Freudian Analysis of HamletAs a child, Shakespeare's Hamlet had felt the warmest affection for his mother, and this, as is always the case, contained elements of a disguised erotic quality, and even more so in early childhood. The presence of two traits in the Queen's character is consistent with this hypothesis, namely her distinctly sensual nature and her passionate attachment to her son. The first is indicated in too many places in the play to require specific reference, and is generally recognized. The latter is also obvious: Claude says for example (79): “The Queen, his mother, almost lives by his appearance”. However, Hamlet seems to have weaned himself from her with more or less success and to have fallen in love with Ophelia. The precise nature of his original feeling for Ophélie is a little obscure. It can be assumed that this was at least partly normal love for a future wife, although the extravagance of the language used (the passionate need for absolute certainty, etc.) suggests a somewhat morbid. There are indications that even here the influence of the old attraction to the mother is still exerted. Although some writers, following Goethe, see in Ophelia many traits resembling the queen, the traits contrasting with those of the queen are perhaps just as striking. [...] Now comes the death of the father and the second marriage of the mother. The association of the idea of ​​sexuality with his mother, buried since childhood, can no longer be hidden from his consciousness. As Bradley well puts it: "His son was forced to see in his action not only an astonishing superficiality of feeling, but an eruption of gross sensuality, 'gross and crude,' rushing in all haste for his horrible pleasure." . middle of paper ...... and by continuing to “repress” the first, he must strive to ignore, condone and if possible even forget the second; his moral destiny is linked to that of his uncle for better or for worse. In reality, his uncle incorporates the deepest, most buried part of his own personality, so he cannot kill him without committing suicide himself. This solution, very close to what Freud showed as the motive for suicide in melancholy, is in fact the one that Hamlet will ultimately adopt. The alternating course of action and inaction in which he engages, and the provocations which he gives to his suspicious uncle, can lead to no other end than that of his own ruin and, incidentally, that of his uncle. Only when he has made the final sacrifice and put himself at death's door will he be free to fulfill his duty, to avenge his father and kill his other self, his uncle..