^

u.
V

a:

Ul I

0)

Ul

o (0
01

%^
4J
t-l

Ul

( o "O
X

"^ < -<


X

T-)SX

UJ 0

- 139 The third component, which is shown on the vertical axis of the diagrams separates out 'the sun', 'the fire', and 'the ocean' from 'the bird', 'the leaves', 'the belly', 'the throat', 'the snow' and 'the roots'. This is similar to the second component in study 2(a), with 'the sun' and 'the ocean' separated from 'the leaves', 'the belly' and 'the snow'.

The second component separates out 'the fire', 'the wind' amd 'the leaves' from 'myself as I would like to be', 'the brain', 'the trunk' and 'the roots'. This is similar to the third component of Study 2(a), which separates out 'the fire' and. 'the wind' from 'myself as I would like to be'.

The main differences between the two sets of data would seem to be that 'the wind' and 'the fire' have changed dramatically in terms of the horizontal axis of the combined diagram and 'the heart' has changed to a lesser extent in terms of both. Some similarities are striking, as in the case of 'the cage', 'the sun', 'the ocean' and 'the trunk'. Other elements,

such as 'myself as I would like to be', 'the stream', 'the leaves', 'the bird', 'the belly', 'the snow', 'the roots', 'the river' and 'the mountain', are similar in terms of the angle produced by lines drawn to the intersection of the two axes.

- 140 So, it would seem, this study has produced a significant, but looser structure in terms of the relationships among the fantasy elements. Also, it is possible that there is a similar

underlying psychological meaning to the structure obtained in Study 2(a), since there is a similar pattern of relationships among the elements. following way:Study 2(a) 1st component 2nd component 3rd component Study 2(b) 1st component 3rd component 2nd component Possible meaning stable, defended - free, undefended strong - fearful conscientious, trusting, relaxed - expedient, suspicious, tense These parallels are outlined in the

Evidence regairding condensation and overdetermination can be extracted from this study. In pairticular, the close

grouping of 'the ocean', 'the fire', 'the mountain', 'the wind' and 'the river'. This would suggest that this adolescent group

produces many images that are both strong and stable and hence overdetermine this form of experience in imagery.

Individual Results The individual grids for all twenty-nine subjects were analyzed using the INGRID program. They produced a variety

of differing structures, which are summed up in the following list :-

- 141 No. of Significant Components 14 12 11 8 6 5 4 3 2 NEGATIVE No. of Subjects 1 1 1 1 1 2 4 4 9 5

As has already been stated, a 'negative' result implies that there is not more than one significant component. writer would guess that results with a high number of significamt components, say above six, do not mean very much. These could provide examples of where the application of the Bartlett Test provide results that are difficult to explain (slater 1977). On the other hand, they could imply an extremely The

diffuse, but meaningful organization of fantasy experience. Again, the individual grids would appear to have unique structures of their ovm. Three of these have been chosen to The two-

illustrate the differences and potential similarities.

dimensional diagrams for K.B., L.D. and G.L. given on the following pages, could be interpreted in many different v/ays and only tentative suggestions will be made,

K.B. produced four significant components.

The first

component distinguishes between generally pleasant images such as 'the leaves' and 'the stream', which are like 'myself and 'myself as I would like to be' and unpleasant ones such as 'the roots', 'the trunk', 'the sun', 'cage',- 'river', 'ocean', 'fire', 'wind' and 'throat'.

- 142 Diagram 19. Composite Diagram based on the Factor Loadings of Components One and Two for Subject K.B. from Study 2(b)

'
VM

2
o

xa
Ul J JO yU.

oX

u-x
vu ui X>/1 Ul

ox 5
Ul

>

^
2

Ul

Kg
X wi

Sx
H

4
4,.

Ix
a to
Ul I tOX.2

o
r

^
vu
V4I Ml

6X
2 </l

5x
J

>-

<X

" I
<t

I!"
2

Oi X> Ul

x| v% Ul o
u.

r
Ul Ul

I-

5
2

a o X.
UIX

Vu

X*

143 Diagram 20. Composite Diagram based on the Factor Loadings of Components One and Two for Subject L.D. from Study 2(b)

V9

I
0

Ul I2

Ul X

u
2

<

V4l

U.

DX

x^i

-X

u
4 Ul

<v. vix
T

UJ

<
I

t
i'*
Ul

-I

xp

&
3

or

2
VI Vlt

> 4
Ul

^irUl

X<

ox

ul
vX

2 Vlt

xS

u.
<ll

<

3
3 O

^ U.

Ul V -

p
0, ' VUy t ,

aX o
o.
Ul Ul

orx

xa

3 O

X J o

a.

144 Diagram 21. Composite Diagram based on the Factor Loadings of Components One and Two for Subject G.L. from Study 2(b)

2
Ul
^U

VI,

3tX

3
o .X2

i
VII

x^X XO ?

r w

!3
z c
SX

>
XJ

?
X
t/l

w
2
Ul

= xp
..J Ul

o XO
X

7
^

o o

to

ra x

vix A
o X X

1?

Ul J

5y i/i

x3

^,S 2

=x
Ul J V
3

3 O

X "

-l45 The second component distinguishes between the modest, soft 'snow' and the intelligent, clever 'brain'. The first two components partly reflect the consensus results. However, the first two components, which account for 52% of the total variance in the grid separate out the negative images into 'roots', 'trunk', 'cage' and 'river', which are passively unpleasant, and 'sun', 'wind', 'throat' ^nd 'fire' which are actively unpleasant. These two clusters of images

suggest two overdetermined aspects of fantasy experience, and each cluster may possibly represent a single area of psychological meaning. On the other hand, 'brain', with high loadings on both components possibly encapsulates the condensation of at least two sets of meanings. This subject is unusual in his evaluation of 'the belly', which is seen in such glowing terms that it is placed in an extreme position, well beyond the other positive images.

L.D. produced three significant components.

She also makes

a distinction between the less favoured 'throat', 'mountain', 'river' and 'trunk' and the more idealized 'stream', 'bird', 'heart' and 'branches'. Similarly, the latter grouping also

includes 'myself and 'myself as I would like to be'. The second component seems to make a more unusual distinction between the more extroverted 'belly', 'wind', 'fire' and 'leaves', compared with the more introverted 'sun', 'roots', 'snow' and 'cage'. It could be that this is similar to the

'strong-fearful' dimension of the second component in Study 2(a),

- 146 The first two components account for 59% of the total variance and appears to separate out the elements clearly. It is interesting that 'myself as I would like to be' is short and thin, whereas she is tall and well above average in weight. It could be that some of the fantasy images are fitting in with this particulao* personal problem.

G.L. produced a 'negative' result from the test of significance and only 41% of the total variance is accounted for by the first two components. The first component, however, still separates out the positive images of 'heart', 'snow', 'stream' and 'bird', which also include 'myself and 'myself as I would like to be', from the negatively rated 'throat', 'cage', 'fire' and 'mountain'. It is interesting that this is, for her, a male-female split. She was described as having a somewhat masculine appearance and was interested in martial arts.

In the diagrams for these three subjects, only one pole of each construct has been included. The opposite poles are

given with the raw data in the Appendix and these could be placed in the diametrically opposed part of the diagram. This was not done, in order to avoid cluttering the diagrams.

- i47 -

CHAPTER 8 STUDY 3

This final study involves a return to the individual use of fantasy. The subject generated his own fantasy elements and There v/ere

evaO-uated them using his own personal constructs.

more constraints placed on the subjects .than in Study 1 in that they were asked to rate the elements using all of the constructs they produced. Thus the freedom to generate fantasy used in

Study 1 was combined with the rating techniques from Study 2(b), to generate individual grids which could be analysed with conventional statistical procedures. Students from the various courses in the School of Education, Nottingham University, were asked to volunteer as subjects for research into fantasy. It was explained to them

that the time requirement for the research project would involve seven weekly sessions, each lasting up to an hour, alone with the writer. chosen. In the first session, the subjects were asked to generate a list of people who were important in their lives. These were From the students who volunteered, eight v/ere

used to generate personal constructs in the manner described in Study 1. They were then asked to rate all of the constructs

agaiinst all of the elements or people on a seven-point scale. The elements 'myself and 'myself as I would like to be' were included in the list of elements. The grid produced by the As there were

rating was analysed using the INGRID programme.

no sinomalies in the application of constructs to elements, all

- 148 of the constructs for each of the subjects were used in the next part of the study. In the intervening week, small booklets were prepared in the same way as for Study 2(b). for each fantasy element. This involved a separate page

The personal constructs were written

down the sides of the pages, with spaces in between each pole of the construct for a rating on a seven-point scale. The

following diagram is the first page from the first subject.

SCREE CAN TRUST EXCEPTIONAL WEARY CHALLENGING MAKE ME ACCOUNT FOR MYSELF INQUISITIVE UNDERSTANDING LIVELY INTERESTING AGGRESSIVE OVERBEARING COMPETITIVE DEMANDING ATTRACTIVE
/ / / / / / / /

CAN'T TRUST

y y

ORDINARY ENERGETIC SAFE DOUBT NOT INQUISITIVE INSENSITIVE DOCILE UNINTERESTING

PASSIVE UNASSUMING

NON-COMPETITIVE

EASY GOING NOT ATTRACTIVE

In the subsequent five weekly meetings, the subjects were guided through five guided fantasies in the manner described in

- i49 study 1. The first four fantasies used similar themes, namely

(l) Climbing a mountain, (2) Exploring a river from its source to the ocean, (3) Drawing a tree and (4) Into the body. The fifth session used the theme of 'A bird in a cage' and started with the following statement:- "As a theme for this fantasy, I want you to use the image of a bird in a cage. Take the first

image that comes and describe it as fully as you can". Invariably,- the bird and the cage were used as elements to be experienced more fully and at some point the subject was asked, as the bird, to try and find a way out of the cage, if he had not already done so. In the same mamner as for Study 1, subjects were asked to take on the roles of the main elements in the fantasy and conversations were set up between the subject and the elements, and between the elem.ents. Four elements were worked on, in

this manner, within each guided fantasy and the fantasy was ended at what seemed to be an appropriate point. These elements were written separately at the top of pages in the booklet and the subject was asked to rate them using his own constructs. In a finail session, the subjects were given an analysis of what they had done and the aim of the Study was explained to them.

Results Each of the individual grids of fantasy elements and personal constructs were analysed using the INGRID programme. 'Myself and 'myself as I would like to be' were included in the anailysis.

- 150 Composite diagraims of the first two principal components for each of the subjects are given on the next eight pages. On

these diagrams only one pole of each construct has been given. The opposite poles, together with the raw data are given in the Appendix. The fantasy journeys that include the elements are identified on the diagrams by numbers in brackets next to the elements, as follows :Climbing a mountain (l) Exploring a river Drawing a tree Into the body Bird in a cage (2) (3) (4) (5)

Discussion The results of each subject involves a unique set of personal constructs and famtasy elements. This means that there will be a number of idiosyncratic elements included in each grid. On the other hand, the constraints of the themes

tends to produce a number of similar fantasy elements. The individual grids could be discussed in a variety of different ways. The discussion here will be limited to the nature of clusterings of elements and how the individual structures relate to the group structures from Studies 2(a) and 2(b). All eight subjects produced a definite structure in terms of the measure of significance obtained by the application of the Bartlett Test in the INGRID programme. Within most of these structures a r aspects which can be compared to the group ie

151 Diagram 22. Composite Diagram based on the Factot Loadings of Components One and Two for Subject J.M. from study 3

Ui

>

'J I
x<
M
Ui

i
2 Ul

t
X2
to

UlX UIM

0)X

2 3 o

Uf Ul I I-

^x 'vr
In O

fit

ix
>* - s

;^ !

?x
a' o
2 2

x?
01

ix a :>

^XUI
VJ

<t *

o 4

.le

-Sx
ft.

xs:
.J

a o

V W * ^

i 2

SoX

O
t

2^

>
Xf

3
UiX

u,
Ul
Vi

Ul

i-

vbX

:2
X A

IX * a
Ul

X or

CB X

\u
2

|X

VU

vu

2 V

Vll

fx
HI

J)

-1

XH
v CD

-^2

Kx
.J

xt ^

xui u. <t
i/>

o o v>

1,

f X

- 152 Diagram 23, Composite Diagram h.3sed on the Factor Loadings of Components One and Two for Subject R.B. from . Study 3

o
VU
Q. X

x5
>
vu
X
Ul

>
2 V U MX 2 2 Ul

I-

^-| xi ^
vJ

J ^-2

Ul I X

i Z o J x2

z.
12X vu .) 2 Ml o O

3<
a o o -I

xu>

fit

Ul J 2

4
ux
-i Ul VI V

Vu

/>

UIX

OX z h

4 5x
a

J <t 2 o

*^

Ul XfiC

0 fit

^2S^
OUlp '32t!i Ul * vJ < o UIJ 2X

2
Ul

X
IT

>

4
/3 0. X

Ulul Ul O

^X

x
va
2 * X JO OO o
X CO

i ^
?XX^ :>
VI O 2 O 2UI >^ VI VI

5x
va X vu

X 0. Ul

OAX% Ul to

a
K Ul 2 VU

Ul

1-

- 153 Diagram 24. Composite Diagram based on the Factor Loadings of

Components One and Two for Subject J.P. from study 3

2T
00' X

Ul M 2 Ul

(-

o
i^

zx

^ ?x v X u

VO

Oi

H
0
fif.

/-N rl

yVU

3i X

fit

i o oc - . ,yj u. x J
^ Ul

2 U)

J'?

iv.
?x
X

?x

Ul

uf

^x

vi
Ul

X^^ o

T
v
Ul A
Ul 4

I2 VI

4 Ul

Ii.

Ul

Ul fit vb

.2)
Ul'

xV*
x^
VI Ul

vi

I--2

XM

^
3x

vu

x"I2
Ul I

to

yUl

fiS

I.

^1
ax x^
o

Ul

ul I/I O

x*
2
Ul

xui

Xl
J

ot 01.

t/l I

o u / vu

Sxvu
XUI

I?
2 Ui

wo
VJ2 2.-

M X X

p.
Ul

- 154 Diagram 25. Composite Diagram based on the Factor Loadings of Components One and Two for Subject S.B. from Study 3

i
J J

1-

< 2 VU
X

Ui

(0

2 o

.J

|-4 x:j

u.
vu
\A

<x

ffx u c
XUI

P
Ul

Vll

X3


vu
* O S

u
2vi X

II.X

Ul

V)

X7
A

^ IX
UiX

x ^
X
Vl

1 7
>.s
O u, X O U.

v!> O

.ix|
3 O

^?
X voS
yjX

4
4_

\>

Xx
0)t

I2
A

i- "2

u. ?

X>
Ul

HI

ix
o
vi
X ^

<
2

7 lit Vll Ul

o 2 Z Ul
3 >il ot

1 1
Sv>
Ul O

Ul

oe y-

Cjvi
J

xJ
u. w
Ul

- 155 Diagram 26. Composite Diagram based on the Factor Loadings of Components One and Two for Subject J.B. from study 3

""IS

a'
Ul 2

Uf 1Ul , o

Ii

>^x
^ Vi

111 ^ >

..
x>
Ui -I
CO

ulxx
3

I^^ 2 M V U
Ul

1x5x1
(VI 2 I2
2

<t 0. IX

5x
VU

vu u.
( ^

Io 2
VI M

<x

Ul

> x
U.: ^^CiX
>ii

>2
^*x

xl

z
X
Ul

^x vu
o
f

u:

(QX

2
3

4
,S1 x<r
J

o 2 X

o
Ui

2
(OX
fiS

vu

2x

X< U
KX 1 a 4 Ul

zP t ) *^
2. J VU

o
Ul
J OS

.4

h
-I

1$
xU?

J:

- 156 Diagram 27. Composite Diagram based on the Factor Loadings of Components One and Two for Subject M.C. from . . Study 3

U a

P v-
O VI

iO<

o
.J VJ

o o

2X

Ul

3 o X : X
WI

Oi Ul

;
X
2
Ul
U. VI VI UJ

XW

yx;7SV'
2.*

<

Ul <i.

Ul

oc

u u

>
Ul

i
*s.
2

Ul

$x o

I*

5i
Xx

*ix
Vll

V* >

V)

?X

I-* 2X Ct.

2 3

JX

z ?x
Ul

Iii

I<
Vi

x"* c
CO

xH
o

X
>V1I U l

"J
Ul VI

G.

? X
Ul

I-

:^x
V*l
J

>

z
Ul

o
2 3 3 4

vu t-

> -1

x'
*VI

157
Diagram 28. Composite Diagram based on the Factor Loadings of Components One and Two for Subject C.J, from Study 3

o 4
fx
X2 o X
M
VI

(0

IMl

^ y

2 3

K
x
XJ

> ^ X

Mi (

o
Vll

lU

X v9

Viy^^

fx
2

x2
ri
Q.

4
im.

3 O

Ul

<
2

xii
Ul v!i

x
Vu

x|
Ul X

>
5

2 v a Ul ^x
Ul

to
Ul ~l .a O fit

Vb

x,.
o u

<r
2 ^
X
Vi

-^ t>
vu
Oi

Xv^o
vu

o^x

XUl .1 fia

2 5

51X 5^ *, I X Vii
x
VI VI Ui

y Ul VI

a c a
2
Vu

x^ Z

<r

.^ X<1
Ul

Sx
5

X (il

a.

- 158 Diagram 29. Composite Diagram based on the Factor Loadings of Components One and Two for Subject A.M. from Study 3

X Q

Ul

XX

u.

Z
Ul X

a J

t'^X o 2
i

S <r
^Ul

2
^

rV)

<x h

Ul

- V iO J > Ul VU u . * UHX

|X

3x
Ul

u. vu

U.2

px
Vl

..J

^ -x"
X * Ji>. Ul Ul
4

??
vu

<;

-ix
X<t
Ul

vu

z
Vl
J

O Xv5 o
3 CD

x\U vt

&
.!

x"^
J 2

Ul
VI

uiOO 9 fiS

v >

-x i;^

> Z
O

o
I
u
lO

XO
Ui

2 a

a>

>ji

St,

XJ

U.X

ax
X
VJ

a.
<t 2X

o 2-

U) 2

xvu
X

2 z
V fit Ul t

X XVI
fit X

oe

Uiul tv!l 02 2 j

h
3 O

eX

vi>i
"UI

'^:#.
<:
o fit X
yUl lb

v< X^ j

<x

- 159 structures of Studies 2(a) and 2(b). discussed individually. Each grid will now be

J.M.

The aneilysis of this subject's grid produced four

significant components, with the variance distributed as follows :Component 1 2 3 4 As per cent 36.7 25.7 10.4 7.8 Total 80.6

The first component divides the elements into those that are relaxed and undemanding as opposed to those that are unpleasant and challenging. The second component divides the elements into those that are energetic a n aggressive and those that are passive and id weary. The interaction between these two components presents two interesting, opposing groupings of elements. These are 'light' (5)I 'stream' (2) and 'myself as I would like to be', which are energetic and relaxed. These are opposed to 'mist' (I),

'people' (5), 'inside of trunk' (3), 'solid wall' (4), 'river' (2) and 'cage' (5) which are passive and unpleasant. These combinations could represent examples of condensation a i overdetermination. jd Certainly the long line of elements down

the right-hand side of the diagram provide a good example of possible overdetermination of the right-hand side of the dimension describing the first component.

- i60 R.B. The analysis of this subject's grid produced two

significant components, with the variance distributed as follows :Component 1 2 As per cent 38.9 16.7 Total 55.6

The first component makes a clear distinction between images that are generally negative such as 'heart' (4), 'cage' (5), 'the people' (5), 'little animal' (2) and 'blood' (4) compared with a large number of images that are generally positive. This large grouping is split into two by the second

component into those that are positive in a stable, motherly way and those that are positive in a creative, sensitive way. This forms two clear, close groupings. The second component appears to separate out the stable 'self from the unstable 'full moon' (I ) and 'stream' (2).

J.P.

The analysis of this subject's grid produced six

significant components, with the variance distributed as follows Component 1 2 3 4 5 6 As per cent 39.^ 17.2 9.9 7.3 6.1 4.8 Total 84.7

- i6i The first two components, illustrated in the diagram, accoimt for 57?^ of the variance and the interaction between these two produce several interesting, neat groupings. 'Eye' (4), 'brain' (4), 'forest' (2) and 'myself as I would like to be' form a serious, intelligent, productive grouping. 'Sun' (3), 'stream' (2), 'myself, 'young leaf (3) and 'sparrow' (5) are more adventurous. 'Roots' (3), 'heart' (4), 'strong punter' (2) and 'deep pool' are tidy, worldly wise and academic. These constructs probably do not represent the true impact of these images on the subject. 'Strong punter' was mentioned earlier in the

text as an image that had a profound effect on the subject and that it seemed to reflect a strength that was not normally part of his experience. Waste land' (2), 'criimbly rock' (l ) and 'stream' (l) are haphazard and irresponsible. 'Weathercock' (5), 'cage' (5), 'trunk' (3) and 'moss' (l) appear to represent an extreme of negativity. The third component distinguishes the tidy academic 'young leaf (3) from the wordly wise, content, 'sun' (3) and 'sparrow' (5)This subject was already a highly successful academic, who placed a high value on the intellect and was intolerant of anything that was loose and disorganized. in the diagram of the data he generated. This is reflected

S.B.

The analysis of this subject's grid produced four

significant components, with the variance distributed as follows:-

- l62 Component

_ As p e r c e n t

1 2 3 4

47.5 14.2 10.8 7.4 Total 79.9

The first two components account for 62% of the variance. The diagram based on these two components has a large grouping near the middle, which probably should not be seen as a grouping, as individual elements have high loadings on subsequent components, which sets them apart. There are, however, small, neat groupings' outside the larger grouping. 'Waterfall' (I), 'waterfall' (3) and 'cliff (3) are labelled as smooth-talking, clever-clogs and are generally unpleasant. This can be contrasted with 'bird' (5), 'bridge' (5) and 'myself as I would like to be' who are generally warm and emotional. 'Quiet place' (3), 'trunk' (2) and 'brain' (4) accept their own mistakes and are not argumentative. 'Mountain' (I), 'flower' (2) and 'stream' (3) are confident but not affectionate.

J.B.

The analysis of this subject's grid produced three

significant components, with the variance distributed as follows:-

- 163 Component
1

As per c e n t

35.5
17.7 15.1 Total 68.3

2 3

This analysis produced a significant structure, with the first three components accounting for 68.3% of the variance, but the composite diagram for the first two components does not illustrate clear groupings in the same way as the previous subjects. There are three pairs of elements which have been given similar, relatively extreme ratings. These a r 'trunk' (3) and ie 'cage' (5); 'heart' (4) and 'canoe' (2); and 'upper river' (2) and 'water' (3). There are similarities between this grid and the consensus grid of Study 2(a). The first component distinguishes between

stable images such as 'mountain' (l), 'trunk' (3) and 'cage' (5), and unstable images which are all watery such as 'stream' (l), 'upper river' (2), 'water' (3). This subject, however, does not view the unstable images favourably and 'myself as I would like to be' is placed with the stable images.

M.C.

The analysis of this subject's grid produced three

significant components, with the variance distributed as follows:Component 1 2 3 As per c e n t 24.0 18.1 14.0

- 164 Once again, the first component seems to separate out stable, defended images from impulsive, free images, though it is not clear which is seen as the positive side. Typically, the

'fast moving stream' (2) is seen as a free image, together with 'high flying cloud' (l) and 'foliage' (3). The defended images are similar to the defended images of study 2(a) such as 'slow moving river' (2), 'roots' (3), 'bark' (3) and 'heartwood' (3). These are joined by 'bank' (2) and 'low cloud' (l) to form one of the largest, closest groupings of these eight subjects. The second component sorts out two successful, warm images, 'leader of the group' (l) and 'myself as I would like to be' from the unfriendly and unsuccessful images such as 'cage' (5) and 'left arm' (4). Creativity is an aspect of this dimension and

it is curious that 'left arm' (4) is seen as uncreative and 'right arm' (4) is seen as creative. This subject described

himself as a practical, unimaginative person, and yet he had no difficulty in completing the sessions. The third component separates the unfriendly, dissatisfied, reserved 'brain' (4) from the non-creative, not authority figure, 'high flying cloud' (l) 'waterflea' (2) and 'bark' (3). Almost 44% of the variance is not accounted for by the three significant components in this grid and this random variance probably accounts for the placing of a number of fantasy images around the centre of the diagram. However,

there is still a clear structure and the large, defended grouping probably provide a good example of overdetermination.

-165 C.J.

The a n a l y s i s o f t h i s s u b j e c t ' s g r i d produced t h r e e

s i g n i f i c a n t components, w i t h t h e v a r i a n c e d i s t r i b u t e d a s follows:Component 1 2 3 As per cent 40.9 25.2 9.7 T o t a l 75.8

The first component separates out a group of images, 'pressure' (4), 'maze' (4), 'shale' (l) and 'rock' (2) which axe generally seen to be unpleasant, from a much larger grouping, 'vastness' (4), 'ledge' (1), 'sun' (5), 'light' (4), 'myself as I would like to be' and 'fresh air' (l) which is seen in positive terms. The second component resembles the first component of Study 2(a). At one end, 'mountain' (l), 'roots' (3), 'trunk' (3) and 'cage' (5) are stable, independent images which hide their emotions. At the other end, 'foliage' (3), 'sap' (3) and 'bird' (5) are flexible, uncontrolled and dependent. The third component largely separates out the dependent 'bird' (5) from the extroverted, insensitive 'rock' (2). This subject appears to have rated the elements clearly in that there are few elements in the middle of the diagram and the significant components account for 76% of the variance in the original grid. Some of the elements, such as 'roots' (3)i 'lake' (2) and 'bird' (5) provide examples of condensation in that they have relatively high loadings on both of the first two components.

. 166 A.M. The analysis of this subject's grid produced six significant

components and the variance was distributed among them as follows:Component 1 2 3 4 5 6 As per cent 29.4 17.9 13.1 8.8 6.4 5.2 Total 80.8

This is the second most loosely construed set of elements in the series of eight and yet a clear, statistically significant structure is contained within this loose construeing. The first component strongly resembles the first component of Study 2(a). This is particularly true of the negative defended

end of the dimension, which includes 'cage' (5)i 'mountain' (l), 'throat' (4), 'trunk' (5), with 'river' (2) near to this closer grouping. The other end of the dimension includes 'stream' (2)

and a large grouping of up to nine, possibly overdetermined images that are seen as positive and flexible. The positive

end would seem to be feminine and the negative end would seem to be masculine. The second component separates out the elements that are warm and stable and are well represented by 'stickiness' (2), roots' (3) and 'red wooly fluff (3)i from those that are cold and unstable such as 'bud' (3) and 'stream' (2). 'Stream' (2)

is probably a good example of a condensed image as it has high loadings on both of the first two components.

- 167 The third component sepairates the manipulating materialistic 'cat' (l) from the accepting 'cage' (5) with no plans.

Much of the discussion of these individual grids has been limited to the first two and sometimes the third principal components. Generally these involve the more extreme ratings

made by the subject and bring out the clearer aspects of the grids. The loadings on the subsequent components tend to be smaller and often only provide a clear description of one element' and one construct. This is not to say that these results are not necessarily phenomenologically important to the person concerned, but this information does not add much to the current discussion. Indeed, the descriptions of the individual grids described above may appear to be an inconsequential series of sets of relationships which will have little meaning to the reader who has not shared the experience. On the other hand, the individual

discussions with the subject at the end of the series of fantasy journeys was highly involved and the subjects often had clear memories of images they had experienced as much as six weeks earlier. For the purpose of this discussion, which is concerned with the structure of fantasy, the important finding is that every subject produced a structure that involved statistically significant groupings. The complexity of these structures is

reflected in the number of significant components and the size of the first component. The idiosyncratic nature of the

elements involved reflects the unique content of individual

-168 faintasy experience and it is surprising that apparently disparate elements from different fantasy trips are shown by the analysis to have been perceived similarly. The largest groupings are bound to be involved in the first two principal components and will tend to appear on the two-dimensional diagrams based on the loadings for these components. The geographical position on the two-dimensional

graph gives an indication of how the fantasy elements fit into the overall structure, certainly in relation to the first two components. A clustering of elements close to the axis of a component, but a good distance from the centre of the axis probably reflects a simple, clear underlying psychological structure. Perhaps the tightest structure of this nature is on the diagram for J.P. where 'eye' (4), 'brain' (4), 'forest' (2) and 'myself as I would like to be' are described as serious, intelligent, capable, religious and loveable. Predictably, the groupings relating to second components are less clear. Perhaps the clearest is illustrated on the

diagram for S.B. and involves 'trunk' (2), 'brain' (4) and quiet place' (3), which are not argximentative and accept their own mistakes. Other groupings relating directly to second

components are limited to two elements, though some involve high loadings such as 'leader of the group' and 'myself as I would like to be' in the diagram for M.C.

