Notes

INTRODUCTION

1. For other recent criticism that supports my approach to character, see Kantak 1977, Chatman 1978, Levine 1981, Bredin 1982, Price 1983, Nuttall 1983, Docherty 1984, Hochman 1985, Newman 1985, Frattaroli 1987, and Alter 1989. There is beginning to develop in Shakespearean criticism a reaction against the reaction against Bradley.

2. One of the finest statements of this position is by Wyndham Lewis in The Lion and the Fox: "It is actually ... impossible ... for an artist to be 'impersonal' .... There are only different ways of being personal; and one of them is that admired method of insinuation whereby a particularly compendious pretended reality enables its creator to express himself as though he were nature, or a god. But it is never as nature, or as the god responsible for this world, that a great creative artist speaks . . . . Artistic creation is always a ... personal creation" (n.d., 285-286).

3. For recent discussions of the relation of Shakespeare's early experience to his adult personality, see Barber and Wheeler 1986 and Holland, Homan, and Paris 1989.

CHAPTER 1. BARGAINS, DEFENSES, AND CULTURAL CODES

1. Because I quote so much from Homey, I shall follow her practice in using the masculine pronoun.

2. Homey speaks of "aggressive" and "compliant" solutions in Our Inner Con­flicts (1945) and of "expansive" and "self-effacing" solutions in Neurosis and Human Growth (1950). She did not establish a clear distinction between these terms, and I use them more or less interchangeably, choosing whichever seems most appropriate to the

279

280 NOTES

behavior under discussion. The division of expansive solutions into narcissistic, per­fectionistic, and arrogant-vindictive occurs in Neurosis and Human Growth.

3. I am indebted to Bertram Wyatt-Brown for helping me to clarify the treatment of honor in Shakespeare. Part I of his Southern Honor (1982) provides a useful background to this discussion.

4. Except where otherwise indicated, I shall be using the Kittredge-Ribner edi­tions of Shakespeare.

CHAPTER 2. HAMLET

1. There have been, of course, many fine psychological studies of Hamlet. See Holland 1966 and Noland 1974 for surveys of criticism. For bibliographies, see Hol­land 1966 and Schwartz and Kahn 1980, which updates Holland. Among the more relevant recent studies are Leverenz 1978, Kahn 1981, Kirsch 1981, and Erickson 1985.

2. I am using, with a few exceptions, the Hardin Craig text of Hamlet. I prefer "solid" to "sullied" in act 1, scene 2, line 129; and I read act 3, scene 4, line 149 as "curb the devil."

3. Psychological considerations aside, I do not believe that the play's structure encourages us to see Hamlet's decision not to kill Claudius at this point as further procrastination. The whole situation is so ordered as to produce powerful ironies that would be lost if we did not take Hamlet's reasons at face value. The Mousetrap achieves what Hamlet intended: it conclusively reveals Claudius's guilt and releases Hamlet's bloodthirsty aggression. Because Hamlet has caught the conscience of the king, however, Claudius is now praying. This at once gives Hamlet the opportunity to take him unguarded and prevents him from using it, since he is afraid that Claudius's soul will go to heaven if he dies in a state of purgation. We discover as soon as Hamlet leaves that Claudius's effort at prayer has failed: "My words fly up, my thoughts remain below;/ Words without thoughts never to heaven go" (III, iii). This would have been a good time to kill him, after all. It is difficult to reconcile the contention that we are meant to see Hamlet as delaying with this striving for ironic effects.

4. The flow of the action makes it appear that Hamlet went directly from the prayer scene to his mother's chamber. If he did, he must have known that the person behind the arras could not have been the king, and we need, then, a psychological explanation of why he acts as though it might have been. Other evidence suggests that it could have been the king and that Hamlet did, in fact, take Polonius for his better. When Claudius hears of the murder, he says, "It had been so with us, had we been there" (IV, i). At the end of the closet scene, Hamlet displays his knowledge of Claudius's plan to send him to England in the company of Rosencrantz and Guildenstern: "There's letters seal'd: and my two schoolfellows,/ Whom I will trust as adders fang'd,/ They bear the mandate" (III, iv). Although Claudius first thought of sending Hamlet to England after overhearing his tirade to Ophelia, he does not give

NOTES 281

Rosencrantz and Guildenstem their commission until after the play, in a scene that culminates with his attempt to pray (III, ii). This indicates that there is an interval between the prayer scene and Hamlet's arrival at the Queen's chamber during which he learns of Claudius's plan. There would have been time, then, for the King to have gone to the Queen's closet and to have concealed himself there. In the absence of clear stage directions, there is no way of arguing this point conclusively. Each interpreter (and director) must make his own choice. It is quite consonant with my interpretation of Hamlet's character for him to have been able to kill the king at this point in the play, and I shall take the position that it was physically possible for Claudius to have been behind the arras.

CHAPTER 3. OTHELLO

I. lago has been discussed from a Homeyan perspective by Rosenberg 1961 and by Rabkin and Brown 1973. For representative Freudian readings, see Wangh 1950, Smith 1959, Orgel 1968, and Hyman 1970. Other interesting psychological studies include Staebler 1975 and West 1978.

2. This is Bradley's position. It has been echoed by many others and has been most eloquently defended in recent years by Rosenberg 1961, 185-205.

3. The leading exponents of the negative view have been Bodkin 1934, Leavis 1964, Heilman 1956, and Kirschbaum 1962. Rosenberg, Heilman, and Kirschbaum have bibliographic footnotes that trace the history of the dispute; and Berman 1973 summarizes the negative views. For a review of psychoanalytic studies, almost all of which see Othello's character as responsible, in some way, for his fate, see Holland 1966. The most interesting of the recent psychoanalytic studies are Shapiro 1964, Reid 1968, and Faber 1974.

