Hamlet the Characters of Hamlet

¶ … Hamlet

The Characters of Hamlet through a Freudian Lens

Shakespeare takes such care in the tragedy of Hamlet that it is difficult to separate the characters into the three basic Freudian components of the Id, the Ego, and the Superego. The dynamics of the relationships and the fullness of the majority of the characters in this play certainly speaks of Shakespeare's talent, but it also serves to show the complexity of human nature and how different situations will bring out different component characteristics. With this in mind, if one specific relationship dynamic is focused on, it is easier to ascertain the Freudian component characteristics. Therefore, if we use the character of Ophelia as a centering reference of the Ego, the roles of the Id and the Superego become clear. If Ophelia is seen as the Ego, then Polonius, her father, takes on the role of the Superego, and Hamlet, her lover, takes on the role of the Id.

Sigmund Freud famously separated the human psyche into three components: the Id, the Ego, and the Superego. The Id works completely on impulses; it experiences desires strongly and pushes to fulfill those desires in a way that will achieve the most immediate gratification as possible. Within the Superego rests the higher functions of principles and adherence to rules and laws. It is the part that regulates the concept of right and wrong, but functions in a very black and white manner, recognizing or considering absolutely no shades of grey. The Ego is the mediator between the Id and the Superego. The Ego allows the Id to fulfill its desires when appropriate, and it uses the guidance of the Superego to determine when those appropriate times occur. Rarely does the Ego allow the Id or the Superego to be expressed in its pure form, instead it acts as a kind of filter to translate the two extremes into a more workable, and livable middle path. There are times when the Ego is not in control, or has trouble balancing the desires of the Id or the Superego. This imbalance or inability to determine which path is the best to take in regards to a decision is what results in neurotic and dysfunctional thought patterns and behaviors. If allowed to be out of balance for an extended period of time, dire consequences, like those of Ophelia's may result.

For Ophelia, her father represents the Superego. Polonius holds his daughter to strict standards, which were the common standards of the culture on the cusp of the Renaissance. The most important possession an unmarried woman has is her virginity, and Polonius fears that Hamlet will simply use Ophelia, taking her virginity, but never marrying her. This is a perfectly logical concern for a father at this time especially since Polonius himself finds himself in an important social position not because of his inherent social class, but because of his hard work and political maneuvering. Regardless of her father's success, Ophelia is still not quite a fit wife for a prince, and the sad situation that Hamlet finds his family in would likely only serve to encourage Hamlet's avoidance of a marriage that would raise the bride's social status so greatly. Of course, the last thing on Hamlet's mind would be marriage since he is wrestling with the tragedy of his father's death and his mother's betrayal. In light of all of these facts it is very unlikely that Polonius would be wrong, and it seems that his observations and expectations of his daughter are quite astute.

On the opposite end of Ophelia's situation is Hamlet, who is very much the Id. Hamlet himself is extremely emotional and impulsive, allowing his Id to overcome him in many situations. He wrestles with his own conscious, and as a character, he is truly one of the most fully developed, showing evidence of the inner conflict that Freud set out to illustrate with his components of personality. However, when it comes to his relationship with Ophelia, he is very much her Id. Though she has convinced herself that Hamlet loved her, he himself states that this is not the case. The confused emotional state of Ophelia, and the escalating intensity of Hamlet's own madness makes is difficult to determine which, if either, is true. Ophelia's love for Hamlet drives her to convince herself that his love was true, and that she did not give in to her baser impulses by being with him. He, on the other hand has lost all of his impulse control and allows his perceptions of his mother's betrayal seep into his own relationships, convincing himself that Ophelia is a fickle and deceitful lover, just as all women must be. Hamlet's lack of impulse control and his lustful desires of Ophelia place him clearly in the realm of the Id, at least where Ophelia is concerned.