Ferenczi's "A Little Chanticleer": A child's favorite song recall

Abstract

De Chumaceiro highlights an essay by Sandor Ferenczi entitled, "A Little Chanticleer" as a first-of-its-kind legacy of a description of conscious and unconscious dynamics linked to a child's musical preferences in daily life. Ferenczi's essay merits study from contemporary viewpoints on infant developmental research.

Headnote

In response to the recent special issue of The American Journal of Psychoanalysis dedicated to SAndor Ferenczi's works, this article highlights his essay entitled, "A Little Chanticleer" as a first-of-its-kind legacy of a description of conscious and unconscious dynamics linked to a child's musical preferences in daily life. In addition to its historical value, Ferenczi's essay merits study from contemporary viewpoints on infant developmental research, including implications for treatment of adults. It is hoped that at least in the context of song recall Ferenczi's essay will gain its due recognition.

Headnote

KEY WORD Ferenczi; songs; child development; Chanticleer.

Recently, Giselle Galdi, guest editor of the special issue of the American Journal of Psychoanalysis on the contributions of Sandor Ferenczi (Vol. 58, 1, 1998), expressed her hope that the issue would be a harbinger of future articles about Ferenczi. Her desire for a continuing, belated honoring of Ferenczi's seminal ideas triggered this response article. it brought to mind a unique, rarely mentioned case Ferenczi presented and which Freud included in great detail in "The Return of Totemism in Childhood" in Totem and Taboo (1913 [1912-131) to make a different point than the one to be proposed here: It remains to be recognized that Ferenczi's (1913a) "Ein kleiner Hahnemann" ("A Little Chanticleer") is a historical example of unconscious and conscious determinants of a 5-year-old child's preference for particular songs in everyday life.

Freud (1913 [1912-13]) cited Ferenczi's essay considering it, "an interesting history of a single case which can only be described as an instance of positive totemism in a child" (italics in original, p. 130). The child's interest in songs were only mentioned in passim: "They [chickens and other kinds of poultry] were his only toys and he only sang songs that had some mention of fowls in them" (italics added, p. 130), and thus this issue could be easily overlooked. Afterward, Ferenczi's (1913b) work was published in the Zeitschrift.

Besides its contribution to totemism underscored by Freud, however, Ferenczi's essay also supports Freud's (1901) seminal remarks about the interpretation of tunes that come to mind, added in 1907 to the second edition of The Psychopathology of Everyday Life:

If anyone takes the trouble, as Jung (1907) and Maeder (1909) have done, to note the tunes that he finds himself humming, unintentionally and often without noticing he is doing so, he will pretty regularly be able to discover the connection between the words of the song and a subject that is occupying his mind. (p. 215); latter reference added 1910

Ferenczi, a favorite pupil of Freud, was accepted in the Vienna Psychoanalytic Society on October 7, 1908, and founded the Budapest School of Psychoanalysis. He presented lectures in Budapest about Freud's Everyday Life; by November 1909, Freud recognized that Ferenczi had contributed much to its third edition. Also, as is well known, Ferenczi accompanied Freud on the trip to America and was present at the Clark Lectures in which Freud mentioned the humming of tunes in passim (Diaz de Chumaceiro, 1998). That Ferenczi was aware of Freud's contribution to tunes that come to mind may have become evident to German readers in 1939 with the posthumous publication of his brief paper, "On the Interpretation of Tunes that Come Into One's Head" (circa 1909), and to English-speaking readers in 1952.

THE FREUD-FERENCZI CORRESPONDENCE

The English publication of the Correspondence of Sigmund Freud and Sandor Ferenczi, Volume 1, 1908-1914 (Brabant, Falzeder, & GiampieriDeutsch, 1993) reveals some reasons for the original destiny of Ferenczi's report of Bandi's case, alias Arpad in the essay, which Freud referred to in his letters as the Rooster-Man. In spite of Freud's prediction that the Rooster-Man essay had "a great future" (Freud to Ferenczi, February 1, 1912, Letter 275; Brabant et al., pp. 339-340), apparently it remained buried in the psychoanalytic literature.

