Term Paper on "Hamlet the Characters"

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Hamlet

The Characters of Hamlet through a Freudian Lens

Shakespeare takes such care in the tragedy of Hamlet that it is difficult to separate the characters into the three basic Freudian components of the Id, the Ego, and the Superego. The dynamics of the relationships and the fullness of the majority of the characters in this play certainly speaks of Shakespeare's talent, but it also serves to show the complexity of human nature and how different situations will bring out different component characteristics. With this in mind, if one specific relationship dynamic is focused on, it is easier to ascertain the Freudian component characteristics. Therefore, if we use the character of Ophelia as a centering reference of the Ego, the roles of the Id and the Superego become clear. If Ophelia is seen as the Ego, then Polonius, her father, takes on the role of the Superego, and Hamlet, her lover, takes on the role of the Id.

Sigmund Freud famously separated the human psyche into three components: the Id, the Ego, and the Superego. The Id works completely on impulses; it experiences desires strongly and pushes to fulfill those desires in a way that will achieve the most immediate gratification as possible. Within the Superego rests the higher functions of principles and adherence to rules and laws. It is the part that regulates the concept of right and wrong, but functions in a very black and white manner, recognizing or considering absolutely no shades of grey. The Ego is the mediator between the Id and the Superego. The Ego allows the Id to fulfill its desires when appropriate, and it uses the guidance of the Superego to determine when those appropriate times

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occur. Rarely does the Ego allow the Id or the Superego to be expressed in its pure form, instead it acts as a kind of filter to translate the two extremes into a more workable, and livable middle path. There are times when the Ego is not in control, or has trouble balancing the desires of the Id or the Superego. This imbalance or inability to determine which path is the best to take in regards to a decision is what results in neurotic and dysfunctional thought patterns and behaviors. If allowed to be out of balance for an extended period of time, dire consequences, like those of Ophelia's may result.

For Ophelia, her father represents the Superego. Polonius holds his daughter to strict standards, which were the common standards of the culture on the cusp of the Renaissance. The most important possession an unmarried woman has is her virginity, and Polonius fears that Hamlet will simply use Ophelia, taking her virginity, but never marrying her. This is a perfectly logical concern for a father at this time especially since Polonius himself finds himself in an important social position not because of his inherent social class, but because of his hard work and political maneuvering. Regardless of her father's success, Ophelia is still not quite a fit wife for a prince, and the… READ MORE

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Quoted Instructions for "Hamlet the Characters" Assignment:

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Using a psychological critical approach, examine some of the characters in the work using Freud’s personality components. Be sure to choose a work and characters presented with enough complexity to provide material for your discussion. Also note that you do not have to find the three personality components in the play—a clash between “ids” is perfectly logical, with or without “ego” or “superego” representatives to stand in contrast.

Psychological Criticism: This approach reflects the effect that modern psychology has had upon both literature and literary criticism. Fundamental figures in psychological criticism include Sigmund Freud, whose “psychoanalytic theories changed our notions of human behavior by exploring new or controversial areas like wish-fulfillment, sexuality, the unconscious, and repression” as well as expanding our understanding of how “language and symbols operate by demonstrating their ability to reflect unconscious fears or desires”; and Carl Jung, whose theories about the unconscious are also a key foundation of Mythological Criticism. Psychological criticism has a number of approaches, but in general, it usually employs one (or more) of three approaches:

An investigation of “the creative process of the artist: what is the nature of literary genius and how does it relate to normal mental functions?”

The psychological study of a particular artist, usually noting how an author’s biographical circumstances affect or influence their motivations and/or behavior.

The analysis of fictional characters using the language and methods of psychology.

A few citations will be fine please dont cite too many sources. thanks

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