The (elder) brother of the patient also appears in the dream content; he is upstairs, the dreamer himself is below. This again is an _inversion_, for the brother, as I happen to know, has lost his social position, my patient has retained his. In reporting the dream content the dreamer avoided saying that his brother was upstairs and that he himself was _down_. It would have been too frank an expression, for a person is said to be “down and out” when he has lost his fortune and position. Now the fact that at this point in the dream something is represented as inverted must have a meaning. The inversion must apply rather to some other relation between the dream thoughts and dream content. There is an indication which suggests how this inversion is to be taken. It obviously applies to the end of the dream, where the circumstances of climbing are the reverse of those in _Sappho_. Now it may easily be seen what inversion is referred to; in _Sappho_ the man carries the woman who stands in a sexual relation to him; in the dream thoughts, _inversely_, a woman carries a man, and as this state of affairs can only occur during childhood, the reference is again to the nurse who carries the heavy child. Thus the final portion of the dream succeeds in representing _Sappho_ and the nurse in the same allusion. Just as the name _Sappho_ has not been selected by the poet without reference to a Lesbian custom, so the elements of the dream in which persons act _above_ and _below_, point to fancies of a sexual nature with which the dreamer is occupied and which as suppressed cravings are not without connection with his neurosis. Dream interpretation itself does not show that these are fancies and not recollections of actual happenings; it only furnishes us with a set of thoughts and leaves us to determine their value as realities. Real and fantastic occurrences at first appear here as of equal value—and not only here but also in the creation of more important psychic structures than dreams. Much company, as we already know, signifies a secret. The brother is none other than a representative, drawn into the childhood scene by “fancying backwards,” of all of the later rivals for the woman. Through the agency of an experience which is indifferent in itself, the episode with the gentleman who scolds about the King of Italy again refers to the intrusion of people of low rank into aristocratic society. It is as though the warning which Daudet gives to youth is to be supplemented by a similar warning applicable to the suckling child.[DJ]