sigmund freud's collection an archaeology of the mind
sigmund freud's collection an archaeology of the mind
sigmund freud's collection an archaeology of the mind
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Sphinx<br />
Greek, South Itali<strong>an</strong>, late 5th–early 4th century BC<br />
terracotta, 21.0 x 15.0 x 8.0 cm<br />
LDFRD 4387<br />
Collection Freud Museum London<br />
Freud made <strong>the</strong> myth <strong>of</strong> Oedipus <strong>an</strong>d <strong>the</strong> Sphinx central to<br />
psycho<strong>an</strong>alysis. ‘A single idea <strong>of</strong> general value dawned on me. I have<br />
found, in my own case too [<strong>the</strong> phenomenon <strong>of</strong>] being in love with<br />
my mo<strong>the</strong>r <strong>an</strong>d jealous <strong>of</strong> my fa<strong>the</strong>r, <strong>an</strong>d I now consider it a universal<br />
event in early childhood.’ 1 Freud believed this pr<strong>of</strong>ound instinctual urge<br />
explained <strong>the</strong> development <strong>of</strong> sexual identity in both men <strong>an</strong>d women.<br />
In Egypti<strong>an</strong> art, <strong>the</strong> Sphinx was a protective, benevolent male fi gure<br />
who represented <strong>the</strong> pharaoh. In Greek art, <strong>the</strong> Sphinx was female, <strong>an</strong>d<br />
associated with death <strong>an</strong>d funerary monuments. In Sophocles’ play,<br />
Oedipus Rex, written in <strong>the</strong> fourth century BC, she is <strong>the</strong> destructive<br />
trickster whom Oedipus must outsmart to save <strong>the</strong> city <strong>of</strong> Thebes, <strong>an</strong>d<br />
his own life.<br />
Oedipus confronts <strong>the</strong> Sphinx on his return to <strong>the</strong> city after m<strong>an</strong>y<br />
years. The Sphinx’s riddle – ‘Which is <strong>the</strong> <strong>an</strong>imal that has four feet in<br />
<strong>the</strong> morning, two at midday <strong>an</strong>d three at evening?’ – was correctly<br />
<strong>an</strong>swered by Oedipus, ‘M<strong>an</strong>, who in inf<strong>an</strong>cy crawls on all fours, who<br />
walks upright on two feet in maturity, <strong>an</strong>d in his old age supports<br />
himself with a stick.’<br />
As a reward for saving Thebes, Oedipus marries <strong>the</strong> queen, Jocasta.<br />
But Oedipus does not know that Jocasta is his mo<strong>the</strong>r <strong>an</strong>d that, in <strong>an</strong><br />
altercation on his way to Thebes, he has murdered Laius, <strong>the</strong> king,<br />
who was his fa<strong>the</strong>r. When <strong>the</strong> truth is fi nally revealed, Jocasta commits<br />
suicide <strong>an</strong>d Oedipus blinds himself.<br />
Freud’s images <strong>of</strong> <strong>the</strong> Sphinx explored <strong>the</strong> various me<strong>an</strong>ings she<br />
<strong>of</strong>fered. This freest<strong>an</strong>ding Sphinx wears <strong>the</strong> polos, or crown <strong>of</strong> a<br />
goddess, indicating she has divine status <strong>an</strong>d is worshipped in her<br />
own right. She has <strong>the</strong> face <strong>an</strong>d breasts <strong>of</strong> a wom<strong>an</strong>, toge<strong>the</strong>r with <strong>the</strong><br />
hindquarters <strong>of</strong> a lion, plus beautifully curled wings. A hybrid creature,<br />
she is endowed with a lion’s strength while her wings, those <strong>of</strong> <strong>an</strong><br />
eagle, also symbolise strength <strong>an</strong>d power. Her association with Greek<br />
funerary monuments make her a daimon, me<strong>an</strong>ing a ‘divine power’<br />
or ‘fate’. Good daimons were guardi<strong>an</strong> spirits, who acted as helpful<br />
advisors between gods <strong>an</strong>d hum<strong>an</strong>s.<br />
1. Jeffrey Moussaieff Masson (ed.), The Complete Letters <strong>of</strong> Sigmund Freud to Wilhelm<br />
Fliess, 1887-1904, Harvard University Press, Cambridge, London, 1985, p.272.<br />
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