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Criticism and analysis of hamlet
My oedipus complex summary
My oedipus complex summary
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Recommended: Criticism and analysis of hamlet
When examining Hamlet through the lens of the Oedipus complex, it is
critical to first define and thoroughly explain the Oedipus complex,
then to apply it to Hamlet's relationships, before a final conclusion
is reached.
The Complexities of the Complex
Before one can understand the Oedipus complex, one must understand
Sigmund Freud's theory on infantile sexuality. The Internet
Encyclopedia of Philosophy points out that the roots of Freud's theory
can be found in the work of an older colleague of Freud's, Josef
Breuer. Breuer discovered that traumatic events in childhood could
have destructive repercussions in adulthood. Freud generalized
Breuer's discoveries and added that sexual experiences in early
childhood were the most important factors in shaping adult
personality. Freud believed that the male human is instinctively
driven to do whatever needed to receive bodily or sexual pleasure,
seen by Freud as the desire to release mental energy.
Freud divided the male child's early years of development, in which he
has the strongest attachment to his mother, into three separate
stages. Initially, from birth through two years, in the "oral" stage
of development, infants receive both pleasure and release this energy
through sucking, likely through breastfeeding (Myers 492). Later,
between ages two and three, the point of release of a child's energy
moves to the anus in what Freud called the "anal" stage of
development. Then, between the ages of three and five, the child's own
genitals will be the new center of pleasure and release, in the
"phallic" stage of development. During this stage, the young male
child realizes some ve...
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...is stages of early development, Hamlet
seems to be redoing them. The focus of his affection is still his
mother. The enemy, however, is no longer his father. He must have
passed through the stages correctly with no problems. His enemy now is
Claudius. He becomes fixated on ending Claudius's life, and being with
his mother. He succeeds, but only in part. She drinks the poisoned
wine meant for Hamlet and dies. Maybe Gertrude also had feelings for
her son. If swords weren't flying at the time, and a poisoned cup was
the only weapon around, Gertrude would have spared her son's life in a
last show of her love by taking the drink and sacrificing her own life
for his. Now that Claudius, Gertrude, both Hamlets, and Ophelia are in
the afterlife, another important question arises: Are there Oedipal
complexes in heaven (or hell)?
Act III Scene IV has fuelled much speculation and many psychoanalytical perspectives of Hamlet and his Oedipal complex. The scene is set in a closet, typically a private room in a castle while a bedroom was meant for receiving visitors, the convention since the late 19th century was to stage this scene in Gertrude’s bedroom; resulting in further speculation of Hamlet harbouring sexual desires towards his mother. If Gertrude received him in her closet, she treated him more intimately than a son.
two plays we can see that both are isolated in a world of their own,
Oedipus fits Aristotle's definition of the tragic flaw and protagonist almost flawlessly. Aristotle described the protagonist as "someone regarded as extraordinary rather than typical..."(1117). Oedipus freed Thebes from the Sphinx by solving her riddle-- something nobody else had been able to do. The priest in the first scene of Act I calls Oedipus "...our greatest power" (1121) and describes him as rated first among men.
Hamlet is first tormented by the death of his father, the king of Denmark. Then he is cast into utter agony when Gertrude, the mother he loves dearly is hastily married to his uncle, Claudius. Through a ghostly revelation, Hamlet learns that his suspicions that Claudius murdered his father are true. He becomes incensed and wants to enact revenge upon the guilty party. From this point on, Hamlet struggles with his plan for revenge that conflicts with his opposite contemplative nature.
"To be, or not to be: that is the question" (Shakespeare 1750). "Human beings have no part in the craft of prophecy" (Sophocles 1582). Both quotes are part of famous plays. Although the plays appear to be completely different they do have some similarities such as containing a tragic hero. A tragic hero is a character that makes a mistake and eventually leads to their defeat. A tragic hero usually contains at least 5 characteristics such as a flaw (hamartia), reversal of fortune (peripetia), character 's actions leads to a reversal, excessive pride, and the character 's fate is greater than what they truly deserved. Hamlet and Oedipus are both great examples of what a tragic hero is because they both contain flaws, reversal of fortune, and
The play does not open with the protagonist, nor with the direct disclosure of the problem. It points to unanswered questions and reveals anxiety and unrest. There is said to be a ghost, but the reason and purpose for the ghost's appearance are unknown. Basically, we can say that the first scene creates an atmosphere and the basis for the disclosure of the specific problem. The first point dramatically established is that there really is a ghost, although the questions raised by its appearance are unanswered. Horatio, the scholar and the skeptic, comes to test the report given by the simple soldiers. The empirical proof that Horatio seeks is there; the ghost appears and it is seen to have a specific identity, that of the deceased King Hamlet. But the reason for his presence is not disclosed and the men on the platform, confronted by the upsetting mystery, have to guess in the dark, literally and metaphorically. Unable to offer an explanation, Horatio sees the apparition in convention terms as an omen of some evil. This is immediately connected with the expository fact that there are feverish military preparations in the kingdom. The indication is that there are pre-existing questions brought into the open in connection with the ghost. The specific question relating to preparations for war, concerning the kingdom and not necessarily the ghost, is answered by Horatio; he gives us expository background concerning the immediate past in the kingdom of Denmark, involving King Hamlet and King Fortinbras of Norway, we hear there was open, chivalric combat between them in which the Danish King vanquished and killed Fortinbras, as a result of which he obtained (fairly) the land which was gained by the Norwegians. But additionally we hear th...
