海量文库 文档专家
当前位置:首页 >> 文学 >>

hamlet and odepus

Hamlet and Oedipus
Critic: Ernest Jones Source: Hamlet and Oedipus, W. W. Norton & Company, Inc., 1949. Reprint Victor Gollancz, Ltd., 1949 1949. Criticism about: Hamlet Author Covered: William Shakespeare (1564-1616)

Table of Contents: View Multimedia File(s) | Source Citation [In the following excerpt, Jones attributes Hamlet's erratic behavior and delay of vengeance to repressed sexual feelings toward his mother and subconscious rivalry with Claudius. ] That Hamlet is suffering from an internal conflict the essential nature of which is inaccessible to his introspection is evidenced by the following considerations. Throughout the play we have the clearest picture of a man who sees his duty plain before him, but who shirks it at every opportunity and suffers in consequence the most intense remorse. To paraphrase Sir James Paget's well-known description of hysterical paralysis: Hamlet's advocates say he cannot do his duty, his detractors say he will not, whereas the truth is that he cannot will. Further than this, the deficient will-power is localized to the one question of killing his uncle; it is what may be termed a specific aboulia. Now instances of such specific aboulias in real life invariably prove, when analysed, to be due to an unconscious repulsion against the act that cannot be performed (or else against something closely associated with the act, so that the idea of the act becomes also involved in the repulsion). In other words, whenever a person cannot bring himself to do something that every conscious consideration tells him he should do--and which he may have the strongest conscious desire to do--it is always because there is some hidden reason why a part of him doesn't want to do it; this reason he will not own to himself and is only dimly if at all aware of. That is exactly the case with Hamlet. Time and again he works himself up, points out to himself his obvious duty, with the cruellest self reproaches lashes himself to agonies of remorse--and once more falls away into inaction. . . . Highly significant is the fact that the grounds Hamlet gives for his hesitancy are grounds none of which will stand any serious consideration, and which continually change from one time to another. One moment he pretends he is too cowardly to perform the deed, at another he questions the truthfulness of the ghost, at another--when the opportunity presents itself in its naked form--he thinks the time is unsuited, it would be better to wait till the King was at some evil act and then to kill him, and so on. They have each of them, it is true, a certain plausibility--so much so that some writers have accepted them at face value; but surely no pretext would be of any use if it were not plausible. . . . When a man gives at different times a different reason for his conduct it is safe to infer that, whether consciously or not, he is concealing the true reason. . . . We can therefore safely

dismiss all the alleged motives that Hamlet propounds, as being more or less successful attempts on his part to blind himself with self-deception. . . . In short, the whole picture presented by Hamlet, his deep depression , the hopeless note in his attitude towards the world and towards the value of life, his dread of death, his repeated reference to bad dreams, his self-accusations, his desperate efforts to get away from the thoughts of his duty, and his vain attempts to find an excuse for his procrastination: all this unequivocally points to a tortured conscience, to some hidden ground for shirking his task, a ground which he dare not or cannot avow to himself. We have, therefore, to take up the argument again at this point, and to seek for some evidence that may serve to bring to light the hidden counter-motive. The extensive experience of the psycho-analytic researches carried out by Freud and his school during the past half-century has amply demonstrated that certain kinds of mental process show a greater tendency to be inaccessible to consciousness (put technically, to be "repressed") than others. . . . [Those] processes are most likely to be "repressed" by the individual which are most disapproved of by the particular circle of society to whose influence he has chiefly been subjected during the period when his character was being formed. . . . The language used in the previous paragraph will have indicated that by the term "repression" we denote an active dynamic process. Thoughts that are "repressed" are actively kept from consciousness by a definite force and with the expenditure of more or less mental effort, though the person concerned is rarely aware of this. . . . It only remains to add the obvious corollary that, as the herd unquestionably selects from the "natural" instincts the sexual one on which to lay its heaviest ban, so it is the various psycho-sexual trends that are most often "repressed" by the individual. We have here the explanation of the clinical experience that the more intense and the more obscure is a given case of deep mental conflict the more certainly will it be found on adequate analysis to centre about a sexual problem. On the surface, of course, this does not appear so, for, by means of various psychological defensive mechanisms, the depression, doubt, despair, and other manifestations of the conflict are transferred on to more tolerable and permissible topics, such as anxiety about worldly success or failure, about immortality and the salvation of the soul, philosophical considerations about the value of life, the future of the world, and so on. Bearing these considerations in mind, let us return to Hamlet. It should now be evident that the conflict hypotheses discussed above, which see Hamlet's conscious impulse towards revenge inhibited by an unconscious misgiving of a highly ethical kind, are based on ignorance of what actually happens in real life, since misgivings of this order belong in fact to the more conscious layers of the mind rather than to the deeper, unconscious ones. Hamlet's intense self-study would speedily have made him aware of any such misgivings and, although he might subsequently have ignored them, it would almost certainly have been by the aid of some process of rationalization which would have enabled him to deceive himself into believing that they were ill-founded; he would in any case have remained conscious of the nature of them. We have therefore to invert these hypotheses and realize--as his words so often indicate--that the positive striving for vengeance, the pious task laid on him by his father, was to him the

