Leonardo da Vinci, Sigmund Freud [the beginning after the end novel read txt] 📗

But how does impregnation take place in vultures if only females exist? This is fully answered in a passage of Horapollo.[32] At a certain time these birds stop in the midst of their flight, open their vagina and are impregnated by the wind.

Unexpectedly we have now reached a point where we can take something as quite probable which only shortly before we had to reject as absurd. It is quite possible that Leonardo was well acquainted with the scientific fable, according to which the Egyptians represented the idea of mother with the picture of the vulture. He was an omnivorous reader whose interest comprised all spheres of literature and knowledge. In the Codex Atlanticus we find an index of all books which he possessed at a certain time,[33] as well as numerous notices about other books which he borrowed from friends, and according to the excerpts which Fr. Richter[34] compiled from his drawings we can hardly overestimate the extent of his reading. Among these books there was no lack of older as well as contemporary works treating of natural history. All these books were already in print at that time, and it so happens that Milan was the principal place of the young art of book printing in Italy.

When we proceed further we come upon a communication which may raise to a certainty the probability that Leonardo knew the vulture fable. The erudite editor and commentator of Horapollo remarked in connection with the text (p. 172) cited before: Caeterum hanc fabulam de vulturibus cupide amplexi sunt Patres Ecclesiastici, ut ita argumento ex rerum natura petito refutarent eos, qui Virginis partum negabant; itaque apud omnes fere hujus rei mentio occurit.

Hence the fable of the monosexuality and the conception of the vulture by no means remained as an indifferent anecdote as in the case of the analogous fable of the scarebæus beetles; that church fathers mastered it in order to have it ready as an argument from natural history against those who doubted the sacred history. If according the best information from antiquity the vultures were directed to let themselves be impregnated by the wind, why should the same thing not have happened even once in a human female? On account of this use the church fathers were "almost all" in the habit of relating this vulture fable, and now it can hardly remain doubtful that it also became known to Leonardo through so powerful a source.

The origin of Leonardo's vulture phantasy can be conceived in the following manner: While reading in the writings of a church father or in a book on natural science that the vultures are all females and that they know to procreate without the coöperation of a male, a memory emerged in him which became transformed into that phantasy, but which meant to say that he also had been such a vulture child, which had a mother but no father. An echo of pleasure which he experienced at his mother's breast was added to this in the manner as so old impressions alone can manifest themselves. The allusion to the idea of the holy virgin with the child, formed by the authors, which is so dear to every artist, must have contributed to it to make this phantasy seem to him valuable and important. For this helped him to identify himself with the Christ child, the comforter and savior of not alone this one woman.

When we break up an infantile phantasy we strive to separate the real memory content from the later motives which modify and distort the same. In the case of Leonardo we now think that we know the real content of the phantasy. The replacement of the mother by the vulture indicates that the child missed the father and felt himself alone with his mother. The fact of Leonardo's illegitimate birth fits in with his vulture phantasy; only on account of it was he able to compare himself with a vulture child. But we have discovered as the next definite fact from his youth that at the age of five years he had already been received in his father's home; when this took place, whether a few months following his birth, or a few weeks before the taking of the assessment of taxes, is entirely unknown to us. The interpretation of the vulture phantasy then steps in and wants to tell us that Leonardo did not spend the first decisive years of his life with his father and his step-mother but with his poor, forsaken, real mother, so that he had time to miss his father. This still seems to be a rather meager and rather daring result of the psychoanalytic effort, but on further reflection it will gain in significance. Certainty will be promoted by mentioning the actual relations in Leonardo's childhood. According to the reports, his father Ser Piero da Vinci married the prominent Donna Albiera during the year of Leonardo's birth; it was to the childlessness of this marriage that the boy owed his legalized reception into his father's or rather grandfather's house during his fifth year. However, it is not customary to offer an illegitimate offspring to a young woman's care at the beginning of marriage when she is still expecting to be blessed with children. Years of disappointment must have elapsed before it was decided to adopt the probably handsomely developed illegitimate child as a compensation for legitimate children who were vainly hoped for. It harmonizes best with the interpretation of the vulture-phantasy, if at least three years or perhaps five years of Leonardo's life had elapsed before he changed from his lonely mother to his father's home. But then it had already become too late. In the first three or four years of life impressions are fixed and modes of reactions are formed towards the outer world which can never be robbed of their importance by any later experiences.

