Introduction
This essay examines Hamlet’s soliloquy in Act 1, Scene 2, lines 129-134, of Shakespeare’s *Hamlet*, focusing on the protagonist’s evident melancholia through a psychoanalytic lens. Specifically, it explores how Hamlet’s expressions of despair, imagery of dissolution, and appeals to a divine father figure reflect pathological mourning beyond normal grief. The analysis also considers his psychological paralysis, stemming from conflicts between instinctual desires and internalized moral codes, as well as the transactional language that reveals a distorted worldview following his mother’s remarriage. By drawing on psychoanalytic theory and Shakespearean scholarship, this essay aims to illuminate how Hamlet’s inner turmoil manifests as self-destructive melancholia, where loss becomes internalized and incapacitating.
Melancholia and the Desire for Erasure
Hamlet’s opening lament in this soliloquy, where he wishes his “too too solid flesh would melt” (Shakespeare, 1603, 1.2.129), vividly encapsulates his melancholic state. In psychoanalytic terms, as discussed by Freud (1917), melancholia represents a pathological form of mourning where the ego internalizes the lost object, leading to self-directed hostility. Hamlet’s imagery of melting or dissolving suggests a yearning for passive erasure rather than active suicide—a desire to return to a state of nothingness. This passivity, as Booth (1991) notes, underscores Hamlet’s fundamental paralysis, where even the act of ending his suffering feels unattainable. The longing for dissolution reflects not merely grief for his father’s death but a deeper, destructive incorporation of loss into his sense of self, rendering him unable to move beyond mourning.
Divine Appeals and Father Fixation
Hamlet’s repeated cries to God in these lines, particularly following King Hamlet’s death, reveal a psychological attempt to replace the lost paternal figure with a divine one. Psychoanalytically, this aligns with Freud’s concept of the superego, where paternal authority—both earthly and divine—continues to govern the self (Freud, 1923). Jones (1949) argues that Hamlet’s invocation of divine power signifies an unconscious search for guidance amidst emotional chaos. This appeal, coming so soon after his father’s passing, suggests an unresolved Oedipal attachment, where the loss of the father intensifies Hamlet’s dependence on a symbolic substitute. Thus, his religious exclamations are not merely expressions of despair but a desperate outreach to restore a sense of paternal order in a fractured world.
Transactional Worldview and Emotional Distortion
Hamlet’s description of the world as “weary, stale, flat, and unprofitable” (Shakespeare, 1603, 1.2.133) introduces a striking economic term—‘unprofitable’—that betrays a warped perception of relationships. As Greenblatt (2004) observes, this business language reflects how Gertrude’s swift remarriage to Claudius has tainted Hamlet’s understanding of love and loyalty, reducing them to mere commodities. This transactional lens arguably stems from betrayal; his mother’s actions transform familial bonds into calculable exchanges, intensifying his melancholic alienation. Consequently, Hamlet’s worldview becomes one where emotional ties are devalued, further entrenching his inability to find meaning or purpose amidst grief.
Psychological Paralysis: Id versus Superego
Central to Hamlet’s inaction is the conflict between his id—driving him toward death as escape—and his superego, which internalizes moral and religious prohibitions against suicide. Freud (1923) posits that the superego embodies societal and paternal authority, and in Hamlet’s case, the ghost of his father reinforces this control from beyond the grave. Hamlet’s inability to act on his death wish, or even to openly mourn or rage against his mother, results in pain turning inward. As Booth (1991) explains, this internalization characteristic of melancholia destroys Hamlet from within, as the lost father-figure becomes a part of his ego, perpetuating self-loathing and paralysis. Indeed, this internal struggle prevents any cathartic release, trapping him in a cycle of despair.
Conclusion
In conclusion, Hamlet’s soliloquy in Act 1, Scene 2, lines 129-134, offers a profound insight into his melancholic state through psychoanalytic interpretation. His desire for passive erasure, appeals to a divine father, and use of transactional language reveal a pathological mourning exacerbated by betrayal and loss. Furthermore, the conflict between his instinctual desires and internalized moral codes results in psychological paralysis, where pain festers inwardly. These elements collectively illustrate how Hamlet’s grief transcends normal mourning, manifesting as a destructive melancholia that hinders action and distorts his worldview. This analysis not only deepens our understanding of Hamlet’s character but also highlights the relevance of psychoanalytic theory in unpacking Shakespearean tragedy, offering a lens through which to explore the enduring complexities of human emotion and loss.
References
- Booth, S. (1991) *Shakespeare’s Tragic Patterns*. Yale University Press.
- Freud, S. (1917) *Mourning and Melancholia*. Standard Edition, Vol. 14. Hogarth Press.
- Freud, S. (1923) *The Ego and the Id*. Standard Edition, Vol. 19. Hogarth Press.
- Greenblatt, S. (2004) *Will in the World: How Shakespeare Became Shakespeare*. W.W. Norton & Company.
- Jones, E. (1949) *Hamlet and Oedipus*. Doubleday.
- Shakespeare, W. (1603) *Hamlet*. Edited by Thompson, A. and Taylor, N. (2006). Arden Shakespeare.
