On occasion, Kaye spoke of “Dr. Foulkes’ ‘Theory of Equivalence'”. Hopper used to think that Kaye was reluctant to take credit for an idea which was so embryonic in form, especially insofar as it may have developed in conversations with Foulkes. He was not surprised to read in GROUP ANALYSIS (May 1975) a letter from BeckWerner stating that Kaye used the term “equivalence theory” in a Workshop in Altaussee during 1973, and a “reply” from Foulkes that the phenomenon to which Beck referred was one with which all group analysts were very familiar, that he never heard Kaye use the term, and by implication saw no value in it. Unfortunately, Beck's example was misleading, although it is possible that Kaye used the term in the way described. In fact, “equivalence” refers to a particular process, based on very primitive inter-psychic processes, one function of which is to communicate that which has been made unconscious because of the anxiety and splitting involved. The term was not meant to refer to more or less straightforward repetitions or displacements, but to processes through which both certain aspects of the historical and the contemporary context of a group might be brought into it, and in turn how the intra-group processes might be taken into the future. Nonetheless, it must be said that Kaye did not describe this phenomenon systematically, nor did he extend his thinking on the issue, at least publicly, before he died. Sometimes he referred to CohenRuth's work (e.g. “Style and Spirit of the Theme-Centred Interactional Method”, in SagerC. J. and KaplanH. S., (eds.) Progress in Group and Family Therapy, New York, 1972), but he was really more concerned with the unconscious, dynamic aspects of how a group creates and maintains a theme. Kreeger recalls several conversations with Kaye about equivalence and feels that it is possible but unlikely that Foulkes did not remember discussing it with Kaye. This process will be discussed in “Overview”.
2.
BettelheimC. P., Surviving and other Essays, London, 1979. Was Bettelheim aware of the profundity of his observation? Certainly Shakespeare understood the social and psychological implications of using a tempest as a metaphor for the social and psychological aspects of regression, disintegration, depression and reintegration.
3.
In this connection it is worth noting the intake processes of concentration camps and their intended and unintended effects. Similarly, in reference to the regression which followed the loss of a complete village, see WerfelF., The Forty Days of Musa Dagh.
4.
See BionW., “Attacks on Linking”, International Journal of Psycho-Analysis, 40, 1959.
5.
Bettelheim, op. cit.
6.
See JonesE. “Fear, Guilt and Hate”, 304-319, Papers on Psycho-analysis. 5th edition, London1948.
7.
For a discussion of depressive anxiety see SegalH., Introduction to the Work of Melanie Klein, 2nd edition, London, 1975.
8.
See SpringmannR., “Fragmentation and Large Groups”, Group Analysis, Dec, 1976 and HopperEarl, “Reply”, Group Analysis, April, 1977.
9.
The alternative of going immediately to sleep may also be seen as a defensive strategy, but perhaps members were fairly certain that the Messiah would not come that night. It is also possible that some people may have been exhausted, and others hungry and thirsty. Nevertheless, this latter activity is reminiscent of the romantic unions which are reported to have developed in certain concentration camps, and which sometimes gave rise to pregnancy and childbirth. Is it possible that such unions can be understood in terms of the wish to be rescued through the creation of a Messiah as reflected in basic assumption pairing as a defence against despair? Otherwise they would be difficult to explain, especially since starving prisoners lost their sexual desires, and since romantic unions could only be conducted with the protection of collaborators under conditions of the utmost secrecy, for if discovered the couple would bring the most severe punishment to all concerned - death would be a release. See PawelczynskaC. A., Values and Violence in Auschwitz, London, 1979.
10.
For example, consider the play within the Third Act of the Tempest, a celebration of personal maturity, marriage, fertility and social cohesion in general, offering a microcosm of the central action of the larger play; personal and social integration.
11.
See JonesE., “The Madonna's Conception Through the Ear”, 266-357, Psycho-Myth, Psycho History, New York, 1974.