If it is true that the incomprehensible childhood reminiscences and the person's phantasies based on them always bring out the most significant of his psychic development, then the fact corroborated by the vulture phantasy, that Leonardo passed the first years of his life alone with his mother must have been a most decisive influence on the formation of his inner life. Under the effect of this constellation it could not have been otherwise than that the child which in his young life encountered one problem more than other children, should have begun to ponder very passionately over this riddle and thus should have become an investigator early in life. For he was tortured by the great questions where do children come from and what has the father to do with their origin. The vague knowledge of this connection between his investigation and his childhood history has later drawn from him the exclamation that it was destined that he should deeply occupy himself with the problem of the bird's flight, for already in his cradle he had been visited by a vulture. To trace the curiosity which is directed to the flight of the bird to the infantile sexual investigation will be a later task which will not be difficult to accomplish.

The element of the vulture represents to us the real memory content in Leonardo's childhood phantasy; the association into which Leonardo himself placed his phantasy threw a bright light on the importance of this content for his later life. In continuing the work of interpretation we now encounter the strange problem why this memory content was elaborated into a homosexual situation. The mother who nursed the child, or rather from whom the child suckled was transformed into a vulture which stuck its tail into the child's mouth. We maintain that the "coda" (tail) of the vulture, following the common substituting usages of language, cannot signify anything else but a male genital or penis. But we do not understand how the phantastic activity came to furnish precisely this maternal bird with the mark of masculinity, and in view of this absurdity we become confused at the possibility of reducing this phantastic structure to rational sense.

However, we must not despair. How many seemingly absurd dreams have we not forced to give up their sense! Why should it become more difficult to accomplish this in a childhood phantasy than in a dream!

Let us remember the fact that it is not good to find one isolated peculiarity, and let us hasten to add another to it which is still more striking.

The vulture-headed goddess Mut of the Egyptians, a figure of altogether impersonal character, as expressed by Drexel in Roscher's lexicon, was often fused with other maternal deities of living individuality like Isis and Hathor, but she retained besides her separate existence and reverence. It was especially characteristic of the Egyptian pantheon that the individual gods did not perish in this amalgamation. Besides the composition of deities the simple divine image remained in her independence. In most representations the vulture-headed maternal deity was formed by the Egyptians in a phallic manner,[35] her body which was distinguished as feminine by its breasts also bore the masculine member in a state of erection.

The goddess Mut thus evinced the same union of maternal and paternal characteristics as in Leonardo's vulture phantasy. Should we explain this concurrence by the assumption that Leonardo knew from studying his book the androgynous nature of the maternal vulture? Such possibility is more than questionable; it seems that the sources accessible to him contained nothing of remarkable determination. It is more likely that here as there the agreement is to be traced to a common, effective and unknown motive.

Mythology can teach us that the androgynous formation, the union of masculine and feminine sex characteristics, did not belong to the goddess Mut alone but also to other deities such as Isis and Hathor, but in the latter perhaps only insofar as they possessed also a motherly nature and became fused with the goddess Mut.[36] It teaches us further that other Egyptian deities such as Neith of Sais out of whom the Greek Athene was later formed, were originally conceived as androgynous or dihermaphroditic, and that the same held true for many of the Greek gods, especially of the Dionysian circle, as well as for Aphrodite who was later restricted to a feminine love deity. Mythology may also offer the explanation that the phallus which was added to the feminine body was meant to denote the creative primitive force of nature, and that all these hermaphroditic deistic formations express the idea that only a union of the masculine and feminine elements can result in a worthy representation of divine perfection. But none of these observations explain the psychological riddle, namely, that the phantasy of men takes no offense at the fact that a figure which was to embody the essence of the mother should be provided with the mark of the masculine power which is the opposite of motherhood.

The explanation comes from the infantile sexual theories. There really was a time in which the male genital was found to be compatible with the representation of the mother. When the male child first directs his curiosity to the riddle of the sexual life, he is dominated by the interest for his own genitals. He finds this part of the body too valuable and too important to believe that it would be missing in other persons to whom he feels such a resemblance. As he cannot divine that there is still another equally valuable type of genital formation he must grasp the assumption that all persons, also women, possess such a member as he. This preconception is so firm in the youthful investigator that it is not destroyed even by the first observation of the genitals in little girls. His perception naturally tells him that