We shall, therefore, consider it settled for the present that the logical relations among the dream thoughts do not enjoy any particular representation in the dream. For instance, where there is a contradiction in the dream, this is either a contradiction directed against the dream itself or a contradiction derived from the content of one of the dream thoughts; a contradiction in the dream corresponds to a contradiction _among_ the dream thoughts only in a highly indirect manner. But just as the art of painting finally succeeded in depicting in the represented persons, at least their intention in speaking—their tenderness, threatening attitude, warning mien, and the like—by other means than the dangling tag, so also the dream has found it possible to render account of a few of the logical relations among its dream thoughts by means of an appropriate modification of the peculiar method of dream representation. It will be found by experience that different dreams go to different lengths in taking this into consideration; while one dream entirely disregards the logical coherence of its material, another attempts to indicate it as completely as possible. In so doing the dream departs more or less widely from the subject-matter which it is to elaborate. The dream also takes a similarly varying attitude towards the temporal coherence of the dream thoughts, if such coherence has been established in the unconscious (as for example in the dream of Irma’s injection). But what are the means by which the dream activity is enabled to indicate these relations in the dream material which are so difficult to represent? I shall attempt to enumerate these separately. In the first place, the dream renders account of the connection which is undeniably present between all the parts of the dream thoughts by uniting this material in a single composition as a situation or process. It reproduces _logical connection in the form of simultaneousness_; in this case it acts something like the painter who groups together all the philosophers or poets into a picture of the school of Athens or of Parnassus, although these were never at once present in any hall or on any mountain top—though they do, however, form a unity from the point of view of reflective contemplation. The dream carries out this method of representation in detail. Whenever it shows two elements close together, it vouches for a particularly intimate connection between those elements which correspond to them in the dream thoughts. It is as in our method of writing: _to_ signifies that the two letters are to be pronounced as one syllable, while _t_ with _o_ after a free space shows that _t_ is the last letter of one word and _o_ the first letter of another. According to this, dream combinations are not made of arbitrary, completely incongruent elements of the dream material, but of elements that also have a somewhat intimate relation to one another in the dream thoughts.