moral and social one, the one approved of by his consciousness, and that the "repressed" inhibiting striving against the act of vengeance arose in some hidden source connected with his more personal, natural instincts. The former striving has already been considered, and indeed is manifest in every speech in which Hamlet debates the matter: the second is, from its nature, more obscure and has next to be investigated. This is perhaps most easily done by inquiring more intently into Hamlet's precise attitude towards the object of his vengeance, Claudius, and towards the crimes that have to be avenged. These are two: Claudius' incest with the Queen, and his murder of his brother. Now it is of great importance to note the profound difference in Hamlet's attitude towards these two crimes. Intellectually of course he abhors both, but there can be no question as to which arouses in him the deeper loathing. Whereas the murder of his father evokes in him indignation and a plain recognition of his obvious duty to avenge it, his mother's guilty conduct awakes in him the intensest horror. . . . The uncle has not merely committed each crime, he has committed both crimes, a distinction of considerable importance, since the combination of crimes allows the admittance of a new factor, produced by the possible inter-relation of the two, which may prevent the result from being simply one of summation. In addition, it has to be borne in mind that the perpetrator of the crimes is a relative, and an exceedingly near relative. The possible inter-relationship of the crimes, and the fact that the author of them is an actual member of the family, give scope for a confusion in their influence on Hamlet's mind which may be the cause of the very obscurity we are seeking to clarify. Let us first pursue further the effect on Hamlet of his mother's misconduct. Before he even knows with any certitude, however much he may suspect it, that his father has been murdered he is in the deepest depression, and evidently on account of this misconduct. . . . If we ask, not what ought to produce such soul-paralysing grief and distaste for life, but what in actual fact does produce it, we are compelled to go beyond this explanation and seek for some deeper cause. In real life speedy second marriages occur commonly enough without leading to any such result as is here depicted, and when we see them followed by this result we invariably find, if the opportunity for an analysis of the subject's mind presents itself, that there is some other and more hidden reason why the event is followed by this inordinately great effect. The reason always is that the event has awakened to increased activity mental processes that have been "repressed" from the subject's consciousness. . . . We come at this point to the vexed question of Hamlet's sanity, about which so many controversies have raged. Dover Wilson authoritatively writes: "I agree with Loening, Bradley and others that Shakespeare meant us to imagine Hamlet as suffering from some kind of mental disorder throughout the play." The question is what kind of mental disorder and what is its significance dramatically and psychologically. The matter is complicated by Hamlet's frequently displaying simulation (the Antic Disposition), and it has been asked whether this is to conceal his real mental disturbance or cunningly to conceal his purposes in coping with the practical problems of this task?. . .