Other groupings reflect aspects of more than one component. A clear example of this is illustrated in the diagram for J.M. 'Stream' (2) , 'light' (5) and 'myself as I would like to be'

- 169 play a part in both the relaxed end of the first component and the energetic end of the second component. Another example, taJcen from R.B. includes 'old wood' (3), 'dark place' (3)i 'pinky orangy stuff (2), 'green moss' (3), 'pine tree' (5) and 'myself as I would like to be'. These are involved in both the warmth of the first component and the stability of the second. It has already been suggested that this form of grouping could represent the process of condensation, where more than two underlying pschological structures are involved in the understanding of a grouping of fantasy elements. This is, of

course, also true of individual fantasy elements that have high loadings on more than one component, (1) on the diagram for S.B. A good example is 'bridge'

A grouping that involves

condensation must, since it is a grouping, also involve overdetermination. It is as if, some forms of condensation 'are

overdetermined and there is no reason why these two processes cannot be operating at the same time. The numbers in brackets next to the element names in the diagrams and in the text show that the groupings include elements that were experienced between one and five weeks apart, though some groupings involve elements from the same fantasy journey. The time factor, combined with the different nature

of each theme given for the fantasy journeys and the idiosyncracity of the elements produced, suggest that there are underlying structures that are common to a diversity of fantasy experiences. Another aspect of these individual grids is that it was easy to make comparisons from four of the individual grids

- 170 with the first two components of the concensus grid from Study 2(a). Certainly the defended-undefended dimension of the first component of Study 2(a) appears to play an important part in the structures of the individual fantasies. This is not to say that the same dimension does not play a part in the individual structures of the remaining four subjects, though the possibility was not obvious from the names of the constructs and elements that were used. The experience of these eight subjects is most similar of all the studies to the experience of the subjects in Kosbad's (1972) research which suggests that a series of experiences of this nature can be therapeutic amd provide useful insight regarding personal understanding. All of the subjects stated

that they were glad to be taking part in the series, both during and at the end of the series. No systematic attempt

was made to anailyze the subjects' reaction to participating in the experience, but several said that it had taught them a great deal about themselves and seemed to guess that the imagery might be saying something about aspects of their personalities that they had not looked at before. One subject

said that she enjoyed coming to the sessions because she felt relaxed for several days afterwards and was sorry that the project had ended. In spite of the small number of subjects used in this study, every subject produced a significant structure which accounted for a good proportion of the total variance in the individual grid. (These totals were 80.6%, 55*6%, 84.7%,

79.9%, 63.8%, 56.1%, 75.8%, 80.8%. ) It is probable that aspects of the random variation was of psychological

- 171 importance to the individual subjects. None of the subjects

produced the large numbers of components obtained by some of the subjects in Study 2, which were difficult to explain. Nor

were there examples of negative results v/hich suggest that all of the significant structure is contained in one principal component. This would suggest that the procedures used in this study are highly suitable for gaining insight into the underlying structure of guided fantasy, which is still in a form that cajn be quantified.

- 172 -

CHAPTER 9 CRITIQUE. CONCLUSIONS, IMPLICATIONS AND APPLICATIONS

Critique Before drawing any general conclusions, a statement needs to be made regarding the limitations of the research which was undertaken. It is significant that the word 'study' was chosen,

rather than 'experiment', for the four different approaches that were used. This was done deliberately, in that the procedures

do not involve the rigorous controls of the classical forms of experimentation. It could be argued that a degree of looseness

is necessary to capture the quality of a transient phenomenon, such as fantasy experience, and that a highly controlled situation would either diminish or suppress the true nature of the experience. Probably the most salient criticism that could be made about the research is that the writer, himself, led all of the subjects through the guided fantasies described in Studies 1 and 3. In dealing with such 0. fleeting phenomena, the possibility

of influencing the material produced by the subject may be considerable. It has already been described how the Gestalt mode of questioning aims to neutralize the effect of the person in the guiding role by not intruding any of his own personal values or judgements into the situation. Unfortunately, it is still

possible to influence the subject despite the rigorous framework of the Gestalt technique. This could be done in various ways.

For example the subject may be affected by subliminal cues.

- 173 such as the tone of the experimenter's voice when giving instructions. The choice-points at which the interventions

are made reflect the values and judgements of the experimenter. Pauses, which can suggest that there is more to be said, may encourage the subject to think of something to fill in the gap. There may be many other subtle ways in which the powers of suggestion can be at work. This criticism has less force in relation to Studies 2(a) and 2(b), where scripts were used and a different person was involved in each study. Even so, the scripted situation is

still one which could be inadvertantly influenced by the person reading the script to the group. The main reason for the writer conducting all of the individuail guided fantasies himself was that no one else was available who had the necessary skills and training to use the Gestalt form of questioning, as well as the time spent in the many hours required to complete the research programme. No attempt was made to use conventional sampling procedures to control variables related to the subjects that were used. For the sake of expediency the subjects who were chosen were those who were available at the appropriate times. In the

writer's experience, there seemed to be more resistance to taking part in research on fantasy than when asking for volunteers to take part in more conventional forms of psychological research. It appeared that a large number of

people did not want to have their fantasy worlds examined, for fear of what might be revealed. Thus the students who volunteered

are atypical in that they were willing to expose their fantasy lives. The class of children were not given the same choice.

- 174 The problem of sampling is not too important in that the main findings regairding the structure of fantasy relates to all of the subjects and does not involve the comparison of groups. It seems reasonable to assume that these findings are not limited to a student population and could also apply to individuals from different backgrounds and different situations. At least, the results from these studies provide information about the structure of fantasy for this particular population. Countering the criticism of lack of experimental control, it could well be argued that any form of controlled observation is bound to interfere with such a labile phenomenon as faintasy. It has already been suggested that people were often relucteint to volunteer to take part in an examination of their fantasy processes. The mere presence of an observer could inhibit the

free flow of fantasy both at conscious and unconscious levels. The subjects were told that they were free to censor any experiences that they did not wish to admit to openly, but were asked to report when they were censoring. Only one subject

reported that she did not wish to admit to a particular fantasy experience. Indeed, there is no way of knowing what has happened between the experience of fantasy and the verbal report of the subject. Horowitz (1970) sums up this problem in detail: "An image is such a private experience that there is only one primary source of information about it: the introspective report. Such subjective reports have been found, in scientific investigations, to be quite fragile. People fabricate events that have not occurred in order to please, do not report events to escape censure, change their thinking to suit a variety of motives, use terms that do not have shared meanings, forget, contradict themselves, distort experiences, and vary experiences with changes in the interpersonal and non-human environment.

- 175 While more will be said of this later, the reader is wairned at this point neither to be dismayed, nor to accept any image report uncritically." In all the studies, fantasy as it is normally experienced was controlled to some degree. This was done by the initial

themes given in Studies 1 and 3 and by the scripts in Studies 2(a) and 2(b). The use^ of the Gestalt mode of questioning is

also controlling and altering the normal free flow of fantasy. If the earlier criticism concerning lack of experimental control are accepted, this could lead to the conclusion that fantasy experience is not amenable to controlled observation. The fact that an aspect of human behaviour is difficult to investigate empirically is insufficient reason for avoiding the attempt. Fantasy is not often referred to, particularly

the detailed contents of personal fantasy and yet it is a process that dominates the 'streaun of consciousness' of most human beings. It is as if the more importauit aspects of human

behaviour aire the most difficult to investigate and consequentlj tend to be ignored by research psychologists. If perfect control were a necessary condition for psychological experiment, then nothing would ever be done. The looseness of an investigation will depend on the degree to which a phenomenon can be controlled. The writer has attempted to steer a course between the Scylla of restricting control and the Charybdis of introspectioi A further criticism relates to the degree to which ratings made after a fantasy experience accurately reflect the nature of the materials being rated. This criticism applies to most

forms of psychological investigation involving rating scales. The rating scale appears to have been accepted as an appropriate

- 176 tool, which provides a means of quantifying experience in a way that is rarely questioned. A surprising aspect of this particular investigation is the apparent ease with which most of the subjects cairried out the ratings. In the writer's experience of giving materials

which require the use of rating scales, individuals often complain regarding the task of using numbers to evaluate psychological experience. None of the subjects who did

individual fantasies complained about the rating process and seemed to find it easy to apply the constructs to the fantasy elements. There was not the same contact with the subjects in

the group studies, but again, there were no complaints. It could be argued that the use of dichotomous personal constructs for evaluating fantasy experience is distorting the experience to fit a particular form. Much of the discussion of

the structure of the data obtad.ned in the studies is in terms of opposing clusters of elements. It is possible that the use of

dichotomous constructs predetermines results in this form. Kelly (1955) states that experience can only be construed in terms of similarity and contrast. If this is accepted, then

fantasy experience will also be construed in this way and the contrasting nature of the elements would be expected. Certainly

many people do not perceive their fantasy experience in such an organized manner, but rather as random chains of associations that emerge spontaneously and possibly randomly. The form of

analysis used in these studies produces an organization that is not normally ascribed to fantasy experience. Another objection to the use of personal constructs is that the subjects may not have considered the fantasy elements in

- 177 personal terms until they were directed to do so, and that this was done after the experience was over. It is probable that

the subjects did see the elements in personal terms by the end of the fantasy journey, because they had already been asked to take on the roles of the elements that were rated and examined them in detail using the Gestalt mode of questioning. The Gestalt mode of questioning and the process of identification with the elements is a considerable intrusion into the subject's experience of his fantasy. All of the

subjects slipped into the process very quickly during the first fantasy journey and had no difficulties with the subsequent fantasy journeys. Only on one isolated occasion did a subject

state that he could not possibly identify with a particular element in personal terms. continued on his journey. This was abandoned and the subject Certainly, the process of identificat:

seemed to be an easy, natural task, for all of the subjects for the individual fantasy journeys, most of the time. Again, the process of setting up a conversation between two elements could be encouraging the perception of these elements in terms of opposites, which may not have happened if the conversation had not been encouraged. It is possible that

the experience of the elements are being artificially distorted to fit conventionalized pairs of opposites which then form the basis of the principal components produced by the amalysis for that person. A further objection could be made that it is impossible to convey the emotional quality of the fantasy material that was generated in the quantified forms that are used in the various studies. This is self-evident and for the reader who has not

- 178 been able to experience a guided faintasy, much of the material described so far may appeair to be a random collection of nonseng This is particularly true of the naimes of some of the elements in some of the individual studies. To give an extreme example of the unique quality of the sessions, one of the subjects experienced the element 'wind' as a breeze passing through her lower ribs. Other subjects

reported physical sensation that went with the fantasy experienc paurticularly constriction of the shoulders and chest when identifying with the cage. One subject experienced being

physically crushed when she descended into her mountain. This provides useful anecdotal evidence for theorists who associate physical symptoms with psychological problems, such as Reich (1949) and Lowen (1975), but makes it difficult to report the experiences in a full and coherent manner.

Conclusions Bearing in mind the limitations that have been outlined in the previous section, the following general conclusions are drawn from the three studies taken together:-

1.

Definite structures were demonstrated in the analyses of It is the writer's

all of the situations that were examined.

view that these structures are surprisingly simple considering the apparent randomness of the elements that were generated by the subjects. It could be argued that it is surprising that

any structure was obtained at all. (a) In the first study, no attempt was made to estimate the

significance of the groupings that were produced by the cluster

- 179 of ticks on the diagrams. It was suggested earlier that the

conventional forms of statistical analysis could not be used for this particular study, as there was too much 'missing data' in the form of construct poles that had not been used. Possibly a parallel could be drawn between the diagrauns for this study and a scatter-plot for a correlation. If this

were a valid procedure, then the overall groupings would be seen to be highly significant just by visual inspection. It is a matter of opinion as to exactly where the clusters begin and end and peEiiaps this is a meaningless consideration. A better way of looking at the clusters within the diagram, is to see them as clouds of crosses, approximating to a meaningful structure and the core of that structure represented by the clouds. The possible meaning of the clusters can be read off

from the construct poles to the left-hand side of the clouds of crosses. Aft important aspect of the clusters produced in this analysis is that they are derived from several different types of fantasy experience such as guided fantasy, dreams, drawings and Gestalt work. The majority of the situations were guided

fantasies, but it is interesting that the other forms of experience have produced elements which readily merge in with the elements from the guided fantasies. These cam be identifie Elements from the

by the letters at the top of the diagrams.

same experience often appear in the same cluster. This would suggest that the phenomenon that is being investigated is produced by a variety of different experiential situations. This is probably a result of the fact that the

various situations all demand directed attention to their 'fantastic' elements. This is an idea that will be developed

- i80 It is worth repeating the statement made in the discussion on this section, that any single cross on these diagrams might represent an experience that is psychologically extremely important to the individual concerned. This might be an

isolated cross or a cross in the middle of a structure which cannot be differentiated because of the limitations of the construct poles available. This study was subject to less control than any of the subsequent studies. The fantasies were allowed to develop in

the direction that suited each subject and they were free to use construct poles as they felt that they were appropriate. An accurate statistical analysis cannot be made because of the degree of freedom given to the subjects and yet individual structures stand out clearly in the diagrams. were understood much These diagrams

more easily by the subjects than the

diagrams that involve the combined results of the first two components of a principal components analysis.

(b)

In the second study, 2(a), the twenty-four adult subjects The fantasies were

were all subjected to the saime conditions.

read to them from scripts and they all used the same constructs namely Cattell's sixteen personality factors, to evaluate the fantasy elements that were emphasized. The structure of both

the group grid and the individual grids are shown by the principal components analysis produced by the SERIES and INGRID programmes respectively. The combined data for the whole group produced six significant components and the relationships between the elements are plotted in relation to the first two components.

- i8i which account for 68% of the variance. The significant

components account for a surprising 96% of the total variance. Only two of the individual grids failed to produce more than one significant component and even these two grids produced one large grouping. Thus, the data from this study produced a cleair group structure and clear individual structures,

(c)

In the second group study, 2(b), twenty-nine thirteen to

fourteen year-old adolescents were given the same scripted famtasy journeys as in the previous study. This group evaluated

the elements against their own self-generated personal constructs A much looser, but statistically significant structure, with eleven significant components, was obtained from the group data using the PREFAN programme. The diagram showing the elements

plotted against the first and third principeil components is less clear than for Study 2(a) as these components only account for 26.4% of the varieince. It is suspected that some of the

smaller significant components represent a part of the data of a single subject. Five of the twenty-nine subjects failed to produce more than one significant component, but this still means that there is at least one large significant grouping. The looser structure could be due either to the relative youth of the subjects or to the fact that the subjects were all using different constructs to evaluate the fantasy elements. Also, there is more random variance, which is not accounted for by the significant components; 27,5% compared to 4% in Study 2(a]

- 182 2, A visual inspection of the ttwo sets of group data suggests The INGRID programme

that there are similarities between them.

produces a measure of distance between each element projected into a multi-dimensional space, A comparison of the distances

between the elements of Studies 2(a) and 2(b) produced a correlation r = 0.28 which is significant at the 0.01 level. This is a low correlation, but it does suggest that there is a structure which is common to both group grids. The possible labelling of this structure based on the descriptive terms used in Study 2(a) is repeated here.

Study 2(a) 1st Component 2nd 3rd " "

Study 2(b) 1st Component 3rd 2nd " "

Possible interpretation stable, defended - free, undefend strong - fearful conscientious, trusting, relaxed expedient, suspicious, tense.

3.

The eight subjects in Study 3 were led through individual

guided fantasies, which they evaluated against their own selfgenerated personal constructs. Every subject produced a clearly The series brings

defined statistically significant structure.

out the range of individual differences in the organization of fantasy experience. Although these subjects were given considerable individual freedom in the generation of fantasy, which is reflected in the idiosyncratic nature of their fantasy elements, they still produced aspects of the group structure that came out of the combined grids of Study 2(a).

- 183 -

Implications It would appear that aspects of structure have been established, given the qualifications regarding problems of experimental control outlined in the earlier critique. The implications of these findings are now discussed in relation to the issues that were raised under the heading of 'Theoretical Considerations'.

1.

Probably the most important implication of the presence of

a cleairly defined structure is that it lends support to the possibility of making interpretations concerning the psychologica importance of the images to the individual. The process of

interpretation implies that the images are, in some way, acting as a metaphor for conscious or unconscious psychological processes that reflect aspects of that person. Without a

structure, the wesuLth of images in fantasy life would be far too complex to provide a coherent basis for making interpretations. An organized structure which is expressed in the form of bi-polar constructs provides a dimension which can be identified as a conflict that can be applied to that individual's personal life. These conflicts necessarily appear in the amalysis of the

studies and provide material that can be discussed with the subject to see if he is willing to own them as part of his experience of the world. There are many problems involved in making interpretations for an individual and these problems are increased when interpretations are made that apply to several people. Certainly

the traditional psychoanalytical approach suggests that certain

- 184 images cam be interpreted in specific ways. Many of the writers

discussed in the review of the literature, who claim to be noninterpretive go on to offer broad general interpretations. Evidence regarding the possibility of interpretation comes from Study 2(a), since all the subjects are involved with the same elements and constructs. The group consensus shows that

there is a vague underlying structure, but an examination of the individual grids shows that individual subjects experience specific elements in ways that are cleairly different from each other. In the individual grid for M.K. in Study 2(a), the roots have moved to join the adventurous, free images of 'wind' and 'stream'. For C.H. 'ocean' is seen as similar to 'snow',

whereas they are perceived as opposites in the consensus grid, a more predictable juxtaposition. For S.L., 'heart' has moved

to join the less-defended images such as 'stream', 'wind' and 'leaves'. The consensus grid was obtained in spite of these

individual differences. Another atypical result is for D from Study 2(b) in that 'belly' is seen in such highly positive terms that it had the highest factor loading of all the studies. In Study 3 R.B.

perceives 'heart' as being defended and negative, a similar rating to 'cage'. An examination of all the individual grids

from all of the subjects suggests that every element is seen differently by at least one subject. Even where the overall

structure of the relationship between the elements is similar to the consensus grid in Study 2(a), the manner in which the elements are perceived may be different as in the case of J.B. in Study 3.

- 185 This lends support to the views of Jung (1961) and Perls (1973) that the only person who can meaningfully make an interpretation is the person who experiences the fantasy or dream. These writers imply that the images in dreaims and

fantasies are a message from the person to himself and reflect his own ontological experience. They are a reflection of the

individual's 'being in the world' in the manner of the existential analysis of Binswanger (1946) amd Boss (1963). The argument regarding interpretation is neatly summed up by Dublin (1976) who suggests that Gestalt therapy as developed by Perls provides a technology for the existential analysis of Binswanger. This technology provides a means of clarifying

experience for the person who has had the experience. Certainly the individual differences in the structure and meaning of fantasies obtained in these studies would suggest that any generalised interpretation could easily be wrong and may, in fact, be opposite to the appropriate interpretation for the individual. On the other hand, there is a degree of consensus in the evaluation of fantasy experience which is best illustrated by the results for Study 2(a). This is partly reproduced in

Study 2(b) and appears in limited forms in many of the individual grids. Using this consensus, it may be possible to

make some general statements about fantasy experience. On the basis of his clinical experience, Assagioli (1965) suggests that we all have a number of differing and conflicting tendencies within ourselves. These conflicts could well be

represented by the separation of elements by the principal components. as follows; He describes one of these conflicting tendencies

- 186 "Another basic conflict is that between inertia, laziness, tendency to preservation, craving for security (which expresses itself in conformity) on the one hand, amd the tendency towards growth, self-assertion and adventure on the other." p. 36, This is an extremely close description of the first principal component produced by the analysis of Study 2(a) and partly reproduced in the first component of Study 2(b). remaining components probably represent other different conflicting tendencies. The polarity described by Assagioli The

and supported by the data in these studies imply that a form of common interpretation is possible. A large number of fantasy

elements would seem" to be stable and defended and another large number would seem to be free, impulsive, flexible and undefended. It is, indeed, surprising that so many elements are at one end or the other of this dimension. An interpretation of this nature is highly general and of a different order from the specific, classical interpretations of psychoanalysis. No support was found for Jung's archetypal images, though it could be argued that the controlled conditions under which the images were explored might have precluded the emergence of really important material. Many of the fantasy elements could

be interpreted in terras of 'animus', 'anima' and 'shadow', but this form of interpretation would be based entirely on intuition. Similarly, some of the dimensions representing the

principal components could be interpreted in terms of Perls (1969a) 'top-dog' and 'underdog'. No support was found for (

the implicit interpretations in the systems of Desville (1966) and Leuner (1969).

- i87 Most systems of interpretation aire based on clinical experience, which is open to the distortions produced by the theoretical predelictions of the clinician. Salmon, Arnold

and Collyer (1972) showed that there was a structure underlying responses to the Rorschach Test, but not the structure that is suggested in the handbook for the test. Similarly, this study

has established an underlying structure to the experience of guided fantasy, but different from the structures hypothesized by many of the theorists who write about the subject. By and large, the results of this study support the use of an existential, phenomenological approach to obtain an understanding of the potential meaning contained in the structur of fantasy. However, the possibility still exists that the traditional psychoanalyst might point out that the evaluation of fantasy elements was effected from the view of the person's consciousnesi and that the fantasy elements may have other meanings which reflect the person's unconscious. This is often expressed in

terms of the manifest and latent content of the images. The approach taken in these studies does, however, take account of both manifest content and a possible latent content, without recourse to ideas of murky meanings locked away in inaccessible places. latent content. The specific images obviously provide a

The structure as provided by the principal

components analysis and the groupings of elements perceived as similair were not obvious to the subjects until they were given feedback about what they had done. Since this is material

which is not immediately accessible to the subject, it could be described as latent content.

- 188 2. Several comments have already been made concerning

Freud's idea of overdetermination, which has importamt implications for the process of interpretation. It seems

reasonable to suggest that if a conflict within the individual plays an important part in his life, then images relating to that conflict will appear again and again in his fantasy and dream life. Relationships within the grids in all of the studies suggest that groupings of elements are perceived by the subjects in similar ways and that they probably represent similar psychological processes. If the process of overdetermination

were not taking place, then famtasy experiences would be complex agglomerations of unique images and any form of interpretation, even by the fantasizer, would be extremely difficult. One of the tightest groupings of elements appears on the diagram for subject S.L. in Study 2(a), which consists of 'trunk', 'river', 'roots', 'cage' and 'mountain'. These

elements are perceived as stable, conscientious and tense. Apart from 'trunk' and 'roots' each of these elements occurred in a separate fantasy journey, so the experiences are all separated in time by at least a week and yet the subject reports each element in an almost identical manner. The process of overdetermination would appeair to be reducing fantasy experience to a much simpler and coherent structure than is normally expected. In the discussions with

subjects after the series, they often expressed surprise that they had rated certain elements similarly.

- 189 3. It has been suggested that the process of condensation,

where a single fantasy element involves more than one psychological dimension is adding to the complexity of the underlying structure of these fantasy situations. This process may be involved in the L-shaped clusters of crosses in the diagrams for Study 1. The same process may be

involved in the principal components analyses where a single element has a high loading on two, or more, components. subject S.L. from Study 2(a) provides a good example, Again, 'brain'

in the top left-hand corner has a high loading on the stable first component and the tough-minded, assertive second component. The process is made more complicated where there is a grouping of elements with high loadings on more than one component. It is as if the processes of overdetermination and

condensation can operate at the same time. The data from these studies does not prove that either of these processes are operating within the fantasy experience, but they do illustrate a structure which could well be explained by the operation of these processes.

4.

Several of the writers discussed in the review of the

literature and the theoretical section suggest that the elements of fantasy represent parts of the individual of which he is not consciously aware. This implies that a person is made up of

several sub-personalities that, individually, have a life relatively distinct from other parts of the personality. During the Gestalt sessions of Study 1, the subjects were admitting to at least two 'parts' of themselves, though this was suggested in the instructions that were given. These 'parts of

- 190 the person' rated as elements were seen to be similar to groups of fantasy elements, so the Gestalt element, could be seen as a clue for labelling the grouping of fantasy elements as a part of the person. Examples of clustering appear in the diagrams for Study 1 and in all of the individual two dimensional diagrams based on principal components analysis. These latter diagrams, of

course, exclude potential clusterings that involve third, fourth and subsequent significant components. It is possible that a

single fantasy element represents a sub-personality on its own and that it just happened that another related image just did not occur during the series. One of the best examples of clusterings of elements which could be used as a basis for interpretation in terms of subpersonalities is the diagram for J. P. from Study 3i which was described in the discussion for that study. The four clear

groupings which stand out in the diagram are only based on the first two components. There may be further groupings hidden in

the interaction of the remaining components. It is a considerable inferential leap from the clusters of crosses and groupings of fantasy elements to imply that they represent sub-personalities or aspects of the person that have been disowned. Certainly the clusterings are unique to the

subjects who produced the elements and it seems reasonable to suggest that they represent, in some way, the uniqueness of that individual. Since elements that are perceived similarly keep

recurring, it can be said that the studies support the idea of underlying sources of coherent psychic functioning.

- 191 To label these coherent structures sub-personalities is to give them a status which is perhaps not warranted. In the

writer's experience of using fantasy in workshop situations it is quite meaningful to consider elements of fantasy in terms of parts of the personality that are unconscious or disowned. Certainly the concept of sub-personality would appear to be a useful metaphor for encouraging awareness of a person's own behaviour. It is the view of the writer that the only person

who can meaningfully judge that an aspect of fantasy is a part of his personality is the person who has experienced the fantasy. Further support for the idea of sub-personalities is provided by the fact that the subjects were willing to apply personal constructs to the elements of fantasy. The elements

came from the individual amd he was able to label them as if they were people. they were asked to. It could be argued that they did this because On the other hand, the constructs were In Study 1

applied with little trouble and with no complaint.

the subjects were permitted to choose whether the constructs were applied or not and yet most of the constructs were used. In Studies 2 and 3 many subjects were consistently using extreme ratings, which suggests that the elements could clearly be seen in personal terms.

5.

Implicit in the idea of sub-personalities is the idea that

the fantasy material is a projection of underlying psychological processes in the individual. The procedures which have been

used in these studies have obvious parallels with the convention; projective tests.

- 192 These studies were not designed with a view to prove that projection is involved in fantasy experiences. On the other

hand, the structure which has been established does provide a basis for explaining the experiences in terms of projection. Certainly there are few clinicians who would deny that the subjects were saying things about themselves through the fantasy elements that they would not be willing to admit to in a normal interview. Many of the subjects reported that they felt they

were talking about themselves and admitted to being surprised by the thoughts and feelings that emerged. This was particularly

true of the sessions that were based on a drawing of a tree, whicl seemed to be a uniquely potent image.

Implications This section will be divided into two. Firstly the

implications of this study for the understanding of the nature of fantasy experiences, with particular reference to those labelled guided fantasy. Secondly the implications for the

applied areas in which these techniques are used, such as psychotherapy and education.

1.

It must be made clear that this study is dealing with None of

different phenomena to those of everyday daydreaming.

the conventional themes of everyday fantasy, such as sex, aggression, ambition and heroism (Singer I966) occurred in the guided fantasies. There may have been elements of aimbition in

the 'climbing a mountain' fantasy, but for many subjects, there did not seem to be ambitious motives involved.

- 193 Possibly the main difference between the guided fantasy

experiences and normal daydreaming is that an ongoing focussed awareness is maintained during guided fantasy. goes on while other tasks are being performed. Much daydreaming Often the daydream

begins without the conscious awareness of the dreamer and whole sections of the daydream go on without the intention of the person concerned. The presence of the guide and the demand that

the experience be described aloud maintains a clear awareness of the whole experience from beginning to end. ) It is probably the use of focussed awajreness that draws together the disparate procedures of Study 1, to produce a common experience. This included four guided fantasies, the

use of a drawing, a 'Gestalt exchange' and the extension of a dream. The quality of the dialogue between the writer and each

subject appeared to be the saime in all of these situations. It was as if the process of focussed awareness on fantasy experience produced a quality of consciousness which is not common in everyday experience. way of experiencing reality. This could be described as a new This is similar to the experiences

that Tart (1969) describes as 'altered states of consciousness'. Indeed, one of the contributors to Tairt's book, is describing therapeutic procedures that are similar to guided fantasy (Kretschmer 1969).

It has already been suggested that the groupings of elements which provide the structure of fantasy, relate to underlying processes which operate, in some way, within the individual. It is as if the groupings represent major themes

and that the real experiences which provide the material for the content of the fantasies have been changed in an emotional sense to fit these major themes. The term 'valorization' used

- 194 by Bachelard (see Kaplan 1972) is a description of a similar process as it is applied to the effect of imagination in the work of the creative artist. There is no way of knowing if the emotional charge attached to a specific image such as a stream is a chance experience, or based on meaningful events in the past. The demonstration of a

consensus grid in which most of the subjects perceived the stream in similar terms, suggests that there is something implicit in the nature of a stream and the human experience of it, for it to be perceived in this manner. This could even be

explained in terms of raciauL experience which is effecting the organization of fantasy in a way which is common to all of us. It seems probable that there are two separate processes unfolding during the development of a guided fantasy. One is

the maintenance of the theme of the fantasy, which is usually outside the normal experience of the subject. This tends to

^ follow a logical sequence although there are discontinuities and often images suddenly intrude. A paurallel development is

the experience of emotion associated with the elements as they emerge. These could be either based on experiences in the past,

relying on memory processes, or emotional associations that develop as the images arise to fit in with the theme of the fantasy journey. Using the evidence from the studies described above, it seems strange that the guided fantasy procedures have produced such a limited and organized number of themes. Fantasy is

normally seen as a vehicle for going beyond the bounds of ordinary experience, giving the individual an infinite number of possibilities. The studies suggest that fantasy experience

- 195 is constrained in similar ways to rational thinking, but in ways that have a logic that is unique to the individual. The

extent to which there is a common structure lends support to Fromm's (1951) idea of 'the forgotten language' or Tauber and Green's (1959) ideas of 'prelogical experience'. If these themes do, in fact, represent disowned or cut-off parts of the personality, then presumably guided fantasy is a way of permitting expression to these disowned parts and bringing them to the conscious awareness of the fantasizer. One feature of the series of fantasies described in these studies is their relative ordinariness. The subjects found them

to be vivid, emotional and illuminating, but not transcendental, mystical or archetypal as suggested by Jung (1961) and Assagioli (1965). Nor did the subjects experience horrendous 'unbidden This could

images' such as those described by Horowitz (1970).

be due to the fact that there was no suggestion that images of this nature would occur and that the subjects had no awareness of any of the theoretical background of the area the writer was trying to investigate. Also the subjects came from a relatively

non-neurotic population, whereas much of the literature describes experiences of individuals who are undergoing therapy, or have been hospitalized. Some of the examples of guided fantasy transcripts given in the literature, such as Riha (1972) suggests that the content is likely to be of the nature of a surrealistic children's fairy tale, such as the work of Tolkien (1954) or Le Guin (1971). None of the fantasy journeys in this series were of that nature.