4. There have been few detailed psychological studies of Desdemona, however. Two of particular interest are Reid (l970b) and Dickes (1970).

5. In the Kittredge-Ribner text, "rites" has been changed to "rights." I have restored the original word, which makes more sense than the emendation.

CHAPTER 4. KING LEAR

I. I am using Karen Homey's concept of narcissism, which sees it as a reactive rather than as a primary phenomenon. For other psychological perspectives on King Lear, see Holland 1966, Kanzer 1965, Kaplan 1967, Burke 1969, Cavell 1969, Lesser 1970, Reid 1970a, Dundes 1976, Sinfield 1976, Holland 1978, McLaughlin 1978, McFarland 1981, Muslin 1981, Porter 1984, and Coursen 1986.

2. I am indebted to Michael Warren for making me more vividly aware of the disparities between the Quarto and Folio texts of King Lear and of how they might

282 NOTES

affect my reading of the play. Although I have used the confIated Kittredge-Ribner text instead of the Folio alone, as Warren recommends, I do not think that my reading of the ending is incompatible with the one that Warren derives from the Folio: "In summary, Q and F embody two different artistic visions. In Q, Edgar remains an immature young man and ends the play devastated by his experience, while Albany stands as the modest, diffident, but strong and morally upright man. In F Edgar grows into a potential ruler, a well-intentioned, resolute man in a harsh world, while Albany, a weaker man, abdicates his responsibilities. In neither text is the prospect for the country a matter of great optimism, but the vision seems bleaker and darker in F, where the young Edgar, inexperienced in rule, faces the future with little support" (Warren 1978, 105).

3. The ellipsis is the author's. I had arrived at essentially the same position before I encountered Rosenberg's interpretation, though I was not aware of the folk tale parallels. I refer the reader to his fascinating chapter entitled "The Lear Myth."

4. This analysis of the playas a fantasy conceived from the wronged child's point of view may make it seem more integrated than it is. We must remember that from the end of act 1 to the end of act 4, the wronged father's point of view predominates.

CHAPTER 5. MACBETH

1. Important contributions to our understanding of Macbeth's individuality have also been made by Stewart 1949, McElroy 1973, Heilman 1977, Lesser 1977, and Egan 1978. There are other character studies, of course; but these along with Rosen­berg's have seemed to me especially perceptive.

2. Perhaps the central myth in Homey is that of "the devil's pact," which she sees as a symbol of the relationship between self-hate and the search for glory: "Man in reaching out for the Infinite and Absolute also starts destroying himself. When he makes a pact with the devil, who promises him glory, he has to go to hell-to the hell within himself" (1950, 154).

3. See Paris (1978b). A major printing error in this essay was corrected in the following issue.

CHAPTER 7. "WHAT FOOLS THESE MORTALS BE": Self­Effacement in the Sonnets, the Comedies, Troilus and Cressida, and

Antony and Cleopatra

1. In an essay that is complementary to my brief discussion of the sonnets, Catherine R. Lewis used Homey's theory to analyze the sonnets that express the poet's "contentment in his relationship with the friend" (1985,177). As she observed, these sonnets "directly reveal the requirements of his defense system and allow us to

NOTES 283

understand exactly why the friend's failures to meet the Poet's expectations are so devastating" (177).

CHAPTER 9. THE TEMPEST: SHAKESPEARE'S IDEAL SOLUTION

I. Kahn observed that Prospero achieves "a brilliant compromise between re­venge and charity, which allows him to have his cake and eat it too." The trials to which he subjects Antonio, Sebastian, and Alonso "would add up to a tidy revenge were they not sheer illusion . . . and were they not perpetrated for the sake of arousing 'heart-sorrow and a clear life ensuing.' They are and are not revenge" (1981, 223).

2. I am one of the relatively small number of critics who subscribe to what Harry Berger, Jr. calls "the hard-nosed" as opposed to the "sentimental" view of Prospero (1970,279). See also Leech (1961), Abenheimer (1946), Auden (1962, 128-34), and Dobree (1952).

3. In his response to my interpretation of The Tempest at the 1985 Florida Conference on Shakespeare's Personality, 1. Dennis Huston pointed out that Prospero may have yet another motive for classifying Caliban as subhuman: "he does not have to recognize that he, like Antonio, has used raw power to usurp a kingdom belonging to another: if Caliban is really subhuman, he can hardly have valid claims to the island."

4. As A. D. Nuttall observed in his response to this chapter, "You can kill people in plays without hurting anyone."

5. David Sundelson observed that "much in the play that might pass for dissent only adds to Prospero's stature-the brief quarrel with Ariel, for example." He speaks of the "sanctioned narcissism of Prospero" (1980, 38, 39).

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Index

Aaron the Moor, 197 Abergavenny, Lord, 257 Abraham, Karl, 17 Achilles, 203 Aesthetic characters, 8 Aggressiveness

of compliant personality, 20, 21 of Desdemona, 100, 101-102 of Hamlet, 53-54, 57, 58, 60 of Lady Macbeth, 160, 162 of Macbeth, 153, 155-156, 159-160, 163 of Shakespeare, 183, 185, 186-188, 191-

192, 262 Albany, Duke of

belief in moral order, 136, 138, 144 self-effacement of, 142-143

Alcibiades, 250, 251 as perfectionist character, 20 I, 202

Alexander, Franz, 17 All's Well That Ends Well, 238-239 Alonso, 267, 272, 275 Ambition, code of, 28, 30-32, 33

of Macbeth, 158-159 of Othello, 77 personal versus patriotic, 30 of Shakespeare, 196 of Titus Andronicus, 196-197

American Institute for Psychoanalysis, 17 Angelo (Measure for Measure)

