Freudian Analysis of Hamlet Essay -- GCSE English Literature Coursewor

Freudian Analysis of juncture   As a child, Shakespeares Hamlet had experienced the warmest affection for his m separate, and this, as is always so, had contained the elements of a masked erotic quality, still more so in infancy. The presence of deuce traits in the Queens character accord with this assumption, namely her markedly sensual record and her passionate fondness for her son. The former is indicated in too many places in the play to need specific reference, and is generally recognized. The latter is also exhibit Claudius says for instance (79), The Queen his mother lives almost by his looks. Nevertheless Hamlet appears to concur with more or less success weaned himself from her and to have fallen in love with Ophelia. The precise nature of his original smell for Ophelia is a little obscure. We may assume that at least in realm it was composed of a normal love for a potential bride, though the extravagance of the language used (the passionate need for infin ite certainty, etc.) suggests a fewwhat morbid frame of mind. There are indications that all the same here the influence of the old attraction for the mother is still exerting itself. Although some writers, following Goethe, look out in ophelia many traits of resemblance to the Queen, perhaps equitable as striking are the traits contrasting with those of the Queen. ... Now comes the fathers death and the mothers countenance marriage. The association of the idea of sexuality with his mother, buried since infancy, can no long be concealed from his consciousness. As Bradley well says Her son was forced to see in her action not only an astounding shallowness of feeling, notwithstanding an eruption of coarse sensuality, rank and gross, speeding post-haste to its horrible delight... ...d in continuing to repress the former he must strive to ignore, to cond maven, and if potential even forget the latterhis moral fate is bound up with his uncles 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 very the one that Hamlet utmostly adopts. The course of alternate action and inertia 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.