The resolution of the identification of localities designated under their own names is even less difficult than that of persons, because here the disturbing influence of the ego, which is all-powerful in the dream, is lacking. In one of my dreams about Rome (p. 164) the name of the place in which I find myself is Rome; I am surprised, however, at the great number of German placards at a street corner. The latter is a wish-fulfilment, which immediately suggests Prague; the wish itself probably originated at a period in my youth when I was imbued with a German nationalistic spirit which is suppressed to-day. At the time of my dream I was looking forward to meeting a friend in Prague; the identification of Rome and Prague is thus to be explained by means of a desired common feature; I would rather meet my friend in Rome than in Prague, I should like to exchange Prague for Rome for the purpose of this meeting. The possibility of creating compositions is one of the chief causes of the phantastic character so common in dreams, in that it introduces into the dream elements which could never have been the objects of perception. The psychic process which occurs in the formation of compositions is obviously the same which we employ in conceiving or fashioning a centaur or a dragon in waking life. The only difference is that in the phantastic creations occurring in waking life the intended impression to be made by the new creation is itself the deciding factor, while the composition of the dream is determined by an influence—the common feature in the dream thoughts—which is independent of the form of the image. The composition of the dream may be accomplished in a great many different ways. In the most artless method of execution the properties of the one thing are represented, and this representation is accompanied by the knowledge that they also belong to another object. A more careful technique unites the features of one object with those of the other in a new image, while it makes skilful use of resemblance between the two objects which exist in reality. The new creation may turn out altogether absurd or only phantastically ingenious, according to the subject-matter and the wit operative in the work of composition. If the objects to be condensed into a unity are too incongruous, the dream activity is content with creating a composition with a comparatively distinct nucleus, to which are attached less distinct modifications. The unification into one image has here been unsuccessful, as it were; the two representations overlap and give rise to something like a contest between visual images. If attempt were made to construct an idea out of individual images of perception, similar representations might be obtained in a drawing.