- 196 2. The principal applied fields in which guided fantasy is These two activities

used are education and psychotherapy.

ten^i to be considered to be very different and take place in different institutions. Education is a process that is seen

to be carried out in schools and colleges, whereas psychotherapy is an activity that goes on in hospitals. Perhaps the

difference between these two activities is not so clear cut. The writer would agree with the statement by Crampton (1969) which she makes in a discussion of guided fantasy. "If education were more concerned with its true function, that of "drawing out" the highest potentials of the human being (which include the emotional, interpersonal, sensory, physical, creative, intuitive, and "depth" or spiritual potentials as well as traditional intellectual ones), it would have a great deal to learn from psychotherapy, and undoubtedly could do much to prevent psychic imbalance in later life as well as be more involving and fulfilling for the child". The assumption is made in this statement that guided fantasy does contribute to the "drawing out of the highest potentials of the humam being". Certainly an increasing number

of adults are being involved in this type of experience and intuitively judge it to be an important contribution to their own personal development. This process takes place in workshop

situations which are led by people who are influenced by Jung or Assagioli, or by individuals who take an eclectic approach using techniques for developing awareness. The implications of these studies for work of this nature is that the structure which hais been generated provides the possibility of a basis of meaning for the experiences which are being generated. The structure also provides a meaningful The

basis for the task of talking about sub-personalities.

- 197 results of the studies also suggest that practitioners should be more aware of the difficulties involved with maki^ig interpretations on the basis of the material produced and it could be suggested that there is no need for making interpretation at all. At a broader educational level, it was suggested earlier that aspects of guided fantasy have always been used as a stimulus for creative writing in school situations. The results

of this study suggest that the writing produced could be revealing important information about the psychological processes of the child in that he may be projecting aspects of himself into his compositions. Obviously, at an intuitive level, it has

always been known that this is what the creative writer is doing. Murdoch (1978) makes a distinction between imagination and fantasy, in which fantasy is seen as a sort of private consolation and imagination as a good creative power. It is imagination that

is seen as necessary in creative art and fantasy as an excessive intrusion of the individual's personal needs. It is difficult to

know if the products of guided fantasy are examples of famtasy or imagination as Murdoch sees them. Probably there are considerable

differences from person to person, and one subject raay be creatively constructing the content of his fantasy, whereas another subject may be giving in to the images as they airise spontaneously. The writer (Hall 1977) has experimented with the use of guided fantasy as am aid to personal learning in secondary school situations. Discussions that developed out of the

drawings of trees, a structure used in all of the studies described in this thesis, seemed to be particularly important.

- 198 There was general agreement in the group concerned, that individuals had put important parts of themselves into the drawing of a tree. The writer would suggest that teachers should exercise a great deal of caution concerning the introduction of these techniques as part of the curriculum, with a view to helping the students to understand themselves. Certainly the teacher

should have considerable experience of the sort of situation that he expects his pupils to take part in. It is possible

that the person in charge of a group may experience difficulty in coping with the material and emotions that can be generated by use of guided fantasy techniques such as those described in these studies. Brown (1971) provides some useful exeimples and

guidelines for the introduction! of experiential techniques into school situations. Techniques can, indeed, be modified to suit the group concerned and to quote Crampton (1969) again, "Many of the more structured imagery techniques could be adapted to the classroom and it would not be impossible for a generation of children to learn again what Fromm has called "the forgotten language" of images and symbols," (Fromm 1951) The educational establishment has always accepted that the development of imagination is an important aspect of personal education, but does not acknowledge the existence of guided fantasy. In a scholarly review of the place of imagination

in education, Sutherland (1971 ) does not mention it, even in passing. It is as if imagination is acceptable so long as it

is being used to produce material external to the person, but is not acceptable as a means of understanding the self. This

probably reflects a fear on the part of the administrators of education to look into their own personalities.

- 199 Similar inferences can be drawn regarding the importance of these techniques to the process of psychotherapy. The

presence of structure suggested by these studies implies that the client's fantasy world can be used as a meaningful source of information both for the therapist and the client. Several

of the subjects reported that the sessions were producing material which they would not normally admit to. Others felt

that they had produced material which was important, and even material which completely surprised them by its content. could be unconscious material. The exact nature of the meaning of this material is another question and perhaps the most important implication of these studies for the clinician relates to the problem of interpretation Interpretation, at various levels seems to be a common activity in psychotherapy. Again, these studies suggest that This

interpretation of fantasy experience should only take place at a general level and possibly should not be made at all. There does seem to be some support for the two psychoanalytic notions of overdetermination amd condensation which play am important part in the process of interpretation. process of overdetermination as it is reflected in these studies suggests that there is a surprisingly small number of broad themes running through the experience of fantasy, a point that has already been made. These themes are often made up of The

images that could be seen as being very differ&nt from each other. It is almost as if the chaotic imagery is being thrown

up to confuse both the imager and any other person that is likely to come into contact with the imagery, such as a therapist.

- 200 An understanding of these simple themes may help to put the client's personal world into a much clearer perspective. Similar simple themes may underly real-life problems, which are confused by the wealth of daily experience and the emotional associations of a disturbed existence. The writer spent a minimum of seven hours with each of the individual subjects. It would be difficult to suggest that

the procedures used in the studies could be seen as a model for the N.H.S. clinician in his deailings with a client. It would

be a more enlightened view of mental health for the clinician to be allowed to spend this amount of time examining the fantasies of one client. The total procedure is time consuming

and the process of rating, by its very nature, must distort the real experience of the fantasy. The discussions with the subject

at the end of the series seemed to be profitable, but would probably have been more meaningful if they had taken place at the end of each session, when the experience was fresh. On the other hand, several of the writers who have been discussed suggest that to go through a series of guided fantasies can be therapeutic in its own right, without the addition of analysis and interpretation. If this assumption is correct,

then to go through the procedures described in Study 3 would provide an extended experience of this type. It would also

provide a relatively objective analysis of the fantasy experience, together with a repertory grid of the client's personal constructs There may even be connections between the analysis of fantasy experience and the repertory grid that are worth exploring. The key issue for the clinician is whether guided fantasy is a tool that can meaningfully be used as part of a client's

- 201 therapy. The work described in this thesis suggests that the

content of guided fantasy is meaningful, but did not set out to provide evidence that it is therapeutic in its own right. The literature supporting guided fantasy as a therapeutic device relies entirely on the clinical evaluations of practitioners, but with no experimental support in terms of controlled studies. The writer can add to these intuitive evaluations, both in terms of his own appraisal of the sessions and the comments of the subjects. These comments, however, are largely of the nature

of "I felt that did me good", "I think I have learned something about myself", "It has made me feel much more relaxed". Certainly nothing emerges from these studies to suggest that guided fantasy should not be a technique available to the eclectic psychotherapist. Historically, the dream-has been the 'royal road' to the unconscious. Possibly guided fantasy is providing material of

a similar nature which is much more available to both the client and the psychotherapist, providing an experience that can be shared, as it happens.

The work presented in this thesis may appear to be a dry psychometric exercise, considering the nature of the material that is being exaunined. One point of view concerning the

investigation of human behaviour is that quantification always distorts the observed behaviour and consequently distorts the underlying reality. Another point of view is that an attempt

at quantification should be made, in spite of any difficulties such as those that are inherent in the investigation of fantasy.

- 202 and that with experience methods will be refined until more appropriate quantitative techniques can be evolved. The writer holds the view that forms of quantification can be a means to illustrate broad patterns that underlie aspects of behaviour, bearing in mind that the patterns do not have the clear-cut edges that is implied when the data is presented in the form of numbers. This is well illustrated in the

diagrams used for Study 1, which demonstrate definite patterns, but with loose edges. The composite diagrams in Studies 2 and 3 These are not as clear as the bald

also show definite patterns.

statements regarding the number of significant components and the percentage variance accounted for by each component. It has

to be remembered that a statement regarding significance merely refers to a patterning in the data that is unlikely to have occurred by chance. It has been suggested at several points in the text that the presentation of the data in a psychometric form removes the involved and emotional quality of the experience. One

qualitative aspect which the writer would suggest provides support for the use of the different types of fantasy situation and the methods of rating, is the ease with which the subjects participated in the fantasy journeys and performed the rating tasks. Several of the subjects seemed somewhat bemused when

they were given the instructions for the first session, but very quickly became totally immersed in the fantasy journey and easily coped with the task of identifying with elements from the fantasy. The involvement of the subjects in the individual sessions became clearer as the subjects reported their feelings directly

- 203 to the writer. The following anecdote concerning one of the

subjects in the adolescent group suggests that some of the group subjects may have experienced the same degree of involvement as the individual subjects, Joanne asked for

instructions on how to guide another person through the repertory test and went home and generated a list of constructs from her mother. She then asked for both the booklet and the She came

scripts for the guided fantasies that had been used.

back with a complete set of ratings, having taken her mother through the same procedure that she had experienced. were analyzed on the computer. It is clesir that the child became so involved in this activity that she was prepsired to spend a great deal of her own time repeating the task with her mother. This degree of These

involvement seems atypical of thirteen to fourteen-year old adolescents in comprehensive schools and indicates the depth of the identification with the task.

From one point of view, the whole of human experience is seen as illusion or 'maya'. Another common view is that there

is no 'ultimate reality' and that reality is a subjective phenomenon depending on the experience or culture of the individual. This is in direct contrast to the idea that the

only meaningful reality is that obtained from the observations of natural science and therefore, by implication, all other views of the world are illusory. Yet another view, based on

the research on 'altered states of consciousness' (Tart 1969) suggests the individuail himself may experience differing perceptions of reality.

- 204 Guided fantasy is a technique which brings the individual in contact with a form of reality or illusion which is outside his normal experience. Nevertheless, reality or illusion,

this world would appeair to have a coherence and meaning unique to itself, which may provide the fantasizer with important information about his inner experience.

- 205 -

BIBLIOGRAPHY

ALEXANDER, E. D. ( 1 9 7 1 )

I n - t h e - b o d y t r a v e l - a growth experience with fantasy. Psychotherapy; Theory, Research and P r a c t i c e . 8, 4, Winter, 319-32. P a s s a g e s ; A Guide f o r P i l g r i m s of t h e Mind. London: T u r n s t o n e . P s y c h o s y n t h e s i s : A Manual of P r i n c i p l e s and T e c h n i q u e s . New York; Hobbs, Dorman. The P s y c h o a n a l y s i s o f F i r e . Boston, Beacon. The P o e t i c s o f R e v e r i e . Beacon. Boston:

ANDERSON, M. S. and SAVORY, L. M. ( 1 9 7 4 ) I ASSAGIOLI, R. (1965)

BACHELARD, G. ( 1 9 6 4 ) BACHELARD, G. ( 1 9 6 9 ) BACHELARD, G. ( 1 9 7 1 ) BERNE, E. ( 1 9 6 4 ) BETTS, G. H. ( 1 9 0 9 )

On P o e t i c I m a g i n a t i o n and R e v e r i e . New York: B o b b s - M e r r i l l . Geunes P e o p l e P l a y . Grove 1964. New Y o r k , .

The D i s t r i b u t i o n and F u n c t i o n o f Mental Imagery. Teachers' College Columbia U n i v e r s i t y .


M

BINSWANGER, L.

(1946)

Uber d i e d a s e i n a n a l y t i c h e F o r s c h u n g s r i c h t u n g i n der P s y c h i a t r i e . Schweizer Archiv fUr Naurologie und P s y c h i a t r i e , 57, 209-225. A u t i s t i c Thinking, In D, Rapaport (ed,). O r g a n i z a t i o n and Pathology of Thought. New York: Columbia University Press. The T a n t r i c Mysticism of T i b e t , New York: Dutton. P s y c h o a n l y s i s amd D a s e i n a n a l y s i s ( t r a n s . L. B. L e f e b r e ) . New York: Basic Books. Human Teaching for Human L e a r n i n g . New York: V i k i n g . Methode de De^veloppement des F a c u l t y supranormales. Paris E d i t i o n Rhea.

BLEULER, E.

(1951)

BLOFELD, J.

(1970)

BOSS, M. (1963)

BROWN, G. I. CASLANT, E.

(1971) (1921)

- 206 CATTELL, R. B. (I965) CHETWYND, J. (1977) The Scientific Analysis of Personality. Harmondsworth: Penguin Books. The psychological meaning of structixral measures derived from grids. In P. Slater (ed.). Dimensions of Intrapersonal Space Vol. 2. London: Wiley. The phantasy method of analysing narcissistic neuroses. Psychoanalytic Review. 13. 225-232, The use of mental imagery in psychosynthesis. Journal of Humanistic Psychology. 9, 2, 139-153. The Directed Daydream. New York: Psychosynthesis Foundation. Exploration de I'Affectivite'Subconscient par la Methode du Rgve Fveillg'. Paris: D'Autrey. The demise of the traditional dream symbol in psychotherapy: goodbye and good riddance. International Journal of Symbology, 7t 11-21, The Neurophysiological Basis of Mind. Oxford: Oxford University Press,

CLARK, P. (1925)

CRAMPTON, M. (1969)

DESOILLE, R. (1966) DESOILLE, R. (1938)

DUBLIN, J. E. (1976)

ECCLES, J. C. (1964)

ELLENBERGER, H. F. (1970) The Discovery of the Unconscious, New York: Basic Books, FRANK, L. (1910) FRANSELLA, F. and BANNISTER, D, (1977) FRETIGNY, R. and VIREL, A. (1968) FREUD, S. (1900) Die Psychoanalyse. Munich: Reinhart. A Manual for Repertory Grid Techniques, London: Academic Press, L'Imagerie Mentale. Geneva: Mont Blanc. The Interpretation of Dreams. In J. Strachey (ed.) (1962), The standard edition. Vols, 4, 5. London: Hogarth. The Ego and the Id. London: Hogarth,

FREUD, S. (1927) FREUD, S. (1955)

Studies on Hysteria. (Breuer, J, and Freud, S. ) In J. Strachey (ed.). The standard edition. Vol. 2. London: Hogarth.
The F o r g o t t e n L a n g u a g e . Rinehart. New Y o r k :

FROMM, E. ( 1 9 5 1 )

- 207 GALTON, F. (1880) GALTON, F. (1883) GERARD, R. (1964) Statistics of mental imagery. .5, 300-318. Mind.

Inquiries into Human Faculty and its Development. London: Dent, Psychosynthesis; A Psychotherapy for the V;hole Man. Psychosynthesis Research Foundation. Issue No. l4. Symbolic identification: a technique of .psychosynthesis. Acta Medica Psychosomatica, 710-711. Synectics. New York: Harper and Row.

GERARD, R. (1967)

GORDON, J. J. (1961) C L GORDON, R, (1972)

A very private world. In P. Sheehan (ed.). The Function and Nature of Imagery. New York: Basic Books. Human relations training in a comprehensive school, British Journal of Guidance and Counselling. 5, 2, July, Using Personal Constructs: Rediguide 3: Guides in Educational Research, University of Nottingham School of Education. The directed daydream technique. Psychotherapy, 1967, 4, 173-l8l. Mental Images: A Defence. London: George Allen & Unwin. Das Bildewusstein ais ansatzstelle psychischer Behandlung. Zentreblatt Psychotherapie, 5. Imagery: The return of the ostracised. Amer. Psychologist. 19, 4, 254-264. Image Formation and Cognition. New York: Appleton. Essays and Treatises; Vol. 2, An Enquiry Concerning: Human Understanding, Bell and Blackwood: Edinburgh. You Are Not the Target. Wiltshire Book Co. Hollywood:

HALL, E. (1977)

HALL, E. (1978)

HAMMER, M. (1967) V HANNAY, A. (1971) HAPPICH, C. (1932)

L 2 HOLT, R. R. (iv64) : HOROWITZ, M, J. (1970) HUME, D. (1809)

HUXLEY, L. (1963) JAMES, W, (1885)

Automatic writing. Proceedings of the American Society for Psychical Research, I. 548-564.

- 208 JEANSCH, E. R. (1930) JOHNSGARD, K. W. (1969) JUNG, C. G. (1954) Eidetic Imagery. London: Kegan Paul. Symbol confrontation in a recurrent nightmare. Psychotherapy. 6, 177-187. The Practice of Psychotherapy. The Collected Works of C. G. Jung. Vol. 16" London: Routledge a n id Kegan Paul. Archetypes and the Collective Unconscious. The Collected Works of C. G. Jung. Vol. 9. London: Routledge and Kegam Paul, 'The tremscendent function' xn The Collected Works of C. G, Jung Vol. 8', London: Routledge and Kegan Paul. Memories, Dreams and Reflections, Aniela Jaffe (ed.). New York: Random House. Gaston Bachelard's philosophy of imagination; an introduction, Phonomenological Research, 33i 1-24, Education in Feeling and Purpose. Santa Monica, California: The Radix Institute. The Psychology of Personal Constructs Vol. I. New York: Norton. Peremptory ideation: structure and force in motivated ideas. In Holt, R. R. (ed. ). Motives and thought: psychoanalytic essays in honour of David Rapaport. Psychological Issues, 5 (No. 2-3, monograph I8/19). Structure and Functions of Fantasy. New York: Wiley Interscience. Symbolism, self-experience and the deductic use of affective imagery in psychiatric training, Zeitschrift fUr Psychotherapie und Medizinische PsychologlT! 22, 210-224, Meditative techniques in psychotherapy. In C. Tart (ed. ) Altered States of Consciousness. New York: Wiley, The use of induced hypnotic reveries in the recovery of repressed amnesic data. Bulletin of the Menninger Clinic. 7, 172-13.

JUNG, C. G. (1959)

JUNG, C. G. (i960)

JUNG, C. G. (1961)

KAPLAN, E. K. (1972)

KELLEY, C. R. (1974)

KELLY, G. A. (1955) KLEIN, G. (1967)

KLINGER, E. (1971 ) KOSBAD, F. P. (1972)

KRETSCHMER, W. (1969)

KUBIE, L. (1943)

- 209 LE GUIN, U. K. (1971) LEUNER, H. (1969) A Wizard of Earthsea. Penguin Books. Harmondsworth:

Guided affected imagery (GAI): a method of intensive therapy. Amer, J, Psychotherapy. 23, 1, 4-22, BioenergeticB. New York: Coward. Imagination and Thinking; A Psychologica Analysis. London: Cohen & West. The Unconscious. London: Routledge and Kegan Paul. Mind Games. New York: Viking. Reflections on my method of group psychotherapy and psychodrauna. In H. Greenwald (ed.) Active Psychotherapy. New York; Atherton. Using inner experience; famtasy and daydreams in career counselling. Journal of Counselling Psychology. 24, 5, 391-397. On Natural Novelists and UnnatursJ. Philosophers. The Listener. 27th April. Automatic writing. Proceedings of the Society for Psychical Research. 3, 1-63, 4, 209-261, Applied Imagination: Principles and Procedures of Creative Thinking. New York: Charles Scribner and Sons. Imagery and Verbal Processes. New York: Holt, Rinehart and Winston, The place of imagery in mental processes. Bull, John Rylands Lib. 21, 193-214, Speech and Brain Mechanisms, Princetown: Princetown U n i v e r s i t y Press,

LOWEN, A. (1975) McKELLAR, P, (1957) MacINTYRE, A. C. (1958) MASTERS, R. and HOUSTON, J. (1973) MORENO, J. L. (1967)

MORGAN, J. I. and SKOVHOLD, J. I. (1977)

MURDOCH, I. (1978)

MYERS, F. (1885-7)

OSBORNE, A. F. (1953)

PAIVIO, A. (1971) PEAR, T. H. (1937)

PENFIELD, W. and ROBERTS, L. (1959)

- 210 PERLS, F. S. (1947) PERLS, F. S., HEFFERLINE, R. F. and GOODMAN, P. (1951) PERLS, F. S. (1969) PERLS, F. S. (1969a) Ego, Hunger and Aggression. London: George Allen and Unwin. Gestalt Therapy. Press. New York; Julian

Gestalt Therapy Verbatim. Lafayette, California: Real People Press. In and Out of the Garbage Pail. Lafayette, California: Real People Press. The Gestalt Approach and Eye Witness to Therapy. New York: Science and Behaviour Books. An experimental study of imagination. Amer, J. Psychol, 21, 422-452. The Symbolic and the Real, Julian Press, New York:

PERLS, F. S. (1973)

PERKY, C. W. (1910) PROGOFF, I. (1963) RAPAPORT, D. (1951)

Organization and Pathology of Thought. New York: Columbia University Press. Character Analysis. Noonday. New York:

REICH, W. (1949) REYHER, J. (1965)

Free imagery: an uncovering procedure. Journeil of Clinical Psychology, 19, 454-459. Mental Imagery. London; Routledge and Kegam Paul. The Unconscious and Symbolic Imagery. Unpublished Ph.D. dissertation. California School of Professional Psychology, Los Angeles. A study of imagery in reseairch scientists. Journal of Personality 19, 459-470. The Concept of Mind. Hutchinson's University Library: London. Grid measures with child subjects. In P. Slater, (ed. ) Explorations of Intrapersonal Space. London: Wiley.

RICHARDSON, A. (1969) RIHA, S. A. (1972)

ROE, A. (1951)

RYLE, G. (1955) SALMON, P. (1976)

- 211 SALMON, P . , ARNOLD, J. M, and COLLYER, Y. M. (1972) What do t h e d e t e r m i n e m t s d e t e r m i n e ; the i n t e r n a l v a l i d i t y of the Rorschach. Journal of Personality Assessment. 36, 33-3^. The P e r k y e f f e c t : i n c o r p o r a t i o n o f an e x t e r n a l s t i m u l u s i n t o an imagery e x p e r i e n c e u n d e r p l a c e b o and c o n t r o l conditions. P e r c e p t , mot, s k i l l s , 18, 385-395. On t h e i n t e n s i t y of i m a g e s . J. Psychol. 22, 3 4 6 - 3 6 8 . Autogenic Methods, New Y o r k : Grune and S t r a t t o n . J o y ; E x p a n d i n g Human A w a r e n e s s . New York: Grove P r e s s . Imagery; Current Cognitive Approaches. New York; Academic Press. A t h e o r y of ego p a t h o l o g y and ego therapy. The J o u r n a l o f P s y c h o l o g y . 53, 81-90, I n t e r a c t i v e computer p r o g r a m s f o r e l i c i t i n g p e r s o n a l models o f t h e world. In F, Framsella ( e d , ) . P e r s o n a l C o n s t r u c t Psychology 1977. Academic P r e s s ; London. The Nature and Function of Imagery. New York; Basic Books. Psycho-Imagination Therapy. New York; International Medical Book Corporation. The objective study of mental imagery, British Journal of Psychology, 44, 38-51. On symbol formation. In D. Rapaport (ed.). Organization and Pathology of Thought. New York: Columbia Univ. Press. Daydreaming. New York: Random House. Amer,

SEGAL, S. J. and NATHAN, S. (1964)

SCHAUB, A. de V r i e s ( 1 9 1 1 ) SCHULTZ, J. H. and LUTHE, W. (1969) SCHUTZ, W. C. ( 1 9 6 7 ) SEGAL, S . J . (ed,) (1971)

SHAPIRO, S. B.

(1962)

SHAW, M. L. G. ( 1 9 7 8 )

SHEEHAN, P. (1972) SHORR, J. E. (1972)

SHORT, P. L. (1955)

SILBERER, H. (1951)

SINGER, J. L. (1966) SINGER, J. L. (1974)

Imagery and Daydream Methods in Psychotherapy and Behaviour Modification. New York: Academic Press.

- 212 SINGER, J. L, (1976) SINGER, J. L, and ANTROBUS, J. S, (1963) Daydreaming and Fantasy. George Allen & Unwin. London;

A factor-analytic study of daydream and conceptually-related cognitive and personality variables. Perceptual and Motor Skills, Monograph Supplement. 3, V.17. Dimensions of Intrapersonal Space Vol. 2. The measurement of intrapersonal space by grid technique. Wiley: London. Aweu-eness; Exploring. Experimenting and Experiencing. Lafayette, California; Real People Press. Everyday Imagining and Education. London; Routledge and Kegsm Paul. Time, Space, and Knowledge; A New Vision of Reality. Emeryville, California: Dharma Publishing. Rrelogical Experience, Basic Books. New York:

SLATER, P. (1977)

STEVENS, J. 0. (1971)

SUTHERLAND, M, B. (1971) TARTHANG TULKU (1977)

TAUBER, E. S. and GREEN, M. G. (1959) TART, C. (ed.) (1969) THIGPEN, C. H. and CLECKLEY, H. M. (1957) TOLKIEN, J. R. R. (1954) UNGERSMA, J. A. (1976) VARENDONCK (1921) WATKINS, M. M. (1976) WILSON, W.

Altered States of Consciousness. New York; Wiley. The Three Faces of Eve. Seeker and Weurburg. The Lord of the Rings. George Allen & Unwin. London: London;

Famtasy, creativity, conformity. Humanitas . 12, 1, Februairy, 73-88. The Psychology of Daydreeuns. New York: Macmillan. Waking Dreauns. New York; Interface. Empathy as a Function of Guided Deiydreams in Counsellor Education. Unpublished Ph.D. thesis. University of Southern California. The Practice of Behaviour Therapy. New York: Pergamon.

WOLPE, J. (1969)

- 213 -

APPENDIX

Raw Data for Study 2(a) The tables on the following pages provide the ratings given by each of the subjects in Study l(aV The subjects are identified by initials and their sex, (M) male and (F) female. The columns give the ratings for the elements as follows:1. BIRD 2. CAGE 3 MOUNTAIN 4. WIND 5,SNOW 6. FIRE 7, MYSELF 8. STREAM 9. RIVER 10. OCEAN 11. SUN 12. TRUNK 13. BRANCHES l4. ROOTS 15. LEAVES l6. MYSELF AS I WOULD LIKE TO BE 17. THROAT l8. HEART 19. BRAIN 20. BELLY. The rows identify the personality factors that have been applied to the elements. A rating of one is an extreme rating

for the left-hand factor and a rating of seven is an extreme rating for the right-hand factors. are given as follows ;RESERVED LESS INTELLIGENT EMOTIONAL HUMBLE SOBER EXPEDIENT SHY TOUGH MINDED TRUSTING PRACTICAL FORTHRIGHT CONFIDENT CONSERVATIVE GROUP-TIED RELAXED CASUAL OUTGOING MORE INTELLIGENT STABLE ASSERTIVE HAPPY-GO-LUCKY CONSCIENTIOUS VENTURESOME TENDER MINDED SUSPICIOUS IMAGINATIVE SHREWD APPREHENSIVE EXPERIMENTING SELF-SUFFICIENT TENSE CONTROLLED The l6 personality factors

- 2l4 -

E.G .