On November 17, 1911, Freud wrote to Ferenczi that the fourth edition of Everyday Life was needed in 1912. Then, in a letter to Freud on January 18, 1912, Ferenczi announced that he now had "a sensational case, significant enough to be a brother of Little Hans" (Brabant et al., 1993, p. 330), of which he offered him a summary. Freud responded on January 23, 1912:

"Your rooster-man is precious. I will probably ask you to give me the observation for the work on Totem or to publish it without reference to the Totem. Scientific handiwork has a need for little things like that" (p. 333). Ferenczi wrote again on January 31, telling Freud that he was enclosing the case, asking him to apply it as he saw fit. "I would be very pleased if you can use it for the paper on taboo" (p. 336). On February 1, Freud referred again to Ferenczi's case:

So, first your Rooster-Man. It is simply exquisite and will have a great future. But I hope you will not believe that I simply want to confiscate him for myself, that would be too low (of me). Only, you shouldn't publish it until I can come out with the return of totemism in childhood so that I can refer to it there. You will I hope still fill the gap about whether the threat of castration occurred before or after the adventure. It is very significant. I have had similarly audacious thoughts about castration as you have. We would certainly like to know whether the jealous little father-man of the Darwinian primal family really castrated the boys before he contented himself with chasing them away. (Brabant et al., pp. 339340, italics in original)

Ferenczi answered on February 7 that he hoped to be able to fill these lacunae in the history of little Arpad's life soon. (Brabant et al. [1993] noted that Ferenczi failed to succeed in establishing such chronology.)

Over 5 months later, on July 18, 1912, Ferenczi informed Freud that the little Rooster-Man had produced new material: He had recently been showing great interest in older Jews who belonged to the temple. He longed for them, but this triggered anxiety. He would be restless until such a bearded man was allowed into his home; then, demonstrating both shyness and excitement, and keeping his distance, he danced around the man without touching him. When the bearded man left, Arpad cried.

Several months passed. On October 20, 1912, Freud wrote that he accepted Ferenczi's newest news of the Rooster-Man and that he would probably request that he make his publication after he (Freud) had concluded his work Magic and Omnipotence. (Freud presented the latter at the scientific meeting of the Vienna Psychoanalytic Society on January 15, 1913; Ferenczi was present [Nunberg & Federn, 1975, p. 1471.) On February 2, 1913, Freud announced that he hoped to quote Ferenczi's Rooster-Man. On February 8 Ferenczi wrote to Freud requesting his opinions about his plans for travel and that, of course, he would deliver the Rooster-Man essay before leaving.

The publication of the second volume of the Freud-Ferenczi correspondence 1914-1919 (Falzeder & Brabant, 1996) reveals that on March 9, 1916, Ferenczi announced to Freud a new case-a counterpart to the Little Rooster-Man one-of a man who when 3 years old had been "really castrated (circumcised)" (p. 118); it was published in the Zeitschrift (1916191 7a) in the same year. In this paper, Ferenczi's opening paragraph summarized the previous contribution as follows:

In the paper entitle "The Little Chanticleer," who in his earliest childhood suffered a quite negligible injury to the penis which then definitely influenced the whole of his impulsive life and mental development, I had to point out the great significance of the constitutional factor in the fear of castration, for which the actual experience only acted as a determining accident. (1916-191 7b/1 980, p. 244)

Ferenczi evidently was quite pleased that Freud used his essay in Totem and Taboo. Yet, because Freud gave so little importance to the subject of music in his works, Ferenczi could hardly have suspected that his essay also had made a contribution that still remains to be widely recognized in that area of inquiry. Thus, let us view Ferenczi's case with a new lens, from the viewpoint of interpretation of songs that come to mind. What follows is a paraphrasing of Ferenczi's paper (with a few omissions of examples of Arpad's statements for the sake of brevity), so that his interest in and ideas about this case can sing his own song.

A CHILD'S RECALL OF SONGS IN EVERYDAY LIFE

Ferenczi (1913a) presents an unusual case, brought to his attention by a former female psychoanalytic patient. (Brabant et al. [1993] noted that Frau Dezso Kosztolanyi reported it while in analysis with Ferenczi.) At the time of Ferenczi's observations, Arpad was a 5-year-old boy who, according to his relatives' unanimous reports, up to the age of three and one-half had mentally and physically developed as a normal child; his speech was fluent and he appeared to have considerable intelligence.