Claudio's relationship with, 207

Angelo (Measure for Measure) (cont.) Duke Vincentio's relationship with, 218 enforcement of laws by, 206 as perfectionist character, 22, 209-210

Angus, 174 Anne Bullen, 256 Antigone, 3 Antiochus, 253 Antonio (Merchant of Venice)

Bassanio's friendship with, 219-220 as compliant personality, 21 self-effacement of, 198, 214 Shylock's relationship with, 198-199,200 stoical detachment of, 34

Antonio (Much Ado about Nothing), 34 Antonio (The Tempest), 265, 268

Prospero's forgiveness of, 272, 273, 276-277

Antonio (Twelfth Night), 236-238 Antony, 242-244

as compliant personality, 21 as detached personality, 24

Antony and Cleopatra love in, 242-244 martial and manly honor in, 195 mutual dependency in, 245

Anxiety, self-alienation and, 18-19 Apemantus, 249

defensive strategies of, 247

as detached personality, 24, 248

291

292 INDEX

Apemantus (cant.) as Shakespeare's spokesman, 250-251 stoical detachment of, 34

"Apolonius and Silla," 235 Ariel, 271-272, 283n

Prospero's cruelty to, 267-268, 275 Annado, Don Adriano de, 222 Arrogant-vindictive personality, 22-23

compliant persons' interaction with, 198-200

Goneril as, II7 Iago as, 64-65, 72 in King Lear, II7, 137 Macbeth as, 153, 163, 171, 172 Regan as, II7 Shakespeare as, 185

Art, as self-disclosure, II Auden, W.H., II Audrey, 234 Autonomy, development of, 184

Balthasar (Much Ado about Nothing), 227 Banquo

ghost of, 167, 170-171, 172, 173 Macbeth's relationship with, 155 murder of, 167-171 as perfectionist personality, 20 I

Bargains with fate. See also under individual characters

of compliant personality, 21 as defensive strategies, 2, 9, 19. See also

Defensive strategies definition, 2 grandiosity and, 26-27 as magical process, 2 of narcissistic personality, 22 neurotic pride and, 26 psychodynamics of, 2-4

Barnardine, 205, 208 Bassanio, 199-200

Antonio's friendship with, 219-220 Beatrice, 227, 228 Bedford, Duke of, 201 Benedick, 227-229 Berlin Psychoanalytic Institute, 17 Berowne, 222, 223 Bertram, 238, 239

Bottom, 224 Brabantio

condemnation of Desdemona by, 74, 88, 89,95-96

Othello's relationship with, 75, 77-79, 80,82,83

Bradley, A.C., IO-II Shakespearean Tragedy, 8

Brutus, Marcus, 29 Buckingham, Duke of (Henry VIII), 256,

257 Buckingham, Duke of (Richard III), 191 Bullen, Anne, 256

Caesar, 243 Caliban, Prospero's cruelty to, 268-271,

275, 283n Cassio

Desdemona's relationship with, 100-101 Iago's attitude towards, 70-71, 72, 73, 74 Iago's testimony against, 85 Montano's fight with, 84-85 Othello's relationship with, 73, 84-85,

87,91 Roderigo's fight with, 74

Cassius, 23 Celia, 231, 233 Cerimon, 253 Cesario, 236, 237 Character(s). See also names of individual

characters aesthetic, 8 defense strategies of, 19-28

interpersonal strategies, 19-24 intrapsychic strategies, 24-28

illustrative, 8 infantile origins of, 9, 18 mimetic, 8, 9, 153, 173 psychoanalytic study of, 7-10

Chicago Psychoanalytic Institute, 17 Christian values, code of, 28, 31-32, 33, 34

in Hamlet, 42 in Henry VI, 31-32, 33, 189 in Henry VllI, 257 in Richard 1lI, 190 in Two Gentlemen of Verona, 218

Civil wars, 188

INDEX 293

Clarence, Thomas, Duke of, 190, 193 murderers of, 191

Claudio (Measure for Measure), 206-207 Angelo's relationship with, 207 distrustfulness of, 251 Isabella's relationsip with, 211

Claudio (Much Ado about Nothing), 227-228 Claudius

Gertrude's relationship with, 37-38, 39-40,55

Hamlet's relationship with, 37, 39-40, 44, 45, 48, 52-53, 56-57, 58, 200

self-effacement of, 46 Cleopatra, 243

as dark lady, 242, 244 as detached personality, 24

Clifford, 189 Coleridge, Samuel Taylor, 10 Compliant personality. See also under indi-

vidual characters defensive strategies of, 20-21, 24-25 personal values of, 20-21 of Shakespeare, 185

Conrad, Joseph, 3 Cordelia

compulsiveness of, 1l2-115 death of, 133-134, 135, 138, 143-147,

147, 149 defensive strategies of, 117 France's relationship with, 114, 115, 118 Goneril's relationship with, 113-114,

145-147 illustrative function of, 117, 118 King Lear's relationship with, 109, 110-

111, 115 favoritism, lll-ll2 forgiveness, 108 reconciliation, 132-134

mimetic function of, 117, 118 perfectionist personality of, 22, 113-115,

117, 140, 148-149,201 Regan's relationship with, 113-114, 145-

147 suffering of, 137, 142 as wronged child, 144, 145-147

Coriolanus, as perfectionist personality, 22, 198

Coriolanus, martial and manly honor in, 195 Cornwall, Duke of, 136, 137 Countess of Rousillon, 238 Cranmer, 256, 258-259 Creon, 3 Cressida, 239-240, 241, 242, 251. See also