Oedipus, by Sophocles, was written around 441 B.C. Sophocles’ story is considered a Greek tragedy. Aeschylus is the person who coined the term, but “it was Sophocles who brought it to perfection” (Struck). Oedipus is one of the most famous classical dramas, and it is because of Aristotle the story reached that status. Aristotle stated his opinions in his book Poetics, which made it popular (Thorburne 384). In the story, Oedipus displays hubris when he defies the gods and runs away from his true fate which leads to his downfall.
Hamlet is seen as one of the most complex literary character of all time. The relationship between Hamlet and Gertrude can be interpreted in many ways. Hamlet’s motivation for killing Claudius is not to avenge his father’s death, but because of his love for his mother Gertrude. This is where the Oedipus complex comes into play in Hamlet by William Shakespeare.
With his thinking mind Hamlet does not become a typical vengeful character. Unlike most erratic behavior of individuals seeking revenge out of rage, Hamlet considers the consequences of his actions. What would the people think of their prince if he were to murder the king? What kind of effect would it have on his beloved mother? Hamlet considers questions of this type which in effect hasten his descision. After all, once his mother is dead and her feelings out of the picture , Hamlet is quick and aggressive in forcing poison into Claudius' mouth. Once Hamlet is certain that Claudius is the killer it is only after he himself is and and his empire falling that he can finally act.
Freud emphasized that early childhood experiences are important to the development of the adult personality, proposing that childhood development took place over five stages; oral, anal. Phallic, latent and genital. The phallic stage is the most important stage which contains the Oedipus complex. This is where the child (age 4 - 6 yrs) posses the opposite sex parent and wants rid of the same sex parent. Freud argued that if the conflict is not resolved in childhood then it could cau...
According to Aristotle there are five characteristics of a tragic hero: Flaw or error of judgment, (Peripeteia) a reversal of fortune, the enlightenment (anagnorisis) the discovery or recognition, (hubris) excessive pride, and the character’s fate. Oedipus finds the elders of Thebes praying to the gods for liberation of the plague. Oedipus “alone can help. The cause of the trouble is himself; the chances he has had in his life are precisely the source of the plague” (Diski 1). Oedipus is the cause and the solution to end the plague, but he is blind to the true. Hamlet, differently from Oedipus, is a “man of thought and action, a justice seeker and a criminal, a victim and a wrongdoer, a deeply reflective introvert and a man capable of acting on impulse” (McHugh 1). Hamlet’s free will, injected him with the desire to vengeance his father at any cause. Both Hamlet and Oedipus meet all of the characteristics of a tragic hero. In the beginning of both stories is introduced the first characteristic of a tragic hero, the flaw and error of judgment. In Hamlet, the ghost of his father tells him to revenge his death and In Oedipus; the oracle warns Oedipus about killing his father. Next, the reversal of fortune, in both tragedies leads to the death of their mothers. The anagnorisis of Hamlet was when he discovered how his father died and in Oedipus when the shepherd recognized Oedipus as the killer of Laius. The hubris overpowered both heroes, Hamlet for vengeance of his father’s death and Oedipus to revenge the death of Laius, which ironically was his real father, and he had killed him. Hamlet and Oedipus have the five characteristics of a tragic hero, the main characteristic that both share, is the error of judgment, however, their fate ...
Hamlet’s attachment to his mother is quickly made evident within the first act of the famous tragedy. Hamlet, who sulks around wearing black clothing to mourn the death of his father, first speaks in the play to insult his stepfather. He voices his distaste at his new relationship with his uncle by criticizing that they are, “A little more than kin and less than kind” (I.ii.65). He believes that it...
“Which animal has one voice, but two, three or four feet being slowest on three?” This riddle was said by the monster Sphinx to all who wanted to enter into Thebes. She destroyed all that could not solve her riddle (Willson). Oedipus, whose life seemed to be controlled by fate, answered correctly. His life was one of tragedy and disaster. He is now the patron of philosophers, scientists, poets, artists, and of all truth-seekers (Wilson).
Aristotle, in his work The Poetics, tries to delineate the idea of a tragedy. Throughout his work Aristotle says that the hero, or at least the protagonist in a tragedy must be substantially good, almost godlike. This hero must bring upon themselves their downfall, due to their fatal flaw. If the hero is not at a high point, an audience will not care about them, and won’t notice their fall. One must fall a long way in social class in order for it to be noticed by the outside man. Oedipus perfectly exemplifies a tragedy, in relation to modern society, effectively showing how too much pride can often lead to downfall or doom.
Sigmund Freud proposed a theory of psychoanalytic development; he stated that early childhood experiences and practices affect later development in adulthood. Freud’s stages of psychosexual development comprised of five stages: the oral stage (0 – 1 year), the anal stage (1 – 3 years), the phallic stage (3 – 6 years), the latency period (6 – puberty) and the genital stage (puberty –