The romantic comedy Cyrano de Bergerac has become a long-lasting and worldwide success since the play’s first opening in Paris in 1897. Using a psychoanalytic approach, the essay examines the narcissistic vulnerabilities of the character stigmatized by his large nose, Cyrano. It discusses the dualisms of splitting and ego integration, projective and introjective identifications, and the incarnation of an ideal self, as expressed in the play. Hidden under a plethora of words and acts of bravery lies Cyrano’s narcissistic pathology, whose story becomes the drama and demise of a phantasized state of perfection. Applying Hans Loewald’s theory of the ideal ego, Otto Kernberg’s concept of pathological narcissism, and André Green’s moral narcissism, the essay provides an exploration of the narcissistic pathology.