Troilus and Cressidll Crime and Punishment (Dostoyevsky), 178 Cromwell, 258 Cultural codes, 28-34, 186-191

aristocratic privilege, 33 Christian values, 28, 31-32, 33, 34

in Hamlet, 42 in Henry VI, 189 in Henry Vlll, 257 in Richard Ill, 190 in Two Gentlemen of Verona, 218

courtly love, 219 defensive strategies and, 32-34 loyalty, duty, and service, 28, 29, 30, 33,

34 in Hamlet, 42 Iago's attitude toward, 66 Macbeth's violation of, 154, 157-158,

168, 169 martial/manly honor and, 192-193 perfectionist value systems and, 202-204

male friendship, 218 martial/manly honor, 28-30, 33, 187-

188, 192, 194-196 in Hamlet, 42 loyalty, duty, service and, 192-193 Renaissance concept of, 28-30

personal ambition, 28, 30-32, 33 of Macbeth, 158-159 of Othello, 77 patriotic ambition versus, 30 of Shakespeare, 196 of Titus Andronicus, 196-197

stoic detachment, 33-34 Cymbeline, 251, 253-255 Cymbeline, martial and manly honor in, 195

Dark lady Beatrice as, 228 Cleopatra as, 242, 244 Puck's reference to, 224

294 INDEX

Dark lady (cont.)

Rosaline as, 223 Shakespeare's mockery of, 232 of the sonnets, 214, 215, 216-217

Death wish of Gloucester, 139 of Hamlet, 41-42, 49-50, 52, 61

Defensive strategies. See also under individ-ual characters

of arrogant-vindictive personality, 22-23 of compliant personality, 20-21, 24-25 cultural codes and, 32-34 of detached personality, 23-24 of expansive personality, 21-23 Homey's theory of, 17-28

interpersonal strategies, 19-24 intrapsychic strategies, 24-28

of perfectionist personality, 22 Demetrius, 224, 225, 226 Desdemona, 95-106, 281n

aggressiveness of, 100, 101-102 Brabantio's condemnation of, 74, 88, 89,

95-96 Cassio's relationship with, 100-101 as compliant personality, 21 guilt of, 103-105 Iago's attitude toward, 67 Othello's murder of, 92-95, 105-106 Othello's relationship with, 63, 75, 79-80

importance of, 84, 90-91 marriage, 77, 78, 79 Othello's doubts regarding, 87, 88-91,

102-105 reunion, 76, 80 sexual attraction, 96-100

self-destructive behavior of, 101 self-effacement of, 85-86, 99, 101-102,

105, 106 Detached personality, 23-24

Prospero as, 264-265 of Shakespeare, 185

Detachment, stoic, 33-34 Diana, 253 Diomedes, 240, 241, 242 Dionyza, 253 Don Adriano de Armado, 222 Don John, 227

Don Pedro, 227-228 Duke of Albany. See Albany, Duke of Duke of Bedford, 201 Duke of Buckingham (Henry Vl/l), 256, 257 Duke of Buckingham (Richard Ill), 191 Duke of Clarence, Thomas, 190, 191, 193 Duke of Cornwall, 136, 137 Duke Frederick, 234 Duke of Gloucester, Humphrey, 189, 190 Duke of Gloucester, Richard, 187-188 Duke Senior, 230, 231, 234 Duke of Suffolk, 187-188 Duke of Venice, 34 Duke Vincentio. See Vincentio, Duke of

Vienna Duncan, King of Scotland

innocence of, 164, 166 Macbeth's murder of, 157-159, 165-167

Duty, code of. See Loyalty, duty, and ser­vice, code of

Edgar, 136 Gloucester's relationship with, 138-139,

140, 145 Kent's relationship with, 141 as Poor Tom, 127, 128-130 rage of, 129-130, 140, 145 self-description of, 108 suffering of, 137 victimization of, 129 as wronged child, 145

Edmund (King Lear), 136-137, 143 as arrogant-vindictive personality, 23, 138 Gloucester's relationship with, 131, 144

Edward, King (Henry Vl), 29-30 Edward, King (Richard Ill), 32 Eleanor, Duchess of Gloucester, 30-31 Eliot, T. S., 36, 45 Elizabeth (Henry Vl/l), 256 Elizabeth-Jane, 3-4 Emilia, 105, 106

betrayal of Iago by, 76 Cassio's relationship with, 73 Iago's relationship with, 67-68, 69-70 Othello's relationship with, 73

Erikson, Erich, 6 Expansive personality, 21-23

INDEX 295

Falstaff, 195 Ferdinand, King, 222, 223, 275 Flavius, 248, 249-250 Fleance, 167, 169, 170 Florizel, 256 Fool (King Lear), 125, 127, 137 Forster, E. M., 134 Fortinbras, 58, 61 Fortitude, 28 France, King of (All's Well That Ends Well),

238 France, King of (King Lear), 114, 115, 118 France, Princess of, 223 Frederick, Duke, 234 Freud, Sigmund, 6

analysis of Macbeth, 152 feminine psychology theory, 17 Totem and Taboo, 263

Friar Laurence, 34 Friar Thomas, 207, 210 Friendship

in As You Like It, 229, 231 in Hamlet, 37 in The Merchant of Venice, 219-220 in Much Ado about Nothing, 227-228 Renaissance code of, 218 in the sonnets, 214-217 in Timon of Athens, 246-247, 249, 250 in Twelfth Night, 237-238 in Two Gentlemen of Verona, 218-219

Fromm, Erich, 6

Ganymede, 232, 233, 234 Gardiner, Bishop of Winchester, 258 Gaunt. See John of Gaunt Gersbach, Valentine, 3 Gertrude, Queen of Denmark, 251