More to the point is the actual account given in the play by the King, the Queen, Ophelia, and above all, Polonius. In his description, for example, we note--if the Elizabethan language is translated into modern English--the symptoms of dejection, refusal of food, insomnia, crazy behaviour, fits of delirium, and finally of raving madness; Hamlet's poignant parting words to Polonius ("except my life", etc.) cannot mean other than a craving for death. These are undoubtedly suggestive of certain forms of melancholia, and the likeness to manic-depressive insanity, of which melancholia is now known to be but a part, is completed by the occurrence of attacks of great excitement that would nowadays be called "hypomanic", of which Dover Wilson counts no fewer than eight. . . . Nevertheless, the rapid and startling oscillations between intense excitement and profound depression do not accord with the accepted picture of this disorder, and if I had to describe such a condition as Hamlet's in clinical terms--which I am not particularly inclined to--it would have to be as a severe case of hysteria on a cyclothymic basis. All this, however, is of academic interest only. What we are essentially concerned with is the psychological understanding of the dramatic effect produced by Hamlet's personality and behaviour. That effect would be quite other were the central figure in the play to represent merely a "case of insanity". When that happens, as with Ophelia, such a person passes beyond our ken, is in a sense no more human, whereas Hamlet successfully claims our interest and sympathy to the very end. Shakespeare certainly never intended us to regard Hamlet as insane, so that the "mind o'erthrown" must have some other meaning than its literal one. . . . I would suggest that in this Shakespeare's extraordinary powers of observation and penetration granted him a degree of insight that it has taken the world three subsequent centuries to reach. Until our generation (and even now in the juristic sphere) a dividing line separated the sane and responsible from the irresponsible insane. It is now becoming more and more widely recognized that much of mankind lives in an intermediate and unhappy state charged with what Dover Wilson well calls "that sense of frustration, futility and human inadequacy which is the burden of the whole symphony" and of which Hamlet is the supreme example in literature. This intermediate plight, in the toils of which perhaps the greater part of mankind struggles and suffers, is given the name of psychoneurosis, and long ago the genius of Shakespeare depicted it for us with faultless insight. Extensive studies of the past half century, inspired by Freud, have taught us that a psychoneurosis means a state of mind where the person is unduly, and often painfully, driven or thwarted by the "unconscious" part of his mind , that buried part that was once the infant's mind and still lives on side by side with the adult mentality that has developed out of it and should have taken its place. It signifies internal mental conflict. We have here the reason why it is impossible to discuss intelligently the state of mind of anyone suffering from a psychoneurosis, whether the description is of a living person or an imagined one, without correlating the manifestations with what must have operated in his infancy and is still operating. That is what I propose to attempt here. For some deep-seated reason, which is to him unacceptable, Hamlet is plunged into anguish at the thought of his father being replaced in his mother's affections by someone else. It is as if his devotion to his mother had made him so jealous for her affection that he had found it hard