(M)

6
2

7
2 1

3 5 6 3 5 3 3 6 3 6 5
2

6 7 6
1

6 7 5
1

2 2

6 4
2

6
1

5
1 1

4 4 5 4 3 3
1 1

7 7 4 6
1

7 4
1 1

7
1

7
1

6 7
2 2

6 4

5 5 5 4 6 3 5 3 3 5 5 4 5 5

3 6 3 3 3 6 4 6
2

4 5 5 6 3 6 6 3
2

4
2

4 5 6
1

6 4
2

6
2 2

6 3 7 6 3 6 6

5 4 4 5
1 2

3 5 5 3 3 5 4 6 3 4 5
2 2

6 7 7 5
2

6 4 5
2

5 6 3 7 5 5 7
2

6 7 3
1

7 3 3
2 2

5
2 2 1

6 6
1 1

3
1 1 2

6 7
1 1

3
1 2

3
1

3 7 6 5

5 5 3 5 4 4 5 4 5 5 3 6 5
2

6 4 7
2 2

7
1 1

7 5 5
2 2

7 7 3 7 5
2

5 6 5 5 3 5 6 3
2

1 2

5 3 5 3 3 4
,' 2

5 3 5 6
2

7 7
1

2 2

5
2 2

7 6 3
2

7 5 4 7 5
2

6 3 5
2

3
2

6 4
1

6 6
2

3
2

3 3
1

5 6

7 6

5 5 7 6

7 3
1 1

6 4
1

3 5 3 3

3
2

6 3 5 7
1

3 5 3
2

4
1

3 6

7 7

c.H.
4 6 3 7 7
1 1

(M)
1

5 7 4
2

3 5 7 6
1

7
1 1

1 2

7 6
1

5 6
1

7
1 1

7
1

7
1

6 4 3 5
1

7 4
1

7
1

6 7 3 7 3 6 4
1 2

3 4 4 4 3 4
2

7
2

4 6
2 2

7 6 4
1

7
2

7 7 4 5 6
2

4 7 6 7
1

7
1

7 7
1

7
1 2

4
1

7 4
1

5
2

7 4 4 7
1

5 7 4
1

6 7
1 1

3 3
1 1

7 4
1

7
1

7 3
2

6
1 1

7
1 1

6 5 5

7 4 6

7
1

7 7 7 4

4 4 6 4
1

6 7
1

3 5

6 7 4 4

7 6 7 7 4 7
1

4 4
2

3 4 4
1

4 6 4 7 4
2

4
1

7 7
1 2

4
1

4 7
1

7 4
2

7
1

6 7
1 1

6
2

7 5 7 7 4

7 7 7 5

4 6 4 7

6 3 4 5 4 4
1

4 7 6
1

4 4 7 7 4 6 6
1

7 7 7 7 7 7 7
1

4 7 7 4
1

7 7
1

7 7
1

4
1

4
2

7 4 7 4
2 1 1

4 4 7
1

6 6
2

4
1 1 1

4 7
1

7 7

4 6 4 7 7 7

4
1

4 7 7 7

7 7 7 4 7 7 7 7 7 7 7 7 7

4 6 5 4 6
1

7
1

7 7
1 1

7 7

- 215 -

R.L.(M)

3 6
1

7
2

6
2 2

6 6
2 2

3
2

6 7 5
1

3 6 7
2

4 5
1 1

3 5
2 2 2

7 6
2

6 4 6
1

7 3 5
2

4 4 3 3
2 1 2 2

6
2

5 4 5 4
1 2

5 3
1 1 1 1

6 6 5 6 5
2

6 6
2 2

6 4
2

5
2 1

4 4 6 4 5
2

6 4 5 5 5 5 5 4
2

7 6 3
2

6 6
2

4 4 5 5 5 4 5 5
2

7 6 5
2 2

5 5 6
2 2

4 3
2 2

6
2

6 4 3 3
2

6
2 2

5
2 2

6
2 2

6
2

6 6
2

6 5

6 7 4 6

5 4
2

5 6
1

7
2

5 3 3 5 6
2

6
1 1

3
2 2

7
2

3 4

3 4 5

3 3 3 4 5 3 4 4 4 5 4 4 4 4 4 3

2 2

7 5
2

6 6
2

6
2 2

6
2

5
2 1

7 6 3 6 5
2

7
1 1

6 6 6 6 4 3 7
2 1

5 3 3 4
2

6 7 4
1

4 4
1 1

6 6
2 2

6 5
1

5 4 4 6 4 4 4 3
2

6 6
2 2 2 2 2 2

3 6 6 3 3 6 4 3 4 3 3 3
2

7
1

6
2

4 3 4 3 3 3 3 4 5 4 4 5 3
2

4 7

5 6

5 4

P .M. 2 1 2

(M)

6 3 4 4 3 5 5 5 6
2

4 3
2

7
1 1

6
2

7 7 6 7 3
2

3
2 1

7 7
1

7
2

4 4
2

3 7
1

7 5
1

6
1

7
1

7 4
2 1

4 5
1

7
2 1 1

3 6 5 6 6

6
2 1

3
1

7
1

4 7
1

7 4 5 4 6 3
1

5 5 3 4 6 4 5 6
2

7 7
2

5
1 1 1

6
2 2

4 7 4 6 6 3 5
2 2

3 5 7 7
2

4 4 6 6
2 1

3 4
2

5
1

3
2

6
2 2 2

4 6 3 5 3 3 5 3 3 5
2

5 4 3 3
1

5
1

4 5 5
2 1

4
2

4 3
1

5
2 1

6 7 3 6 6 4 6
2

3
2 1

6
2 2

4
1 2

7 7

7 7

3 7 6 6

5 7
2 2

4 6
2

7
2

4 4 5 5

4 3 6 6 6

5
1 1

3 5 7
1 1

7
1 1

5 6

6 6

3 6 4 5 6 4 6 3 5 3 3 5 3

5 5 4 6 5 3 5 4
2

4 7 7
2

7 7
1

7 6
1

3 6 3
2

6 4
2

7
1

3
1 2

6 4
2

6 3
1 1

6 3 5 3
1

3 5 6 5 6 6 4 6
2

3
2

4 5
2 2

5 4
2

6 6
2 2

3 3 6

4 7 5 3

3 6
2 2

6 6

- 216

M.s.

(M)

5 5 3 3 6
2

5 5
2

3 7 5 3 4 4
2

6 6
2

7 5
1

5 4 5
2

6 7
2

5 5 3
2

6 5
2

6 6
2

6 3
2

6
2

5 5 3 6 6
2

3 3 3 4 5 6

3 5 6
2

6 3 5 7
2

6
2 2

5 6
2

6 5
1 2

6 6 3 3 6 5

6 3 5 5 5 3 6 6 3 3

5 6 3 3 5 4 5 5 3 6 5 4 5 5 3 3

5 6 3 5 6
2

5 4 3 5 3 3 6 4 3 3

5 5 5 6 6 5 5 3 5 3 5 4 3 5 3 5

5 6 3 5 5 3 4 3 3 6 3 3 6 6 3 3

6 6 6 4 3 5 6 3
2

5 5 6 5
2

5 5 3 3 5
2

5 3 3 5 5 3 3

5 5 3 5 3 3 3 3 6 5 5

5 5
2

6 6 3 6 5 5 5
2 2

6
2 2 2

5 3 3 5 3 3 3

6 3 3 5 5 3 4

6 4 3 5 3 5 5 6 5
2

5 4 3 3 4 6 5 4 5
2

3 3

5 3 6 5 3 3

4 5 3 3 5 3 4 5 3 3 5 3
2

6 4
2

5
2

6
2

5 6 3 4 5 3
2

6 3 6 3 6 5
2

3 5 5
2

5
2

5 5 3 5
2

5
2

6 5

5 5 4 5

5 3 3 5

3 4
2

3 3

c .s.
5 6
2 2 2 2

(M)

4 5 5 6 6 3 6 3 3 5 5 5 4

7 7
2 2

4 6 6
2

4
2

4 6
2

4
2

3
2

5 3
2 2

4
1 2

7 5 3 6 5 5 6 3 4 4 3
2

3
2 2

3 6
2

7 6 5 7 5
1

5 5
2

6 5 3
2

6
2

6 3 4 4 6
2

3 6 6 6 6
2

6
2

7
2

4
1

5 7

7 3 6

7 6
2

3 5 6

4 7 4 6

3 6 4 3 3

6 5 7 5 3 4 3 3 6 6
2

3 5 5 5 3 3 4
2

6
2

5 6 3 3 4 7

3 6 5 5 3 4 4 5 5 3 3
1

6 5 3 5 5 6 5 5
2

5 6 6 3 6 3 6
1 1

3 5 6 5 3 6 5 4
2 2

6 5 5 5 3 6 5 6
2 2

5 5 3 3 5 5 6 5
2

5 6
2

2 2

3 5 6 6 6
1

5 5
2

3
2

3 6
2

6 5 3 7 3 7 4 6 3
2

5 3
2

3
1 2 2 2

3
2

3
2

3 6 3 6

5 5 3 4

4
2 2

3
2

6 3 3 6
2

6 3
2

7 7 4 6 4 6 4 3 3 5
2 2

1 1

6 4
1 2 1 1

7
1

6 6
2 1

3
1

6 6
1 1

6 6
1

3
1 2

5
1

3 5

3 4

6 6

3 5

6 6

- 217 -

D .W.

(M)

5 6
1

1 2

6 4 4 6
1
VJl

7 4
2

6 4 4 5
2

4
2 1

4 7
1

3 4 3 4 4 5

6 7 4 3 4 4 3 3 3 3 3 4 6
2

6 3 3 5 5 3 6 3 5 5 5 3 5 3 5 3

3 3 5 3 3 4 3 5 5 3 5 5 3 3 4 4

5 3 3 5 5 3 5 3 5 5 5 3 5 5 5 5

5 5 5 4 5 4 5 4 3 4 3 3 5 5 3 5

6 5 3 5 5 3 5 4 4 6
2 2

6 6
2 2

5 5 5 5 4 5 5 5 4 3 3 4 3 5 3 5

6 6 4 5 3 4 5
2

5 6 6 5
2

6 4 6
2

3 4 3 3 3 6 3 6

4 3 3 5 6
2

3 5 4 3 3 5 4 3 3 3 3 3 3 5 3 5

5 4 3 5 5 3 5 4 3 5 3 3 5 5 3 5

3 3 3 4 3 3 3 3 3 3 3 3 6 6 3 6

6
2 2

6 6
2

6 6 4 4 4 3 5 5
2 2

6 7 7 4 5 5 5 6 3 6 3
2

6 7
1

3 4 5 5 5 5 5 5 3 5 3 3 5 5 3 5

3 3 7 6 3 6 4
2 2 2 2 2

6 7 7 4 4 4 6 6
2

5 4
2

4 6 6 6

6 3 3 6 6
1

4 4 5 4 6 3 3 4 3 4 6 4 5

A. B . 1

(F)

3 6
2

5 7 3 6
1

5 7 6 4
1

7 4
1

4 5 3 4 5
2

5 4
1

4 5 4
2 1

7 7 4 7
2

1 2 1 1 1

7 7 6
2 2

3 6
2

4
1

4 3
1

5 5 6
2 1

7 6 4 6 7 4 6
2 2 2

3 6 7 3
1

3 4 6 4
2

5
2

4 4
1 1

4 3 6 7 3 7

7 4
2

6 4
2

4
2

6 5 6

7
1

5 3

4 6 6 4 7 4 4 7 6

7 4 5
1 1

4 4 4
2

4
2

7
2 1

7 6 7

5 4 5 4 6 4 5 5

6
2

7 7
2 2

6 4 5 7 5 7

5 4
2

4 7
2

5 4 4 5 3 4 4 4 4 4 4 4 4 7 3 4

5 6
2

5 4
2

5
1

6 4
2

6 5 4 6 4
1

6 5 4 5
1

7 3
1

5 6 4
1 2

4 6 6 5
2

5 3 6 5
2

5 5 4 3 4 3 5
2

3 6 6 7 5
1

7 6
1 1

6 6 4 6 3 4 4
2

7 6 6 6
2

7 7 3 7
2

4 7 3
1

6
2

6 5 7 5
2

6 7
1

3 4 7

6 4

6 4 6

7 4 7 6 5
2

3 6
1

6 7
1

4 6 3 3 6 4

6
1

4 6 6
1

4 5 5 7

5 7 3 7

4 3 4 5 4 4 5 3
2 2

- 218 -

CO . 2 6 4 3 3 6 2 4 6 4 5 7 3 6 7 7 3 6 3 5 1 7 4 7 3 6 2 2 5 4 3 3 3 7 4 7 1 6 4 2 4 5 1 1 1 7 3 5 7 3 2 7 7 1 7 3 5 3 5 1 6 6 2 1 2 3 2 4 2 4 2 4 5 4 3 6 2 6 6 4 6 5 1 7 5 2 6 1 4 3 5 1 5 6 2 1 2 6 3 4 1 7 1 4 6 4 4 7 3 7 7 7 7 5 2 7 7 3 6 3 4 6 4 1 6 7 2 1 2 6 4 6 1 6 4 1 4 2 1 2 1 7 4 7 6 6 2 7 4 4 5 4 3 5 3 1 4 7 1 4

(F)
4 7 7 7 2 4 4 1 4 5 4 1 1 7 4 7 3 5 5 4 2 6 4 4 3 3 3 2 3 6 3 7 5 3 3 5 6 3 6 4 2 5 4 2 4 2 2 2 2 5 2 5 3 5 4 3 5 2 2 3 2 3 3 3 7 4 1 5 7 2 6 5 2 6 4 2 6 2 1 1 6 6 2 7 6 2 7 4 2 6 3 1 7 2 1 1 3 3 2 7 3 5 5 1 7 1 1 1 1 6 6 1 4 1 7 4 2 7 4 2 2 1 4 1 1 4 4 6 6 7 6 7 4 4 7 1 4 6 7 1 6 4 3 5 7 2 3 6 7 3 4 6 3 2 3 1 4 1 1 1

K.E .
6 5 2 6 4 4 7 2 4 6 3 2 4 7 2 3 3 6 6 2 4 6 3 5 4 3 3 5 5 6 2 3 2 5 5 3 3 5 3 6 2 2 2 4 4 3 5 6 6 3 2 6 4 2 6 1 6 6 6 3 6 6 5 5 4 4 4 3 3 4 4 2 6 4 6 5 5 3 6 5 7 7 2 7 4 2 6 1 4 4 1 1 6 7 6 5 6 5 3 4 5 5 6 4 5 6 2 6 6 6 5 4 7 5 2 7 7 2 7 4 4 6 1 2 6 6 2 3 2 6 5 2 3 6 3 6 4 3 2 5 2 6 5 4 5 5 2 6 5 3 4 3 4 6 2 2 6 4 2 3

(F)
6 5 4 6 5 5 6 4 4 6 2 2 6 7 2 2 5 3 2 4 5 4 5 4 5 5 3 5 5 3 4 3 6 2 2 3 5 3 5 4 6 6 2 6 6 2 3 4 3 7 6 5 3 3 5 3 4 6 5 2 6 7 2 3 6 1 2 2 4 2 2 5 6 5 2 6 5 2 6 6 6 7 2 6 7 6 6 6 1 6 1 1 6 7 1 2 6 5 5 5 2 3 4 2 5 5 2 2 4 5 4 4 7 6 4 6 3 4 6 3 4 6 3 2 4 6 5 6 6 6 3 6 4 4 6 2 4 6 2 3 6 7 4 6 5 5 6 6 3 4 6 2 5 6 3 4 5 5 4 5

- 219

S .H.

(F)

4 5 7 4 6 4 5 3
1

4
2 1

4 6 6
2

4
2 2

6 5 3 3

4 4 7 3 6 6 6 4 5

6 6 7 7 5 6 4 4
1 2 2 1

7 6
2

7 7
2

3 6 3 3 6
2

4 3
2

4 6
2

7 5 3 5 4
2

6 3
2

6
2

6 5 3 4 7 6 5 5
1

7 5
1

7 7 4 7 4
2

6 7 6
1

4 4 4 5
2

4 7
2

6 7
1 1

4 4 3 5 3 5

4 4 6 4 3 4 5

4 4 3 5 4
2 2

4 4
1

5
2 1

4 6 6 7 3 4 4 4 5 3 4
2

6 6 4 7 4 4 4 3 4
2

3 5 7 6 3 6 4 4 4
2

4
2

4 3
2

7 6
1 1

7
2

3 7 3 4

3 7 3 4

6 5 3 5 5 4 5 4 3 5 4 3 5
2 2

4 7 6
1

7 4
1

4 4
2

5
2

3 4
1

6 7 4 6 6 4 6 4 5 7
2 1 1

7 6 3 6 7 5 6 5
2

4 4
2

6 5 4 5 5 4 4 3 4 3
2 2

4 6 4 6 3 5 4 4 4 3 4
2

4 7 6 7 3 6 4 4 4
1

2 2

7 5
1

4 4
2

5
2

3
1

4 3
2

7
1 1

7
2

6 5
1

4 6
2

3 6
2

4 7 6 5

6
1 1

P. J .

(F)

6 3 4 6 3
2

2 2

6 4
1

7 7 6
1

5 3 3 7 4
2

2 2

6
2 1

5 6 3
2

4 4 3 5
2

5 3 5 6
1 2

7 4
1

6
1

4
1

4
1 1 1 1

6 5 6
2

7
2 2

4 3 6 4 5 4 7
2

5 6 3 6 4 6 3 4 3 5
1 2 1

7 5 6 7 7
2

5
2

7 7 3
2

3 7 4
1

6 5 6
2 1 2

7 4
2

6
1

5 6 6 5 4 6 4
2 2 1

3
1

7 3
1 2

3 6 6 3 3 5 4 6 4
1

5
2 2

5 4
2

7 7 5
2

5 5 7
2

6 3 6 4 6

7 4 7

5 5 6 4

3 5 6 6 6

5 6 3 7 4

6 3
1

6
2 2

5 4 5

4 7
1 1

7 3 6

5 4 6 5

7
1

6 3 4 3
2

5 4 6 4 4 6 5
2

6 5
2 2 1 1 2 1 1 2 2

5 4

6 6 3 6 5 3 4 5 3 6 4 7 5 3 6
2

6 6 5 4 4 6 5 3 4
2

5 3 5 6 3 4 3
2

6 3
2

6 5 3
1

6 7 3 5 6
2

3 6 6 3
2

3
2

7 5 6
2

6 3
1

3 6 3 5 4 6 3 5
2

7 3 6
2 2

3
2 1

5 5 3 6

6 3 4 6

6
2 2

7
1 1

6
1

- 220

M.K .

(F)

3 7
2

6 4 4 3 7
VJl

4 7 3 7
1

7
1

7 7
1

3 6
2 2

7 7
1

6
1

7 4 7
1

6 4
1

7 7 4 7
1

7 7
1

5 3 6
2

7
1

5 6 4 5 6 5 7 7
2

7 7
1

7
2

5
1 2

7 5 6
1

5 5 5
1

5
2

4 7 7
1

7
2

7 7 3 7 6 4 7
2 1

7 7 6 3
2

7 7
1

4 6 4
2 1 1

7 7 3 6
1

4 5 6
1

7 7 7 7 6 7 3 6 3 6
2 1

3 5 7 4 3 7 4 3
1

7 6
2

7 7
1

7 3
1

6
1 2

7 6 6 7 5 3 6
2 1

7 5 3 7
1

6 7
1

7 6
1

5 3 6
1

7
1 2

6 7 4 6 6 6 6 7 4 7
2

3 4 3 3 3 7 3 6
2 2 1

6 6 3 6 6 6 6 6 4 6
2 1

5
2 2 2

7 7 7 3 5 7 3 6 7 6
2

4 7 3 6
2

6 7 6 5 5

4 6
2

4 7
1

7 7 6
2

5 4
2

3
2

7 7 5 5

6 6 6 5 4

6 7
1

3 7
1

6 7 7
1

6 7
1

5
1 1

6
2 2

6 7 7 5

6 6 6
1

3 6 5
2

6 4 3 5 5

4 7
2

5 3 3 6

3 3 3 3 3 5 5

S .L.

(F)

3 6
3

3 4 6 3
2

5 5
2

6
2

4
2

4 6
2

3 5 4 3 4 4
VJl

6 6
2 2

4 5 6 4 3 6 4 3 5 3 3 3 3
2 2

5 5

6 6 3 3 3 4 4 5 4 4 4 5 4 4 3 4

3 4 5 4 4 4 4 4 5 4 4 5 4 3 5 4

4 4 5 4 4 3 5 4 5 4 4 5 4 4 5 4

5 4 3 3 5 3 5 3 4 4 5 3 4 4 5

6 4 6 4 5 5 5 4 5 4 4 5 5 3 4 5 3 3 3 3 3 4 2 5 6 2 6 3 2 4 5 4

3 5 3 6 5 4 4 6 5 3 6 2 3 5 5 5 4 5 4 6 4 3 6 3 4 5 4 5 5 4 4 4 3 5 2 5 4 3 2 6 5 3 4 2 4 4 2 3 4 5 3 6 3 6 6 6 4 3 6 2 4 3 4 3

4
2

2 2

6
2

4
2 2

3 5 3 6 5 3 6 3 4 3 4 4

5 3 6 6 4 4 6
2

6 6 4 6 6 6 6 5
2

6 6 4 5 5 5 6 3 5
2

5 5 3 5 4 4 4
2 2

3 3 5 3 4 4 4 5
2

4 4
2

3
2

3 5
2

4 6 4

6 6
1

6 5 3 4

4 6
2

4 4 3 3 4 5 5

4 3 4 3 3 4 3 4 6 4 5 6 4 4 5 3

221

S .s. 2 2 2

(F )

5 4 3 3 4 6 6 5 7 3 5 5 6 3 5

6 4 3
2

6 4 6 3
2 2

4 6 4 3 4 3 4
2

3 3 6 6 6

4 4 4
2

7 4 5

6 4 4 5 6 4 6 4 4 6 3 3 5 5
2 2

4 3 4
2

4 5 4 4 3
2

6 7 4 6 4 4 6 3 4
2

4 4 4 4 4 4 7 4
1

7 4
2

6 7 3 7 4
2

3 6 6 3 3 5 4 5 4
2

4 3 5 4 3 4 4
2

6 5 3 4 5
2

3 5 7 3
2

5 4
2

4 4 3 4 4 4

5
1

6 7 4 6

5 4 3 5 6
2

6
2 1

5 6
2

5 3 3 6 4 5

4 3 6
2

6 4 4 3
1

3 6
2

3 3 3 4 5
2

4
2 1

7 4 3 5 6 4 5 4 3 6 3
2

5 6 3 3 6 4 4 3
2

7 4
2

5 6
2

5
2

5 3
2

4 3 3 7 3 5

6 4 3 5 3
2

5 5 4 3 5 5 5 5 3 4 4

6 4
2

4 7 2 4 4 4 7 4 6 1 7 4 4 5 6 4 4 6 2 4 4 3 7 4 4 5 4 4 5 5 3 4 3 2 5 4 3 6 2 4 3 3 5 4 2 2 3 1 4 5 3 4 4 4 6 4 6 7 4 2 3 2 4 4 5 4 4 5 4

A .M. 2 2 2 1 2 2 1 2

(F)
1

6 3 4 4 6 6 3 6 3 3 6 6 6 6 6

6
2

6 6
2

4
2 2 1

4 3 7 4
2

6 6
2

7 4 5 6
2 1

7
2

4
2

7 7
2

6 6
2

4
2

6 6
1

7 7 7
1 1

7 7 7
1

7 7
1

7 7
1

7 6 6 6
1

7
2 2

7 7
2

7 7 7 7
1

7
2 1

6
1

1 1

7
1 1

7 7
1 1

6
2 2 2

6
1 2

6
1

7
1 1 1 1 1

4
1

7 7
1

7
1 1 1 1 1

7 3
1 1 1 2 1 2 1 1

3
1 1 1 2

3
2

6 6
1

7 3
2

6 6
2

7 7
1 1 1 2 2

7
1

4 7 7 7 7
1

7 7 5
2

7
1 2

7 4
1 1

7
1 1 1 1 1 1 1 1 1 1

7
2 1 1 1 1 1 2 1 1

3 7 7 7
1

7 3 7 7
1

6
2

3
1

7
2

7 7
1 2

6
2

6 4

6
2

7 7 7 7 7 7 7 7

4
1 2 2

6
2

7 7 7
1

6 6
1

6 6 6 6 6

7
2 2

3
2 2

7 7
1

7 7
1 1

7
1

6
1 2 2

7 7 7 6
1

6
1

7 7
1

7
1 1

3 7 7
1

5
1

6
2

7 7 7 7

7 7
1

- 222

K.M .

(F)

5 6
2

4 4 5 6 6 5 5 3 5 6 6 3 4

3 3 3 3
2

5 3 5 5 4 5 6
2 2

6 6 5 6 3 5 4 3 3 3
2 2

7 3
2

7 7
1

7
1

4 4
1 1

4 6
2

7 7
1 1

5 6

6 3 4 5 5 4 3 4 6 3 3 5 6 3 3

5 3
2

6 4 3 6
2

5 5
2

3 5 5 5 5

5 5 5 5 5 4 5 3 3 5 3 3 5 5 3 3

5 3 3 5 5 3 3 5 5 5 6 4 6 4 3 3 4 3 6 4 4 3 5 5 3 3 2 6 4 2 3 5 5 2 3 2 5 3 2 6 5 6 2 3 1 2 5 1

7 6
2

7 6 4 5
2

4 4
2 1

3 7 3 4

5 5 5 5 5 6 5 5 3 3 3 3 3
2

3 4

5 4 5 4 5 5 4 5 3 3 5 3 3 3 3 3

6 5 3 5 5 4 5 4
2

4
2 2

6 3 3 6 6 3 5 4 3 6
2 2

6 6 3 4 5 5 5 5 3 5 3
2

3 3 6 4

4 3 3
2

4 4
2

5 7
2

5 6 5 5 7 5 5 5 3 5 6 5 2 3 3 5 4 6 3 3 4 4 5 5 4 4 3 5 5 5 4 3 3 3 3 5 3 3 3 3 3 3 4 3 3 3 4 4 3 1 4 5 4 4 3 3 5 6 3 3

G. N . 2 2 2 1 1

(F)

6 6 7
2

7 6
1

4
1

6 6
1

6 6
2

7
1 2

"4
1

7 6
2

6
1

4
2 1

4 7
1

7 5
1

7 4 7 4
2

5 4
1 1

3 3 3 4
2 2 2 1

6 4
2

7 4 6 5 6
1

7 4 3 4
1

4
2

4 4 3 5 6
2

7 7
1

5 6 5
1

3 5
2

6
1

7 4
1

4
1 1

3 3 6
2 1 1 1

7 6
2 1

7 5 7

4
/<

6 5 5

7 7
1

6 6 6 7

5 4 6 6
2

4
1 1

6 4 5 5 5 6
2 2

6 6
1

7 6 7 4 5 5 5
2

6 6
2

3 6 5
2

7 3 3 5 6
1

6
2 2

6 5 7
2

4 6
1 1

6
2 2 2 2

6 4 6
2

4 4 6
2 2

6 4 5 4 3
2

7 6
1

7 7 4 5 5 5

4
2

7
1

6
2

6 6

7
1

7 7 7

5 4
1 2

6
2 2 1

6
2

3 4 6 6 7 7

6 5 4 3 6 4
1 1 1

6 4 6 7 4 2 5 6 1 5 5 6 2 2 5 6 7 5 1 7 7 4 2 6 1 6 2 5 5 1 2 6 7 6 7 7 2 7 4 7 7 7 7 7
1 2

4 3 3

3 5 7 6

6 6
1

5
2

4 5 6 4 4 4 6
1 1 1

5
1 1 1

- 223 -

J.0.

(F)

6 6
2

3 5 3
2

4 7
2

7 5
1

4 5 4 6
VJl VJl

5 4 3 5 6 3 5

3 6 3 6 3 4 4 5 3 4 5 6

6 4 4 5 3 6 6
2 2

7 4 3 7
1

5 4 3
2

6 5
2

7 4
1 1

4 7
1

4 7 7 4

4 3 4 4 3 4 6 3 4 6 4

7 5 4 7
1

7 3
2 1

6 7 6 4

5 6 3 5 5 6 4 5 6 4 5 4 4 6 5 5

6 3
2

4 7 3 6 6
2

6 5 7
2

4 5 3 3
2

6 7 6 6
2

4 6 6
1

6 6
2

7
2 2

3 5
2 2

6 5
2

4 5
2

7
2

6 4
2

6 4 5 3

6 3 4 6 3 6

6 4 5 4 3 4 5 5

6 5 5 4 5 3
2

6 5 3 6
1

5 5 4 6 6
2

6 6
2

6 3 4 6
2

6 4
2

4
2 1

6 4
2

4 6
2 2

4 7
1

3 5 6

6 5
2 2

6 3 3 6
2

7 5 4 6 6 7 6 6 5 6 5
2

5 5 7
2

5 6
2

6
2 1 2 1

5 6 6 6 3 6 5 4 5
2 2 2

6 6
2

2 2

6
1 1

7
2

6 5 4 6
2 2 1 2

6
2

4 6
2

5 6
2 2

6 7
1

5 5

3 3

7 6 6

3 6 5 6

7
1 1

5 5

S .P.