Claudius's relationship with, 37-38, 39-40,55

Hamlet's relationship with, 36, 37-40, 43, 55-56

Gloucester, Duke of, Humphrey, 189, 190 Gloucester, Duke of, Richard, 187-188. See

also Richard III Gloucester, Earl of (King Lear)

attempted suicide, 139 belief in virtue rewarded, 30

Glouchester, Earl of (King Lear) (cont.) blinding of, 127, 136 moral growth of, 108 suffering of, 137, 138-140, 147

Goneril as arrogant-vindictive personality, 23,

117 death of, 134 death wish of, 139 Edgar's relationship with, 138-139, 140,

145 Edmund's revenge on, 144 guilt of, 139 King Lear's relationship with, 127, 131 Cordelia's relationship with, 113-114,

145-146 King Lear's relationship with, Ill, 119-

120 resentment of, 111

Gonzalo, 267, 272 Gottschalk, Paul, 35 Grandiosity, 25, 26-27 Guildenstem, 37, 46, 59 Guilt

of Desdemona, 103-105 of Macbeth, 173-174

Hamlet, 35-61, 280-281n aggressiveness of, 53-54, 57, 58, 60 antic disposition of, 45, 52 attitude toward fate, 45-46 attitude toward friendship, 37 attitude toward women, 36, 37, 38, 51, 52 bargains with fate, 7, 27 character of, 36 Claudius's murder by, 61 Claudius's relationship with, 37, 39-40,

44,45,48, 52-53, 56-57, 200 as active antagonist, 58

closet scene, 55-56 as compliant personality, 21, 24-25 conflicts of, 36, 44-47 death expectations of, 59 death wish of, 41-42, 49-50, 52, 61 defensive strategies of, 42, 43, 60 distrustfulness of, 251 father's relationship with, 36, 37, 39

296 INDEX

Hamlet (cont.)

Fortinbras's relationship with, 58, 61 Gertrude's relationship with, 36, 37-40,

40,43,55-56 the Ghost's relationship with, 35, 39, 42-

44 Horatio's relationship with, 37, 61 hostility of, 36, 38, 50-54

repression of, 41 idealism of, 36-37 idealized self-image of, 44, 246 Ophelia's relationship with, 36, 37, 42,

44-45, 50-52 "Get thee to a nunnery ... ," 52

the Players' relationship with, 47-48 Polonius's murder by, 54, 55, 56, 57, 59-

60,61 Polonius's relationship with, 45, 51-52,

53 problems of, 35-40 resignation of, 59-60 revenge by, 42-43

versus innocence, 262 Rosencrantz' and Guidenstern's relation-

ship with, 37, 46 second soliloquy of, 47-48 self-effacement of, 41, 42, 50, 58, 59 self-hate of, 43, 44 sexual repression of, 36-37, 38, 40 stoical detachment of, 34 third soliloquy of, 49-50 "this too too solid flesh" soliloquy of, 40-

42 "To be or not to be ... " soliloquy of,

49-50 Hamlet, central problem of, 36 Hardy, Thomas, 3-4 Hecuba, 46, 47, 48 Helena (All's Well That Ends Well), 238-

239 Helena (A Midsummer-Night's Dream), 224,

225,226 Helicanus, 253 Helplessness, as defensive strategy, 19 Henry V

honor code of, 29 as perfectionist character, 201

Henry V, violence in, 187 Henry VI

bargain with fate, 189-190 Christian values of, 31-32, 33, 189 as compliant personality, 21 leadership failure of, 193 self-effacement of, 213

Henry VI plays Machiavellian philosophy of, 190 perfectionist solution in, 194 self-effacement in, 194

Henry VIII, 277 self-effacement in, 256-259

Hermes, 249 Hermia, 224, 225, 226 Hermione, 255 Hero, 227

as idealized image, 73 internal crises of, 15-16

Herzog, Moses, 2-3 Hippolyta, 225 Historical drama, 190 Honor, martial and manly, code of, 28-30,

33, 187-188, 192, 194-196 in Hamlet, 42 loyalty, duty, service and, 192-193 Rennaissance concept of, 28-30

Horatio, 24, 37, 61 Homey, Karen, 1,6,7,9-10,16-19

defensive strategies theory of, 17-28 interpersonal strategies, 19-24 intrapsychic strategies, 24-28

feminine psychology theory of, 17 life of, 16-17 publications of, 17

Homey, Oskar, 17 Hostility. See also under individual

characters of compliant personality, 21 as defensive strategy, 19

Hotspur, 195 Humanism, pagan, 28 Humor, shame and, 25 Humphrey, Duke of Gloucester

bargain with fate, 188-189 as perfectionist personality, 22, 201

Hymen, 234

INDEX 297

Iachimo, 218, 254 Iago, 63-76, 281n

as arrogant-vindictive personality, 23, 23, 25, 64-65, 72, 200

attitude towards love, 66-70 attitude towards loyalty, duty, and service,

66 bargain with fate, 27 defensive strategies of, 25, 68 Emilia's relationship with, 67-68, 69-

70 hostility towards women, 68 idealized self-image of, 68 Othello's relationship with, 86-88, 89,

92 envy, 71-72, 74 prejudice, 82

psychological crisis of, 70-72 revenge plot of, 72-76 Roderigo's relationship with, 64, 66 sadism of, 74-75 self-effacement of, 71 sexual jealousy of, 69-70, 75 testimony against Cassio, 85 worldview of, 63-65

Illustrative characters, 8 Image

despised, 24-25 idealized, 24-25, 26

of Hamlet, 44 heroic basis of, 73 of Iago, 68 of King Lear, 110 of Macbeth, 165, 171 of Othello, 77, 80, 81, 83, 84, 88-89,

