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By Hanna Segal

Strains the improvement of Melanie Klein's principles inside of a biographical framework, describing the significance of her paintings, and portraying her as a lady of heat and perception.

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The attacks which she made at the beginning of her analysis as the 'third person' on the house which was occupied only by a man and a woman turned out to be a portrayal of her aggressive impulses against her mother's body and her father's penis assumed to be inside it. e. castrated him symbolically as he was copulating with her mother. The details of her phantasies of assault show to what heights of sadistic ingenuity these attacks upon her mother's body went. She would, for instance, transform her excrements into dangerous and explosive substances so as to wreck it from within.

She had frightening phantasies of a 'robber woman' who would 'take everything out of her'. Every detail of her own sadistic phantasies was reflected in the character of her superego. From the beginning of her work Melanie Klein was impressed by the intensity of the child's anxiety, both conscious and unconscious, and by her need to use violent mechanisms of defence. The child protects itself against the anxiety produced by threatening internal figures by constantly splitting them off and projecting them outside, and trying to intraject idealized parental figures.

Thus began her life-long interest in psychoanalysis. To study psychoanalysis, practise it, contribute to it. became the ruling passion of her life. She sought analysis with Ferenczi and with his encouragement started to analyse children. In 1917 she was Klein introduced to Freud at a meeting between the Austrian and Hungarian Societies. She read her first paper, 'The Development of a Child9,Vo the Hungarian Society in 1919, and on the strength of that paper became a member of the Budapest Society.

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