(F)
2

7 5
2

2 2

7
1 1

6
2 2

6 6 3 7 6
2

6 7 4
1

2 2

6
2 1

6
2 2

7
2

7 3
1

7 7 4 6
1

7 7
1

7
2

6
1

7
2 2

6
1 1

7 3
2

4 5
1 1

6 4
2

6 5 3 5 6 6 6 6
2

7
2 1

7 7 3 7
2

6 7 3
1

6 7 6
2

6
2 1 1

5 5
2 2

5
1

4 6
1 2

6 6
2 2

7
2 2

6 6
2 2

6 6
2 2

5 5

5 5

6 3 3 6 4 6 6

3 6
2 1

7 4 3 3
2

7 3
2

7 5 6 6 3 6 5
2

1 2

5 3
2

7
1 1

6 5
2

6 5
2

7 7 3
1

6 6
2

7 7
2

6 3
2

6
2

7 3
2

7
2

5 6 6 6 6
2

3 6 6
2

6 3
1

6 4
2

3 3 6 4 7
2

7 7 5
2

2 2

6
2 2

7 4
1

6
2

6
2

5
2

6
2 2 1 2

5
2

6
2 2 2

3
2 2 1 2

6 3
2 1

7
1 2

5
2

5 3
2

6 3
2

5
2 1

7 3
2

6
1

6 6
1 2

5
2

5
2 1 1

7
2

6 3 6

6 3
2

7 6 6

6
2 2

5 6
1 1

3 3

6 6 6

6 6 3 5 3
1 1

7
2

3 7
2 2

5 5 5 3
2

5 5

- 224 -

M. P .

(F)
1

5 6
VJl

7
2 1

4
2

4
2

4 6
2

7 4 4
2

6 7 5
2

1 2

6 4
1

6 7
1

6 4
2

3
1 2

5 4 6 3
2 1

4
2 2 1 1

7 4 4 6
2 2

6 7 3 4 4
1

7 4
2

6
1

6
2

6
2

5 5 6 3 3

4 5
2 2

7
2

4 6 7

7
1

4 7 3
2

6 4

7 7 6 4

5 6 3 6 4 6 5 4 3 3 3 3 5 6
2

7 4
1

6 7 4 7 5
2

6 7 5
1

6 7
2 1

6 4
2

5 4 3 3 3
2 1 2

4 4 4 3 5
2 1 2

7 5 3 6 6 4 4 6 3 6
2 2 2

6 6 7
2

5 3
2

7
1 1

4 4
2 2 2 1 1 2 1

5 6
2 1

6 5 5 5 4 3 6 3 3 5
2 2

6 6 7
1

6 7
2

4 4
1

3 5
2

6 6 6 4 3 7 5 5
2

4
2

4
2 2

7
1 2 2

7
1

7 6
2 2

4
2

6 4 7 4
2

7 5 3 6
2

6
2

5 6
2 2

6
1 2

4
2 1

5
2

3
2 2

6 3 4 4
2 2 2

6
1 1

3
1 2

6 6 5
2

4
2 2

4
2

7
1

7
2

7 3 4

6 6
2

3 6

4 5

6 4 5

6 6 6

6 7 6 5

6
1 1

H. S .

(F ) 1

4
2

6 7
1

7"
1

3 6
2

6 4
2

6 7 7 6
1

7 7
2

3 7
1 2 2 2

3 6
1

6 6 5
2

7 5
1

6
1

4 6
1

6
1 1 2

7 7 4 7 5
2

7 4
1

5
1

3 3
1 1

5 6 7 3 6 7 7 7

4 4
1 1 1

5 3
2

6 4 6 7
2

4 7 4 6 3
1

5 6 6 4
2

5 5 4
2

4 7 6 3 4 3
1

7 6 6 6 5 4 6 5
2

5 7 5
2

6 3 4
2 2

3 5 6 5 3 5 5 4
2

5 7 5
1

7 5
2

6
2

4
1 1 1 1 1 1 2 2

6 6 4 7 4
1

6 4 5 6 4 6 6
2

4 6
2 1 1 2

7 7 5 6
2

7
2 2

7 3
1

4 5
2 2

6 4
2

7 4
1

3 3
2 2

3 5
2 1 1

6
2

4 5
2 1

7 4 3 5
2

7 7 6 3 6
2

2 2

6
1 1

6
2

4 6
2 2

6
1 1

5 5
1

3
2 2 1 2 2

3 3
2 2 1

7 3
2

3
2

6
1 2 1 1

3
2 1 1 2 2

6
2

4
2 1 2

7 6 7

7 5
2 1

5 5

7 7 7

6 6 6
1

5 5 3
2

6
1

7 3 5

6 7 3 5

6 5
1 1

5 6
2

3 4
2

3 3

6 5

- 225 -

L.S .

(F)

7 4
2

6
2

7 6 6
2

6 6 7
2

5 5
2

1 2 2

6 7
2

6 4
1

3 6 3 6 4
2

6
2 2

3 5
2

4 3 6
2

6 3
2

6 3 4 6
2

6 5 6 4 3 6 6
1

6
2

3 6 7
2

3 5
2

6 3
2

4 4
1 2 2

6
2 1

5 5
2

4
2

7 3 4 6 6
2 1

6 6
2

6 6

4 6 6

6 6 6

6 6
2 2

7 4

6 6 5 5 6 5 6 5

5 3 3
2

6
2 1

3
2

7 6
2

4 5

3 6 4 6 7 4 6 4 3 5 4 5

6 7 3 6 4
2

4
2 2

4 6
1

7 4 6 5
1 2

7
2

4 4 6
2

6 7 7 4 3 6 4 5 4 3 5
2 1

5
1 2

4 6
2

4 5 7
2

5 3 3 6 6
2

6 6
2

5 3
2

7 5
1

5 7 5 4 5 6 4 3
2

6 5 5 3
2

4 3 6
2

6 6 7 3 6 4
2

3 3
1

5 6
2

5 6 5
2

6 5 6 4

5 4 3 6
1 2 1

5 4
2

6
2 1 2

4
1 1

3 7 6

6 6 5

6 4 6 5 3
2

7 4
2

6 6
2 2

7
2

4 6 5 3 3 3
1

3 6 4 6

4 5 3 6 4 5 6
1

7 4
2

6
2 2

3
1

5 6

7 5 5

M.w.

(F)

5 6 3
2 2

4 6 6
1 1 1

6 7 7 3 6 3 6
2 1 1 1 2

3 7 7 7
2

6 3
2

3
2 1

7
1 1

6 5 3 5
2 2 1 1

5 6 3 7 5 3 5 3
1

5 6 7 5 .y
1

7 5 6

7
1

7 7
1 1

3 3 3 3 6 5 3 5 6 3 5 5 3

7 4 4 7
1

5 6 6 5
2

7 5
1 1

6 5 5 3
2 2 2

6 7 7 5 3 5 7 5 3 3
2 2

5 7 7 5

5 6
2

6 6
2 2

5 7 6 5 3 5 6 5 3 5 3 3 6 6
2

3 7 7 5 3 7 5 4 3

7 3 5 3 5 5 3 6 5 6 5 3 5 3 5 5 5 6 6 4 6 5 2 6 3 3 3 2 5 3 3 3 3 3 5 2 3 4 3 3 5 3 5 7 6 6 2 1 3 3 2 5 3 5 3

7
1 1

3 7
1 1

7 7
1

7 3 5
1 1

3 5
1

7 4 5 6 4
1

5 5 5 3 4 5 5 5 4
2

7
1

3 6 7

5
1

3 3 5 5 3 5

3 2 5 2 5 6 3 2 3 2 3 6 5 4 4 5 6 3 3 2 6 3 5 3 3 4 3 1 6 1 5 3

7 7 7 7 7 6 6 4 5 6 4
2

5 5 6 3 3 6 6 5 4 6 3
2

5 5
2

6 3 3 3

- 226 -

Raw Data for Study 2(b)

The tables on the following pages provide the ratings given by each of the subjects in Study 2(b). The subjects are identified by their initials and their sex (M) male and (F) female. The columns give the ratings for the elements as follows;1. BIRD 2. CAGE 3. MOUNTAIN 4. WIND 5. SNOW 6. FIRE 7. MYSELF 8. STREAM 9. RIVER 10. OCEAN 11. SUN 12. TRUNK 13. BRANCHES l4. ROOTS 15. LEAVES l6. MYSELF AS I WOULD LIKE TO BE 17. THROAT 18. HEART 19. BRAIN 20. BELLY. Each subject is given with their personal constructs down the sides. A rating of 1 is an extreme rating for the left-hand construct and a rating of 7 is an extreme rating for the right-hand construct.

- 227 -

C.A. (M)

01 01 01 M fi XI -H (fl +> ,-t u C O 3 QlHQ)>iO H O O P n l - H E<H E p4E<Hi ^ 01 (0 +> 01 h (fl H to -H U bO 433>j co4Jrti-i+*ia'Hoqoi Olta - H H O I - H J H . H - H H C t i O S S - H O l O l ^ i O 3 C H . a (0 cr4J4J ID x> a

J- CN-iArAC^lAlAOJJ- T - v x i J - J - l A r A l A

v ^ - d - O j r A C ^ C ^ C ^ r - O J i - iTv J - -d" C^ C^ C^

O - C ^ ^ rAC^I>-vD r^NLAOJ-d- lA-vO rAlA

C^IAVDJ- C^I>-C^vllP>I>-V)C^rAV0.4- LA

^-T-CN-r-OO-r-T-T-^-J-J-J-C^CNIN

^- r- OJ C^OJtNT- OJ-:J- lNC^C^T-J--d--d-

C^-d-VO rAV^VOVO C^J- OJ C^C^IACN- ^ - J -

rArfNiArAiNvo rAr^Nj- ^ - j - K N I A V O - l>-

o j j - l A ' - c ^ c ^ - d - o j r A ' - o j r A J - l A ^ C^

'-OJIAJ-VDIA'~C^J-J-VOVDT-VOIAC^

^OJvo^C^tN'-'-OJ^-J-J-lAVOlAC^

rAfVjrAOJVOVD ^ T - t - r- C\J(\J-d-VDJ--d-

^ - J - C^lAVOVD - T-t-C^Cv-vo *-VOlAvO

OJOJVO'-VOC^rA'-OJOJ^rAVDVOC^VD

OJJ-VOOJlALAOJC^OJ^-VOlAOJlALACv-

rAKNOjj-vOLA'-

r-rArAC^lAfMlA-:!--*

J - LA-:1- ^ I N C ^ l A ( N l A O J J - rAC^C^J- C^

oj^-a- ^ c ^ c ^ r - T-T-t-CN-rAojv)J- LA

OjC^-a- r - C ^ J - C ^ r - C ^ ^ J - J - lAVD "c-J-

I N J - l A I > I N l A O J C N - j - C^C^C>-T-iAVO t -

to

0)

<D

a u

o -H -ri i-i r-i 01 n > (0 fl +> -P H 3 >sH X O P.T1 C T J ' H ' H 3 H T H 0 4 a . f l + > P . O 0 1 P.C'HHEH(0OM(0O(0C>H-Hb0 com(i](aaiflO)oi33fl3oi(.i.J-H ^ ^ > . i 3 V i 3 4 1 O + > S t 0 P . t > 0 ' d + ) P .

- 228 -

A.A. (M)

>> 3 ft O ft B .P to S 01 .cH-H

to

flc3doiot4noicrrHOrHoi
lAiArAvo

to ft to H i H I-I -H O to >> 01 (0 rO 43 U to ft 4-> to O flS _ ; - j d to - H t i fl J to-p 3 f l(0l S3 ^ T> f^ . t^ ^ C ^ , ,

01 01 4 J r H i H H .0 0 0

u 01 >

W a -H

>s 01

01

SdcrSfi-HtlOoSlOOJSOtO
l A r A J - J rA-d-J-JrAC^

O J o j j - j - v - c ^ r A J - r A J - J - rACvjCNjrrN.4-jrA-d--d--drA-d-.c^J lAC^ oj-d-

-d--d--d-J--d-~:l-j-

(\JJ-J-J-J-

^ - ~ V O - r - O . T - i r s r - r - V O * ~ r A C ^

OJ OJ r A r A r A - d - - d - i A V O j - - d - - d - - d - J OJ r A J - i A r A - d - - J - - d - ( \ i i A - d - J - - * J lArA-d-rArA-d-rA-dojrAiArAVO-d-

OJ-:f-d-rA-d-J-rAlAt\Jf\JJ-J-VDvD r- r- O j T - r A O j r A t N ' - O J J - OJC^VD rvj '-rArAOJiArAAjj-ojjojc^j-

-:t INJ O J f A - d - - d - - d - r A ^ r A . ^ J - C ^ I A rA-i-j-iArAJ-rAJ-vorAjrvjC^iA

ojCv.j-j-rAiA-d-i>--i-rAiA-d-oj-dOjrAojj-rAj-vorA^-d-LAJ-rA-doj oj r A O J j - r A r A v D r r > r A J - oj O J V D oJrAOJJ--:^^A-dOJOJv)_a-rAOJ^J(NJVD-d- r A - : l - - : J - C ^ ' - f \ J l A I A I N v )

J- lAC^lAVO O J O - C N l A I N l A O j r A r A r^C^vovo-d-J-vD ^-d-j-vo rAOjj-

4J

to fl

bO

+> to 3 fl

fl O

to
<H H U 0)

o ^ X ft to fao o

tOOfttt O-HhOH >3 OimlntOfl bO+> f t o s o j >o o 4J oxfrOoiflo ft e o 01 fteOOQl+JEfl'^OOOS'H (0 to 43 -H iH O (0 t j 43 H O10 Sc! Ho r H O S r o + ' p C - r j P ' ^ fl X -^ - ^ o to W Ifl fl >5 -H

- 229 -

K.B. (M)

.p

fl

43 10 -O 01

>j 01 > h 01 + >!+ fH to to 01 <H ft to >>rH (>> ^ > > H- H0 0 f>, 0 > ( 0 0 > o a 4 J 0 1 3 ] >01 H rfT3 t t o+ JJ- -o nnJJt tM TTaaH ^u ' O tOT3 01 u vs O + o M H t ts toT3 oi ^ P H O O O l f f lO l l O ff ll b O O ^ iOOf tO rr H C O O f f l l O O U b O H C ' d b 0 B 4 3 - H 0 l B l 0 3 3 t 0 O C 4 3 O O bo rH
H 43

01

to

fl

T-T-C^r-tNC^T-C^C^r-t-C^r-<-C^CN-

J - J - J - ^ J - J -

lAlAlArALArAJ-

(M-:f C^

c^r^j-r^tN^ojT-i-j-T-K-iAJ-c^c^
^ r A i A r A C ^ C ^ J - ojv) r- r v j v D j - O J V D C ^ OJOJVO O J V O l A r A l A r - r - O J I A O J J - OJOJ C ^ C ^ C ^ v o v o r A v o l A r A L A - d - J - v D OJ-d- C^ 0jrvjr\jiAiArAiArAiArArvJiArA-d-LAi>C ^ - i A f A l A V D OJVD T - J - J - J - r A - d - v O r A r rrsrAOJC^vDrALArAJ-VO-iCv-C^t-C^C^T-VO rAvD-d-VDVD

(NJOjrAJ-VDINLAJ-VD

l A l A ^ l A r A O J V D ( M KNIAVO l A l A L A J " C^ J - r A l A l A r A v O J - V O - d - r- rA-d" r A O J i A C ^ l A - d - v O r A v D l A - d - r A i A O j c\jvO-d- r A i A i A T-rININT-vOT-rAVDOJ-d-VDC^lA'-

l A r A l A r A f V J V D l A l N - d - ' - IM r A l A - * O J J OJfA^C^tAtNJlAVDtNJVD rA-dOJIAINLA.JOJrALAC^VOC^

ojrA^-vorfNJ-LAVDiA

C ^ L A - d - V D r A r A l A O j r A C ^ l A J - v D LA-d- LA lAVOrA-d-VOfXJtA-d-lAOjrAlA-d-rAVDUN

T( >J H 3 43 r H H ; 3 r j H t O 3 01 T3 ti 3 'H U -H T3 .> i-it>,43fl OlH >,+JJ43 _*'^^' OlO 0 1 4 3 - P f t T ( f l 3 > X I ^ ' d f t M J f l b 0 . H a - H r H ^ i t 0 t 0 < l l O > ? C 3 3 0 3 - H t < 3 f t l l > t f l O f l l H f l 4 3 - H 4 J 4 J oH43M'at04343exiytotoj(:iotQ

- 230 -

M.C. (M)

01 01 U fl -H 13 to O -ri j:i to 43 +> -H p to >0J to (0 -P >350 tOf^i-H fcl43 -H fH!>,01 to i-tOl3 01 ' a H 0 1 0 1 ' d 4 3 > E >5rH > H tObOflHrHftO-PrHStOrH-OOlOl H -H -H 0 1 ( 0 3 O to bOiH (0 :3 i-\ rH W E . O . ! < : i O E I O E f t 3 U 0 1 X l O u 3

bo

fl

rA rA lA rA C^ rA rA rA-d- oj rA rA rA lA lA r A o j i A r A C ^ r A i A r A J - ojiArACvjvDvO tNjrA-d- r A i N i A t A r A i A r A i A r A r A i A i A


J-JrALAtNrAlAlALAlArAIALArArA

OjT-I>-T-lNINT~-T-r-C^r-r-[^C^

OJ fvj l A r A J - l A r A r A r A r A - d - r A r A i A i A
VDVO O J l A - d - r v j V D C ^ l A v D r A l A V D OJOJ OJ OJ VO r f N j - J - l A t A - d - O J l A r A O J V D V D tNO-OJlA-d-OJVOCN-VDVOOJVDVDT-T-

rA J- lA rA-d- -d- rA-d- lArA-d- rArALArA LA LA lA-d- -d- OJ lA lA-d- lA rA VD rA rvj <lAlArAVD-drAVOVDC^lArAlAlArAfVJ

rArAiArA-d--d- rArArA-d- l A r A r A J - lA j - j - iArACv.-d-.:i-.d-.d- rA-d--d- r A i A i A


(NC^r-VD-d- t\|VDlA-d--d- OJVDVD < J rN

rA-d-iA-d--d-rA-d-oji\J.d-iAOJLA'-Jl A l A r A l A - d - rAVDVD-d- fVjrAlAJ-VO < J N oj-d-vo rAJ- LArArAOj-d-vD oj r A i A i A C v . v D O j r ^ r - T - C ^ V D ^ lA'-tNVO-d- OJ .d-rAiA-d-C^J--d-ojrAOjiArA-d-vD-d-

01
(l

rH -a ft ^ < B H
CM

01

.3 4.> 01 3 01 bo 3 >. 3 +> tHfl4Jl-lrHflH 4JVlO HO01 0101 ft(0'HftH-PH-H'aft43fl O l r H - O H E ^ ^ H O O l ' H ^ i O H E a 4 3 ( 0 l 0 0 1 f l } O 0 ) O h J r i - P p 0 1 - H g 0 + > 4 3 4 3 < H 4 3 4 3 O fttO to b043 XS E

^^H

- 231 -

P.O. (M)

43 U

ca

bO fl H O to H 3 T( -P t-4 -P to bO'O 01 fl fl

01

>trH

01 43 to fl > O H

fl (0 a 01 U ft

43 4J O B r-i

H3i>>pP<-H-rtJ<!rH>>01tO Hfll BOtD?'O^<Ji;flaJrH01t0-PT3t0O H43rHO O G . H E b 0 3 a > O H B - H +> to ft-tJ f 0 . o 3 i ( ! t 0 3 t 3 * > H f l O t O f l C ^ l A l N i A - d - lAtA-d- r A l A - d - J - J - rA-:d--d^ C^T- oj-d- r A i A r A i A r A r A - : f - d - rArA-dT- LAT-.d--d- r A i A o j l A i A ^ r A J - rA-d--dlA lA lArA-d- lA-d- - d - - d - - * - d - - d - J - r A J - J -^ T - . d - C ^ t - T - ^ T - . d - r- r - C ^ j - ' - - d - C ^ VO T-Cv.r>.j- C^T-C^C^-:f C^VO t - J - J - J CN-UNVJ-J-J- l A l A J - l A l A r A l A J - - d - J lA-d- lA-d--d- l A l A l A L A l A L A - d - r A r A l A l A OJ i A - d - - d - J - rArA-d- r A - ^ - d - r A j - - d - - d - lA j-rA-d--d--d-t\JOj-d-ojrA-d-iA-d-iA-d-iA OJVD oj.d--d-vDtA-d- r--:r-d- oj-d- l>-J- rA r A i A r ' . ' A - d - l A - d - J - rAiA-d- rA-d- LAJ--:f -d- rA-d- lA-d- rA-d-J- iArA-d--d--d- r A J - lA J-VD lArArAOJ-d- r A r A i A r A i A C ^ o j OJVD (\J lArAvo-d- r A v o j - rAvO-d- rA-d- rArA-d. d - - d - J - v D . d - J - i A - d - rA-d--d- lA-d-vO-d- LA iArA-d--d--d- r A i A J - r A - d - J - f A J - rA-d- lA . d - J - - d - J - J - rArA-d- rA-d--d- t A J - l > - r A L A -d-ojv)iA-d--d-oj.d-<NJC^-d-voj-C^^-d-d- OJ LAVD - d - ^ r A - d - oj-d--d- l A J - o j i A v o

tS Xl 3 0 01 o O ti >i h to g 6 fl to H 43 01 73 +> (6 O W 9>. Xi a i ' O t O f i O ' O t fl b O ^ j t fl - o B f l b 01 fl o O H O b o H ( 0 p t o i f l B ^ ^ x a ^ ^ a ) 3 ^ ^


H H ^ 0 I 3 0 I 3 - H ( O O i p - P ^ O t O

xi

4 3 H 4 3 f l S 4 3 ^ ! ( 0 H t O 4 3 t 0 f t > ^ H

- 232 -

R.C. (M)

_ T) rH +> Tl 01 3 <1 1 O O O bo to > j to bO to fl >>'H ft 01 01 t l ft , ^ >f t (>, 3 r H T 3 t 0 f l j 3 f l l t i 0 1 , 4 . 1 43 to 4 3 b 0 f t t 0 H 3 l 0 C f 0 i H ft ^3 fl-Htg33003300l000100 3 4 3 4 3 . f t ' T 3 r H 4 3 o ti tOT) E

u 3

Ti 01

43

^ ^ ^

01 to 01 fl ft 01 .p B to fl 01 "O 01 +> 0) fl 73 iH O -H 'O+>BH O +> B fl


IH

Xl 01

MlO

VDVD o j - d - J - v o i A O j o j i r \ L A V D r A r A C ^ r A r A r A L A r A ^ - r A r A i A < - rrNrfNC^-d- ojc^-drA rA lA J - Cv. rA J - r- . j - rA rA-d- J - j - v) -drArArA-d--d- i A r A r - C N - o j t A f A r A i A < - C N T-T-[^r-t-J-T-ir\r-T-T-vOlAVDINI>-

r A o j i T j r A V O - d - r A o j v o f\j t - v o rAojVDVD r v j T - C ^ r - i A T - T - T - T - < \ i lA-d- C^ rA lA rA l A l > - * ~ C ^ L A C ^ C ^ l A C ^ r A ' ~ ^ T-rAOJOVD r - r A r A - d - o j r A t - T - L A v D r A C ^ c ^ r A f v j T-C^CN-rA^D^rAt-rAKNOj-d-rAO-C^vD OJJ-lA-d-rvjfMAJ^OJOJr-J-VDC^-d-C^ vDVDoj.d-vooj-d-iA'-c^C^v)jT-.d-oj

T-VDCN-r--d-LAT-T-r^r-OJJ-VDOJ-d-VD r A r A i A - d - OJ rA-d- l A ^ r A t A v o r A o j i / N r A lArAlAOJT-(\jT-T-r-iryf\JlAVDOJC^lA lAiArArAiAVOlAOjvDvo lArAOJlArAlA ^ A ^ A u ^ ^ A l A r A r A -vD rAOj r- l A i A O j t A


LAVD r A J - r A L A - d - r A l A l A V O r- t - V D rvJVD

V rArAOjrAiM o j o j -vovo O

OJC^VDIAIA

C^lArAVOtMJ-vDVOrAlAlAlArArvjVDrA

4i

fl

01

bo
rH -H 4* 3 iH >> v., n ^ . - , to -H H r -PH ^. p w J , T

ftOlTlftO) 01.Hfl3 0>H4JViJ^ft> ft'at<rH4i.HBaio<iiflooo3M Ifl0lfl01fl3-Hft43430-H4304i01 43EBJ3'HO'-PO+>UO>t0iHt0fl

01 t) H ft to 3 -P fl E Ol <|H H fl to 0) 43 +> 3 01 -H +J to 43 M T) ^ 73 . ~ , r , O 4-> tq . . . bo r(H --H O + J to -H >5

01

- 233 D.D. (M)

bo U 01 fl 01 -H rH iH -H iH -P to 43 >aip43tOOI43o tObO tHbObO(03fHIO-H U a <HC0 f^O43-Hb0iH+>>, 0 l - H t i 3 t 4 > j 0 1 > + * > > O 3 0 } f t a i tO^-H^OllO (0(4t043iH<H.HftU H O ( 0 O > t B - H 0 1 f l t 0 r H * 3 t 0 ' H B - C i ' H i 0 t 0 f l i B C 3 . a - H ( 0 o ' 4 3 C V O l A V O - d - lAVO ( N v o C ^ - d - J - - d - v o I N l A ojrA^-dT-ojrAOjrA-drAJrvjiAvo

LAOjT-r-ojrA-d-rArAoj-d-rArvjvDiA l A i A v o - d - lA-d- l A - d - r A O j . d - . d - r A r A r t N -d-rAr-rA-d-rvJ-d-J-lAJ-OJ-d-r-^oj

lA-d-rAT-rA-d-iAvDvoiAC^-d-fAOjrA j-rArArArAOjrAojrArA(\jojT-r-rvJ rA-d-ojrA-d-rA^-ojrArAOJOjrArAoj ^f\|OjrA-dKN(\ItA-drAINJOJJ-VOVD

rA^ojojT-f\jt-rArAojoj-d--d-(NvD ojojojojiAOjrArA-d-LArAOJ-drA-d- r A r A - d - r A o j r A J - - d - - d o j - d - rA-drArA

ojrAiArA

f\jrArAf\JojrAOjrAojvDJ-

C^J-ojrArAf\lvoiA-d-iAvDVDf\J-d-rA -d--d--d-rAojiAojT-?-T-ojojvDLAvD J?-t-T-f\jT-ojiArAlAJ-ojrrNOjLA

l A " OJ OJ rA t - l A lAVO LA OJ l A rA LA rA C^ojoj-diA<--d--d-vDr^j-J-rAOjrA

l A T - - d - <~ i - - d - - d - r A ^ - - T - . d - - d - - d - J -

01 0 1 T) ^ to M B 01 O >5 01 >j O 4J h to >} ft43 >,ja 43 + fl 01 10 tt -H > ^ B t < 3 T T3 ^>5 01 l B O 3 5 0 . ! i t O b O t O t O O X r H g + C X t to 3 + > X 0 C OiH'HBtiJ301t0fttCtfl<llOj<'H T-jVi43t043tQt0OIQB43t0flb043

- 234 A . F . (M)

T3 01 01 13 - P Xi U Tl "O 01 fl 4 } 01 01 C O 01 H fl bO 3 Ai -p E 01 - H iH O O to > , b O + > l 3 3 E E h 0 1 C V... ftClO -HtH tO+>iH Ji<;Gti(-iH B-HOlftfttJ I IQlflrHUOltOOlOl S h 1 3 3 r H 3 f l 3 B 3 - H T ) 0 1 f t + k O O + > 0 l O O & 0 1 O 4 3 O H X f l b043 E t 0 4 3 i H fli-iHH+ B O 01 -H

t-vo.d--d-J--d-C^.d-rAojr-rArA<\JiA ^ r A ^ r - T-c^r^T--d- rALArAojvDC^ ojojojfvjojvoc^j-c^ojrAiAvorvjvD T-.d-ojojojojC^T-T-iAOJ-d-rAvDrA T- t - C - t- iN-d- t>- T- t- T- T- C^ C^-d- C^ N T-^c^T-voojr^rAC^rAojvovoojvo


VDVOOJOJOJOJtNOjT-C^I>-rAOjC^rA OJlAOJ(MOJOJC^OJf\JVO-d-JOJOJlA

rAlAf\J-d-lArrNC^OJOJlAlAT-T-C^-doj-d-lAOJvDOJC^-d-C^ojoj-d-VDC^\0 OJ-d- OJ-d- O J V O C ^ r - C ^ O J - d - C ^ L A C ^ I A

oj-d- o j i A o j v o c ^ r - T - V O L A C ^ O J ^ rA
<\JJ-VOIAlAOJ-dT-lNr-rArAC^r-lA

rvjrAOJOj (Mvo^d- rA<--d--d-vD-d- ojvo


OjrAVDOJlAOJr-OjT-ojrAVDvOVDVD C^vo rA-d- ^ v o - d - v o C ^ j - LA<M o j C^-dVOVO^-VO T-C^-d- T-C^-d-LAVO-d-C^-dO V O O J - d - O j C N . t - i A ' - - d - LA-:t ojC^^d" oj-d' - - d - rA-d--d- T - c ^ C ^ r ^ C ^ T - - d ^

VO VO VD OJ .d" rA-d- r A ^ ^ - - d - l A o j j - v o

rH

13 01 13

01 fl O to -H 3 43 O

1 -H 0

+>

fl O

t(>i430l>s+>0l

4J>5VH-rlb0rH

0 1 f l b 0 0 1 t O ' H O O r H 0 1 C l 3 t 0 3 B 4 : 3 - H r H Q 3 B O ( 0 t < 3 i H 3 O - H O i - t 4 3 o ^ c r i 0 O E f t ^ O l 0 > 5 t 0

flifl

>toaij;rHoi+>fl_^ftflft

- 235 J . H . (M)

