What appears almost as a fascinating insight into Sally's world of songs, lovers, cigarettes and loneliness is an enlarged view of the city, where misery predominates and where one never fails to turn a deaf ear to the midnight calls on street corners. Isherwood reflects in the opening lines of Goodbye to Berlin, on this idea of ​​being a disjointed wanderer in a sensitive landscape. In the “Sally Bowles” section, Isherwood acutely traces the problematic disposition of a woman, who also breathes the foreign air of the city and decides to live. If that's all it takes to be herself. In this article, I intend to examine the shifting dialectic of hedonism and melancholy that traces the structure of Sally's mind and experience. His fragility, his despair, his neuroses and his ingenious art of hiding everything constitute a fitting prelude to the reigning socio-cultural structure of Berlin under the Nazi regime. In Mourning and Melancholy (1917), Freud distinguishes “melancholy” from “mourning”. and attributes pathological implications to it. He asserts that unlike the physical manifestation of grief, in the form of lamentation over the object lost in "mourning", the melancholic is in a state of perpetual sorrow without any manifestation of repercussions. Sally Bowles, the central character of Christopher Isherwood's semi-autobiographical novel Goodbye to Berlin, fits into this melancholic role almost immediately from the start. Sally's introduction to Fritz's apartment is brilliantly significant in understanding his uncertain air of melancholy. Fritz ruminates on his failed love and Sally comes to his rescue with a statement: "I think the problem with you is that you've never really found the right woman." ...... middle of paper ...... position, trans. R. Howard (1968), p. 200.Freud, Sigmund. Mourning and melancholy (1917). Kristeva, Julia. About Chinese women, trans. Anita Barrows (New York: Marion Boyars, 1986) p.16 Parker, Peter. Isherwood (2004). p.165-71, 196-8. Virginia Woolf. A Room of One's Own (1929) (Penguin Classics, 2002) Wittig, Monique. The Right Mind and Other Essays (Boston: Beacon Press, 1992). Wittig, Monique. The Guerrillas, trans. David Le Vay (Boston: Beacon Press, 1969) Cinema: Pabst, GW Die Büchse der Pandora (1929) based on Frank Wedekind's plays Erdgeist (Earth Spirit, 1895) and Die Büchse der Pandora (1904). With: Louise Brooks, Francis Lederer and Fritz Kortner. Sternberg, Josef von. Der Blaue Engel (1930) (adapted from Professor Unrat by Heinrich Mann (1905, trans. by Ernest Boyd as Small Town Tyrant) Starring: Emil Jannings, Marlene Dietrich and Kurt Gerron.