aid while we dream we entertain a wider range of human possibilities then when awake; the "open house" of dreaming is less guarded (Craig, 1992). It has been objected on more than one occasion that we in fact have no knowledge of the dreams that we set out to interpret, or, speaking more correctly, that we have no guarantee that we know them as they actually occurred. In the first place, what we remember of a dream and what we exercise our interpretative arts upon has been mutilated by the untrustworthiness of our memory, which seems incapable of retaining a dream and may have lost precisely the most important parts of its content. It quite frequently happens that when we seek to turn our attention to one of our dreams, we find ourselves regretting the fact that we can remember nothing but a single fragment, which itself has much uncertainty. Secondly, there is every reason to suspect that our memory of dreams is not only fragmentary but also inaccurate and falsified. On the one hand it may be doubted whether what we dreamt was really as hazy as our recollection of it, and on the other hand it may also be doubted whether in attempting to reproduce it we do not fill in what was never there, or what was forgotten (Freud, pg.512). Dream accounts are public verbalization and as public performances, dream accounts resemble the anecdotes people use to give meaning to their experience, to entertain friends and to give or get a form of satisfaction ( Erdelyi, 35 ). In order to verbalize the memory of a dream that there are at least three steps one must take. First putting a recollected dream into words requires labeling categories, and labeling categories involves interpretation. Next since the dream is multimodal, putting them into words requires the collapsing of visual and auditory imagery into words. Finally since dreams are dramatizations narrating a dream is what linguist call a pe...
