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Have you ever wanted something very much but then your conscience told you that it wasn’t right and you could not have it? This is an example of the critical lens, psychoanalytical lens. When you want something to an extent that you would do anything to get it, this is your ID, the part of your brain that goes off of its first instinct. Then, your inner “good side” kicks in and tells you that it would not be right for you to have this, and this is your super-ego, it tells you the right thing to do. However, there may be a compromise between the two, known as the ego. There are many situations in the play, A Midsummer Night’s Dream, which show ID, Ego, and Super-Ego. In each of these incidents the characters display a thorough example of the psychoanalytical. There are several situations in which the ID lens is shown by the characters in the play. Oberon, the fairy king, decided to help Helena because he noticed her love for Demetrius was only one-sided. He sent Puck as a messenger off into the forest to put the magical flower juice on Demetrius’ eyelids so he would fall in love wit...
In William Shakespeare’s A Midsummer Night’s Dream, there are endless images of water and the moon. Both images lend themselves to a feeling of femininity and calm. In classical mythology, the image of water is often linked with Aphrodite, goddess of passion and love. Born of the foam of the sea, Aphrodite was revered as an unfaithful wife to her husband Hephaestus (Grant 36). This may have a direct coloration to the unfaithful nature of the four lovers, Hermia, Helena, Lysander, and Demetrius, while in the woods. Perhaps more important, however, is Aphrodite’s link to the other Olympian maiden goddesses. As Aphrodite was attributed with love and beauty, Athena was the protector of war and arts, and finally, Artemis was the goddess of the woods and wild things (Hamilton 31). Artemis was brother of Apollo, god of the sun, and therefore she was the goddess of the moon. Through out literature it seems imagery of the moon and water can be used nearly interchangeably because they both imply feminine powers; water is representative of life and motion and the moon is representative of Artemis directly. Shakespeare seems to have been quite aware of the duties and powers of this ancient goddess.
William Shakespeare's A Midsummer Night's Dream In the following essay I am aiming to show how Lysander's claim that 'the course of true love never did run smooth' is supported by other events in the play. "A Midsummer Night's Dream" was written by William Shakespeare. No one knows the exact date it was written but we know it was between 1589 and 1595. He combines romance with comedy to produce this popular story.
If we look very closely we will see that the love is a not just
In Shakespeare’s comedy A Midsummer Night’s Dream one finds the typical use of love and nature that is evidence of Shakespeare’s youth and experimentation. He creates in this play another world, a fairy world where Puck is the ringleader and love is everywhere. Called "fancy’s child" by Milton, Shakespeare brings out his cheerful happiness in its most light-hearted manner in A Midsummer Night’s Dream.
Hermia , Lysander , Helena and Demetrius represent young love in Shakespeare’s A Midsummer Night’s Dream . They are potrayed as foolish and fickle , acting like children and requiring a parental figure to guide them . The parental figures are Hermia’s father , Egeus , and figuratively Theseus , the mortal ruler , and Oberon , the mystical ruler.
Freud, S., & Strachey, J. (19621960). The Ego and the Super-ego. The ego and the id (pp. 19-20). New York: Norton.
Shakespeare wrote his acclaimed comedy A Midsummer Night’s Dream more than a thousand years after Apuleius’ Roman novel, The Golden Ass. Although separated by thousands of years and different in terms of plot and setting, these works share the common theme of a confused and vulnerable man finding direction by relying on a supernatural female. One of A Midsummer Night’s Dream’s many subplots is the story of Bottom, a comical figure determined to be taken seriously in his production of a Pyramus and Thisbe. As Bottom becomes caught up in a quarrel between the king and queen of the fairies, the commanders of the enchanted forest where Bottom and his players practice, the “shrewd and knavish sprite” Puck transforms his head into an ass’ s and leads him to be enthralled in a one night stand with the queen, Titania. (2.1.33) Apuleius’s protagonist Lucius endures a similar transformation, after his mistress’s slave girl accidentally bewitches him into a donkey, leaving him even without the ability to speak. Although Lucius’ transformation lasts longer and is more severe, he and Bottom both undergo similar experiences resulting from their animal forms. Lucius’ suffering ultimately leads him to salvation through devotion the cult of Isis, and Bottom’s affair with Titania grants him clarity and a glimpse into similar divine beauty. Ultimately, both asinine characters are saved through their surrender to the goddesses.