01 to to r-i rH 01 01 3 to rH Ut '^^ r-i 01 3 ., - ,^ O 43 13 4* 3 JijOHJH .rH .^i 4i -rt 01T3+>SH+> O-H-HBJ^-P4J43fHHHb0fl01ftfH rt B r H U h M - H b O O t i H t i - H - H r H O 43 -H O t O t O O t i ' H 4 3 01 01 O r H 3 0143 HJBft43T3t0O+>tQ+>H43cr43t0

lA-d- rA-d--d- iA-d--d--d- i A r A ^ J - - d - l A J o j o j i A r A i A i A r A r A J - . d - - d - oj-d- lAvO-drAOJ lArA-d-vo r A r A J - rA-d- rAJ- iA-d--drA-d- rA-d-J- iAiA-d-.d- iA-d--d-J- rA-d-JojrArA-d- r A i \ j r A r A O j r A ^ r A O j r A i A < \ J
rA-d--d-rAiAiArArAVD(M-d--d--d--dLALA

-d--d-rArAOj(\j-d--d-rA-d-(\J-d--d-iAJ-rA -d--d- i A r A i A - d - J - - d - rA-d- rvj-d-J--d-J- rA -d- rALArAvo T - r A r A ^ r A r A - d - J - l A J - ^ rvj ( \ j i A o j ^ l A - d - rA-d- rA-d- rAfXJiAiA-d-d--d- rAiAiAfVl-d- rA.d- o j - d - ^ rArA-d--d-d- l A r A i A O j - d - iAJ--d- r A - d - . * r A v o j - - d -d- rAiArA(\JvO-d- oj-d- (\j-d--d- rvjr^-d- lA
rArA.d-rAiAOjrrNrA<NjrAr-rArA-dLAOJ

rA-d-^tNrA-d-rAf\jrArAJ-rA-d--d-J-rA -d--d- r A i A ' - c ^ j - j - v D rArA-d- rArA-d--dr A r A J - iArAf\irArA-d--d--d- r A o j r A i A - d -d- rArAvovo r - i A i A ' - o j - d - r A ' - - d - r A ^ -d--d--d-ojT-rAojrAiMrAVD-d--d-J-iAOj rA-d- rArAC^vO-d--d- rA-d- r A ( \ j f \ J ^ - d - rA

bO rl fl V) -ri rH rH fl M a -rH to to O H > 4> 3 O >> -P 01 01 to O rH H 43 f'^'O 13 u fl 01 Xi U h t H b O O.l ^ .-H T > to O l X l t i b D f l l O l r H ' la3? 3 .H^ a i 4- 3 -. 01 rH B 4 3 ' r ! t o o f l o i t o p o . C i o t g o ( U H U i d H t l 3 bO-P b O to -P 01 'O E
01

bo

> H +> to

>i ^ 0 rH

- 236 M.S. (M)

01 rH O H 13 to to (0

>, U

-a "^ O O -H 43 to

bo 3 .H 13 fl to HJ

^.^3^2.^'^'^

"Ofl

lOtO

>j>>OOJfl>>-H-H CO Viti ftT3-Hft t0ftti43'HB 01 ftOtit0b0l03fHOl3ET3'ai3 t f l O O l O l - H O H J O r H J n O r H H f l 4 3 B . t 0 t i 4 3 4 3 t 0 4 3 l 0 O O O O 3

V rALAVO rAOJ rArvj rA-d--d-vo-d-vD O v o r ^ ^ - v o c ^ i > - o j i N r A J - lAvo-d-vo VD r^I>-voiArAOjirN-d--d--d-VD-d-vD


lAVOVOIN-rAOJfvjrArA-d-J-VDJ-lA C ^ r - V D l A ^ ' - ' - ' - ' - l A l A r A ^ v o ^ E N l A r A V D C ^ L A C ^ - d - LAVO OJ r A L A f - i r \ V D LAVO l A L A V D - d - L A l A C N t A L A OJ l A l A V O l A V O r A L A l A l A l A V O - d - - d Ojl>-iAOJC^INvO(NlAJ--d-C^-d-f\J ^--tALArAOJrA^ot-J-u^CN.d-vD VO r A r A L A C ^ v O lALA-d- l A l A l N - d - - d l A C ^ v O LAVO l A l A C ^ V D C ^ t N V D - d - r A C^T-rAOjrArAJ-iArAiA-d^--d-LA

VO o j r A L A O j r A O J r A ^ l A v o ^ -d- l A fVJJ^ lA-dojrAOjT-rALAvoiArAC^

rA(\iiArAfA-d-rAojiALAOjrfNtr\

l A r A O j r A l A l A ( \ ) V O l A J - - d - v o LA<NJ T - v o C ^ t A C ^ C ^ l A V O LA-d- l A C ^ r A t OJ-d-LACN.rA^^^'-lAVOC^J-I>rvj^vOVOOjrAOJr-rAVOlAlArAlA

fl) ft

o u
01

ft

rH 43 to
*H

01 01 to 01 H Xi

rH01+>3ti to t 0 . l 3 > ? tOrHtQH01 rH b0-H43 3 f l , 0 1 f t > T 3 3 4 3 S f l f t O l Q t l l 3 H f l l f l f t O - H 3 3 4 J tfltOOOlrH'HOflJHOHJ-H O O B 4 3 O^iftlQft>>>t043

to

to

rH

13

- 237 T.S. (M)

r H bO

HJ(|-i-HbO too 0101C>> O m O l t i f l Olti H b O O f t ft 4313 01HJO-Hflti01>>43fltQE>jlO B t i l 3 . H f l t < t O f t C r H 4 3 3 t i 3 H - > 3 t O O f t S ] O a i B ( I l b O ( O O O I ( H t D 3

3 fl ^

10 3

to

tl to

iH

^i

01

13.2 B t 0 - H 4 3 E ' H b03 t i > s f t S ) r H O rA-d--d--d- rAJ--d- r A i A i A J - rAJ--d- oj-doj r A J - rAOJ rvi r A r A i A r A i A r A - d - rA-d--drA-d--d- r A t M r A r A r A - d - iAiAOJ-d--d--d--drA.d--d- rA-d- rA-d- rA-d- L A J - rA-d--d- rA-dT-rAvo-d- o j r v j o j J - v o o j T - r A v o r v j r A - d rAJ- l A r A r A O j r A r A J - rArArA-d--d--d-J.d--d--d-rArArArA-d--d-ojojt-j-rArA-drAvo-d--d- rArA-d- rALA(NJOjf\j.d--d--d-JrA-d--d- o j o j r A r A r A L A r A t - oj-d- fvj ^--drAOJ-d--d- rArvi-d--d--d--d--d- ^ - d - r A ^ - d .d--d--d--d- o j ( N j r A o j . d - rArArA-d- r A O j j - d - - d - J - r A ( M O j j - oj-d- o j r A ' - . d - J - oj-drAiA-d- r A r A t - r A r A - d - r A o j ^--d- rAOJ-do j - d - J - f\J r A r A O j r A v o - d - r A v o i A f A - d - lA
rA.d--d-vDvOLAC^-d- O J C N - C ^ V D J - V D t - - d -

-d- lA-d- rA-d--d- lAOj-d- rA.d- iA-d--d- ^--d-d--d--d--d--d--d-vo o j r A i A i A ^ - d - L A O J J i A C ^ J - - d - KNJ- r A r A J - - d - r A ' - - d - - d - J - - d -d- lA-d- - r A J - J - o j J - - d - r A i A - * - d - - d - J rAiAVDoj(\jj--d-oj-d-rvi^votAVDf\jj-

bO *i

a 01

fun

H rH rH 01 H->

rH to O >> H X) B U fl O to H o B

ho

01 H H 43 3 - H ft U rH O 01 (0 43

H X

fl

to 3

to v

-o fl
H

rH O O X O

o o tl o 01 01 > i > i + > T-i H +> U 01 13 t l 01 ft to 43 to O (0 13 to ft-H B rl p E rH O to O 3 E bO to O fl 43 43 B

- 238 -

M.T. (M)

bO r. 43 'S -rl

to

+>

^ ^ -^ f-f ^ H to > } > > < H 3 t i 0 1 HJ^JttfOl f t t l r H < H O i r H O l U f l t l B 01 01 ft> C O r H 4 3 ^ H ^ H 01 p t O t O r H 0 1 B 3 + > t i t < H J t i ' H f l O l r H O l O t O + i O f l bOB 3 4 3 0HH ftt043.H -d--d--d--d-iAT--d-ojrAVDOj -d-<-C^C^C^--d-r-r-<-CN-dr-C>-C^CN-T--drALAlAT-.dt - ^ T - C ^ rrAvO rvj

-d--d-d-

T - C ^ C ' ^ C ^ T - r A ' - ^ r - C N .

f\j rvjvD iAiA-d--d- OJ OJ rAvo vovoojrAiNj-d-voojiAvorvj fxjj-vOLAvooj-d- ojrvjrAvo tNVOOJr-OJ-d-VOVDlAVOOJ


rArAVOC^C^VOOjT-r-r-C^ lAOJVOrAVD r-rArAAJlArA

J - rAlA-d-VO r-.d- OJ-d-J- lA

OJ-d- r^voc^t--d- o j r A ^ - c ^
-d--d-voC^vDT--d-f\jT-^-dvo^vO-d-vD^-d-^rA-d-iA l A r A - d - ^ C ^ ^ - d - - OJ T-vo -d- l A l A O j r A T - C ^ l A - d - IA<M rA-d- o j j - v o r--d- OJ-d- r A i A -d--d-OJ-d-iAt--d-J--d-J-<l A o j C^vDvo ^ - d - OJ rA.d--d-

bO fl O H -H Xi H p 4J to T3 > , 3 bO 01 >, -H >fri .p H h O ftT)i-l t o ft014*rH !>5tirH fttlrHt03rH01-Ht001rH (0lfl01O-Pt0ti.i:it0fl3 4343 1043 to E f t t O 01 Ol'O

- 239 N.W. (M)

13 01 P P bO tl to U) (0 01 (0 fl r n to fl 01 H I 3 b 0 . p t i t i t i Olfl.H 4343 HfltOOlOlOl >>rHOH>s>> -H ft^H01>t0l3rHfl01EJl'OrH'ai00l 3 t i ' O 0 ) f l f l , - - ! t i t i B t 0 t H r H f l f l O H J O O r H O - H 3 O a J O 0 ) t 0 O ' r i 0 1 ^ H l 0 4 3 E . O O 4 3 l 3 O O O > B T - 3 i i t 0 f l

01

>

-d--d--d-.d-J-

r--d-

OjrAvO-d--d-J--d--d-J-

r - C ^ J - C ^ - d - J - C ^ C ^ < - 0 J V 0 J - J - J - C^-d-

^ r ^ - C N - r - C ^ r - r ^ r - - d - . d - - d - - d - r-VO-d"
^ T-c^c^ojrvj oj(M.d--dIAT-C^VOJ-VD

-d- OJLA-d- ' - - d - O j r A v O - d - - d - - d - J - L A O j - d J-.d-J--d--d-J--d--d--d--d-J-.d-J--d-J--dT-T-INC^T-t-r-ojC^J-rAr-C^lAJ-lA r^C^t-T-INC^tNC>^T--d-C^C^v-vOr-J.d-J--d--d--d--d-JojrAiA^rAiA-d-^-d-

-CNT-:^j--d-c^.d-'-'--d-vooj-d-o--drArA-dC^C^TlArA<-rAT-.c^-dT-.d-J- C^iAJrA'--do j ^

T-rAr-c^-d-o-C^rA-d--d-LA^-dT-j-

-d- - - d - - d -d- o j i A - d -

f\j-d- r A T - c ^ j -

ojrAVO-d--d--d-J-

lAOj-d-

T - C ^ T - C ^ V O - d - I N - d - OJ-d-

r-iAfA-d- O-rA

j--d--d-J--d--d--d--d-J-J--d--d--d--d--d--d-d-'-'-J-ojvDt--d-vDiAJ-ojvorA-d-rA J--d-vDJ-vooj.dOJt-rAT-tNr-lAVOLA

C^C^T- t-CN-C^CN-j- O J l A - d - l N r - OJ r - r A J-lAVO-d-VOJOjT-D-rMCN-tN-r-j-vOJ-

XS 01 43

3 rH to rH >5 O 3 01 fl 3 >? a >> E <i-it<t;<M<H > >>+>43 Hfl ftOlOlOlO-Oft r H O O to 3 bOBtarH+iXl tl O U ft'OrH-H+^ t i 3 - H ^ H t f l O l R O ( O H t g f f l ( 0 3 T 3 ^ H 43H43'r! E 4 3 ' H B O (04343 t043-H43

+>

+>

bo fl -H

- 240 C B . (F)

13 01

3 H 01 4J Jfl rH 41 to to 4J t l 01 to m o fl fl ^ fl (0 01 43 3 3 ft O + a <H rH b04J H 01 bO t l tJ<^Hp^nflJrH13-H.HF>'ai3 + > f l 3 l O 3 C r H 3 x f r H r H t i H t Q 3 0 ' O f l a i O B H J 0 i b 0 O O 0 1 O 0 1 f l f l O p r H 0 1 f t 4 3 a t 0 r H 3 > j B > 4 3 t 0 3 3 r H 5 ) O b 0 O H J . H (\jvoc^ojrArA-dr-LAC^rAvOvO-diAOJ-d--dojrA^-doj.d-

.a

>

0 H P 43 HJ

01

x) X3 01 01

t< o

fl

to

(0

tAVOrAlAVO-d-

lAlAOJCM

'-ojvoojrAtNvoC^ojrAvorAvorArA'-'rArvjvo o j r A v o v o L A O J V O V D OJVD O J V O V O OJ

T-f\jT-rAVOVOVOOjT-<-lAC^rAVOVO'-(M C^VOOJC^C^T-VO T-OJrAC^VO^VOC^C^OJ r - r v i r-

rAr-iNr-ojvo-d-voC^iA'--d--d--drAvorAiAvorvjiAOJrArAVDVD^

lAC^C^c^

r - f \ J l A t - ( M V D V D V O C ^ l A O j r A V O - d - lAVO rf\Jt--d-^rAOJiAJ--d-VOT--d-J-vO-d-vorA ojT-ojT-ojT-o-LArAvovooj-dojrArAi-J-ojc^j-rAiAvoojjT-T-ir\-dojojrAtV

O J C ^ o j r - j - i A ' - - d - r A r A ^ v o - d - C^vo r A o j OJ c ^ o j v D l A C ^ v o ( \ j J - o j j - v o o j C N - i r \ r A ' v o v o - d - C ^ ^ o j T - r A ^ O J t - v o j - CN-voC^vo oj.d--d' - . J - ojtN-d^C^iA-d-JT-I>-(N^

l A O J - d - r- r - T - C ^ r A O J C ^ C ^ T - . d - r- r - C ^ - d rAoj(\jT-ojJ-J-r^-d-[Nj-T-c^ojvorALA OJ t - O J I N V O L A O J V O V D O J OJVO-d- ( N L A O J OJ r A o j v D LACN-vo rvj r A r A v o i N i A i A C ^ - ^ v o - d -

p fl 01 bo 01 H B rH + O rH O to 01 H XJ H J t i f l C H J t O r H t 0 4 3 o

(0 3

bO fl H 13

o to U S 01 3 H H 3 -H -P > 43 1001 0-P(Q tfl>j_ H H 4 3 ' d U 01 t i - P O X l . f l fl b ft to to O XIO-HOrHOlOl X 1 3 ^ Q 43 - Xl _rj 13 01 3 01 fl fl t - B , t t i O a i o 01 l p 01 O H t i - H ^ H 3 + > f l 3 g ! f t B H - > 4 3 t 0 3 c r . O 4 J t i l 3 O t 0

01 tl

01
P

(0 tl 01 Xl H

- 241 -

D.B. (F)

U t)
t l 01 3 01 43 43 01H>>'M tiH >> 43tO > - H - P 0 1 f l l 3 3 > r H H 3 - H H 01 y 4 J H - > H 4 J H r H H O t i O H X I i-H O - H t O tOtO S b O - H O O O t O r H U X S 3 J f l B E t 0 3 t O V i ( O t 0 4 J O

H 13 C

bo fl

(0

. -

"'-'

to -Pti rHOl 3X) l S f l t 0 3

-^

-d- r A i A ^ r A v O - d - v o OJ-d- l A t ^ - i A r A ^ l N

0-T--d-T-r-C^t-(N-T

t-C^i-C^C^t-

.d-rAvooj-.d-f\jj-rAT-iAC^oj-d-vDoj C ^ T - - d - r- T - | > - T - T - r - T - r - C ^ - d (Nj-d--d-rAVDrALA-dT-C^C^

ojvooj-d-voiAtNf\j

C ^ C ^ C ^ T - C^-d-VD OJ-d-VO O J J - v o OJ-d- C^ C ^ T - i - T- r - C ^ - d - O J L A f M C ^ J - l > - T - C ^ O J -d- C^lAtNJ C^C^-d- C ^ l A - d - - d - l A - d - C ^ C ^ I N INr-T-rAC^-d-ojT-rA-dC^LA'~-dr-C^lArAJ^VOC^CN.C^OJ t-

ojT-iAlAC^-d-

C^rA-d-lNlNT--d-voj--d-

' - - d - lACN-d- oj

J - OJVO r - r ^ l A r A ( N J l A - d - OJ-d- T - C ^ J - L A -d--d- rAOJ r - i A - d - L A J - - d - J - v o j - o j rA-dr- OJ r A v o - d - v o j - OJ r A i A i A V D r^NLAOj-d^ lA^rAvo-d-vD ^-drA^-iArvj-d-vo lA

r- O J J - - d - LAf\J-d- ( M V O J - (NJVO-d- r- C^-d" J - l A O J V O rfNVOJ- O J L A r A V O r A L A ' - rACNT- r A V D J - v o rAVD r A v o o j L A r A ^ - J - v o - d v o r A . * r A ^ - t N i A - d - r A . * lAvo T - i A i A r A

<i> x l >> (0 rH

rH 3 <M

01 B

fl 0) O

xi o f Ho>i 4 j3xf iOol it > > i' tl 'l -O l 0 H-o ^ O .- p 'r 5 F. ir iHS ? l H O t X ^ ->' > 'Ot o ' ~ H C t o t O ' " H t-H
3 H J b 0 ^ H B ' r ) f l 0 l t f l f l B t 4 t 0 3 O t D +> O ^ H t i O l t O O r H t i ( f l ( 0 + E O l 3 O to ( 0 4 3 I - I < I H H S t 0 4 3 . f l ' * - ' tO 10 > j t 0 4 3

- 242 -

L.C. (F)

01 43 fl >> +J 43 to rH -P O 01 ho p fl a 3 t l (0

fl >.

tl 01 Xl H O

01 > 01 H U

t<

O .H tl Oi (0

C 01 01 TJ to hO fl to 01 H -H 01 rH rH fl a rH >s 43 rH O XI ft-H ftOlrHEflrHBtg tOHJ3E<>l-H3fl t i f l O O f t 4 3 t i a i O ' H < H O O O a 0 t 0

+>

xl

r- l A OJ rA t - LA-d- t\l l A - d - OJ V- -d- o j - d T- OJ r- OJ T- VD LA r A v o - d - r A r - - d - t - - d - J - OJ T- T- C^ U-N T - v D - d - O J f \ J - d - r A i A T- -d- rA-d- OJ VO rA r- l A - d - r f N r A J - r A I A T- T- J - T- T- C^ <\J T - C ^ T - T - r - - d r--d-

r- l A rA fM-d- lA-d- r A i A - d - r A O j J - - d - r A ^ -d- OJ rA ^ -d- rA rA l A J - OJ T- J - rA J OJ -d- lA-d- f\j -d- rA O J l A J - r A L A - d - r A L A -d- l A r- -d- VD C^-d- r A L A l A r A r A - d T- rA-d- r- -d- l A J - r A i A - d ojrA-dlAlA T-LA

-d- J - rA LA-d- LAVO LAC^-d- r A ^ - d - KNLA L A J - OJ-d- J - LAVO r A i A - d - r A i A - d - l A i A T- OJ -d- (\J rA J - -d- T - j - - d - L A - d - J - rA-dr- OJ -d- r- - VD OJ O J l A r A T - J - CN-r- (\) -d- l A rA rA-d- LA <\J r A - d - J - l A v O - d - LAC^ OJ f\j rA-d- -d- l A rA o j J - - d - i A - d - - d - r A i A VO C^ T - - d - -d- LA rA (\j-d- l N r A - - d - C^vD VO l A t - rA J - LA C^ r A L A C ^ l A < - - d lAJ-

rA LA-d- rA LAVO -d- r A i A V D - d - rvj-d- r A v o OJ T- -d- r- T- LA OJ T- r A ^ rA l A J - - l A

(0

3 o

>, .H t l t-( -H H hO O >5 >}rH 2 ^v -P X) 0113 01 fl43 fl'0+43rH 0143 0) O fl>t<O3EgOHt0 HrH+>ai-H H O t 0 * H O 3 3 p t 0 - H t i 3 O 4 3 T i x l 13 43 B O -H ^ fl >>X1 <*H

8,

- 243 S.D. (F)

bo bO fl fl O 01 -H ' H 01 -H 01 H B +> r H + > r H - P 4 3 O ( 0 H 1343 b0t0fl43fl b-,(0Ot<013 H -ri fltOOl^HOl hOf^rH^pbO'H p4ti01^HH->HJti^H>jflOaitQO>> 3 t 4 0 t * f l 4 J t i H J r H ' H - r - j S p OlO H J O ^ H O t O OfllqS h O + > f l C t i + > r H (043fl43<Mti4Jft3tOO)3<MtOft J - f \ i L r N l > - r A . * J - o j - d - - d - . d - rAvo oj-dT-lN-df\jojrALAT-j--d(MOjO-rvj-d-

-J-vDrAVDrvj-d-T--d-r\JvOfVJKNrfN-dojvoiAOjvD-d-J-ojrA(\JvDVDOj-d--dT-r-VOOJLAOJOJVOrA'-VO<-OJ-d-C^ OjrAC^'-C^T-rAC^'-'-C^'~r-.d-VO VDC^OJvorAVDVD-C^vO-C^C^~rA -d--d- l A r A l A t N J - * I N O J f \ J l > - r A ^ - d - V D -d- l A r A C ^ r A v o v D r v i - d - v o ^ v o i N l N - d i ^ j - O - T - ^ T-ojr^Ojr-C>-Ojr--d-C^ T-0-LA^C^CN.'~-d-

C^C^OJLAfMlAVO

l A i A J - rA-d- r A - d - v D r A r A O j J - o j - d - l A -d-LALAOJLAOJ-d-LAOJOJVOrA-d-rAVO rAOJlAT-Ojr-rAC^<M-d-vO^^.*C^ C ^ C ^ r - C ^ r - v O I N O J V O ^ V D J - V O rAVD -d-VDOJVDT-VDVOtMC^-d-t-CNlNVD-dOJ-d-VO ^lA^J-C^OJ^-I>-T-rArAVD

T-j- r^-T-LA^-d- r ^ r A ^ c ^ ^ o j - d - c^
O.C^T-C^r-OC^T-r^-C^r-C^lAC^-dUN-d-C^t-.d- T - r A C ^ r A ^ t N r - C ^ J - C N -

0) bO

c
H ^ 3 01 rH rH (t^ rH *> H > > > > H i < - H O - P t j r H 5 > r H ft>>4J OIHJ 01 fl+J-H 3 O 01 - H - H O OI01(Oti30rH01tO<ll 2 9 - S 43tOfli-iflHI043B43t0.fltOtOtO H HJ 10

- 244 J . D . (F)

01

X
H X ) rH 01

fl
XJ 01

fl
O H 01 hO t l

o to (0
HJ

01 r H

43 fl to bOHJ Xl ? to to fl 3 hO H fl to H HJ H HJ fl fl H H 01 ft ^ t l 3 bO (fl H (0 rH t l X ) 3 O O 43 bO B t l 01 O O HJ rH ft fl to E O 3 to X> E to to to H fl -H 43 xi


INC^C^C^C^tM r-vo --d-

HJ (3 H E

rH 43 to to fl to

u
3

(0 fl

O H Q tl H O Xi 01 P 13 H H J ft to H X l H E tH O H 5 H

o to

+ >

l A r A r A V T

lA

^ - r - r - ^ - ^ l A ^ r V I ^ -

t-OJVOrA

^ ^ -dOJ (NJ

^ - d - T - v - T - - d - v - r - O j r A r A V O O J ^-dl A r A r A L A r A l A l A L A l A O J LA

rvj

rA rA rA
T-

? - ^ - V D T - T - t N T - r A ' ~ ' ~ L A C ^ O J r - i - [ N T - ^ r ^ O J O J r - t - C N . C ^ < N J v - r ^ l > - < - t N l A L A t A ' - V D T--drArArALArAiArAJ-

r- J T T

rvj

^ - C N - C ^ t rT - V D V O T-

LA

rA LA
T VO

t - I N ^ ^ C ^ C ^ L A ^ C ^ T - C ^ ' - C ^ C ' ^ rT - v D ^ - ' - r A r A o j v o ' - ^ ^ r ^ c ^ VOrA^-'-OJLAINJOjT-t-T-CNVO rAOjrAOJLA.*LAIAOJ(NJOJVDlA

^ T

C^

t r- VD T r-

LA LA

T - - C ^ ^ ^ - C ^ - O J L A ' - C ^ V O O J r- r-

r A r A v D O j o j v o < \ J r A o j j - o j i A r A OJ OJ LA v o o j o j r A ^ o j v D ^ v o ^ r A o j r A rA LA rA VOVOVO ^ J - r A L A ^ L A M J O J O J I A r- LA l A l A r A O J O J r - . d - V D O J l A O J V D O J l A OJ rAVD J - l A t N J ' - r-LTNVOVD r - l A ' - V D I N r T LA

L A L A r A O J r A - d - V O V O rAVD l A V O - d - rvi rAVD r A - d - v D o j o j i A r A r A ' - o j v o r A r A rA OJ OJ

13 hO 01 fl tl 01 H 01 01 bO 01 HJ XJ 13 (^rH fl 01 C E XI -H to 43 H 13 0> to 01 - H HJ U (0 to 4J HJ (0 to X ) 01 43 t 0 f l 13 > j a i3 - H J : > o i j ! d O t < > >f lH 1t0 1 > aP l - H fOf l 4 H 4 t | . O 4J ( 0 h 0 l 3 0 1 U f t 0 1 O - H 0 I U I 0 ( 0 to HJ C+> b O f l - n S ' C - H I O H J B t O i a n j u 0 ^ H S ^ ^ ( f l f l 3 0 1 f l 0 1 t O O t ^ a l 0 1 O S 4 3 t 0 4 3 B 3 a ' t i ' H t i 0 i E f t t i f t

- 245 L.D. (F)

O 0 c 1 P 01 .H 43 -H 01 rH IH HJ HJ to H 43 to 01 3 -H ^3rHtO 0143 Ot4 >cr3-H0l>s'aHJ Eft ft\ H o > ft ffi tl 13 EOlrHftO-HOlfllftrHXiairH'H fl H01OrHtQ4J01flB334JrHEXJ.H t i r H O O l f l O t i o F j O O C f f i HrH43 fttOU43 3 ( 0 OHJ tOHrH OIHJHJ OHJ r-t-^?-T-vo-d-J-rAvoCN-iA-d-J--d--dLA'-C^VDVDVOC^rALALArArA-d- (NJLA-dLArAlAVD-d-VO (NJJ-VD rArAVD.* LAJ-JJ- l A ^ ^ v D O j j - - d - o j i A C ^ f v j ^ rA-d--dOJOj-d- LA-d-vo rAT-iA^rvjvO-d--d--d--dojojojf\j(\Jvo-d-J-rArAvDiAJ-rA-d--dlAVDVO-d- C^ojvo-d- lALAJ- rAJ- LA-d--dOJOJlAC^^vOr-rAVOrAJ-lA-d-rA-d-lA C^VD r- OJ C^rAVO-d--d- l A C N t - C^rAVO rA C^-d- VO rA lA-d- v o i A - d - o j r A O j - d - r A - d - j -d--d-J- lArA-d- rA-d- iArArA-d--d--d-J--d-d-LAfvj'-'-oj(N-d-f\jvovOfvi-d-rAJ-JOJ rAC^C^J-vO ^ OJVO OJ r - J - J - lA-d-JrArAVDvO-d-vo - J - L A J - ojlA-d- l A J - LA OJ (\J (\J rA lAVO J- J- r- lA LA-* - * -d- -d" JLAiAC^-d- LArA-d-J- LArA-d- rAJ- LA-d--dJ-ojojrAi>-vO-d-rA^VDVD-d--d-rArA-dLAlAOjrAlAOJJ^-d- ' - v o v o r A C ^ J - LA-dLALAVD C ^ o j r A ' - i A V D - d - ojj--d--d--d--dr A O j l A l N - d - v o t- OJINOJ O J - d - J - J - - d - J -

o ho

13 0 1 0 1 xl > (0 -H >> 01 HJ 3 to >H ^^ o >3 01 43 >> (fl _ ^J! , >> ft-H. . 0 1 , . . 01 to i 2 X a hOlOrHHrH tOhO> OS^HOtOtO a i 3 f l O l r - j ( 0 4 3 4 3 H J r H 4 3 B lOrH

bO 13 C 13 HJ > i -H H 3 t i 0 1 f t t i O O t 0 3 + > 0 t(430+J(fl O fttO fl tOlH

- 246 S.G. (F)

