This chapter suggests that the brief clinical anecdote that literature and psychoanalysis can enrich one another as complementary hermeneutics and that it is possible for an analytic experience, providing it does not try to go beyond the single case method, to promote this process. In J. Derrida’s definition there is no mention of the body, so that the teaching of Joan Riviere would seem to have little place in the Derridarean theory of psychoanalysis. Using magic arts, Prospero conjures up a storm that wrecks his brother Antonio, Alonso the King of Naples, his son Ferdinand, and Alonso’s brother Sebastian on the island. Prospero will return to Milan and to the humdrum daily round. The Tempest, being a Romance, resolves these issues rather less tragically—nevertheless, Prospero dismisses Antonio with the deepest contempt, but one cannot doubt that these issues and their resolution are being continuously being worked through by the poet.