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The import and complexity of the dream and its emotion is displaced from the dream onto the exciting and rich discoveries of amplification. We are led away from what is there to what is not there – the pig in contexts other than this actual dream. For the imagist the dream has an inherent overdetermination. It is stuffed with its own grounds for archetypal significance. There can be no improvement on the dream or basis for the dream beyond the dream. The image has all it needs: pink, penis, body, nude, sausage, piglet, delight, felt, erect, upright, rose, play … What could more amplify the image than this coalescence, this layered density (Dichte) that makes each dream also a fiction (Dichtung)?

The strained relation between human and animal in contemporary dreams recapitulates the Western tradition and its degradation of the animal. The Western tradition regarding animals consists of four main strands: Hebrew, Greek, Roman (Stoic), and Christian – each of which composed of lesser threads reflecting different writers, economies, laws, and cults. The Bible places the animals in the original Garden and singles them out for salvation from the Flood. , Aristotle’s biological writings. ” This Hebrew and Greek regard, however, seems not to have been the principal influence in later Western attitudes.

A third dream, reported indirectly, was from a mother, supposedly frigid, whose main concern was the sexual morality of her daughter: that she might get sullied. Since we do not have the usual kinds of sources for amplification of the giraffe, we must open another avenue: cultural history. Giraffes belong in the cultural milieu of the courts; they were the delight of princes who presented them to one another as noble ostentatious gifts in Turkey, Egypt, Persia, Rome, and Renaissance Italy. Anne de Beaujeu, daughter of Louis XI, longed for a giraffe above all other animals and begged one from Lorenzo di Medici.

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