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These levelled their pieces over the front rank's shoulders and fired straight into the thick of us. The little officer had hardly given the word to fire when he was knocked down by a blow on the head, and a bayonet stuck into him, Our men pressed stoutly forward and, tumbling over the dead, fell upon the soldiers, who could move neither arm nor leg.
Rank's spirit came back every little while to nose around in the dirt of the cellar in quest of such portions of her person as had not been respectably interred in the village graveyard. Mysterious noises had been heard about the place at the dead hour of night, and ghostly lights had flitted past the cellar windows.
Otto Rank in his book, "Das Inzest-Motiv in Dichtung und Sage," furnishes a beautiful and convincing example of such repression: It comes from a second drama based on a king's murder, "Julius Cæsar." I quote from the author's words: "A heightened significance and at the same time an incontrovertible conclusiveness is given to our whole conception and interpretation of the son relationship of Brutus to Cæsar by the circumstance that in the historical source, which Shakespeare evidently used and which he followed almost word for word, namely in Plutarch, it is shown that Cæsar considered Brutus his illegitimate son. In this sense Cæsar's outcry, which has become a catch-word, may be understood, which he may have uttered again and again when he saw Brutus pressing upon his body with drawn sword, 'And you too my son Brutus? With Shakespeare the wounded Cæsar merely calls out, 'Et tu Brute! Then fall, Cæsar! Shakespeare has set aside this son relationship of Brutus to Cæsar, though doubtless known to the poet, in his working out of the traditional sources. Not only is there deep psychic ground for the modifications to which the poet subjects the historical and traditional circumstances and characters or the conceptions of his predecessor, but also for the omissions from the sources. These originate from the repressive tendency toward the exposure of impulses which work painfully and which are restrained as a result of the repression, and this was doubtless the case with Shakespeare in regard to his strongly affective father complex." Rank has in the same work demonstrated that this father complex runs through all of Shakespeare's dramatic work, from his first work, "Titus Andronicus," down to his very last tragedy. I cannot go into detail on this important point for my task here is merely to explain Lady Macbeth's sleep walking, but any one who is interested may find overwhelming abundance of evidence in Rank's book on incest (Chapter
Let us respect ourselves properly, take care to be truly ladies and gentlemen, and so far from titular rank's being necessary to us, before a hundred lustres are past, we shall bring all such distinctions into discredit, by showing that they are not necessary to any one important interest, or to true happiness and respectability any where."
Nora is veraciously feminine in never fathoming Dr. Rank's love for her, or at least in her refusal to formulate it, content to take his friendship and ask herself no questions.
Their character of infirmarers rendered them especially considerate hosts, and they never overwhelmed their guest with the stiff formalities of courtesy for his rank's sake, but allowed him to follow his inclination, and this led him to spend great part of his time in a pavilion, a thoroughly Eastern erection, which stood in the garden, at the top of the white marble steps leading to a fountain of delicious sparkling water, and sheltered from the sun by the dark solid horizontal branches of a noble Cedar of Lebanon, which tradition connected with the visit of the Empress Helena.
Rank's murderer, and the "old woman" who kept watch with him was his mother, wife of the historic David. It was she who had held the lantern, no doubt, while David Wolfe chopped her own mother to mincemeat. This accounted for the presence of the gang in the haunted house and for their knowledge of the underground room. Bonner's inspiration began to wear off.
Mark by prediction is blest, Set therefore my hopes and my fears all to rest: Let me know my fate, whether weal or woe; Whether my rank's to be high or low; Whether to live single, or be a bride, And the destiny my star doth provide. Should you have no dream that night, you will be single and miserable all your life.
Otto Rank, "Das Inzest-Motiv in Dichtung und Sage," 1912, Franz Deuticke. I discussed in a larger work, previous to Rank's book, how Heinrich von Kleist made the incest phantasies of his childhood the foundation of many poems.
I've got to meet a man at half-past ten in regards to a hoss trade, an' I happen to know that Tom Rank's clerk is sick an' he don't want to keep his store locked up fer more than an hour.
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