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The author seeks deeper insights into Little Hans's imagoes of his parents and a better picture of Hans's relationship with the family. Among other sources, he uses the 1922 "Postscript" to the case, discussing the visit of Hans to Freud at age nineteen; Freud's comments about the case in Inhibitions, Symptoms, and Anxiety; an interview with Hans published in 1971 under the interesting title, "Memoirs of an Invisible Man"; and references in Freud's Three Essays on the Theory of Sexuality. He cites Freud's "Psychopathic Characters on the Stage," which deals with the degree to which violence may be shown on the stage or left to the spectators' imagination. Bergeret suggests that Freud is ironic in the "Postscript" and that there is a whole history Freud has not told us. (Bergeret's original article should be consulted for details.) He makes a number of deductions from this omitted history to explain the horse phobia. He also suggests that Hans's mother was possibly the Katharina whom Freud discussed in Studies on Hysteria. His general thesis is that Hans's maternal imago was destructive and violent. This blocked adequate oedipal development and led to his phobia. This mechanism is consistent with contemporary views of the formation of phobias.