I must not leave the typical dream of the death of dear relatives without somewhat further elucidating the subject
concerning the character of the hero, has curiously shown itself to be consistent with the overpowering effect of the modern drama. The play is based upon Hamlet's hesitation to accomplish the avenging task which has been assigned to him; the text does not avow the reasons or motives of this hesitation, nor have the numerous attempts at interpretation succeeded in giving them. According to the conception which is still current to-day, and which goes back to Goethe, Hamlet represents the type of man whose prime energy is paralysed by over-development of thought activity. ("Sicklied o'er with the pale cast of thought.") According to others the poet has attempted to portray a morbid, vacillating character who is subject to neurasthenia. The plot of the story, however, teaches us that Hamlet is by no means intended to appear as a person altogether incapable of action. Twice we see him asserting himself actively, once in headlong passion, where he stabs the eavesdropper behind the arras, and on another occasion where he sends the two courtiers to the death which has been intended for himself—doing this deliberately, even craftily, and with all the lack of compunction of a prince of the Renaissance. What is it, then, that restrains him in the accomplishment of the task which his father's ghost has set before him? Here the explanation offers itself that it is the peculiar nature of this task. Hamlet can do everything but take vengeance upon the man who has put his father out of the way, and has taken his father's place with his mother—upon the man who shows him the realisation of his repressed childhood wishes. The loathing which ought to drive him to revenge is thus replaced in him by self-reproaches, by conscientious scruples, which represent to him that he himself is no better than the murderer whom he is to punish. I have thus translated into consciousness what had to remain unconscious in the mind of the hero ; if some one wishes to call Hamlet a hysteric subject I cannot but recognise it as an inference from my interpretation. The sexual disinclination which Hamlet expresses in conversation with Ophelia, coincides very well with this view—it is the same sexual disinclination which was to take possession of the poet more and more during the next few years of his life, until the climax of it is expressed in Timon of Athens. Of course it can only be the poet's own psychology with which we are confronted in Hamlet; from a work on Shakespeare by George Brandes (1896), I take the fact that the drama was composed immediately after the death of Shakespeare's father—that is to say, in the midst of recent mourning for him—during the revival, we may assume, of his childhood emotion towards his father. It is also known that a son of Shakespeare's, who died early, bore the name of Hamnet (identical with Hamlet). Just as Hamlet treats of the relation of the son to his parents, Macbeth, which appears subsequently, is based upon the theme of childlessness. Just as every neurotic symptom, just as the dream itself, is capable of re-interpretation, and even requires it in order to be perfectly intelligible, so every genuine poetical creation must have proceeded from more than one motive, more than one impulse in the mind of the poet, and must admit of more than one interpretation. I have here attempted to interpret only the most profound group of impulses in the mind of the creative poet. The conception of the Hamlet problem contained in these remarks has been later confirmed in a detailed work based on many new arguments by Dr. Ernest Jones, of Toronto (Canada). The connection of the Hamlet material with the "Mythus von der Geburt des Helden" has also been demonstrated by O. Rank.—"The Oedipus Complex as an Explanation of Hamlet's Mystery: a Study in Motive" (American Journal of Psychology, January 1910, vol. xxi.).