Suddenly, though, he changed. In 1910, when the family returned to an Austrian spa to spend the summer in the same house as the year before, the child's behavior was altered on arrival in a curious manner. In contrast to his previous age-appropriate interest about in and outdoor activities, now his only concern was the fowl house in the courtyard of the house. Tirelessly, he watched the poultry from early in the morning, and imitation of their sounds and movements followed. When removed by force from the scene, he cried, and then would only continuously engage in crowing and crackling for hours, unintermittently. He answered questions only with animal cries-to the extent that his mother expressed serious concern that the child would lose his ability to speak. This behavior lasted throughout the family's stay at this place.

Arpad only began to speak normally again when they returned to Budapest, yet his speech was "almost exclusively of cocks, hens, and chickens, at the most with geese and ducks besides" (p. 241). Daily he played a seemingly endless game that entailed crumpling up newspapers and shaping them as cocks and hens to be offered for sale. Then, taking an object such as a small flat brush, which he called a knife, he would carry his animals to the sink and cut their paper throats (in imitation of the cook's real actions of such event), imitating a death agony with sounds and gestures. During the sale of fowls in the courtyard, little Arpad became restless, running in and out the door until his mother purchased some of them. He, afraid of live cocks, desired to see them slaughtered.

When asked repeatedly by the parents about his fear of cocks, Arpad's story was always the same. Once he had gone outside to the poultry cage, had urinated in it, and there "a fowl or capon" with feathers that were yellow (sometimes reported as brown) "bit his penis" (p. 242); the wound had been dressed by Ilona, the maid. Then, to kill the cock, they cut his throat.

Actually, the parents recalled that this event had occurred the previous year during their first stay at the spa, when Arpad was merely two and a half years old. The mother had indeed heard Arpad shrieking with fear one day, and the servant had informed her that a cock that had snapped at his penis had scared him. However, since Ilona was no longer working for them, it was impossible to clarify whether Arpad had really been hurt by the cock, or, as the mother recalled, Ilona merely had bandaged him to soothe him.

Ferenczi found it curious that the psychic after-effect of this incident had surfaced after a whole year of latency, on the second visit to this summer house, during which time, according to the relatives, nothing had happened to trigger the sudden recurrence of fear of and interest in fowl. In spite of their negatives, however, and justified by psychoanalytic experience, Ferenczi questioned those persons close to the child on whether during this latency period he had been threatened-as so frequently occurs-with castration due to sensuous playing with his genitals. The unwilling answer was that as, in effect, the boy did have a fondness of playing with his penis and was often punished for so doing in the present, it was "not impossible" that "jokingly" someone "might have threatened to cut if off" (quotes in original, p. 243). Yet, it remained unknown if he already had this habit during the latent year.

In what follows, it will become clear that indeed Arpad had been so threatened later; thus, Ferenczi felt entitled to consider the assumption that the threat experienced during the in-between period had triggered the child's excitement on this second visit to the scene of an initial experience of terror, when the safety of his penis had also been threatened. A second possibility cannot be excluded; that is, his fright in the first incident had been amplified by an even earlier castration threat and that a return to the poultry cage triggered excitement that can be attributed to the increment of "sexual hunger" that in the meantime had developed. Reconstruction of these relationships in time, unfortunately, was impossible, and thus casual connections have to be accepted as probable.

Ferenczi's personal session with Arpad did not yield anything striking or abnormal. When the child entered his room, a little mountain cock made of bronze, included among many other objects present, immediately attracted his attention; bringing it to Ferenczi, Arpad asked if he would give it to him. Ferenczi gave him paper and a pencil and immediately he skillfully made a drawing of a cock. Then, with Ferenczi's prodding, he told him the story of the cock, but bored already, he preferred to return to his toys. Thus, because direct psychoanalytic investigation proved to be impossible, the lady who referred the case to Ferenczi and was interested in it (as a neighbor and friend of the family) agreed to observe the child for hours at a time, making notations of curious remarks and gestures. Ferenczi found Arpad to be very mentally alert and talented-even though his interests and talents were focused primarily around the feathered animals in the courtyard. His clucking and crowing were masterful. He woke up his family early with his "lusty crow"-a true Chanticleer" (p. 244):

He was musical, but sang only popular songs in which cock, fowl, or the like came, being especially fond of the song:

"To Debreczen I must run,

There to buy a turkey-cock."

then the songs "Chicken, chicken, come, come, come," and

"Under the window there are two chickens,

Two little cocks and a hen." (pp.244-245)

Arpad drew, as mentioned previously, yet confined himself to large-- beaked birds, which he painted skillfully. Thus, the paths in which he was attempting sublimation of his pathologically intense interest in these animals were observable. The parents, since their interdictions were to no avail, had finally tolerated his hobbies and purchased for him different unbreakable toy birds, with which he played different games.

