Beruflich Dokumente
Kultur Dokumente
Md Daniyal Ansari
EOB 6S1
20 April 2019
Shakespeare’s works, as creations of a human mind and as examples of various aspects of human
behavior, are inexorably linked to psychology. Although there are various ways to read
Shakespeare’s works, it is difficult to get away from the pressing psychological issues and
differences within his characters. For example, while King Lear's behavior may just be read as
elderly eccentricities, they may also be read from a Freudian perspective as a regression into an
earlier phase of development such as the oral stage in which the infant identifies wholly with
their caregiver, and relies completely on them to provide for their needs (the caregivers in Lear's
case being his daughters). The contemporary era has witnessed a proliferation of psychoanalytic
thought, and has produced a range of theoretical approaches, many of which have been
The myriad subjects of psychoanalytic criticism coupled with the breadth of Shakespeare’s
drama makes it one of the largest field of Shakespearean criticism. Unconscious motivation,
neurosis, jealousy, matters of autonomy and emotional isolation, sexual desire and Oedipal or
pre-Oedipal conflicts spread prominently among the multitude of psychological topics related to
the dramas. Shakespeare’s Hamlet is one of his most notable plays of all time. The play revolves
around the protagonist Hamlet, who experiences a mixture of emotions after the death of his
Fortinbras is a minor character that does a great job of highlighting Hamlet’s personality. Both
Hamlet and Fortinbras experience similar circumstances but lead very different lives. Fortinbras
also loses his father and wants to avenge him by winning a piece of land that they had lost to
Denmark in a bet. The difference between the experiences of the two is the amount of strife that
Hamlet has to experience over the other. Hamlet’s father was murdered and after two months his
mother married his uncle. His friends spied on him and everyone called his behavior odd as he
grieved. In finding contrasting features between Hamlet and Fortinbras, the former stands out
even more.
reaction at the opportunity to kill Claudius. At the end of the third scene of the third act, Hamlet
is presented with the perfect opportunity to kill the man that murdered his father, but he walks
away from the situation and talks about how he wanted Claudius to suffer the worst death
possible and did not want him to go to heaven after his death. While this does sound like a good
excuse, it is still an excuse. Hamlet was rationalizing his decision of not killing Claudius with the
provided for actions that were actually driven by unconscious internal motives.
Given an understanding of what Sigmund Freud considered to be the essential Oedipal feelings
common to all men, and the effects of the repression used to keep these guilty fantasies at bay,
Freudian critics then go on to address what they consider the heart of the matter in Hamlet; the
reasons for Hamlet's seeming delay in killing Claudius. For them, Claudius represents, in flesh
and blood, the embodiment of Hamlet's Oedipal urges. He has actually killed Hamlet's father and
is sleeping with his mother. Hamlet's hesitation in killing Claudius, according to Freud, has to do
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with his deeper association with him. Claudius serves as a flesh and blood expression of his own
repressed childhood fantasies, and to kill him would be to murder a part of his own inner self
In interpreting Macbeth's murder of Duncan, there have been psychoanalytic interpretations that
include emasculation, incestuous, or even Oedipal fears. Certainly, the spirits that seem to make
Macbeth potent, actually make him impotent. This paradoxical motif runs the entirety of
‘Macbeth’ and is evident in Macbeth's defeat of Macdonwald and his murder of Duncan as
In his murder of Macdonwald in Act I, for instance, Macbeth is described by the captain as
having "carved out his passage", with his "brandished steel/Which smoked with bloody
execution" as he "carved out his passage". A suggestion of ending generational continuity exists
in these lines. Again, as Macbeth ponders over his murderous deed of the ‘father’ of the country,
he sees before him the dagger, which is often interpreted as phallic. Led by this phallic dagger,
he approaches Duncan's bed chamber “with Tarquin's ravishing strides”. Convinced by Lady
Macbeth to become the ‘serpent’, striking at the ‘Innocent flower’. This idea of Oedipal patricide
is underscored by Lady Macbeth, who gets troubled by Duncan's resemblance to her own father.
When she warns Macbeth to "consider it not so deeply", she, in fact, echoes Jocasta's words to
Oedipus in Oedipus Rex. She also assumes a murderous maternal role if Macbeth fails to
complete the task of killing Duncan. With her brutal words, Lady Macbeth propels her husband
to his ambitious deed; however, Macbeth hesitates because of his vision of the dagger and
ponders over his act of "ripping the hereditary body politic untimely from its haven in Duncan's
Of course, Macbeth and Lady Macbeth's plan to have male children does not come to fruition.
Instead, Macbeth's attempt to conceive a new self also becomes skewered as he is left "with a
barren scepter" and his abuse of the power of his ‘dagger’ leads to his downfall as he is haunted
by the foulness of his unnatural deed - "To know my deed, 'twere best not know myself" -
Before Macbeth kills Duncan, his nerves get to him. One might even say that he feels dreadful
about what he is about to do. After he has killed Duncan, he is wracked with guilt about it. In
Act II, Scene 1, Macbeth is readying himself to kill Duncan. His state of mind is best shown by
the vision he sees. As he plans his actions, he sees a bloody dagger floating in the air. This
The tragic heroes in William Shakespeare's tragic plays often show repeating traits and
parallelisms. Othello, Hamlet, Macbeth, and King Lear all show very similar attributes which all
suggest a basic mold used by Shakespeare for his characters. Beyond the hamartia of pride,
which is shown in all of Shakespeare's tragic heroes, a number of other flaws and quirks are
repeated as well as basic beliefs and morals. Ultimately, the links and readings of Shakespeare
within the realm of psychology are numerous. As psychology continues to develop, involving
not only behavioral and cognitive basics, but inducting humanistic and sociocultural standpoints
more and more readily, the complexity of psychological Shakespearian readings will continue to
expand.
1172 words
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Works cited