The Oedipus Complex
One of the most prominent Freudian concepts that can be applied to Hamlet is the Oedipus complex, which refers to the unconscious sexual attraction that a son feels for his mother and the hostility that he feels for his father or his father's substitute. Freud named this phenomenon after the mythical Greek king Oedipus, who unknowingly killed his father and married his mother. According to Freud, every boy goes through a phase in his childhood when he wishes to possess his mother exclusively and eliminate his father as a rival. This phase is usually resolved by identifying with the father and repressing the incestuous desire for the mother. However, if this resolution does not occur, the boy may develop a neurosis or a psychosis in his adulthood.
In Hamlet, the Oedipus complex is evident in Hamlet's relationship with his mother Gertrude and his uncle Claudius, who has killed his father and married his mother. Hamlet is disgusted by his mother's hasty and incestuous marriage to Claudius, which he sees as a betrayal of his father and a violation of nature. He expresses his anger and resentment towards both of them in his first soliloquy: "O most wicked speed! To post / With such dexterity to incestuous sheets! / It is not nor it cannot come to good" (1.2.156-158). However, some critics argue that Hamlet's outrage is not only motivated by moral indignation, but also by repressed jealousy and desire for his mother. They suggest that Hamlet unconsciously wishes to take his father's place in his mother's affection, and that he sees Claudius as a successful rival who has fulfilled his own forbidden fantasy. This explains why Hamlet is reluctant to kill Claudius, even after he learns that he is the murderer of his father. Hamlet's hesitation may be interpreted as a manifestation of his ambivalence towards Claudius, who represents both his enemy and his ideal self.
The Death Drive
Another Freudian concept that can be applied to Hamlet is the death drive, which refers to the unconscious impulse towards self-destruction and aggression. Freud believed that human beings have two opposing instincts: Eros, which is the life instinct that seeks pleasure and preservation, and Thanatos, which is the death instinct that seeks pain and annihilation. The death drive is often expressed through violence towards others or oneself, as well as through melancholy and suicidal thoughts.
In Hamlet, the death drive is evident in Hamlet's obsession with death and mortality, as well as in his violent actions and suicidal tendencies. Hamlet is constantly haunted by the ghost of his father, who urges him to avenge his murder. Hamlet also contemplates suicide several times in the play, such as in his famous "To be or not to be" soliloquy: "To be or not to beâthat is the question: / Whether 'tis nobler in the mind to suffer / The slings and arrows of outrageous fortune / Or to take arms against a sea of troubles / And by opposing end them" (3.1.56-60). However, Hamlet also questions the morality and consequences of suicide, as he wonders what happens after death: "To dieâto sleep; / To sleepâperchance to dreamâay there's the rub: / For in that sleep of death what dreams may come / When we have shuffled off this mortal coil / Must give us pause" (3.1.63-67). Hamlet's death drive also leads him to kill Polonius, Rosencrantz, Guildenstern, Laertes, Claudius, and indirectly Ophelia and Gertrude. By the end of the play, almost all the main characters are dead as a result of Hamlet's actions or inactions.
Conclusion
Freudian analysis of Hamlet essays offer a fascinating insight into the psychological aspects of Shakespeare's masterpiece. By applying the concepts of the Oedipus complex and the death drive, critics can explore the hidden motives and conflicts that shape Hamlet's character and behavior. However, Freudian analysis is not the only way to interpret Hamlet, as there are many other perspectives and approaches that can enrich our understanding of this complex and captivating play.
References:
[1] Shakespeare, William. Hamlet. Edited by Barbara A. Mowat and Paul Werstine, Folger Shakespeare Library, 1992.
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