enough to share this even with his father and could not endure to share it with still another man. Against this thought, however, suggestive as it is, may be urged three objections. First, if it were in itself a full statement of the matter, Hamlet would have been aware of the jealousy, whereas we have concluded that the mental process we are seeking is hidden from him. Secondly, we see in it no evidence of the arousing of an old and forgotten memory. And, thirdly, Hamlet is being deprived by Claudius of no greater share in the Queen's affection than he had been by his own father, for the two brothers made exactly similar claims in this respect--namely, those of a loved husband. The last named objection, however, leads us to the heart of the situation. How if, in fact, Hamlet had in years gone by, as a child, bitterly resented having had to share his mother's affection even with his own father, had regarded him as a rival, and had secretly wished him out of the way so that he might enjoy undisputed and undisturbed the monopoly of that affection? If such thoughts had been present in his mind in childhood days they evidently would have been "repressed", and all traces of them obliterated, by filial piety and other educative influences. The actual realization of his early wish in the death of his father at the hands of a jealous rival would then have stimulated into activity these "repressed" memories, which would have produced, in the form of depression and other suffering, an obscure aftermath of his childhood's conflict. This is at all events the mechanism that is actually found in the real Hamlets who are investigated psychologically. The explanation, therefore, of the delay and self-frustration exhibited in the endeavour to fulfil his father's demand for vengeance is that to Hamlet the thought of incest and parricide combined is too intolerable to be borne. One part of him tries to carry out the task, the other flinches inexorably from the thought of it. How fain would he blot it out in that "bestial oblivion" which unfortunately for him his conscience contemns. He is torn and tortured in an insoluble inner conflict. . . . [It] is often overlooked that childhood (roughly speaking, between the ages of three and twelve) is preceded by another period, that of infancy, which is vastly more fateful for the future than anything that happens in childhood. The congeries of emotions, phantasies, and impulses, forgotten or never even conscious, that occupy the dawning mind was only made accessible to our knowledge when Freud devised his psychoanalytic method for penetrating to the unconscious mental layers. . . . The main discoveries here may be summed up in the statement that, side by side with loving attitudes and peaceful contentment, there are always to be found mental processes reminiscent of the most primitive aspects of savage life of an intensity that is only faintly mirrored later on by the distressing aspects of our international relations, including even the tortures and other atrocities. Violent and ruthless impulses of destruction (i.e. murder in adult language) follow on the inevitable minor privations of this period. The jealousies, hatreds, and murderous impulses of which signs may be detected in childhood are, in fact, the weakened derivatives of a very sinister inheritance we bring to the world and which somehow has to be worked through and chastened in the painful conflicts and emotions of infancy. . . . Of the infantile jealousies the most important, and the one with which we are here occupied, is that experienced by a boy towards his father. The precise form of early relationship between child and father is in general a matter of vast importance in both sexes and plays a

predominating part in the future development of the child's character. . . . The only aspect that at present concerns us is the resentment felt by a boy towards his father when the latter disturbs, as he necessarily must, his enjoyment of his mother's exclusive affection. This feeling is the deepest source of the world-old conflict between father and son, between the younger and the older generation, the favourite theme of so many poets and writers, the central motif of most mythologies and religions. . . . It was Freud who first demonstrated, when dealing with the subject of the earliest manifestations of the sexual instinct in children, that the conflict in question rests in the last resort on sexual grounds. . . . The complete expression of the "repressed" wish is not only that the father should die, but that the son should then espouse the mother. . . . The attitude of son to parents is so transpicuously illustrated in the Oedipus legend, as developed for instance in Sophocles' tragedy, that the group of mental processes in question is generally known under the name of the "Oedipus-complex". We are now in a position to expand and complete the suggestions offered above in connection with the Hamlet problem. The story thus interpreted would run somewhat as follows. As a child Hamlet had experienced the warmest affection for his mother, and this, as is always so, had contained elements of a disguised erotic quality, still more so in infancy. The presence of two traits in the Queen's character accord with this assumption, namely her markedly sensual nature and her passionate fondness for her son. . . . Nevertheless Hamlet appears to have with more or less success weaned himself from her and to have fallen in love with Ophelia. The precise nature of his original feeling for Ophelia is a little obscure. We may assume that at least in part it was composed of a normal love for a prospective bride, though the extravagance of the language used (the passionate need for absolute certainty, etc.) suggests a somewhat morbid frame of mind. There are indications that even here the influence of the old attraction for the mother is still exerting itself. Although some writers, following Goethe, see in Ophelia many traits of resemblance to the Queen, perhaps just as striking are the traits contrasting with those of the Queen. . . . Her na? piety, her obedient resignation, ve and her unreflecting simplicity sharply contrast with the Queen's character, and seem to indicate that Hamlet by a characteristic reaction towards the opposite extreme had unknowingly been impelled to choose a woman who should least remind him of his mother. A case might even be made out for the view that part of his courtship originated not so much in direct attraction for Ophelia as in an unconscious desire to play her off against his mother, just as a disappointed and piqued lover so often has resort to the arms of a more willing rival. It would not be easy otherwise to understand the readiness with which he later throws himself into this part. When, for instance, in the play scene he replies to his mother's request to sit by her with the words "No, good mother, here's metal more attractive" and proceeds to lie at Ophelia's feet we seem to have a direct indication of this attitude; and his coarse familiarity and bandying of ambiguous jests with the woman he has recently so ruthlessly jilted are hardly intelligible unless we bear in mind that they were carried out under the heedful gaze of the Queen. It is as if his unconscious were trying to convey to her the following thought: "You give

