It would, of course, be absurd to credit Dante with the place of a pioneer of the twentieth century psychology of the Unconscious, which had its roots in the Psychical Research of F. W. Myers and his friends, and sprouted up to visible life and growth so recently under the hands of the Viennese Freud and the Switzer Jung. But it would probably not be too much to say, in view of his remarkably intelligent interest in mental processes, and especially in the phenomena of dreams and of the border-land between sleeping and waking, that, given the assets and the advantages of our modern thinkers, he would have taken no mean place among psychologists of the modern type. From _Inf._ i. 10—Tant ’era pien di sonno—to _Par._ xxxiii. 58, we find this interest displayed; and before we pass on to consider his teaching on the more human aspect of Education, the personal relation between Teacher and Pupil, it may be worth while to direct attention to one or two passages which emphasise this point. In the 30th Canto of _Inferno_[218] he uses as a simile that significant situation in which the dreamer hopes he is dreaming— Qual è colui che suo dannaggio sogna, Che sognando desidera sognare ... In another passage[219] he sketches a case where the wakened dreamer forgets the “dream-cognition,” but is still dominated by the “affect”— ... Colui che somniando vede Che dopo il sogno la passione impressa Rimane, e l’ altro a la mente non riede.... Ere he quits the Terrace of Accidie, Dante falls asleep, and here he describes[220] in vivid and picturesque language the process of going to sleep, when thought follows thought in more or less inconsequent fashion— Novo pensiero dentro a me si mise Del qual più altri nacquero, e diversi; E tanto d’un in altro vaneggiai, Che gli occhi per vaghezza ricopersi, E ’l pensamento in sogno trasmutai. At the opening of the next Canto[221] comes the dream—dream of the two symbolic Ladies—and the awakening. The dreamer is apparently roused by the intensity of a dream-stench; but his awakening is due as a matter of fact to the arresting voice of Virgil, whose person is projected into the “manifest content” of the dream a few lines earlier,[222] in the cry of the “Donna Santa”— O Virgilio, o Virgilio, chi è questa? “Three times,” says Dante’s Guide, “have I called you. Get up, and come along!” ... Il buon maestro, “Almen tre Voci t’ ho messe,” dicea, “Surgi e viene!” In the last Canto of _Purgatory_ proper[223] we have another picture of a going to sleep and an awaking. The sleepiness has been induced by a sort of natural self-hypnotism, the poet’s gaze steadily fixed on a few bright stars seen through the confined opening between the cliffs as he lies on the rocky stair.