91 of Prospero, 275

Imogen, 253, 254-255 Isabella, 208, 210-211 Isolation, as defensive strategy, 19

Jaques, 229-230, 233, 235 as detached personality, 24

John of Gaunt as perfectionist personality, 20 I, 203 stoic detachment of, 34

Jones, Ernest, 35

Julia, 221 Juliet (Measure for Measure), 206 Julius Caesar

martial/manly honor in, 195 perfectionist characters in, 198

Jung, Carl, 6 Justice

mercy versus, 261 Renaissance concept of, 29, 30

Katherine (Henry VI/I), 256, 257-258, 259

Keats, John, 10 Kent, Earl of, 110

compulsiveness of, 116 defensive strategies of, 117 Edgar's relationship with, 141 King Lear's relationship with, 116 loyalty of, 118 as perfectionist personality, 22, 113, 116,

140-141,201,203 suffering of, 137, 140-141

King of France (All's Well That Ends Well), 238

King of France (King Lear), 114, 115, 118 King John, martial/manly honor in, 194-

195 King Lear, 107-149

aristocratic privilege of, 33 attack upon authority by, 131-132 bargain with fate, 108, 110 Cordelia's relationship with

compulsiveness, 112-115 Cordelia's death, 133-134 forgiveness, 108 favoritism, 111-112 reconciliation, 132-134, 138

death of, 133-134 defensive strategies of, 108, 122 Fool's relationship with, 125, 127, 137 Gloucester's relationship with, 131 Goneril's relationship with, 111, 119-120,

130 guilt of, 125, 132, 134 idealized self-image of, 110 Kent's relationship with, 116 "Let copUlation thrive" speech of, 131

298 INDEX

King Lear (cont.) love test of, 109-112

Cordelia's response to, 115 madness of, 122-123, 128, 131-132 moral growth of, 108, 127-128, 134-135,

138 motivations of, 111-112, 118-119 narcissism of, 22, I 09-11 0, 281 n Oswald's relationship with, 116 "Poor naked wretches" speech of, 127,

139 Poor Tom's relationship with, 127, 128-

130 Rage of, 120-122, 130, 144

storm as externalization of, 123-126 Regan's relationship with, Ill, 120-121,

130 self-effacement of, 111-112, 127, 130,

132, 133 self-pity of, 124, 126, 128, 130 suffering of, 127-128, 137, 147 victimization of, 129 as wronged father, 144, 145

King Lear, 281-282n Act I, 118 Act IV, 131-132 allegorical nature of, 135 aritifice/realism of, 107 arrogant-vindictive characters in, 136-

137, 200 father figures in, 144 as morality play, 147-148 moral order in, 136-143 narcissism in, 203 precipitating event of, 109 as revenge play, 144, 146 rhetoric of, 136

versus mimesis, 117-119 as romance, 147-149 storm scenes of, 122-129 suffering depicted in, 137-143 theme, 108, 144

thematic clues, 135 wronged child, 144, 145-147, 282n wronged father, 144, 145

Knights, L.C., 10

Lady Macbeth aggressiveness of, 160, 162 as arrogant-vindictive personality, 23 death of, 175-176 Freud's analysis of, 152 inner conflicts of, 160-162 on Macbeth's inner conflicts, 154, 157 Macbeth's relationship with, 155-156,

159-165 as Machiavellian character, 160, 162, 163 as mimetic character, 153 psychological deterioration of, 161, 178

Lady Macduff, 172-173,200-201 Laertes, 59, 60, 61 Lavinia, 197 Lefew,238 Leontes, 251, 255 Literature, psychoanalytic theory's relation-

ship with, 4 Lodovico, 75 Lord Jim, 3 Lord Say, 188-189 Love

as basic need, 18 courtly, 219 Shakespeare's portrayal of

All's Well That Ends Well, 238-239 Antony and Cleopatra, 242-244 As You Like It, 229-235 comedic treatment, 220-221, 222 Love's Labour's Lost, 222-223 Midsummer-Night's Dream, A, 224-226 Much Ado about Nothing, 227-229 Othello, 66-70 sonnets, 214-217 Troilus and Cressida, 239-242 Twelfth Night, 235-238 Two Gentlemen 0/ Verona, 219-220

Love's Labour's Lost, 222-223 Love triangles

in Midsummer Night's Dream, A, 225-226 in Much Ado about Nothing, 227-228 in the sonnets, 214-215, 216-217 in Two Gentlemen a/Verona, 218-219, 221

Loyalty, duty, and service, code of, 28, 29, 30, 33, 34

INDEX 299

Loyalty, duty, and service, code of (cont.) in Hamlet, 42 Iago's attitude toward, 66 martial honor and, 192-193 perfectionist value system and, 202-204 violation of, 203-204

by Macbeth, 154, 157-158, 168, 169 Lucian, 249 Lucio, 208, 209 Lysander, 224, 225 Lysimachus, 253

Macbeth, 151-179, 282n aggressiveness of, 153, 155-156, 159-

160, 163 ambition of, 158-159 as arrogant-vindictive personality, 23, 153,

163, 171, 172 Banquo's murder by, 167-171 Banquo's relationship with, 155 bargain with fate, 152-153 as compliant personality, 154 death of, 177-179 Duncan's relationship with, 155-156 Freud's analysis of, 152 guilt of, 173-174 as hero/villain, 173-177 honor code of, 187-188 idealized self-image of, 165, 171 inner conflicts of

after Duncan's murder, 165-177 before Duncan's murder, 153-159 Lady Macbeth's understanding of, 162

Lady Macbeth's relationship with, 155-156, 159-165, 162

as Machiavellian character, 153, 163, 170 as mimetic character, 153, 173 as perfectionist personality, 22, 153, 154,

157,163-165,171-172,198 self-effacement of, 158 transformation of, 171-173 violence of, 172-173 witches' prophecy to, 155, 159, 160

