1611

The first of these modern dramas is Hamlet. It has as its subject the way in which a man who has so far been normal becomes neurotic owing to the peculiar nature of the task by which he is faced, a man, that is, in whom an impulse that has hitherto been successfully suppressed endeavours to make its way into action. Hamlet is distinguished by three characteristics which seem important in connection with our present discussion. (1) The hero is not psychopathic, but only becomes psychopathic in the course of the action of the play. (2) The repressed impulse is one of those which are similarly repressed in all of us, and the repression of which is part and parcel of the foundations of our personal evolution. It is this repression which is shaken up by the situation in the play. As a result of these two characteristics it is easy for us to recognize ourselves in the hero: we are susceptible to the same conflict as he is, since ‘a person who does not lose his reason under certain conditions can have no reason to lose’. (3) It appears as a necessary precondition of this form of art that the impulse that is struggling into consciousness, however clearly it is recognizable, is never given a definite name; so that in the spectator too the process is carried through with his attention averted, and he is in the grip of his emotions instead of taking stock of what is happening. A certain amount of resistance is no doubt saved in this way, just as, in an analytic treatment, we find derivatives of the repressed material reaching consciousness, owing to a lower resistance, while the repressed material itself is unable to do so. After all, the conflict in Hamlet is so effectively concealed that it was left to me to unearth it.