In general, Arpad was pleasant yet very defiant when scolded or beaten. He cried very infrequently and did not ever beg for pardon. Excluding these character traits, however, no true neurotic traits were recognized. He was scared easily, was a frequent dreamer (of course, of fowl), and often did not sleep well.

Arpad mainly displayed an unusual pleasure in fantasies of cruel torture of poultry-as suggested in his curious expressions and actions reported by the female observer. The slaughtering of fowl, his typical game, has already been mentioned; additionally, it was predominantly cocks and hens that had been "killed" that appeared in his bird dreams.

Ferenczi considered that if Arpad's symptomatology was observed in an insane adult patient, the psychoanalyst, without hesitation, would interpret the excessive love-hate of poultry as a transference of unconscious affects that in reality was linked to human beings, probably near relatives, but which due to repression could only be manifested through displacement and distortion. Furthermore, he would interpret the wish to pluck and blind these animals as symbolic of castration intentions and view the entire syndrome as the patient's reaction to fear of the idea of personal castration. The attitude of ambivalence would then lead the analyst to suspect that the patient's mutually contradictory feelings in his mind were in a state of balance. Based on experiential facts, the analyst would have to surmise that such ambivalence was linked to the father, who was honored and loved as well as hated due to the stern sexual restrictions he imposed. Succinctly, the analytic interpretation would be that in this syndrome, the father was signified by the cock.

In his view, in the case of little Arpad, one is spared the trouble of interpreting. Repression had not yet entirely hidden the meaning of his oddities; the original matter, the repressed tendencies, was still discernible in his speech and, in effect, was evident sometimes with surprising openness and crudeness.

Often, Arpad's cruelty was directed to persons and, often enough, against their genital region. Additionally, he was very often occupied with the idea of blinding. Once he asked his neighbor if one could blind a person with fire or water. (The poultry's genitals were also of great interest. When each fowl was killed, Arpad demanded enlightenment about its sex.)

After running to the bed of a grown-up female Arpad said he wanted to cut off her head, place it on her belly, and consume it. Once, quite suddenly while grunting and dancing, he stated that he would like "to eat a potted mother (by analogy: potted fowl)" (p. 249); thus by placing and cooking his mother in a pot, he would have "a potted mother" and could then eat her. Demonstrating eating with utensils, he added: "I would cut her head off and eat it this way" (p. 249). After exhibiting these types of cannibalistic wishes, he would experience an immediate attack of remorse in which cruel punishments were his masochistic desires. After expressing that he wanted to be burnt, he added the request to have his foot broken off and placed in the fire. He would cut his own head and would like to cut his mouth so that he did not have one.

Undoubtedly, the animals represented his own family, as he himself quite spontaneously stated once: "My father is the cock!" (p. 249). At another time he expressed that in the present he was small, a chicken, but when he grew, he would be a fowl, and when bigger, a cock. This led to: "When I am biggest of all I shall be a coachman" (p. 249). He appeared to be more impressed by their coachman than by his father.

Ferenczi considered that after the admission made by Arpad, independently and without the influence of others, the great excitement exhibited in his tireless observation of the activities in the fowl-yard could be better understood. In the poultry cage, quite conveniently, he could observe the parallel of his own family secrets, about which data was not forthcoming at home; without concealment, these animals helped to show him all that he desired to see, particularly the cock and hen's continued sexual activity, egg-laying, and birth of the young brood. Due to the dwelling arrangements, Arpad had witnessed his parents' sexual activities. Thus, having had his curiosity aroused in this manner, he then satisfied it by insatiably watching the animals. Ferenczi's assumption that Arpad's morbid dread of cocks was based on fears of castration due to onanism was confirmed by the child.

One morning Arpad asked the neighbor to tell him why people die. The answer was because they grow older and get tired.... Then his interest turned to angels and souls, yet the explanation received was that these were "only fairy-tales" (p. 250). His response was rigidity, fear, and denial: "No!" (p. 250). That was untrue.... Horrified, he inquired about why children die and for how long a person can live. It was very difficult to calm him.