yourself to other men whom you prefer to me. Let me assure you that I can dispense with your favours and even prefer those of a woman whom I no longer love." His extraordinary outburst of bawdiness on this occasion, so unexpected in a man of obviously fine feeling, points unequivocally to the sexual nature of the underlying turmoil. Now comes the father's death and the mother's second marriage. The association of the idea of sexuality with his mother, buried since infancy, can no longer be concealed from his consciousness. . . . Feelings which once, in the infancy of long ago, were pleasurable desires can now, because of his repressions, only fill him with repulsion. The long "repressed" desire to take his father's place in his mother's affection is stimulated to unconscious activity by the sight of someone usurping this place exactly as he himself had once longed to do. More, this someone was a member of the same family, so that the actual usurpation further resembled the imaginary one in being incestuous. Without his being in the least aware of it these ancient desires are ringing in his mind, are once more struggling to find conscious expression, and need such an expenditure of energy again to "repress" them that he is reduced to the deplorable mental state he himself so vividly depicts. There follows the Ghost's announcement that the father's death was a willed one, was due to murder. Hamlet, having at the moment his mind filled with natural indignation at the news, answers normally enough with the cry (Act 1, Sc. 5):

Haste me to know't, that I with wings as swift As meditation or the thoughts of love, May sweep to my revenge. [I. v. 29-31] The momentous words follow revealing who was the guilty person, namely a relative who had committed the deed at the bidding of lust. Hamlet's second guilty wish had thus also been realized by his uncle, namely to procure the fulfilment of the first--the possession of the mother--by a personal deed, in fact by murder of the father. The two recent events, the father's death and the mother's second marriage, seemed to the world to have no inner causal relation to each other, but they represented ideas which in Hamlet's unconscious fantasy had always been closely associated. These ideas now in a moment forced their way to conscious recognition in spite of all "repressing forces", and found immediate expression in his almost reflex cry: "O my prophetic soul! My uncle?". The frightful truth his unconscious had already intuitively divined, his consciousness had now to assimilate as best it could. For the rest of the interview Hamlet is stunned by the effect of the internal conflict thus re-awakened, which from now on never ceases, and into the essential nature of which he never penetrates. . . . In the first place, there is a complex reaction in regard to his mother. As was explained above, the being forced to connect the thought of his mother with sensuality leads to an intense sexual revulsion, one that is only temporarily broken down by the coarse outburst discussed

above. Combined with this is a fierce jealousy, unconscious because of its forbidden origin, at the sight of her giving herself to another man, a man whom he had no reason whatever either to love or to respect. Consciously this is allowed to express itself, for instance after the prayer scene, only in the form of extreme resentment and bitter reproaches against her. His resentment against women is still further inflamed by the hypocritical prudishness with which Ophelia follows her father and brother in seeing evil in his natural affection, an attitude which poisons his love in exactly the same way that the love of his childhood, like that of all children, must have been poisoned. He can forgive a woman neither her rejection of his sexual advances nor, still less, her alliance with another man. Most intolerable of all to him, as Bradley well remarks, is the sight of sensuality in a quarter from which he had trained himself ever since infancy rigorously to exclude it. The total reaction culminates in the bitter misogyny of his outburst against Ophelia, who is devastated at having to bear a reaction so wholly out of proportion to her own offence and has no idea that in reviling her Hamlet is really expressing his bitter resentment against his mother. . . . The underlying theme relates ultimately to the splitting of the mother image which the infantile unconscious effects into two opposite pictures: one of a virginal Madonna, an inaccessible saint towards whom all sensual approaches are unthinkable, and the other of a sensual creature accessible to everyone. Indications of this dichotomy between love and lust (Titian's Sacred and Profane Love) are to be found later in most men's sexual experiences. When sexual repression is highly pronounced, as with Hamlet, then both types of women are felt to be hostile: the pure one out of resentment at her repulses, the sensual one out of the temptation she offers to plunge into guiltiness. Misogyny, as in the play, is the inevitable result. . . . Hamlet's attitude towards his uncle-father is far more complex than is generally supposed. He of course detests him, but it is the jealous detestation of one evil-doer towards his successful fellow. Much as he hates him, he can never denounce him with the ardent indignation that boils straight from his blood when he reproaches his mother, for the more vigorously he denounces his uncle the more powerfully does he stimulate to activity his own unconscious and "repressed" complexes. He is therefore in a dilemma between on the one hand allowing his natural detestation of his uncle to have free play, a consummation which would stir still further his own horrible wishes, and on the other hand ignoring the imperative call for the vengeance that his obvious duty demands. His own "evil" prevents him from completely denouncing his uncle's, and in continuing to "repress" the former he must strive to ignore, to condone, and if possible even to forget the latter; his moral fate is bound up with his uncle's for good or ill. In reality his uncle incorporates the deepest and most buried part of his own personality, so that he cannot kill him without also killing himself. This solution, one closely akin to what Freud has shown to be the motive of suicide in melancholia, is actually the one that Hamlet finally adopts. The course of alternate action and inaction that he embarks on, and the provocations he gives to his suspicious uncle can lead to no other end than to his own ruin and, incidentally, to that of his uncle. Only when he has made the final sacrifice and brought himself to the door of death is he free to fulfil his duty, to avenge his father, and to slay his other self--his uncle. . . .

