ABSTRACT
I IN many ways this second case differs surprisingly from the first. It is unique in the sense that although the drawings manifest characteristic schizophrenic peculiarities and the development of the-myth is clearly concerned with the threat of inundation from the archaic levels of the unconscious, yet clinically there was at no time any true indication of. schizophrenia other than occasional and rather slight disturbances of attention. The sense of contradiction between the poised and polished persona on the one hand, and the pathological autonomous material on the other, is intensified by the fact that the drawings are systematized, almost as though the artist had assumed the role of pathological demonstrator-not, however, with the deliberate systematization of archaic material of Joyce in Ulysses, but rather in the manner of the German artist Paul Klee, whose work reveals a high degree of introverted abstraction, with an attempt to systematize disjuncted elementary material. In some of Klee's designs, notably in " Le temps et les plantes " (1927), we find the same attempt to hold the disjuncted items within an arbitrary frame or field, associated even with the control of cross and compass, as is to be observed in the present series. In respect to schizophrenic drawings in general, fragmentation or disruption is perhaps the most consistent symptom. But the essential feature of the present case consists in the fact that this is countered unmistakably throughout by an equally strong tendency towards control.
