THE DOUBLE
A Psychoanalytic Study
The Double
A Psychoanalytic Study
By Otto Rank
Translated and Edited,
with an Introduction
by Harry Tucker, Jr.
The University of North Carolina Press
Chapel Hill
Copyright © 1971 by
The University of North Carolina Press
All rights reserved
Manufactured in the United States of America
ISBN 0-8078-1155-6
Library of Congress Catalog Card Number 79-132257
To Bernhard Blume
Discipulus est prioris posterior dies.
Publilius Syrus, Sententiae
Preface
Any of us could be the man who encounters his double. 1
Publication History
A “Der Doppelgänger,” in Imago: Zeitschrift für Anwendung der Psychoanalyse auf die Geisteswissenschaften, ed. Sigmund Freud. Leipzig, Vienna, and Zürich: Internationaler Psychoanalytischer Verlag, 1914, Vol. Ill, pp. 97–164.
B “Der Doppelgänger,” in Otto Rank, Psychoanalytische Beiträge zur Mythenforschung: Gesammelte Studien aus den Jahren 1912 bis 1914. Leipzig and Vienna: Internationaler Psychoanalytischer Verlag, 1919, pp. 267–354.
C Der Doppelgänger: Eine Psychoanalytische Studie. Leipzig, Vienna, and Zürich: Internationaler Psychoanalytischer Verlag, 1925, 117 pp.
D Don Juan. Une étude sur le double, tr. S. Lautman. Paris: Denoël and Steele, 1932, pp. 9–163.
E “The Double as Immortal Self,” in Otto Rank, Beyond Psychology. Camden, N. J. Haddon Craftsmen, Inc. , 1941, pp. 62–101.
F “The Double as Immortal Self,” in Otto Rank, Beyond Psychology. New York: Dover Publications, Inc. , 1958, pp. 62–101.
G The Double: A Psychoanalytic Study, tr. and ed.
Harry Tucker, Jr. Chapel Hill, N. C. : University of North Carolina Press, 1971.
To summarize briefly, publications A and B are the original article; C is its revision and expansion into a separate publication; D is the translation into French of C (but see below); E is the adaptation of C as a chapter of a posthumous book; F is a second publication of this book; and G is the translation into English of C.
After the publication of A in 1914, the study appeared intact in the first edition of B but not in the second edition (1922), which concentrated more upon mythological essays as such (C, p. 4). C represents the expansion of A (B) into an independent publication which retained part of the material in A (B) and introduced new material presumably accrued since their publication. A detailed presentation of the similarities and differences between A (B) and C was not deemed essential to G, nor are the differences so marked as to be of special concern, except perhaps to the eventual editor of Rank’s collected works. D joins Rank’s study of the double with his essay on Don Juan, appearing in the publication in that order, despite the title. Here, the five chapters of C are expanded into seven, one of which treats twinship, only briefly mentioned in C. D also provides additional references. An English version of both D and Don Juan seems desirable, since both works are complementary; meanwhile, C possesses an interest and significance of its own.
E and F, both of which are identical in word and pagination, are the first English versions of brief and isolated parts of C. Although the posthumous publications E (F) may be taken as Rank’s final words on the subject of the double, a reading of the 1925 book (C) is desirable for a complete understanding, especially since E (F) omit much that appeared in C (e. g. , the detailed description of The Student of Prague). Readers having an interest in Rank himself, as well as in the motif of the double, will need to know not only E (F), but also C itself, D, or G. In part, the relationship of E (F) to C resembles that of C to A and B: portions of E (F) are taken verbatim from C (e. g. , E, F, p. 80; cf. C, pp. 64–65); yet in E (F) there is additional material which came to the author’s subsequent notice (e. g. , E, F, pp. 78, 79, 85, and passim). Otherwise, the principle difference between E (F) and C is one of scope and emphasis: where C was concerned primarily with clarifying the literary, psychoanalytic, mythical, and ethnological meanings of the double, E (F) correlate the motif with Rank’s ideas of the artist and the hero (see Introduction, p. xvi) E (F) do not reveal any substantial changes in the conclusions which the author reached in C; and, at this writing, D and G are the only translations of this final German version.
The Translation (G)