The call of duty to kill his stepfather cannot be obeyed because it links itself with the unconscious call of his nature to kill his mother's husband, whether this is the first or the second; the absolute "repression" of the former impulse involves the inner prohibition of the latter also. It is no chance that Hamlet says of himself that he is prompted to his revenge "by heaven and hell". In this discussion of the motives that move or restrain Hamlet we have purposely depreciated the subsidiary ones--such as his exclusion from the throne where Claudius has blocked the normal solution of the Oedipus complex (to succeed the father in due course)--which also play a part, so as to bring out in greater relief the deeper and effective ones that are of preponderating importance. These, as we have seen, spring from sources of which he is quite unaware, and we might summarize the internal conflict of which he is the victim as consisting in a struggle of the "repressed" mental processes to become conscious. The call of duty, which automatically arouses to activity these unconscious processes, conflicts with the necessity of "repressing" them still more strongly--for the more urgent is the need for external action the greater is the effort demanded of the "repressing" forces. It is his moral duty, to which his fatherexhorts him, to put an end to the incestuous activities of his mother (by killing Claudius), but his unconscious does not want to put an end to them (he being identified with Claudius in the situation), and so he cannot. His lashings of self-reproach and remorse are ultimately because of this very failure, i.e. the refusal of his guilty wishes to undo the sin. By refusing to abandon his own incestuous wishes he perpetuates the sin and so must endure the stings of torturing conscience. And yet killing his mother's husband would be equivalent to committing the original sin himself, which would if anything be even more guilty. So of the two impossible alternatives he adopts the passive solution of letting the incest continue vicariously, but at the same time provoking destruction at the King's hand. Was ever a tragic figure so torn and tortured! Action is paralysed at its very inception, and there is thus produced the picture of apparently causeless inhibition which is so inexplicable both to Hamlet and to readers of the play. This paralysis arises, however, not from physical or moral cowardice, but from that intellectual cowardice, that reluctance to dare the exploration of his inmost soul, which Hamlet shares with the rest of the human race. "Thus conscience does make cowards of us all."



That is the question: this shows Hamlet confronted with both body and ...Odepus complex (commonly called mother complex): this view was put forward...


/ Thou foster-child of silece and slow time,”...A、elegy B、sonnet C、heroic D、ode 第 11 题...A、King Lear B、Macbeth C、Hamlet D、Othello ...


Hamlet Othello Macbeth Sonnets (154): 1-126;to his male ...and initiations as in France and Russian revolutions What is an “Ode”? ...

网站首页 | 网站地图
All rights reserved Powered by 酷我资料网 koorio.com
copyright ©right 2014-2019。