Certain analyses illustrate a defect in the hysterical construction of the fantasy of seduction, and its replacement by the “melancholic” version of this fantasy: the guilty party is no longer the father or his substitute but the victim herself. The daughter is both a criminal and the executioner, satisfying her own need for punishment. Beyond this melancholic tendency, the author develops another dynamic mobilized by projection: the emergence of a paranoid-like tendency helps to relieve the intensity of the self-destruction and even partially deflects the superego's hatred for the ego. There is thus a significant difference between the need for punishment and the need to be punished: the need for punishment is bogged down in a self-destructive interiority marked by the compulsive constraint of a superego dominated by instinctual drive violence and the threat of deadly drive defusion. The need to be punished implies a scene, however imprecise it may be, but one that opens out onto the object.