In the discovery of passion, Aristotle sees the essential moment of the tragic work: the opening of one meaning associated with the emergence of some identity. But the difference is that the recognition takes place on the stage, among the actors. The original thing with Freud is that recognition is in the soul of the viewer. To recognize yourself in Oedipus means to extend your conscious identity by becoming also the mythic hero, and thus unraveling the unconscious urge under the conscious speech of the tragic hero; in Oedipus, the viewer recognizes his past and his unconscious, which had been dark and obscure.

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The unconscious is not just a language: it is a drama, that is to say, a speech on the stage, a spoken action (between the extremes of crying and silence). Oedipus, mythical dramaturgy, has been shown with a minimum of embellishments. The Oedipus himself is therefore unconscious, because he is our unconscious, that is, one of the major roles our desire has taken. He does not need to have his own depth because he presents our own depth on the stage. Oedipus tragedy has the fullness of the symbol, and we are shaken by its symbolic efficacy. Oedipus fulfills the oracle's prophecy and the oracle is both necessity and causality. In the modern terms of psychoanalysis, Oedipus is the urge, his image on the stage. Oedipus does not need to be interpreted, he is the guiding image of our interpretation. Adip is not psychology; he is an element of our psyche, one of those functional elements that makes it possible to compose psychoanalysis. The legend of Oedipus fixes the norm for the child's direction of libido. The central recognition of Sophocles Freud's tragedy relates him to what he has discovered in the darkness of his own childhood, so that the pushed scene of this childhood organizes the light and the fatal structure of the drama. The story of Oedipus is attached to the archaic history of the individual and constitutes the truth of the open yet forgotten and repressed past of childhood. The expulsion of this childhood, revealed precisely by myth, shows that this is not an individual coincidence in Freud's life, but a universal law that is imperative, a norm for every person. The story of the individual, like that of mankind, is not built only progressively, by acquisitions and advances, it is built up and negatively, by negation, rejection, oppression.

The theater is like a dream. It is a hallucination that allows identification. But he is not like a dream, he has a double sleep, the scene of the dream placed on his stage, the image space of the imagined fantasy. The theater shows that fantasy can not be mastered, that the unconscious process is our master, it shows us defenseless, shows the recognition of Oedipus knowledge, the inevitable deception of the one who investigates to learn the truth, Oedipus. The truth, Freud says, is achieved only through deformations, deformations that are not simply the result of illusion or deception, but are a necessity for all people who want to avoid the displeasure associated with the discovery of the intolerable. Oedipus does not just symbolize the inaccessible meaning, but the meaning (of the phallus) that is given only in its absence. Fantasy, sleep, the symptom talk about this absence, inhabited by the unconscious idea (about the phallus). Absence, which in the end can be seen as the presence of death in life itself, namely death, will be the imprint of this lack. Even in his last work, Freud wrote: "I can only think that even in his asset psychoanalysis had only the discovery of the Oedipus complex, it would still be enough for this extremely valuable discovery for all mankind."

Freud approached the problem of the Oedipus complex not historically, but structurally, he said he took the point of view of the boy and the virgin at second thought about the girl. He now adds a third phase - to the oral, which corresponds to the loss of the anal anal loss - the loss of the stools (lived as a particle of his own body) now the pledge is the phallus which, beyond the genital organ, the penis becomes the identification axis for the construction of your own body after the loss (and castration) experienced so far - oral and anal. Thus, the phallic phase is organized around the threat of castration that the child has already experienced - the final weaning of the breast and the excretion of stools. Fear of duplication is also the negation of the flesh as a place for a possible identity and gives access to the achievement of another mental identity. The Oedipus complex shows the places the boy can occupy or should leave, so it completes the identification - it gives him two possibilities for satisfaction, active and passive. He can stand in the father's place and have a relationship with his mother, then the father feels like an obstacle. Or maybe you put yourself in the mother's place and ask for the father's love, then the mother becomes redundant. In both cases, it is of course an imaginary, hysterical position where the identification process is linked to the filling process.

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