The Ego is representative of the character Kugelmass. He wants to have an affair, but deep down realizes he needs to keep it from his wife to avoid hurting her. When the opportunity arises to have an affair with a fictional character, he no longer sees the harm in having an a...
Throughout history literature has changed into many different forms and styles, it has also stayed the same in many different ways, literary techniques and elements are key to a good piece of writing, a perfect example that shows us just this is in, A Midsummer Nights Dream, where we will further explore the different literary elements that were used most notably the plot. The plot of a story lays out the foundation and the background for the entire play to come, we'll compare and contrast this element and look at the different sub elements which are produced. We will define similarities and difference in these elements form both the play o the film. Taking a look at things such as climax, play incidents, and the conflict will all give us a better understanding of how it affects the similarities and difference of the film versus the play.
“Where Id is, there ego shall be” (Freud, S.S. 1932). This is particularly relevant for the play Othello by William Shakespeare. In Freud’s psychoanalytic theory of personality, he stated that the human psyche is a tripartite model composed of three elements. This psychoanalytic theory is extremely applicable to the Othello. The three main characters of this text of Othello have a remarkable resemblance to Freud’s analysis of human psyche, despite the fact that these two texts were written in different eras. Furthermore, the setting of Othello is also congruent with the concept of the human mind as a known and predictable conscious part and an unknown and sinister unconscious mind. Overall, Othello mirrors Freud’s psychoanalytical criticism concepts almost exactly. However, there are some facets of this text which refute Freudian Psychoanalysis.
If one wants to truly understand the psychological implications of William Shakespeare’s Hamlet, the primary focus should be on the character Hamlet, and how he develops and modifies throughout the play. Using the fundamentals of the psychoanalytic perspective of critical evaluation, one would be able to truly identify and explore the true nature of Hamlet, and the effects that his character has on the situation surrounding him. In order to gain a true understanding of most of the detail that is implied through Hamlet’s way of portraying himself to others, it is vital to look deep into the actions that are carried out, and analyze them psychoanalytically.
“There are so many different walks of life, so many different personalities in the world.” Hope Solo describes that there are many different ways to walk the paths of life, and that these paths are filled with people of dissimilar personalities. Similarly to Hope Solo’s idea of incompatible personalities, Sigmund Freud, an Austrian neurologist, developed the concepts of the id, ego and superego. As Freud described them, these concepts are the three parts of the human psyche. The id part of the brain operates on the “pleasure principle”, the superego is the moral component of the human psyche, and the ego is the balance between both the id and the superego. Freud, along with many other Americans, began to realize that people, especially characters
The fairies and the fairy realm have many responsibilities in this play. The most important of which is that they are the cause of much of the conflict and comedy within this story. They represent mischievousness and pleasantry which gives the play most of its emotion and feeling. They relate to humans because they make mistakes but differ in the fact that they do not understand the human world.
Psychology attempts to create understanding and meaning out of abstract ideas and thoughts while simultaneously using abstract ideas and thoughts. It is much more difficult to explain human behaviour through technical interpretations such as the original Freudian theory of the id, ego, and superego. Shakespeare’s The Tempest uses these three elements in a storyline to exemplify these three psyches in a single self through a story arc. The id is the pleasure seeking subconscious that focuses more on biological needs rather than morality. The ego is the reality which is shaped by both society and personal experiences. The superego is the higher being which seeks moral reasoning and the greater good. Prospero is the controller of both Caliban
The Id “knows no judgments of value: no good and evil, no morality (Freud, The Dissection of the Psychical Personality, 2004, p. 84).” This means that the Id is the part of the personality that is unorganized in the processes and only contains the instincts for biological needs for the person to live. Since the Id has no sense of morals, does not know good or evil, its main goal is to get the person whatever it needs by any means possible to thrive. The way to remember that the Id has no judgments of value is to think of it as a child. A child wines and cries until they receives food, drink or human touch. The child is so unruly that it needs somebody to control it and this would be the Ego. The Ego’s functions on the reality principle that means it keeps the Id under control by organization of the processes in the personality. The Ego is the mediator between the Id and superego which will be discussed later. Since the ego is considered a mediator it could be remembered as the brains of the operation. It keeps the Id under control by educating it and showing that if a need must be met there is a specific way to obtain it. Next is the Superego, Freud considered “the origin on conscience,” meaning that the Superego specific function is to act as the person’s conscience between good and evil (Freud, The Dissection of the Psychical Personality, 2004, p. 74). The Super ego balances out the Id