Macbeth, martial/manly honor in, 195 Macduff, 171, 172, 173, 177, 178, 179

integrity of, 202

Machiavellian characters in Henry VIII, 257, 258 Lady Macbeth as, 160, 162, 163 Macbeth as, 153, 163, 170 perfectionist protagonists' interactions

with, 197-199 Machiavellian philosophy, 31, 34, 192

of Henry VI plays, 190 perfectionist value system and, 203 of Richard m, 190

Mack, Maynard, 107, 108, 147-148 Magic

Freudian theory of, 263 in Midsummer-Night's Dream, A, 224-

225,226 in Pericles, 253 in The Tempest, 262, 263-267, 270-271,

276 Mahler, Margaret, 184 Malcolm, 173, 178, 179,251

as perfectionist personality, 201-202 Margaret (Henry VI), 187-188 Marina, 253 Mark Antony. See Antony Masks of Macbeth, The (Rosenberg), 151 Maslow, Abraham, 18 Masochism, feminine, 17 Mayor of Casterbridge, The (Hardy), 3-4 McElroy, Bernard, 15-16 Measure for Measure

corruption theme, 206 inner conflicts in, 205-212 mercy theme, 205, 208, 211

Menteith, 174 Merchant of Venice, 219-220 Mercy

in Measure for Measure, 205, 208, 211 in The Tempest, 261, 262

Midsummer-Night's Dream, A, 224-226 Millon, Ted, 6 Mimetic characters, 8, 9

Lady Macbeth as, 153 Macbeth as, 153, 173

Mind, supremacy of, 68 Miranda, 266, 268, 275 Montagu, Elizabeth, I

300 INDEX

Montano, 84-85 Moon and Sixpence. The (Maugham), 186-

187 Mother Goose, 2-3 Much Ado about Nothing, 251

love in, 227-229

Narcissism, 21-22 aristocratic privilege and, 33 of King Lear, 22, 109-110, 281n of Othello, 81-82, 83 perfectionist value system and, 203

Needs, hierarchy of, 18 Neurotic Personality of Our Time, The

(Horney), 17 New Ways in Psychoanalysis (Horney), 17 New York Psychoanalytic Society, 17 Nietzsche, Friedrich Wilhelm, 23

Oberon, 224-225, 226 Oliver, 218, 233, 234 Olivia, 235-236 Ophelia

death of, 60 Hamlet's relationship with, 36, 37, 42,

44-45, 50-52 "Get thee to a nunnery ... ," 52

Orlando, 218, 232-234 Orsino, 235, 236, 237 Oswald, 116 Othello, 63-106, 76-95, 281n

ambition of, 77 attitudes towards warfare, 79 bargain with fate, 63, 76, 77, 81 Brabantio's relationsip with, 75, 77-79,

80,82,83 Cassio's relationship with, 73, 84-85, 87,

91 defensive strategies of, 83, 90 Desdemona's relationship with, 63, 75,

79-80, 84 importance of, 84, 90-91 marriage, 77, 78, 79 murder of, 92-95, 105-107 Othello's doubts regarding, 87, 88-91,

102-105 reunion, 76, 80 sexual attraction, 96-100

Othello (cont.) Emilia's relationship with, 73 Iago's relationship with, 86-88, 89, 92

envy, 71-72, 74 prejudice, 82

idealized self-image of, 77, 80, 81, 83, 84, 88-89, 91

narcissism of, 81-82, 83 as perfectionist personality, 22, 77, 81,

82-83 racial prejudice toward, 82, 83 revenge by, 197-198 Roderigo's relationship with, 82 self-effacement of, 84, 85 suicide of, 94-95 transformation of, 86-91 triumphs of, 76 vulnerability of, 80-86

Othello, 251

Pandarus, 240 Paris, 239 Parolles, 238 Paulina, 255-256 Penis envy, 17 Perdita, 256 Perfectionist personality, 22, 201-205. See

also under individual characters Machiavellian characters' interactions

with, 197-199 of Shakespeare, 185, 192

Perfectionist value system, 202-203 Pericles, 252-253 Pessimism, 23-24 Petruchio, 218 Phebe, 231, 232, 233, 234 Philip the Bastard, 194-195, 201 Pisanio, 253 Pleasure principle, 264 Polonius

Hamlet's murder of, 54, 55, 56, 57, 59-60,61

Hamlet's relationship with, 45, 51-52, 53 Poor Tom, 127, 128-130. See also Edgar Portia, 199-200, 220 Posthumus, 218, 254-255

distrustfulness of, 251 self-effacement of, 254-255

INDEX 301

Priam, 46, 47 Pride, neurotic, 25-26 Princess of France, 223 Privilege, aristocratic, 33 Prospero, 283n

cruelty of, 267-271, 275, 283n as detached personality, 264-265 idealized self-image of, 275 magical powers of, 262, 263-267, 270-

271, 276 nobility of, 271-276 rage of, 266 revenge by, 275-276 self-effacement of, 214, 265, 276 as Shakespeare's alter ego, 274

Proteus, 218, 221 Provost, 206-207 Prudence, 28, 30 Psychology

feminine, 17 Third Force, 18

Puck, 224, 225, 226 Pyramis, 224

Raskolnikov, 3, 73, 178 Regan

as arrogant-vindictive personality, 23, 117 Cordelia's relationship with, 113-114,

145-146 King Lear's relationship with, 111, 120-

121, 130 resentment of, 111

Revenge by Hamlet, 42-43, 262 innocent, 266 Renaissance concept of, 28 as The Tempest theme, 266, 273-274,

275-276 Richard, Duke of Gloucester, 187-188. See

also Richard III Richard II

aristocratic privilege of, 33 as detached personality, 24 as narcissistic personality, 22, 203