> ' O N t 0 t t 0 r

Xi to 01 fl to 01 HJ >> 01 b 0 l 3 01 rH 01 t l toQ f t X l > >3-ri f a - -H r r-\ t O ftXl to t i - H l H H >i tiVi > 0 1 0 l 0 1 C t i - H f t 4 d B 01 3 0 ) X l 0 t i C i - i t i 3 H J t i > > t O X l H J t i 0 O t < - H 3 f l O H J 3 O 4 3 O r H c 0 t 0 H B O H H 3 4 3 t 0 t i C t 0 f l O E O

VO rA-d--d- r A j - - d - J - rArA-d- t A r A r A L A J ojojojojojojojrvjoj(Ml>-ojojrvivD-dr A r A J - r A r A r A r r N r A r A J - v D j - oj r A v o j j - rA-d--d- r A l A J - J - rrN-d--d--d- o j r A - d - J r - v - C ^ T - T - ( N T - ^ r - r - [ N i ^ v - T - C > - - d -

rurA-d-rArA-d-rA-d-rA-d--d-J-rAJ--d--d-d- L A r A J - - d - J - J - L A - d - J - J - j - J - J - J - - d iArA-d-^-d--d--d--d- LAJ--d--d-J--d--d-JlAC>>-J--d- C^i--d--d- LA-d-J- l A J - C^VDJT-0-vOT-.d-rArAOj^-oj-d-rA-d-l>--d-JrA^-d--d^ T - c ^ j - v-[N-d--d-J-tN'-C^

-d- o j j - j - rArA-d--d- r A i A - d - - d - J - - d - rA-dr A r A J - r A J - rA-d-J-.d- rA-d--d--d- r A J - LA r A r A J - r A O j j - t A o j oj ojvo lArAfVJ lA-djT-T-c^rA^C^J-'-0--dv-j-c^^-c^

vovo r A J - J - r A t A r A r v j j - - d - r A J - l A - d - J Jr-rArAOjrAJ-rA'-c^J-rAvOLAOjc^

LAiA-d- r^NiArArAJ- rArvj C^rArAvo LA-dVOVOOJC^D-OJVOVOLAC^-d-VOC^C^-d- OJ OJ o j i A O j r A - d - r A O j o j o j v D C ^ r A o j v o v o

(0 r H O to t l 01 01 13 S 3 01 ! > > > 4 3 C O 4 3 ft . H 01 13 H HJ ft4Jb0-HtitiOfl<l't<OOrH3Ot< ( 0 O ^ H t i t f l 0 ) t i 3 r H ( f l f l O 0 ) p X l 4 J 4 3 c f l 4 3 ' t H 4 3 l 0 4 3 * M O O t Q ( 0 4 3 > > ( 0 tO

0) X XJ >5 tl

13

-H

ho fl
>> H

fl

43 01 01 10 r H rH O t l h O - H 43 3 to * > > > 0 l C 4 3 t 0 i - i h p 0 l O C > - H 43 - H ft C H - H

- 247 -

G.L. (F)

H Xl to fl to Oi fl (0 to 01 H 3 HJ hO 3 H014OflH 1001 ^"Ofl O tirH-HO bOtiti t>>-H-H 01 -HX) OHJ U B T S fl 01 3 B < H B t i r H t < t i i f l t i E 0 3 X l H J rlhO'HOtOO)t03010000fl(0 XJ 3 + J 4 3 E 104343 h043 O bO!>>3 E LALAVO L A - J - r A L A V O ^ r\J lAVO C^tA T-.d-LALA^rALArA0JlAOJVD0JV0LA OJt-C^OJ^-rCvfvJt-C^OJrAVDLAC^VD rALAJ- LAt>-J- OJ LAVO lArA-d- OJ LA-d-

ho fl

ojt-rA<-^ojrA<-vo'-ojc^j-c^oj r A ^ rA(\J ^ L A J - rAvo OJJ- l A r A C ^ o j


- d - v O C ^ r A r - r A l A J - - d - J - l A V D vr-voc^ VDOjr\jrAT-<r-VD ^--d-(\JLA(MLAVDC^

LA^rAlAC^J-OJOJvorA-d-LAOJlArA lAJtNj-d^ojj-j-vojT-rA'-LArA

^rALAr--OJ-d--d--d-OJ^-VDT-OJvO P^LA'-'-C^OJJOjrAOjrAlAt-rAVD

J - T - C ^ T - C ^ L A ' - ^ V O T - r - J - - d - OJLA OJ-d- L A ' - ' - O j r A O J V O O J J - V D l A l > - - d rArAVO ojC^LA-d- lArA-d-vo-d- ' - - d - lA -d-OJC^rA-rrN^OjC^J-LAC^VDJ-VD T - J - OJ r- t - o j j - v o - d - - d - v o LA'-rAVO LAVD O j r A I > - l A C ^ J - LAVD ^ V D OJVD-d" o j j - T-iAC^votA-d- rArA-d- oj T-VD rrN

ojrA-d-ojT-j-j-ojtNrA-d-C^J-tNiA

XI HJ rH C O O >j.H 3- XI HrH>5 n wO w to > 4 3 ? 0 1 t 0 a ) 4 J O - H 1 3 O f i - ft fl>}Ot<EA!'i-iBt4OBmi3l03 r H . H 4 3 t 0 0) 0 0 3 H J O t O H J r H O H J OT:Jt0OH-ri(Q43t0hDIHtQO43t0 tl


4)>3

<M 01 <i-i 0) O t l 01

(0 3

ho fl H X

43

to

o o

- 248 -

J . L . (F)

01 " 3 + 1 H -P n 43 43 fl HJ 43 bO tOti I3>>t0 43t0 3 rH hOlHJ-Hflti hO-H^! O (0 0 0 1 > f l ) t i ' H O r H 3 . 0 0 > 5 4 3 E+> fltoai-Hti(tffl3o.Q-i-|toHJ'atiM H - H r H 3 Q t < S ) 0 4 3 3 4 3 ( f l C r H O O J<JBOCT'4343-HHHJtiHJ0l3Oflt0 l A l A L A L A ^ - d - lA-d- rA-d- lA-d- r A - d - - d - l A v o - d - v D j - rAvO-d--d- l A J - f \ j r A O j - d - - d - L A v O J - v D l A i A - d - - d - - d - - d - LA-d--d- r A - d - l A L A VO r A L A r A v o . d - - d - v o l A J - l A - d - - d - J - - d - LA LA(\JVOOJOJVDrAOJLAOJOJVOrArAVDlA VO r A i A - d - - d - J - J - (M LA-d- lA-d- L A r A i A i A -d- L A J - l A l A - d - l A C ^ J - v O J - - d - - d - - d - L A I A l A - d - f A C ^ J - - d - J - rA-d- L A J - lA-d- r^^.d- l A -d- r A - d - J - l A J - - d - l A - d - v o v O - d - l A - d - l A - d -d- (\j l A C ^ r A i A - d - r A J - - d - r A - d - j - - d - J - l A J--d-JLALAlA-d--d--d- rArAfAlA-d--d--d-

r - v o v D - d - L A i A i A - d - r A J - rA-d- L A - d - J - - d LArAiA-d-JrArA-dlArA-dL A - * J - IALA

J - rAvo o j ( M lA-d- r A i A r A r A i A r ^ N r A i A - d ^ v o v D J - v o J - - d - C>--d- lA-d- OJVO-d- o j o j r v j j - j - CN.VOJ- l A l A l A - d - l A J - L A J - V D C^ T - v O - d - l A v O - d - v o j - - d - v o l A J - v O - d - C^-dO J V O J - J - V D V D lAVO l A r A O J OJVD CNOJ-dOJVOINC^C^VDVOC^OJVOOJOJINVD-d-OJ l A r A - d - l A r A o j j - J - LA-d- l A i A r A r v j l A i A

rH 3

U -H ffH t i - P >>tO flfllftftOlOflXlOtO-H-HXJfltiO

HXi30

to rH 3

oas

01 -P B ti-P

>?-P
fl

fl

0 _

J'_5?
h0xJ43

S i 3 . H f l

0 I 4 3 H J 010113 3 ( 0 oOti t i H J - H O ^ H - H a O t 0 4 3 h O - H V i 4 3 ^ H h043 Ui X > j 3 4 3

HSflfl01ghC3oiHJ

- 249 K.M. (F)

rl

01

10 O 43 to rH 01 to 01 (0 3 3 fl >hO >j OlrHtOfJ 2 ^ ^ . ^ < " ' - ' B f l 4 3 J ! r H H 3 0 H f t f l l 3 0 ' H O - H HJflftOlOtO t < H O t O ( O O t < > > ' a 3 t f l H H J > j t O 0 } a i f t O 4 3 , t < r H O 4 3 t f l O t i a j a o 0 1 tD43 O a O'fH h043 to to E V i 4 3 ^ H * ' - 3 t <

rAVD rAvo-d- ^ - C ^ t A r A t A f v j v o rALA<- C^

r A i A O J v o r A i A i A r A ^ t N - d - rAvO-d- r-vo
l A V O J - l A r A L A r A ^ V O rr\VD OJ LAOJ LAJt-INvO ^lAOJr-oj^r-rfNCN-T-0-C^

ojiArA'-iArALArA-d-vorAC^fNjLA-d--d-d- r A J - J - LA-d- rA-d--d--d- lAOJJ- L A r A ' -d- fvjvo rA-d- rvjvo rAiArAiAvO-d- lArA-d-d- r A i A r A T - v o C ^ C ^ v o - d - O J i A r A i A O j r A c^rACN-rAT-vDrAt-rAT-r--d-vooj-d-vo tNT--d-oj-d-rAvorA-d- ' - v o r A ' - . d - r A i A l A J - r A i A J - rArA-d- <Nj-d- rAvo CN-uNfAtA r A O J i A r A J - rA-d- r A O j r A i A L A C ^ v o j - v o ojvoc^t-voojojrA'-^rAiNrA-LAr^ l A ' - V O l A J - OJVOLArfN-d- T-rAC^lAOJVO ( N L A O J ^ - T - C ^ l A r A ( M - r A - d - OJrAVDC^
C^T-voC^-dT-voC^-d-vDOjrAiAJ^OJ

-d- INJC^-d- r - C ^ O j r A l A J - " t - J - O J C ^ I A C ^ C^VOC^-d<-C^C^C^-d-vOv--dlAC^J^

r A l A t N J r - J - O J I A O J J - C ^ I A J - C ^ J " LACN-

10 >3 rH to Oi to rH. 3 3 01 01 13 'tH O >i U -P ^rHXJfl4>jt< t4fllH>j o f l} O l -- r iO li O lw O O v O w i ^J - O - s t w H v > l ui l U l r Hi O + n ' U r ^ ^ s "ri C t i E - H - H - H 0 1 > 5 E - H t i H J f l X X l tl 3 ( 0 - H t i 3 O 4 3 n J 3 E ( C 0 l J - r ; 0 l ( 0 H J ViO4JncyCObD43t0oti.J<!l043t0

- 250 S.M. (F)

01 0) bO H

o fl

bossy intellectua: handsome timid

01 HJ H

H O 01 >> tl H (0 (H tl 01 <H ttll ttll 3 ' 0 0 3 t O + 0 1 > > 4 J O-H H J f l U f l f l f l 01 - H 43 J; a -H -H -ri -H 01 r H t i t i O B X l t i B t O O ( f l O l O O S B ^ H J O t i O E I 0 B H - r l o l 0 l 3 4 3 0 1 t - T - r - T - T - L A ' ~ J - J - - d -

fl

h O fl

,
T K

c^ c^

r-

r- IN IN T - T - r - T - r - C ^ t - t - . d - C ^

T- T

IN r- r - r - T - r - t - C ^ r - - d - - d - C ^

rAVD VO VO T - ^ T - ^ - r A C ^ T - J - L A - d r r- IN C^ r - T - T - T - ? - C ^ i - - d - C ^ C ^ ^ C^ lA C^ C ^ T - T- r - r A I N ^ - d - OJ-dLA lA lA tA C^rfN-d- rA-d- L A r A r A - d - J rA-d- LA C^ C ^ T - ^ r - r A v O r - - d - v O V O J- LA rA OJ C ^ C ^ C ^ i - . d - - rA LA J- ^ d C^ IN C^ Tt-IN^-C^-d-

rArArArAC^rAJ-vovD

r^c^c^T--d- v-c^c^CN-iA
^rA~C^C^C^tA lAlA

VO VO rA ^ I N V O V D

r- lA LA C^ C ^ i - T - r - r A C ^ T - . d -

J- J- lA-d- r - r - T - O J - t N T - . d - l A - d IN c>. Vr- C ^ I N I N T - - d -

r-C^C^C^-d-

r- lA rAVD l A ^ ^ - d - - d - l A - d - J - r A J rAVD rA r- C ^ - d - v o ^ r A O j i A f \ J t A J C^ C^
T T t N [ N C ^ T - - d -

T- C ^ C ^ I N J -

lAVD r A rvj C^VO C ^ ^ J - ^ C N I N I A J oj-d- C^J- i N T - o j - d - r v j c ^ f \ j f \ ) ' - r ^

xl
to 3 01 xl
>, tl >J43

. P > > 0 ( f l > > f t 3 x l 4 3 < H > < f l b O B t O f t 4 J f l O f O 0 l 4 3 - H 0 1 H ( f l t 0 g J f l - H I O ( 0 0 4 3 M f t 4 3 B t i l O J i J

X 43 rH01M H 01 3

o to

to - H 43 x l O f t O l t i 3 H J t 0 H J - H t O t O X )

+> to -a

- 251 -

S.P.

(F)

ti (fl
01 rH 01 3 > > t j J ( ; < H > ^ ft 3 O H^

u 'H
4J 01 43 HJ fl (OO ft 3 U) f l f l

Pa3oxlfttOfl43ftB>OXlS

t o ^ H H J S f l r H t o a a a E t o t i t f l o ( f l t | { 0 H J - H 0 1 O O 3 F i O ( 0 + > 0 1 t i flftBtO.!i;434313TjCOU01(OTJh0

vovovDiAojrAvorAvorAJ-rAj-oj-dJ- rAVD ^ ^ ^ ^ f ^ l r ^ t A u ^ J - . d - J - J - J - T - J -d- rA-d- rA-d- LA rA-d- J - rA rA J- -d- ^ J -d--d-J- rALAiA<--d-voiA-d--d--d- ' - J J-ojvo-d-LALA-d-iArA-d-voiAJ- ' - l A (\jojrArAvoiArA<\iiAvoj--d-ojT-jv o j - I N i A r A L A v o v o ojrA-d" rAJ- oj-d-d- LArArAvo lArAvo lAvo-d- l A J - rA-dvD-d-vovo f\J OJ lAVO tNjrAVD rA-d- lAvo rA-d- l A r A i A v o rAJ- lAvo-d- lArAOj-dvo-d-LA-d-ojrvjiArArA-d--d-rA-d-r-TlA-d-J- i A r A i A i A J - - d - rA-d- rA-d- r - j rA-d--d- rfNvDvo rA-d-vo lA-d-vo-d- rAJ-d-rAlArAlAlAIAlAJ-lArAJ-Jr-LA

vD-d- LA-d- rArAiA-d- rArA-d- rA-d" ' - v o v o j - - d - - d - r A r A v o J - r A t A J - rvi-d- ojvo rA-d--d- rAvovo OJVO L A I A J - J - l A o j j INJ-VD L A J - J - lA-d- rA-d-J- OJVO OJVO lAOJvo L A r A J LAJ- rAJ--d- lA-d- rAvo r A J - J - OJLAlAOJ-d- l A l A r A V D J - i-LA

H p to +> fl - . HJ >> to HJ ,3 H U O 01 fl X tj+> fl xi - H >> . i ! 01 - H O H* to fl 01 43 . . j^ ^ .V ^ > > to B X O 0 1 E H J M 0 l 0 l 3 f t t i t i - H H - H 0 l 3 J O - H O t l f t M O H J 0 > r H C H J t 0 t 0 t 0 l 3 . O t 0 < H O O I 0 l Q f l t 0 - H

H tl 01 01

fl

ho

XJ 01

XI 01 HJ

xl

to o

01

- 252 J.P. (F)

01
fH

01 3 hO HJ 4J 01 'dr. . f a H J - O h O f l X l C r H J^flrH h O r H 3 t O - H f l - H t i 5 o O014J H 0 H J B B 3 t i - H p > * > 3 0 f l t i , O ( 0 B - H O O 0 l S 0 1 t 0 H J o 0 ) *HOB-HHJ>>43Sfa0tiHt00lb0 VOt-|N-d-OJ^CN-CN-vOC^C^T-.d-VD LA^C^J-^OJlACN-VOlAVDr-ifNIN LAT-VOJO j r A I N C ^ V D LAVO ^ V O C^

ft fl ft-H 3 -H

hO

tl

-d-ojc^rAT-ojc^voc^r>-LA^vor>r-CN.tN^r-C^-T-INT-'-ri^J-C^ JojvorAojrAVDC^rArA^rAJ-vD OjrA-d-VD

C^lAC^-d- OjT-C^CNVO-d-

C ^ i A V D - d - OJOJC^VDCN.-d- O j r A - d - v o C^LAVOJj-rAVDJ^ OJC^C^VO-dojoj?-voc^-drviri-NlAVO f\jrA-d-vo

lAVO C ^ J - O j r A O J r - V D r A l A f \ J - d - l A lACN-tA-dOjtl A ^ v o j OjrA-d-lA

vOC^vO-d-f\jr-T-T-[N-d-v-J--d-iA r-ojiAT-ryj-r-ojVDJ--d-oj.d-vo -d- r A l A r A r - O j r A L A V D J - ( N j r A L A J ININVO-d-OJ-^v-VD-d-OjrAJ-lA -d-C^VDJ-OjrAOJINVOJt-ojj-vo

C^VO C ^ J - OJtNJJ- C^VD-d- T - - d - J - V O [NVO I N I A ' - O J V O - d - V O - d - V O V O l A J -d-iALArALArAojrAiAOj^oj-d-vD

C ^ O 01 >5-H O HJ +> rH 4J (0 01 fl XI to > tl o >>J<!> 01 01fttflfl(043 O ci X >^*> r H H H B D 0 < U O O fl01oktQl3rHOO301-HtiHJ ( 0 t i 3 0 1 ( 0 H 3 O X f t i r H t i ( f l - H t i H t 0 t 0 B O H O ( 0 O 0 1 H t 0 4 3

4J

- 253 M.W.

(F)

to to
01 01 tl CO

XJ a 01 o tl XI 01 to (0 fl HJ rH HJ to rH -H H ^.^ rHJ HJ fl >> XI _ _ 3 B a tl > >4 3 C Q > > X l ,f l w 1 iO...P-nH f t I O 'H JlJ 3 ... v^ ,-, w . 1 t - - *! t 0 O 0 1 X J - H c 0 H B 0 1 f t O f l > f t O O t O H J l 3 f l B V l 3 3 - H 3 f t 0 1 t i H - H > O - H O t t f - H f l O H 3 4 J f l f t 0 1 0 1 4 3 t 0 . 0 . 0 E t i H J . r t O O crtO 3 O C 4 3 4 J H OJIAVOVDlArAVDCNJVO-dOJIACNJIAOJOJ

V rA rA lA rA-d- r A r v j r A - d - J - v o r v j v o r A i A O V r A i A o j lArvjJ- LArArAfxj-d-vo-d- rAvo O rACVJVO OJlAVOrAC^-d- lAVO-d--d- l A I A l A -d-T-C>-VO-d-T-VOt-T-T-^lN^INr-^ rviJ-vo r v j v o j - v o T- r A i A o j v o C^-d- rAtxj rvi rALAVO LALACvi-d-vo-d- rA-d-vo lAiA-dC ^ i A r A i A ' - J - v o f\j rALArAJ- l A J - - rA rAiNjvo OJIAJ- T-vo IN-d- rAvo t - v o o j r A lArAojiAOjiArAojC^rArAOjt-voojvD V rAvo iA-.d- C^oj rA-d-vovD rvjvo r v j j O VOlAC\JlAOJ-d-fVlT-rA-d-voOjrAJ-r-lA lAfVIVO CJ OJ-d- I N r - v O J - rArALA-d- (NJ-d\ -d- rALAVO rAOJvo t - j - j - r A i A r v j J - rAt\j VO CN.rAlA(\J-d- C ^ ^ V O J - INr\JLA"<- T - C ^ OJ rAVD rAVOJ- (MVO l A J - OJ l A ^ V O rATvo lArA-d- rAJ-vo O oj-d-vo oj t - v o o j j J
OJJ- C^vo rAJ- L A C ^ V O J - r A v o r v j j - oj-d-

C^-d-VDj- t--d-VD-d- ^--d- C^LAOjt-rA-dr A c x j c ^ r v j l N j - l A O j j - rvi-d-vorAvo-d- tXI >5 fl Jl! -H ^ t l -H 01 X o P 43 O XI -P H W O tl C fl O HJ to r-i \u ^01 01 to 01 UJ u; PI VJ rH 4 vj M^ 43 O fl 01 >,X _ d " _ * b _ XJ O - H ! > j f t f t t 0 X l 3 - H a p 3 l 3 j f l b O f l B X O f t O l O f t t i r - i t i H J f l 43-r)-HCO01titQftOOHJt0(0(fl-H t o i d 4 3 - H l 3 to ft.C to h O f t t O o 10 EX H tl 01 01 u^

bO fl

, fl

- 254 S.W. (F)

xl
01 01 E +J

tl

tl ho >> (0 > j 01 01 B 43 -^ ^ _ Xi>^^CXrHqHi (0 _ rH 3 X l 43 X I O C ' O o J ( ! > > - H a J 3 C 0 1 0 1 f t p C - H - r j f l H J O t O t l O l f t - H O l f l B H

to to

O H HJ 01 43

H + > J i + > 4 J i ! 4 3 t 0 0 1 4 3 ' H f t t 0 t 0 t 0 t 0


HJ

E ti.HXl43-H.H3(0OtiO..

S3?>

rAiArA-d-

ojojrA-d-LALALA-d-f\jrArA-d-

OJVOOJ OJ-d- OJOJJ- OJVO (NJCMJ- rAC^LA J - O J V O A J - d - V O A J J - V O f A O J t A J - LAVDlA -d- rvjvD rA-d-VD oj-d-vo rArAiA-d- lAvo LA -d- o j v D o j v o v o o j o j v o o j r v j v D v o v D v o v o J - v o o j o j - d - tNjvO-d-J-.d-vooj.d- f v i o j o j f\J o j v D j - - d - i A J - J - - d - j - r A i A J - r A J - lA -d- rArArA-d- r A i A - d - J - - d - - d - r A J - l A r A r A J- rALAJ- r A i A r A - d - J - r A i A L A J - lA-d- LA ojvofxjojj- ojvDJ--d-vovDoj-d-j- ojoj VO O j v o J - - d - v D J - rA-d- ( N j v D v o j - - d - rALA -d- rA-d- rA-d-J- lALA-d- LArAJ--d- rA-d- LA rALArA-d-j- r A i A r A r A J - l A r A J - rAJ- ^ ^ ^ 0jrALArAt\jLArA-d-iAJ--d-J<\JrArrNiA f\jvD-d-J--d- (\jLArArA-d- iA-d--d- r A r A r A
rA rA LAJ- J- LA-d- r A J - r A i A i A - d - L A L A L A

o j v o o j r A J - f\Jvoj--d--d-vD(NJJ- r A r - r A OJ LArfNJ-J- r A J - r A J rALArvJj- oj rACM J - r r ^ l A J - J - L A r A r A L A r A r A l A - d - lA-d- lA l A J - LAJ- lA-d- rArA-d--d--d- l A i A r A i A i A

xJ 01 ft B
tl 01
01

ho XI fl 01 -H

XI X fl O
>i >>

H O 3 a r H * H 01

fl

>>

X l h 0 - H 4 3 f l X 3 f l 3 t 0 3 p 0 1 ( 0 - H E t i 4 3 t i f . f i . 2 < : t 0 4 3 o O

1 3 - H i 3 3 H J h 0 0 ) 01 O t i O H J O 1 3 t 0 l 3 3 t O H J O t 0 f l O O ( 0 t i o b 0 t Q b 0 E t 0 f t f l B O

- 255 D.W. (F)

01

H HJ ca tl 01 01 t l ft S O HJ I t O O

>

Boaio;mHfl

U -rl HJ 01 ho (0 tl C O 01 01 C r H

01 rH 43 (0 -H o O t

f rH 13 d 01 bO -H fl i l 3 - H

(fl 3 o cr >> 01 >> H 01 +> >> t l rH 3 3 > t i i 3 f hj0ii o +> X i 3 H J 0) l o o

+>

01

- H 3 3 3 3 3 x l 4 3 t O H J - H t O t O O B r H -d-fvjoj<\j(\jrArA^oj\-(Moj^ojC^^J-rvirvJrJt - r A r A t - r A t - O J O J r - ( N J ( N C ^ r-OJt-OJOjT-rvJC^D-

OJt-CNjrfNj-j-

J-J-rAOjrAj-J-

ojrfN^ojrvjt-rvJC^lN

<\Jt~r-^-r-t-OJt-r-rvJr-t-T-(MC^C^ -d- r A r A J - LALALAVO lAVOVO LAVD LACNJ rvj J- rA-d- rArAiA-d- L A J - LAJ--d- I A V D rArvj J- ^ r-rvjojrfNojrACM-d- r v j r A o j i A i A i A rAt-ojt-t-rAOjLArA-drAojt--d-vOLA

f\J^-OJ^r^(\J-d-^A-df^J^ArArA'-J-vDr^ -d-rAojrArAj-rAr-v-f\ifArAOJiAvDC^ rA'-fMrvirvjrArAt-r-t-cNjhf^^oj-d-vDC^ (\Jt-T-t-r-f\JOJt-^OJOjrAOJJ-LAVD -d-r-tA^v-rArArA^rAoj(\jf\jojvovo r A ^ t - J - l A L A r A - d - J - rA-d-J- r A o j LAVO -d- l A J - C^-d-J- t A J - - d - r A J - r o j r A r A - d - J J--d- T - t N C ^ C ^ t - J - r-C^-d- r - T - J - J - I N J - o j . * j - rArAJ- o j r A r - o j r v i T - i N C ^ v D J--d-rA^t-'-rArAC\iJ-ojt-T-ojvDiA
LAJOJOJrArAOjrvjVO-drAr-OJr-VOIN

bO

fl
H rH > . 3 XI
H to +J r H 3 C O 3 O 01 H ft 3 01 tl

>^+>Mfl>>tititiO(Oj!dflhOHJB { > , f t t i f t a ) C o 0) 0 1 - H - H ^ S f l 1 o 0 O ^ 0 if ct 0 f H 0 lH f l a H l J 0 l h O t i t 0 p O B OH X O t - t i 3 3 f 4 3 t 0 0 o 3 E r
t043 t043i-iH43-H O E )<M >^.-H

>5

bO

- 256 -

Raw Data for Study 3

The tables on the following pages provide the ratings given by each of the subjects in Study 3. The subjects are identified by their initials and their sex (M) male and (F) female. Each set of ratings is given with the subject's personal constructs written down the sides. A rating of 1 is an extreme rating for the left-hand construct and a rating of 7 is an extreme rating for the right-hand construct. The fantasy elements are given separately underneath the tables and these are identified by the numbers across the top of the tables.

- 257 J.M.