It so happened that early that same day, suddenly, when the chambermaid lifted his bedding, she discovered Arpad playing with his penis and "threatened to cut it off." The neighbor, attempting to quiet him, said that he would not be harmed, as all children did similar things. With great indignation, Arpad stated that such was untrue: "Not every child! My papa has never done anything like that" (p. 251). In Ferenczi's view, we could now better understand Arpad's "unquenchable rage" (p. 251) for the cock who repeated the grown-ups' threats to his penis, as well as his awe for this daring, sexual animal that did all that terrified him; in this context, we can also understand his cruel self-punishments.

Later Arpad turned to religious thoughts ... Ferenczi ended his account with another statement by Arpad that demonstrated that his watching of the fowl's activities had not been in vain: One day, very seriously, he told his neighbot: " 'II shall marry you and your sister and ny three cousins and the cook; no, instead of the cook rather my mother.' He wanted, therefore, to be a real 'cock of the roost' " (p.252).

FREUD'S APPLICATION OF FERENCZI'S ESSAY

Freud (1913) emphasized two features of this case that support totemism: "the boy's complete identification with his totem animal and his ambivalent emotional attitude to it" (p. 131). In his view, these observations provide justification for the substitution of the father for the totem animal in the totemic formula (applied to males). Remarkably, the first consequence of such substitution is:

If the totem animal is the father, then the two principal ordinances of totemism, the two taboo prohibitions, which constitute its core-not to kill the totem and not to have sexual relations with a woman of the same totem-coincide in their content with the crimes of Oedipus, who killed his father and married his mother, as well as with the two primal wishes of children, the insufficient repression or the re-awakening of which forms the nucleus of perhaps every psychoneurosis. If this equation is anything more than a misleading trick of chance, it must enable us to throw a light upon the origin of totemism in the inconceivably remote past. In other words, it would enable us to make it probable that the totemic system-- like little Hans's animal phobia and little Arpad's poultry perversion-was a product of the conditions involved in the Oedipus complex. (Freud, 1913, p. 132).

REFLECTIONS

On February 10, 1909, at the meeting of the Vienna Psycho-Analytic Society, when Max Graf mentioned his self-analysis of so-called "'spontaneously emerging melodies/ which he regularly found to be associatively linked with the text," Freud commented "one should perhaps make a distinction between associations that are connected with the wording of the text, with the content, or with the situation" (Nunberg & Federn, 1967, p. 151; see Abrams, 1993; Diaz de Chumaceiro, 1996). Clearly, Ferenczi covered all this ground and beyond in his case report. (It would be of interest if readers with knowledge of the Hungarian language can unearth the full text of this child's favorite songs.)

It is well known that songs sung in childhood suddenly can be recalled unintentionally or remembered due to direct induction with the question, "What song comes to mind?" (Diaz de Chumaceiro, 1990, 1992), whether in treatment or in everyday life. The timeless beauty of this child's case is that it provides a description that includes sufficient data about the who, what, how, when, and where related to Arpad's displacement of his castration anxiety to songs available in his milieu. In essence, this affective displacement is what we all do when we take songs from our social context and make them our favorite ones. Yet, we rarely take the time to analyze why this is so. Often enough in everyday life, a song can haunt an individual, or said differently, an individual can obsessively use a particular song (Reik, 1953; Hannett, 1964); yet, rarely are such cases reported in the clinical literature. Perhaps in this aspect we might also follow Ferenczi's example of interest in pathological uses of songs in daily life. Ferenczi (c. 1909), according to his own statement, was "very musical, but unfortunately no musician" (p. 175).

Toward the end of his life, Ferenczi (1931) commented that he was regarded as "the enfant terrible of psychoanalysis" (p. 127). It is hoped that the unearthing of this piece of "undiscovered public knowledge" (Swanson, 1986) may play a role in bringing to light Ferenczi's seminal contribution to the psychoanalytic understanding of a child's song recall.

Acknowledgments. I thank Robert S. Weinstein, Ph.D., for introducing me to Ferenczi's works in 1986 and calling my attention to his brief paper "On the Interpretation of Tunes that Come Into One's Head." I also am grateful to Gerald M. Fishbein, Ph.D., for his careful reading of and valuable comments about this article, as well as to the reviewers of The American journal of Psychoanalysis.

References

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