That is, it deceives, chooses itself exactly as the object of the love. When he was paralizado to the image reflected in the source, of this form, the libido leaves of if directing to the object, to ' ' outro' ' , and he comes back exactly toward itself, for not possessing a representation of the other internalizada one, Narcissus not conquest its subjectivity. Such discovery takes it the desperation and to death (BRANDO, 2002; MODIA, 2008). Brando (2002, p.183, italic and aspa of the author), considers that: The fatal deceit of the young tebano was the wrong choice of the love object. It would be treated, in the case, of a species of warning to the breaking of the impulses of the love, that must be directed to the other. In this in case that, the libido leaves of if directing to the object, to ' ' outro' ' , and it retroacts to a endo-psychic activity: thus, Narcissus would have committed one as that incestuous intrapsquico. Of the subjective point of view of Narcissus, its love really is guided for an object, therefore it discovered a face one human being entrancing beauty and for it if got passionate.
The tragic outcome, however, in the story of Ovdio, (…) is the awareness of Narcissus of that madly it is gotten passionate by its proper image; of that its passion is auto-love, a love of self and not a love for the other. Narcissus was deceived by the image human being, fantasiada, idealized of belaza esplendoraosa in mirror d? gua. Therefore it did not perceive that its object of love did not exist. The myth discloses to us that Narcissus, when fixing in its image and getting passionate themselves, did not obtain to conquer the individuality, does not make interaction with entorno, did not develop the affectivity, did not obtain to internalizar a representation of the other.