(M)

H to
t l HJ to 01 HJ fl bo - H t l 01 fl X I 01 H 4J

01 >

bo

-H

01 >

01

>

2 >j-H

HJ 43

o
JJLA -dJrA J-drA rA fA rA J-

HJ C 4J -H H 01 -H -H 4J UJ > 4J hOHJ bo U H -H to fl 01 C (fl 3 +> 01 -H ft-H tl CT'-H t l O l B B O H J fl(0010]>3Ob04J - H fl H HJ - H C O y (0 01 - H fl to to I >

P3
CJN CO

HJtgo-HtoioctOHJ o f l o f l c o f l o t d o
S M Q & f t C a Z W S

>
C3 (M

IAVD J -

rvJojrvjoj-d-C^J-vorA r A r A J - LAVO LAVO I N J rA rA OJ rA-d- LA rfN LA rA vOLAJ-C^rAOjj-rfNvo r^ C^ VD VD VO J J - J - LA rAiArAOjf\jJ-rA-d-rvj rA r u - d - rAVD VD LAVD rA VO-d- rA (M rA rA J - - d - V D rA J - J - rA VD-d- LA VD J rA-d-VO VD l A J - LA <\J LA (MlAJ-VDJ-rAr-J-LA ojiArAf\j(MOj-ojrA VD VD LA-d--d--d- rA rA J H

. m
O EH to Ol M H

J - C^ rA-dOJ OJ VD LA l A v o -d- rA -d- VO f\j J -d- f\j J - rA r A J - -d- VD LA rvi LA rA -d- l A J - rA L A J - Al J LA-d- rA (NJ LA rA LA rA rA LA rA-dOJ LA OJ VO L A J - OJ rA VD OJ LA OJ l A rAVD rvj (\J OJ VO VO OJ OJ LA C^ VD l A rA r\j rA rA rA OJ rA C^ LA rA

C^ i-A

OJ

C ^ w O W 3 iH W Ol

5 u a SQ Q
. . ON r-

vD rA

a E-i <;

g o o H 5 .
w oo
LA I

VD VD VO VO J- IN LA-d- VD rA J- J- VD lA LAVO rA LA LAVD


JrA JlA J rA -dLAVO J- rA OJ OJ rA-d- -drALArA-d-T--d-oj-d-vD LA rA rA t - LA lA-d- VD rvJ J - J - rA rA LA LA C^ VD ^ -d-voj-vorAtAvoj-vo -d-iALAOjrA-d-rA-d--dI N LA rA rA VD-d- LA I N - d EH

OJ ^ M

j^
CO CO CO EH & W

^ rA

O
t

< O
.

r- VD

S Hi g C O

9^
3 bo
O Vl c bo ho 01 hO O r H 01 - H fl 01 fl > ^ 0) fl O 01 > XJ H J fl - H > - r l - H ho > H (fl (0 - H fl HJ - H t l HJ fl - H o bO t>iHJ (0 (0 to (fl - H - H +J 4J fl i E B - H o t o ^ i f l i t o o i H J x i o t l -H a 01 t HJ H J ft > 5 H t i - H t i r H t i O l 4 3 0 1 f l ( 0 01 t i r H 0 1 O 3 0 1 0 1 0 1 t i t i f t ( f l t i fl o ( 0 ( O M H a * x l > + J h o o i a E H J 0143(0 flC-HflhD>O0)+J

O EH S Iii t^ m OJ o s M EH W EH . Q < (^ M M C O M C t-4 S O S t3 O M ft 2 C O

S^

d LA oj
?^ TC\J

S O S

M | = ) M H < a ; o O Q ' ! <

- 258 R.B. (F)

ft

-H HJ ft to 01 xl -H > 0) XI l _ W ) ho_ r H > X t l r -H rH H - H H J HJ 01 4 3 H J f l C ( 0 -HiH 0101 Cfl+J fl 01 t O f l - H f l H J n S t Q ^ > h O + > . H ( 0 0) fl - H f f l f t a J O - H K ^ H J - H f l ^ S t l O l +> H l 3 0 t i - H t O O l O O C O - H U J O l t i f l HJ r H f l O X J H J flBtlBrH>-HHJU O - f l O l O l 4 3 ( 0 f l 0 1 f l l 0 1 3 O ( 0 ( 0 l r H o fl01(OftHJHJti(aiO43flHJp,rHtiEflrHt0 O f t f l 0 1 O - H t i 0 l f l C i . 0 i O B f l H J 9 o 3 - H Q O C 3 2 : 3 M S H W e J S M & c o e S Q O rAvo I N < \ j T - r A ^ r - r - r v | C^ J r^ C^ I N r trCO

^CN-vOVOrvjr-rAOjrvjT-VOVO

^ C M C ^ ^ L A r A r >H CD

ft ft O Ui ft
K H

CN.ININ^tT-(M

rvjt-^-T-

T-IN-VO-C^INT-(\JrOJCN-OJCN*r-C^INr-

OJ

-C^VOC^INVO

C^T-

CN J
>H W S M CO CO W Q O S <

O j T - r A I N I N f M ' - C N - C ^ r - T ^ J ININC^T-CNJJ-

r - C ^ r A r - C ^ I N C N

OjrvJT-lAvOLAVOOJC^-C^r-(NJrt - ( \ j r - T - r -

C ^ ( \ J T - ^ - T - r - T - f \ | r - T - r A C ^ I N V O

ft _ o . w

- d - J - l N ' - ' r - r A J - T - T - - d - v O l N - d - - d - - d - C ^ ^ ^ ^ INrt-INvo ^ t - - d - C ^ ^ <-C^r-VDC^T-VDINC^

C^T-j-rvif\iC^T--d-c\j'-'~C^^INOjrAf\lC^vo
(Mr-C^vOr-vOrA~f\J<:-C^T-T-(NJC^C^T--dr-

iNiNC^r^ojc^rvjvorviojvor-ojrAC^c^^^rM r - C ^ I N T - T - T - r - r - t - r - V O r A ' - t N J C ^ I N O j r A O J r^C^-dT - r A ' 'OJ T-VDINC^C^rvjtAINT-Jc^ 1-5 -

(N^-vO'-VDT-VDVDrvlCNJVOrvjC^VO'-rA'-lAC^ C ^ ^ T - T - T - C ^ T - C ^ C ^ ^ r - C N T - C ^ T - r - C ^ r - v O r ^ I N C ^ f \ J O J ^ r - T - r - T - C ^ r - T - I N I N C ^ ^ T - r t N r - r A T - T - V D V O L A ^ t N 0 J C ^ t N I N T - C ^ r - V D < t -

M
Q < m

. o ^
J - O 03 E H

= .J "
C w ^ s O
:s VD

r^c^c^ojf\jLAC^J-rfNC^rAC^c^-d-

r-iN^rA^-

o
O j r v J I N T - T - I N J - T - T - I N I N T - O J < \ J O J I N ^ r v J t C - ^ - I N ' - r - r - ^ L A - C ^ I N O J ( \ j r A r v j I N ' - r v | r O C ^ I N ^ T ^ T - l A l N ^ O j r ^ O j C ^ C > - I N ' - - d C^

s
W w
O a; rvj

:s t> p S 04 rA

s z - 3
M CD < Hj

lAPii

^ MS CD<30 K o <
a O J
U 01 - H 01 > 4J rH HJ rH - H to ft fl 01 r H (0 HJ - H ^ 0 tfl >(fl > J O t O H O I t O 01 XI HJ r H H O r H - H . r H to > 3 ft 43 fl fl (fl HJ-H t i 1 3 b D 3 - H - H O ' O (0 01 bO (0 fl H H J 4 J 0 1 O f l f t t i H J t i > > to 01 - H ft fl fl O X I ( 0 t H 0 1 - H - H - H X ! to 0 4 3 J 3 4 3 - H . r l 0 1 ( 0 O f t fllOrH13ftaHJfifl(0 hOHJ HJ > C -P 01 E ft

W to

oj a .

S JM ^ W ft EH W W Q ^, to 3 o w

w p q z
Q
EH

M m ft

fH M

01rH*'''='OO(fl-H01tiaHOttl<3(0bti3Jfl a o c o M o w c o ( i i e H S 2 M s s o w w

I-;

* .
. . rA O
r - C^ T- C M

- 259 J . P . (M)
ho fl
to 01 HJ

CO

o
H 01 bO -H rH

fl

XI Oi rH 01 01 01 13 to Oi +J 4J H fl rH a fl 3- ^ - r-H . TJ , 43 - H -H I tl B (0 01 CQ4J>(0 H J 0 i g 0 3 f l H M bO

XI 0)
to HJ HJ 3 to fl O w 01 w (fl t l t l H 3 0 1 I 0 (flHJHJtO

01 rH 43 H

H
U

to
fl

01 0) HHJrH43ti-HO0).HrH pjiii-o + > 4 J H J + J t i f l t i f t t i t i f l > t o o i X x i t ito 01 a j j S . O f l O 0 1 Q O ( 0 ( f l O O X l - H C 0 ( 0 a !>j t01 O I H i X o s : H S c o o : s 3 3 2 ; p q a ; < 3 K 3 e H M < J-^C^T-C^-r-INr-r-T-T-C^C^T-J-D^^-IN L A ^ I N ? - C ^ \ - J - J - r - ^ t - I N V O ^ l A r A ^ - d l A t N V O V O O J C N C ^ J - C^tNVO ^ I N C ^ J - V D J - - d r - T - C ^ r A l A V O I N ^ - T - r - ^ I N r - f - - d - T - r v l C ^ C ^ T - I N T - I N I A L A C ^ C ^ J r - I N C ^ I N C ^ - r -

loiofltoooi'Ocoofl.cflcai

a-g

2 .8
ft V- pei

I I
.3
IN C 3B O J - OJ ^-N - rvi OJ

o pg
EH CO

V O ' - r A r A C \ j T - T - C ^ r ^ { \ J r - [ N r - V D t - ( \ J C ^ ^ r - T - C ^ T - l A l A C ^ T - r A T - T - I N - d -T-IN(\JC^

ft
CO

rA
VD r-

CNJ

OjT-|Nr-INT-C^^-r-r-r-CN.-d-T--C^r-IN r-rAVOrALAlAVO^vO-d--d-c\J-d-oj^C^<-r--d--d- (\JVD LAVD C^-d--d- l A i A O j v o j - J - v D j - rvj I N O J C ^ T - I N I N I N r - r-VO ^ V O ^ - d - l A r A L A r f\Jr-C^?-C^C^tNT--d-T-vO^-d-r-^-C^T-C^ ojojrArAlN^t--d--d--df\JVO-d^ ^-C^rvjvD

9 tl < WW S 3 3 t3 p << EH O O
C g O

s o o
>H OJ LA OJ

"@
<; 1-5
EH C << O

L A O J l A O J L A L A l A r A V D L A O J J - - d - LArALACNJJC^LA'-C^OJJOJVOVOVOVOOJVOVOVOJ-VOJ-

C O

^a
J - - <<

-d- T- C^ T- C^ r - I N J - C^ rA-d- J - I N ^- r- C^ ^ TOJ^INT-C^C^C^'-^-r-T-C^-d-rvjOJr-rvjIN I N v O C ^ t M I N V O C N - o j l A V O - d - l A V O - d - lA-d- rA-dojojtAOj-d-vDiArAOjT-rvjc^-d-oj-d-vovDoj VD-d- r A L A L A L A J - I N - OJ-d-VO C^C^LArvJ LALA (NJ OJ r - v o OJ OJVOVO r A V D r A V O - d - - d - J - - I N J C^T-T-C^-dLArA-dlA'-lAlA-^C^J-VDlNrA LAlNC^(NJC^lALAOJJ--d-

fc3 2 2 '^ o ^^

w
w

E3

. EH 0 0 cq rA 2 <~ 5 EH C O Z O C S M 3 O EH P Q . to (M . J. r^ OJ ON ^

rvJOJ(\JVOrAC^J-J-

-d- T - C ^ - d - L A I A C ^ - * l A ' ~ C ^ l A V O C ^ - d - f\J-d- C\J

hOrH HJ C C a O

01

H. .. 01 3 01 M - U ho H O H rH t i r H >>HJ 01 (0 01 01 01 + * - H > +> ft +J 4J 43

to

> 43 -H - H bO bOHJ 0) o t fl o < .fl -H HJ P to H to rH bO-C fl -H 0 1 t l H J - H t o > 5 4 3 H >^ Q HJ O 01 H 3 <l> 01 C H -H ft t l O fl > O 13^ B ID ft rH HJ W O

.3 .3 tS i5 ^ ^ : tS S ^ i5 f : t3

01 fl Oi ft t3 C O

KS gSg^ gg^ =

. VD rA ^ CO t - f\J

- 260 -

S.B. (F)

to
> HJ H (0 C B O 01 to HJ HJ >. HJ hOrH a fl 4 3 tOrH 0 0 ) 0 1 0 1 3 HJHJ fl3 H J H H O > B O t i f l r H O t - i 0 1 f l C f l O ^ r t - H 3 O O l t O - H O l r H O i f l f l H J b D t O X l f l H J H J 4 3 - H O t i S o t i H J 0 1 H J - H t l O ^ H ( 0 O - H 0 1 O ( f l ( 0 f t O I O V i a i O l f t O l H H J > tl 01 O 3 flHJH t Q J < ! l H O 0 > H J H J + J C3
J I 0 ^ H f l - H i H S r H OHJ O O

0) X 0) (0

g
rA
T-

r H (0 HJ 43 H J O t O
B H

CO
>H

/s

OJ r -

cooeHoS"i<i=>i^wwos5<2:^ T-\o C^VOVO INC^C^VO l A r A l A l A J - IN v-LAVOJ- l A J - V D J - LAJ--d- lALA--drAvo l A V D l A l A i A V O - d - LArA-d-vovOJr v j l A L A l A J - LAVD LAJ- LArA-d- lALA-doj rA-d-J- L A i A v o v o J - rA-d--d- o j L A r A ^ '\0 '^ LAJ-VDVD C^LAVO f\J l A L A V D J rvi rArArA-d- oj-d- r A r A r A r A - d - - d - rvi oj r A J - - d - V O - d - J - J - V D V O - d - J - - d - LA-d-JrALALAvoJ-J-J-voj-jrvj-d-J--d--d-

*^^ Al ^ on ^ to

fe

IN
OJ
t-

CO

9 . 8
o rvj
SEA

CO

EH

VO

RO lAC
ft

O W

f H (3N r-

^s^ B

EH

w
t-

j--d--d--d-J--d-J-rA-d--d-ojvorvjvoJf\j^-^-C^t-r-T-t-lA'~C^rAC^-d--dVOVD ^ v O L A L A C N J ^ r A J - v O - d - ' - ' - J u>jT-<-c^t-t-f\jojrA<\JvorArArA'j-T-r\jvo<-'-vofAvo^J-vDC^ojrA rAfxj LA-d-J- r A L A i A r A r A O J i A v o J - - d -

g <
O
OO

LA

fe W M

. M . O P Q -d- t -

ir\j-ojc^cMc\jj-<\jr-j-voc^CN.ir^j-d- rA-d- LAJ- rAvoiAVOJ- ojvOLArAvo ojrvj(\jojrArAJ-iA-:J-J- fVJrArAfXjrA


(NJ [v-vDVO lALA-d- LA-d-vO rAlAVO rArA VOr-l\JIN<-^C\J^-d(\JlAJ-VDrA-

^ J - lAVO-d- LAC^INIAVD ^ - I N C N - I N I N lArAAlC^fvJAl-d-lAJ01 HJ

tALArAC^-d-JOJ

f l ( 0 3 t i a i H 0 1 -B o - . H r j H J tl 01 T C H + J r H !>>'d O - H >> X l t O H J o f l m - H t O M H O f l H

HJ (fl fl 01 tl fl O rH O fl t l - H 43 > S - H 01 HJ r H C O t i H J 4 J ( 0 4 J O 3 0 1 to f l C 0 4 J ( 0 0 1 < H . ^

43

!>j

H (fl

13 01 4J (fl O -H rH r^ ft (0

0) to > tl - H 01 HJ 43 (0 HJ HJ O fl 01 CO

^ . ! : ^ 5 .c .2 .S f ft-H 0 .o ffl > > b ( H H i? .;:) .S . C . 2 S t - H ( ( O l ^>>^ S O Q t i & S & t O Q J O t i O t )

- 261 -

J . B . (M)

01

>
H 13 HJ tl O -P Xi XJ 01 t l HJ OS fl ^ 0 1 - 0 O HJ C O P G 13 H ho r H -O 01 M - H - H fl 01 fl rH C 4 3 0 1 . P 3 t i 01 HJ (fl bOft - H c 0 l 3 t i H J 01 H fl +J R - H p f t ( f l a i 4 3 r H H J - H o O l S O ( f l f l l > h 0 3 ( 0 <-, ^ t i - H 4 3 > t i ( 0 f t T > , { 0 o f t f l H J t r t O - H X + J 0 1 0 ( 0 E - H O t O t 3 t O S P Q M t o m 2 H l l M Q i i ! ^ C ^ - r ^ ^ T - T - . d - C ^ r - v O - T - r - t -

oq

_ xl 2

C B to O S -H t l 43 rH

to w

to C s : Q

ge .
M Q Q OJ OJ LA CN EH W

C^(\jlNvoT-ojj-j--d-vD^ lALAlALA^J-lA-d-J-vO-d-

^c^rvi Ojrvlvo

rA^vovot\jT--d-c^T-rA^r-rA(v ojojiNC~^rAojrvic^^vo-dTr-rrN

> ^
j W >H

LA-d- I N ^ ^ ^ r ^ f u . d - o j v o v o l A i A r ^ N v o rA^C^^r-rfNjj-c^^-j-,-<\jf<>,rvi

ft

o
VO

'-

i-C^INr-iA'-VOrA-d-VOnjlAlA

-d-j-r^^v-^-d-r^^-c^-t-T-?C^^r^^T--d-INC^T--d-T-^-^tC^LAOJJ-VO-d- I N I N ^ V O J LACMJ-

W rA C M

<
to Q W < LA > 1-3

l A v O - d - v D ( x j v o v D T- i N - d - v D r v j v o j C^LAOJIN(Mi-J-vOOJC^t-j-oj-d-d^C^C^rA-^-C^r-IN-di-iNC^iN-d-J^-T-ITN

ft o 3 oj .
C3 CO O

r A ^ r - t J-

c^t-c^j-

C^C^C^C^-d-

^J--d-C^C^rvjOJr-

W W EH O -d- < < S O oo

Cv-C^^-.d-IN-d-J-t-C>^(\JOJJ-T-jC^T-|N^T-r-INC^J--d^-rAJ-r-

C EH O

-d-vDJ-voc\|ojJ-vorArAt\jf\jiAvo CN-INC^INrvjJc^c^^-JOjC^-d-J-

rA I

s
Q

INC^rvjrAJ-C^INt-INtMININVOVO C^-d-iNvoojr-J-C^f\jC^rAt--d-(\j

PS rvj E H

rH <M ft rH 01 43 HJ (0 !>5-H rH rH 01 10 fl - H -H tl 3 01 fl HJ

^gg 5 f^
13 tl tl C O 0) Xl j!; xl c tl 01 (fl O HJ HJ HJ fl fl to 01 01 XJ - H HJ 43 H HJ fl hO . C^ . rON

ho
13 3 XI 01 t l 13 01 fl HJ 01 HJ O - H (fl O tl 0) H rH -rl 01 B ft >> B H HJ > 43 (0 o 13 O j d 01 C 01 t l O (fl to b 0 4 J ft XJ +J O - H - H 01 C O O fl < Q W Q O S M

>i

^S to Oi fl CO

Iss
O 2

3 EH

s; H
.

>H r q ft

s^s&s-^

. . VD r- 0 0 ^

- 262 -

M.C. (M)

H tl 3 ho 01 bO O fl^flB > > . H -H -H 3

s.

01 tl

r-J 3 r H 0) H (0

t3 01 -H

j,^ 4? ZH U

r^ J y ri t* -^ ' * ' ^ S
4 3 ( p - H ' O t i ( f l ( f l

"^

43 01 O

IO'OIOHJ43

^cflai4Jflooitiboti-nS-HstS > ; > - H O O 0 l f t t i 3 f l 0 1 + > > M H 3 'm';^i<ST^'"OT!S(0tirHO(fl S??J?.^ OJ;(flt0010i(0


. 2 , S J S S . 5 . . 0 - H ( f l t i - H 01 fl-H O
E f j M f t < H 4 J 4 J ( o y o > t O t O t O t 0 4 J

-d-fXjrvjt-rvjrvjr-rAT-ojojojLArA-drA-d--d- o j r A r A r v j r A J - LArAvo O J L A L A -d- r A r A r A L A i A L A J - L A r A J - J - j - J - j rArA-d- r A i A o j j - - d - r A i A r A i A o j r A v D lA LAJ- rA LAJ- J- LAiArA-d- LAJ- rA-d-d- LA-d- LArAJ- LArArA-d- LArA-d--d- lA J- eNjrA<Nj.d-J--d--d--d- r A J - J - J - rA-drArAJ--d- LAiA-d- lA-d-vo rAJ- rAJ- LA LAojrAc\j-d- rvj rvi-d-J- r A r A J - j - lArA rACNJJ- OJ rAVD rvi-d- l A i A v o v o L A L A J -d- LALAlArArAlAOJ-d-VO LArA-d" lAVO
LArAJCNJIAVO fVI LALACVJrALArvirAVD

fe g

rAiNjJ- o j j - i A L A r A v D t N j ( N j v o - d - ojrvi lA-d-VO rAfMC^LArAlACM t\jrAVD INJIN L A f A r A - d - J - v D - d - j - i A r A f \ J j - J - oj rA J- rA-d- oj-d-vo LA-d- LALArAtAJ- <\J-dL A J - f^<M rviJ-vo-d- rA-d- o j j - j - IAVD rAC^rArAiAf\jojojrAOjvof\J-d-iA-dJ-(NjT-r-OJjrAOJ-d-rAf\JJ-VDJ-JJlArAVDOJr-vOlArvjlAOjrvltNJVOVO VD
T

m s M >H oo g ^ m EH C5 w ( i l M ^^
rA a LA
M

C5

tn

i-i

S s.

OJ C\J

LOUD

>
3

vooJJ-oJrAVDlA-d-lA^^J(^JJ-OJ<^JJrAVD-d-vo LArALAiA-d- rArArA-d- rAOJ


01 tl

RIG

s
f\J

IS CO

s g2 a <e .
>H

& w CO

EH tNJ

to

xi

eg rH 3 43 ' (fl

aHo B
O 01

01 V l to to 01

ft K

^e

to ft

(0 >5 bo tl - H M fl 4J 13 - H o fl HJl 01 t H O *^ Oi Ixi CO

01

bo fl H ho

t (0
01 XJ 01 01

2 ; ^4 M Pri

1^1 O

>
-H +> (fl 01 U O

E3 3
O

Xi

^ _^ ^
o xi 3
tl
EH

O (fl O 01 O W Q CO CO CO t o

2 f
O

O-H H HJ H 43 <1H -. fl S

to

M W < rQ ft

to (fl - H t l - H - H <1H 01 P O H .0

^ ^ . .
. . rAO
T - OJ ^ VD

<

- 263 C.J.

(F)

xi 01 13 01 01 rH ho 01 H > 43 fl HJ rH -H HJ tfl -' r i u / l . |iVO H O rt J . H J w wf v - O t - Ol l . ) IIfcl H B PrH01ti43-Hti(llfl h0430) b043>HJtQt03l30l014Jfl(0 H O f l - H f l H J f l f t H t O - H f t t O >>XtiO'iH01(fl01014301j<i(001 t O O l H J O r H t O E f t X J t O f l O O X l ( r H X f l O ) f l E 0 1 f l H J O ( B f l - H WPmlilC3C0HMQ!=)C0Wi-!lMm LAVDvDOjrvj^-^-T-tNjC^C^rvi-d-TrAJ-JrvirA*r-rAf\jrAC^f\jjoj

fl O -H 3 HJ 43 01 O

ixi

C Q (3N

<

CO CO g C O

m to

<;

lAvorAojojojojojj-j-j-rArAtA rA-drINr-rAOj^-v-^vovo?-(\jrvi ojoj-d-voLAojrAoj

Svo
.
IN O

^rAfVvovo

-d-LAOJVDLAOJ-d-VOVOOJVOJ-VOrvJ VOvDVOOJOJOjrM^rAlALA'-OJJrviJ-C^r\|r-^^rAAi-d-J-ojc\joa ?-OjT-r-C^C^C^rvJINfVJ^VOJ-Jr- rACNJ OJVOVO L A r A v o <- ^ V D J - J I N C^ C^ LAVO OJ l A v O IN - rA ^ LA r - ^ ^ T - < - ^ ^ f \ J r - I N I N - d - ' - r A iAvoC^iAOjJ--dojrArAOjojrAt^-oj


. T-

LA

VD

CQ EH

W S i-q
-3 C > O 4 to LAft^ . rvJ J-

OjT-t-r-rAOJi-rAT-VDVDJ-

rArACNjrArAtNjojrfNrAVDVDOjojLA f\J r - V O V O C ^ I N C ^ ~ C ^ ' ~ J ojrA^ . rTN ^ J- ^ C M

fXJLALALAfNJOjrAOJVDOJOJrAOJOJ (NjrA^ojvD-dT-ojr-rviT-votAC^

WWW H CJ to

ININlN(NJf\Jf\JOjr-r--d-C^T-OjrA ^-rA^vovovorArAtN^^C^tArA -dojLAOjojojojrAT-vovDrvlf\jf\j rA rvi ft O rvj

T-r-r-r-lAOJ(\Jr-f\JC>-rA0Jt\JJ-

^
OJ

E S H

fl
bo fl -H 4*
to

CJN

XJ 01 01 1 3 HJ HJOlcflOl t i H t i > OlrHOl-H

fl

HJ

tl HJ 01 3 OlrH O o XI.OO E 01 f l ( 0 - H I 0 3 Oi a t f l 0 01 t l i f t 3 01 01
O Z

o H

Ej

n i 3 0 t | . H - H t i f ri 'Cl ^ -'' W to 3 01 B hpHJ a f l a + J x r^ ?>! . 5 r9 , 9 *" JS t!


Q W M O O C O S

> O T 3 H J O I O I I 3 H J 3 4 3

0 -H 43 > H J 01 -H
S

43 C O C O

fe ft O P -3 <
O C O o . O 00

ft o ai 43 O to

- 264 01 to

X to to H bo tl fl o 13 43 O U -H tl 01 -H H 01 o O to HJ 01 tl 43 HJ fl X 41 to 01 01 U Oi o HJ -H bO to ( H X J - H X l a J r H 0 l C 3 C > O 01 t l (0 O l - .i O r H t f l r H - H O t O t 01 C (0 _ C O 10 01 _ t l - H 01 _ 01 t i O l j 3 3 - H 4 3 H J - H 0 1 0 1 c O B to fl (0 3 > fl ( O f t + j f t t i . H f t H J t i H r H . . _ 4 , ftXti-H0iXfll-HO43ft0iB>-H I tO-H-HXl a i C U O f l H J 0 1 O 4 3 C a C H c O E C t i H J t O r H t i f l C t f l ( 0 r H O E b 0 3 O - H ( 0 f l 0 > O C 0 O 3 O 01

o o

A.M. (F)

t3 CQ

ftM!3as:ixi<<MmS(i,0C3Ptig;W.ia:pqc5 vorviLA-drvivoc^j-voiArAvoLAOjrArvjrvjLAKNoj LA

dw
W O PQ W O OO M 1-1

ON CQ M CO CO

.a

r A r A l A L A O J L A r A L A r - (NJLALArAOJrAOJlAVDJI A T - fvJ L A L A L A I A J rArr^rArALArAJ-

lAlAlAlA-d 3 lA ^ 2

l A r A V O r A L A L A V O r A l A L A L A l A L A r A r A t M rvj c\j rvj t\J r A V D (\J ( M L A O J V D rvlLAVOVOtNJVO L A r v l V D l A O J r A V D iAiALALAt\jvDvovDojvorArrNrvirArArACNjvDiAC\j V O O ( J rvirAvo rAfVlvo rAiAvo r A i A r A r v i r A r A o j O J J N r A l A - d - lACNJVO l A L A O J r A I A L A l A r v J V O (\J l A l A r A r A VO OJ rALArAiAiAiAOj lAtNjrTNVO CNjrTNrArAvo rArA o j r A o j i A v o <\jrAt\jvo rvi-d- fvjiAiAOJLAiArAJ- rA LAVO OJVO rArArAVO LArAOjC^tM LAJLArAVO LArA r

w >H I

OJ Pi a O J M IN ^ CQ ^ O W t o S CO CO H >H M O * i3 3 ' * o rvi M . ^ -dCO ' ^ VO S

vDOjiNojojLA-d-

rArvjvo

ojiArArvjiArA^rviCM

v o o j r A r v i o j o j r A o j o j v o r A r A v o r A r A r A O J O j r v J O j OJVOOJlALA'~rAOJVD(NJLArAINJVD--d-LAOJOJVD IN t - v D LArAVO lAlACNJVD C N J V O V D V O LAfNJ L A L A l A r A

<i
o ft

^3 EH ^ K O EH . rvl CO r A LA E H

v D O j o j v D L A r v l o j o j j - r A r A r A v D o j o j i A r A o j r A r A IN'-lALAlA0Jf\J0Jr-rArAOJVOT-OJOJ-d-OJ(Mf\J J - V O V O OJ O J L A t N V O r v l V O V D V O CM ( \ j C ^ r A - d - V D V D V O r- OJ I N r > - V O l A r A L A L A r A r A I N C ^ ' - ' V O - rTNVD L A V D

QU
EH

<
O

0 CO CQ

. ON OJ r -

VD ^ v o lArArAojvD f\ivo rArArArvjrvjrvirAVDLALA (NjojrA'-rA^^^vO'r--d-rArArArvjvovorArAfA C E O rvi OJ J - ^ LAiNLAfXjrAiNC^iArMvorA^rArArA 01 o o

<i OO O ! TrA O H < O P

01 xi to (fl

fl -H rH 01 01 <H

i S C Q o
2 '- IN

0) t o fl B to X I bO O O 0) 01 fl ft43 bo O -H 3 XJ fl X 43 H HJ 01 HJ + 3 0 i O H J c Q H J t 0 c f l r H f l fl-H-O 3 4 5 0 1 Jcfl t O t i O t O H J h O t O t O O b O

\ 0)
^> tl 01
\

-J-//
ry

y
>

oj

'^tfl fl.X-'/ -H 01 S - H Ol-' 0) HJ >irH (8 rH- -43 01 > CO 10 - H : i O r H - H HJ H J l Hl ^ & " i ^ - ^ b J : j P < l - 2 t i ( 0 E h O H O t( iO C t O -XXJ t iH 3 t H t ? ^ r t J > ! c S . ^ < S H J O t i r H H t l 0 1 tfl 01 0 1 C f l f l l tfl = > W O E H C O C D H t o < i : . a ; f t O I i H C O S t o c 5 f t S : 5

Q O <

Anda mungkin juga menyukai