Hamlet Theory In Hamlet

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Freud theorized that people’s desires and unconscious conflicts grant platform to the id, ego, and superego; the three areas of the mind which compete for dominance from the infant to adult stages. The most significant psychological break demonstrated in Hamlet was Hamlet himself acting insane by suppressing his superego and battling a conflict between his id and superego in an attempt to expose Claudius for his wrongdoings. Further analysis of his character reveals the presence of those three areas of the mind which influences Hamlet’s character as he acts upon them subconsciously. In doing so, Hamlet is seen as mad and often contemplates suicide himself revealed through his soliloquies throughout the play. Freud’s theory of psychosexual development (the oral stage, phallic stage, latency stage, and lastly the genital stage) are all expressed through the actions of Hamlet. As these attributes interfere with one another, Hamlet fights an inward battle that he feels completely responsible for which is avenging the death of his father. However, rationalization due to his tragic flaw of hamartia compromises the success of completing this task quickly as his ego further suppresses his id and superego to the point of a psychotic break. When diagnosing patients, psychologists especially take note of certain behaviors which may allow them to take a peek of their patient’s subconscious mind. One of the most telling signs of depression is reference to suicide as expressed by Hamlet’s soliloquies. Hamlet contemplates the point of existence when death seems like a reasonable alternative to the stress he is placed under. Even when contemplating suicide, Hamlet is in a subconscious battle with his own ego as he suppresses the ideas of the id and superego to move forward in the revenge towards Claudius. An inward battle such as this may be diagnosed as an acute stress disorder as he reveals detachment from others, iritibleness, and restlessness. He becomes consumed with the thought of avenging his father and displaces his frustration upon characters such as innocent Ophelia who he tells to join a nunnery. In addition, he no longer wishes to interact with friends or family members in fear of being deceived. The superego’s
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