Richard III ambition of, 31 as arrogant-vindictive personality, 23 conscience of, 191

Richard III (cant.) Machiavellian behavior of, 34, 190 self-effacement of, 193-194

Richard Ill, Christian values in, 32, 190-191

Richmond, Earl of, 191 belief in virtue rewarded, 30 as perfectionist personality, 201, 204 value codes of, 194

Roderigo, 67, 68 Cassio's fight with, 74 lagos' relationship with, 64, 66 Othello's relationship with, 82

Romeo and Juliet, 195-196,245 Rosalind, 229

as Ganymede, 232, 233, 234 as Shakespeare's surrogate, 231, 232-234

Rosaline, 222-223 as dark lady, 223

Rosencrantz, 37, 46, 59

Saturninus, 197 Sebastian (The Tempest), 271, 272, 275 Sebastian (Twelfth Night), 235, 237-238 Self-actualization, 18, 25 Self-alienation, 18-19 Self-disclosure, art as, 11 Self-effacement. See also under individual

characters in All's Well That Ends Well, 238-239 in Antony and Cleopatra, 242-244 in Henry Vlll, 256-259 in Love's Labour's Lost, 222-223 in The Merchant of Venice, 219-220 in A Midsummer-Night's Dream, 224-226 self-destruction and, 50 of Shakespeare, 185,261,262-263 Shakespeare's attitude toward, 192-194,

245 of sonnets' poet, 214-217 in The Taming of the Shrew, 218 in Timon of Athens, 249-250 in Troilus and Cressida, 239-242 in Two Gentlemen of Verona, 218-219 toward women, 220

Self-esteem, as basic need, 18 Self-hate, 26, 27-28

of Hamlet, 43, 44

302 INDEX

Self-image. See Image Separation-individuation, 184 Service, code of. See Loyalty, duty, and ser­

vice, code of Sexual repression, of Hamlet, 36-37, 38, 40 Shakespeare, William

attitudes toward women, 251, 252 personality of, 10-12 psychological conflicts of, 4-12, 183-

212 aggressiveness, 183, 185, 186-188,

191-192,262 as arrogant-vindictive personality, 185 compliance, 185 detachment, 185 masculine/feminine traits, 183, 184,

185-186 as perfectionist personality, 185 self-effacement, 185, 262-263 violence, 187

Shakespearean Tragedy (Bradley), 8 Shame, humor and, 25 Shylock

Antonio's relationship with, 198-199,200 as arrogant-vindictive personality, 23

Silvia, 218, 220, 221 Silvius, 231-232, 233, 234

as compliant personality, 21 Simonides, 253 Siward, 177 Sonnets, 282n

dark lady of, 214, 215, 216-217 love in, 214-217 self-effacement in, 214-217

Sorel, Julien, 73 Stephano, 270, 275 Stoicism, detachment and, 33-34 Suffering

in Cymbeline, 254 in King Lear, 137-138, 144 in Pericles, 252-253

Suffolk, Duke of, 187-188 Suicide, of Othello, 94-95 Sullivan, Harry Stack, 6

Talbot, Lord honor code of, 29, 30 military behavior of, 188, 190

Lord Talbot (cant.) as perfectionist personality, 22 violence of, 187

Taming of the Shrew, 217-218 Tamora, 197 Tate, Nahum, 143 Temperance, 28-29 Tempest, The, 261-277, 283n

inner conflicts in, 205 Prospero's cruelty, 267-271, 275, 283n Prospero's magic, 262, 263-267, 270-

271, 276 Prospero's nobility, 271-276

Thaisa, 253 Thersites, 24, 239, 241 Theseus, 224, 225 Thisbe,224 Timon of Athens

aggressiveness of, 247-248 bargain with fate, 247 as compliant personality, 21 defensive strategies of, 247 distrustfulness of, 251 self-effacement of, 214 self-hate of, 248, 250

Timon of Athens friendship in, 246-247, 249, 250 perfectionist worldview of, 204-205 self-effacement in, 214, 249-250, 252 as Shakespeare's pivotal play, 246, 252

Titania, 225 Titus Andronicus, 196-197 Totem and Taboo (Freud), 263 Touchstone, 229, 230, 233, 234-235 Trial by combat

in King Lear, 137 as perfectionist bargain with fate, 204 in Richard IJI, 191 warfare as, 30

Trinculo, 270, 275 Troilus, 239-242 Troilus and Cressida

love in, 239-242 martial/manly honor in, 195 perfectionist worldview of, 204

Twe(fth Night, 235-238 Two Gentlemen of Verona

love in, 219-220

Two Gentlemen of Verona (cont.) love triangle in, 218, 221 self-effacement in, 218-219

Tybalt, 196

Ulysses, 202-203, 240-241

Valentine (Two Gentlemen of Verona), 218-219,220,221,222

Vanity Fair (Thackeray), 6 Villain, mimetic, 173 Vincentio, Duke of Vienna

Angelo's relationship with, 218 as compliant personality, 21 inner conflicts of, 205, 206, 208-211 leniency of, 206, 207-208, 209-210,

211 as perfectionist personality, 209 self-effacement of, 209

Viola, 235, 236, 237

INDEX

Virtue, Renaissance concept of, 29 Vocation, as basic need, 18

Warfare Othello's attitude toward, 79 Shakespeare's depiction of, 188 as trial by combat, 30

Winter's Tale, The, 251, 255-256 Wolsey, Cardinal, 256, 257, 258, 259 Women

303

Hamlet's attitude toward, 36, 37, 38, 51, 52

Iago's hostility toward, 68 self-effacement toward, 220 unjustly accused, 251, 252, 255-256

Woolf, Virginia, 10 Worldview, of Shakespearean he­

roes/heroines, 15-16

York, Duke of, 33, 187-188