Psychological resolution of homicide after 10 years.

The projective imagery, artwork, and behavior of an artistically trained psychiatric patient are presented 10 years after having committed a murder. The case is examined to see whether the Rorschach responses and the artist's choice of subject matter demonstrate the repetition compulsion familiarly associated with trauma. Additionally, does psychotherapy in which the crime is remembered serve as a stimulus to these other forms of repetition? Our case shows evidence of a continuing psychological struggle to express or deny his involvement in the murder, with phases of limited resolution.

Murder will out.

A 1974 showing of more than 200 oils and water colors at the Tate Gallery, London, has led to a revival of interest in the 19th century English painter, Richard Dadd (1817 to 1886). In 1843, Dadd killed his father, cutting his throat, because he believed him to be the devil in human form. On a trip to the Near East, Dadd became deluded that the Egyptian god Osiris was directing him to eliminate the devil's influence. Four months after he returned to London he murdered his father, and was institutionalized for the last 43 years of his life. We advance the hypothesis that one particular painting. 'The Fairy Feller's Master-Stroke,' symbolically re-enacts the murder and makes talion restitution. The painting shows minute attention to detail and altogether occupied the artist for 9 years. He also made a water color copy of it entirely from memory, and wrote a 22-page poem explaining the picture with the title, 'An Elimination.' We suggest that this hints at the same theme of undoing. Some art critics have seen in Dadd's other art works a projection of his inner feelings, especially a series of more than 30 water colors entitled 'Sketches to Illustrate the Passions,' amongthem 'Murder,' 'Anger,' 'Hatred,' 'Grief,' and 'Melancholy.' We construe these to support the thesis of redoing and undoing following the trauma of murder. We also mention Dadd's reminiscing, visible in his art, and its usefulness in reaffirming his self-identity. In the art work of Dadd's last 25 years, violent scenes are remarkably absent. Instead, imaginary landscapes and seascenes--the subject matter of his earliest adolescent art--reflect an inward absorption in and continuity of lifelong interests. We suggest that the long process of painting 'The Fairy Feller's Master-Stroke' recapitulated and made restitution for the murder, encapsulating it so that compulsive expression of violent ideation was largely reduced, allowing other memories and activities to be engaged and expressed.