The horror of the Holocaust cannot be represented; but this excess of represented content over its aesthetic representation has to infect the aesthet… - Slavoj Žižek

In his seminar on The Ethic of Psychoanalysis, Lacan speaks of the role of the Chorus in classical tragedy: we, the spectators, came to the theatre worried, full of everyday problems, unable to adjust without reserve to the problems of the play, that is to feel the required fears and compassions - but not problem, there is a chorus, who feels the sorrow and the compassion instead of us - or, more precisely, we feel the required emotions through the medium of the chorus: 'You are then relieved of all worries, even if you do not feel anything, the Chorus will do so in your place.'

Darcy wants to present himself to Elizabeth as a proud gentleman, and he gets from her the message 'your pride is nothing but contemptible arrogance.' After the break in their relationship each discovers, through a series of accidents, the true nature of the other - she the sensitive and tender nature of Darcy, he her real dignity and wit - and the novel ends as it should, with their marriage. The theoretical interest of this story lies in the fact that the failure of their first encounter, the double misrecognition concerning the real nature of the other, functions as a positive condition of the final outcome: we cannot say 'if, from the very beginning, she had recognized his real nature and he hers, their story could have ended at once with their marriage.' Let us take a comical hypothesis that the first encounter of the future lovers was a success - that Elizabeth had accepted Darcy's first proposal. What would happen? Instead of being bound together in true love they would become a vulgar everyday couple, a liaison of an arrogant, rich man and a pretentious, every-minded young girl... If we want to spare ourselves the painful roundabout route through the misrecognition, we miss the truth itself: only the working-through of the misrecognition allows us to accede to the true nature of the other and at the same time to overcome our own deficiency - for Darcy, to free himself of his false pride; for Elizabeth, to get rid of her prejudices.

The famous MacGuffin , the Hitchockian object, the pure pretext whose sole role is to set the story in motion but which is in itself nothing at all - the only significance of the MacGuffin lies in the fact that it has some significance for the characters - that it must seem to be of vital importance to them... - that's a MacGuffin, a pure nothing which is non the less efficient... what Lacan calls object petit a: a pure void which functions as the object cause of desire.