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Sans cette séparation . . cette douleur . . LUI. - Que ferions-nous sans air . . sans lumière . . ELLE. - Que ferions-nous de l'air . . de la lumière . . sans ce savoir-là, d'y être ensemble soumis. LUI. (temps) - Mon amour, Agatha . . ma soeur Agatha . . mon enfant . . mon corps. Agatha (pp. 38-39). Finally the brother seems to acquiesce and understand his sister's desire. At this point he consciously agrees to maintain desire through separation and fear of loss - leitmotifs of their childhood love.

15). Here the older Agatha describes the younger one. She creates an Agatha who is overwhelmed by a love for her brother that is tinged with an awakening sexual desire. Desire in this passage is verbalized only in relation to eyes and hands. The reader notices a difference Page 19 between the words used to express desire in this passage and the words in a later passage recounting the more mature, more expicit desire of a moment in the siblings' young adulthood: LUI. - Le bruit de la mer entre dans la chambre, sombre et lent.

Repression results from a need to avoid the pain associated with allowing certain unpleasant desires or memories to come to consciousness because they are in conflict with the needs of the ego. Most of these so-called needs are determined through the socialization process of normal development in a civilized world and the consequent development of the super-ego, or conscience. Wishing to stay in touch with the ego-ideal, many strictly asocial inclinations are diverted into other activities. One must try to determine whether these sublimations and displacements are in fact repressions orare adaptive means of acting on certain primal needs and allowing the release of repressed inclination in a distorted but nonetheless successful fashion.

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