The Myths And Archetypes Of The Novel Hamlet - 960 Words

â€Å"Total dream of mankind† (: Carl Jung’s theories on human psychology create a foundation for a better understanding of the archetypes portrayed in Hamlet. Jung focused on the myths and archetypes in relation to the unconscious part of the mind. He believed archetypes are models of human behavior that survived throughout history as they hold true. The archetypal literary criticism analyzes text †¦ The archetypes are embedded within us: shadow, anima, and self. The shadow consists of repressed ideas, weaknesses, desires and instincts. It reflects the deeper elements of the tragic hero’s, Hamlet, psyche and is personified by the same sex figure that employs many characteristics opposite of the protagonist. The anima represents the true self opposed to the image Hamlet presents to others and is usually a feminine image in the male psyche. Furthermore, the self is a coherent whole which unifies the consciousness and unconsciousness. The conclusion of the pla y is a result of Hamlet’s inability to achieve the Self. Jung’s formulated theory of various archetypes helps symbolize different aspects of a person’s personality. In Hamlet, the archetypes are depicted by characters surrounding Hamlet in which they reflect characteristics of his persona so that the reader can fully comprehend workings of his mind. The shadow archetype represents unknown characteristics of the protagonist, Hamlet. It embodies darker aspects of the psyche as well as the deeply repressed impulses of theShow MoreRelatedCan You Truly Ever Escape?2156 Words   |  9 Pagesgods made man, fate overcomes. This representation of fate vs. free additionally mirrors the story of Norse mythology. Odin the king, he the god of death and war; who was a famous warrior who led his people out of Troy. â€Å"The most famous of Odin’s myths is that Norse mythology calls for Ragnarok; the end of the existence on earth and what they may consider being heaven. Odin trying to avoid this destruction goes to the Tree of Wisdom to fight the guardian of the tree, Mimir; after fighting, the guardianRead MoreThe Educated Imagination3194 Words   |  13 Pagesobjects we encounter in space and myths of relations over time. (Conceived thus, a myth is a metaphor placed in time, and a metaphor is a myth take out of time.) Frye concedes that the modern reader stranded on a desert island, and forming a new society there, does not have the same experience of language as the â€Å"primitive.† A modern reader will bring his or her experiences of language and literature. However, he insists that ther e is a useful analogy between primitive myths and the most sophisticated worksRead MoreThe Fiction of Literature: Folk Tales, Fan Fiction, and Oral Tradition in the Internet Age2388 Words   |  10 Pageslinked to a majestic whole, and yet leave scope for other minds and hands, wielding paint and music and drama. Absurd.† With the benefit of hindsight, we know now that his idea was not ‘absurd’. Tolkien almost presciently describes the place his novels have taken in Western culture. Tolkien’s works, in the words of Tolkien scholar Tom Shippey, â€Å"ha[ve] become part of the mental furniture of the culture†¦ [They are] a story that everybody kn[ows] about, even if they c[a]n’t remember ever reading orRead MoreThe Sonnet Form: William Shakespeare6305 Words   |  26 Pagesrhyme schemes. Couplet: Two successive rhymed lines that are equal in length. A heroic couplet is a pair of rhyming lines in iambic pentameter. In Shakespeare’s plays, characters often speak a heroic couplet before exiting, as in these lines from Hamlet: â€Å"The time is out of joint: O cursed spite, / That ever I was born to set it right!† Quatrain: A four-line stanza. The most common form of English verse, the quatrain has many variants. One of the most important is the heroic quatrain, written inRead MoreANALIZ TEXT INTERPRETATION AND ANALYSIS28843 Words   |  116 Pagessuggestions that may prove helpful. PLOT The Elements of Plot When we refer to the plot of a work of fiction, then, we are referring to the deliberately arranged sequence of interrelated events that constitute the basic narrative structure of a novel or a short story. Events of any kind, of course, inevitably involve people, and for this reason it is virtually impossible to discuss plot in isolation from character. Character and plot are, in fact, intimately and reciprocally related, especially