With the help of the explanations which we gather from the later speeches of Zoë Bertgang, this obscure part of the tale is illuminated for our understanding. It was really the original of Gradiva, Miss Zoë, herself, whom Hanold saw from his window walking on the street (_G._ p. 23), and whom he would soon have overtaken. The statement of the dreamer—“she is really living now in the present, in the same city with you,”—would, therefore, by a lucky chance, have experienced an irrefutable corroboration, before which his inner resistance would have collapsed. The canary, however, whose song impelled Hanold to go away, belonged to Zoë, and his cage was in her window, in the house diagonally opposite from Hanold’s (_G._ p. 98). Hanold, who, according to the girl’s arraignment, was endowed with negative hallucination, understood the art of not seeing nor recognizing people, and must from the beginning have had unconscious knowledge of what we do not discover until later. The signs of Zoë’s proximity, her appearance on the street, and her bird’s song so near his window intensify the effect of the dream, and in this condition, so dangerous for his resistance to the eroticism, he takes flight. The journey arises from the recovery of the resistance after that advance of erotic desire in the dream, an attempt at flight from the living and present beloved. It means practically a victory for repression, which, this time, in the delusion keeps the upper hand, as, in his former action, the “pedestrian investigations” of women and girls, the eroticism had been victorious. Everywhere, however, the indecision of the struggle, the compromise nature of the results was evident; the trip to Pompeii, which is to take him away from the living Zoë leads, at any rate, to her substitute, Gradiva. The journey, which is undertaken in defiance of the most recent dream-thoughts, follows, however, the order of the manifest dream-content to Pompeii. Thus delusion triumphs anew every time that eroticism and resistance struggle anew.