On other occasions the censorship has not dealt with the sentence in its completed form; for the writer, foreseeing which passages were likely to be objected to by the censor, has forestalled him by softening them down, making some slight modification or contenting himself with hints and allusions to what he really wants to write. In this case there are no blanks, but from the roundabout and obscure mode of expression you can detect the fact that, at the time of writing, the author had the censorship in mind. Now keeping to this parallel we say that those speeches in the dream which were omitted or disguised by a murmur have also been sacrificed to some form of censorship. We actually use the term DREAM-CENSORSHIP, and ascribe part of the distortion to its agency. Wherever there are gaps in the manifest dream we know that the censorship is responsible; and indeed we should go further and recognize that wherever, amongst other more clearly-defined elements, one appears which is fainter, more indefinite or more dubious in recollection, it is evidence of the work of the censorship. It is, however, seldom that it takes a form so undisguised, so naïve, as we might say, as it does in the case of the dream about “love service;” far more often the censorship makes itself felt in the second way I mentioned: by effecting modifications, hints, and allusions in place of the true meaning. There is a third way in which the dream-censorship works, to which the ordinances of the Press censorship supply no parallel; but it happens that I can demonstrate to you this particular mode of activity on the part of the dream-censorship in the only dream hitherto analysed by us. You will remember the dream of the “three bad theatre tickets, costing one florin and a half.” In the latent thoughts underlying this dream, the element “too great a hurry, too early” was in the foreground; the meaning was: “It was folly to marry so _early_, it was foolish also to take the tickets so _early_, it was ridiculous of the sister-in-law to spend her money so _hurriedly_ on a piece of jewellery.” Nothing of this central element of the dream-thoughts appeared in the manifest content, where everything was focussed on going to the theatre and taking tickets. By this displacement of the accent and regrouping of the dream-elements, the manifest content was made so unlike the latent thoughts that nobody would suspect the presence of the latter behind the former. This _displacement of accent_ is one of the principal means employed in distortion, and it is this which gives the dream that character of strangeness which makes the dreamer himself reluctant to recognize it as the product of his own mind.