defined, are supremely important not only as potential causes of mental
illness but also as the motor of artistic and cultural creation. If the sexual
element in the work of art and culture remains to a great extent uncon-
scious, this is because socialization demands the sacrifice of basic instincts.
Such instincts become sublimated, that is to say diverted from their
original goals and channelled towards socially acceptable activities. But
sublimation is an unstable state, and untamed and unsatisfied instincts may
take their revenge through mental illness and disorder.
The existence of the unconscious, Freud believed, is manifested in three
different ways: through everyday trivial mistakes, through reports of
dreams, and through the symptoms of neurosis. Dreams and neurotic
symptoms, it is true, do not on their face, or as interpreted by the unaided
patient, reveal the beliefs, desires, and sentiments of which the unconscious
is deemed by Freud to consist. But the exercise of free association in
analysis, he believed, as interpreted by the analyst, reveals the underlying
pattern of the unconscious mind.
It is sexual development that is the key to this pattern. Infantile
sexuality, Freud explained, begins with an oral stage, in which pleasure is
focused on the mouth. This is followed by an anal stage, between the ages
of one and three, and a ‘phallic’ stage, in which the child focuses on its own
penis or clitoris. At that time, Freud maintained, a boy is sexually attracted
to his mother, and resents his father’s possession of her. But his hostility to
his father leads him to fear that his father will retaliate by castrating him.
So the boy abandons his sexual designs on his mother, and gradually
identifies with his father. This is the Oedipus complex, a crucial stage in
the emotional development of every boy. Neurotic characters are people
who have become fixated at an early stage of their development. The
recovery of Oedipal wishes, and the history of their repression, was an
important part of every analysis. Freud was in no doubt that mutatis mutandis
there was a feminine equivalent of the Oedipus complex, but it was never
fully worked out in a convincing manner.
Towards the end of his life, Freud replaced the earlier dichotomy of
conscious and uncon scious with a threefold scheme of the mind. ‘The
mental apparatus’, he wrote in The Ego and the Id, ‘is composed of an id which
is the repository of the instinctual impulses, of an ego which is the most
superficial portion of the id and one which has been modified by the
influence of the external world, and of a superego which develops out of
FREUDTODERRIDA
75