The analysis had begun with Mr A's wish for me to help him become an opera star, overcome his inhibitions in himself, and rid him of painful bodily complaints. To do that we needed to confront his narcissistic rage, his 'conning' activities, and his sexual anxieties and conflicts. As he learned to know himself, his self-observing ego matured and his self- and object-representation stabilized. Operatic associations were often the accompaniment for this change. When my patient established distance between himself and his aggressive fantasies he became aware of his capacity for genuine affection, and felt worthy of love and respect himself. The end point of the analysis was no longer stardom. His vocal talent

had become more autonomous, powered by forces he finally understood and could master. I believe his use of operatic material with associations familiar to himself and me expedited the analysis and enriched the experience for both of us.