A psychological study of Norbert Hanold`s mental problem in Wilhelm Jensen`s Gradiva : A Pompeiian Fancy - USD Repository

  

A PSYCHOLOGICAL STUDY OF NORBERT HANOLD’S

MENTAL PROBLEM IN WILHELM JENSEN’S GRADIVA: A

POMPEIIAN FANCY

AN UNDERGRADUATE THESIS

  Presented as Partial Fulfilment of the Requirements For the Degree of Sarjana Sastra

  In English Letters

  

By

LAMBERTUS LAGADONI LEDJAB

  Student Number: 994214099

  

ENGLISH LETTERS STUDY PROGRAMME

DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS

SANATA DHARMA UNIVERSITY

YOGYAKARTA

  TABLE OF CONTENTS

  TITLE PAGE ………………………………………………………………. i APPROVAL PAGE ……………………………………………………….. ii ACCEPTANCE PAGE ……………………………………………………. iii MOTTO PAGE ……………………………………………………………. iv DEDICATIONAL PAGE …………………………………………………. v ACKNOWLEDGEMENTS ……………………………………………….. vi TABLE OF CONTENTS …………………………………………………. vii ABSTRACT ………………………………………………………………. ix ABSTRAK ………………………………………………………………… x

  ………………………………………… 1

CHAPTER I INTRODUCTION A. Background of the Study ……………………………………… 2 B. Problem Formulation ………………………………………….. 4 C. Objective of the Study ………………………………………… 5 D. Definition of Terms …………………………………………… 5 CHAPTER II THEORETICAL REVIEW … ………………………….. 8 A. Review on Related Studies ……………………………………. 8 B. Review on Related Theories …………………………………..12 C. Theoretical Framework ……………………………………….. 22

  

CHAPTER III METHODOLOGY ……………………………………… 24

A. Object of the Study ……………………………………………. 24 B. Approach of the Study ………………………………………… 24 C. Method of the Study …………………………………………... 26

CHAPTER IV ANALYSIS … …………………………………………… 28

A. The Description of the Character of Norbert Hanold ………… 29

  1. The Character of Norbert Hanold …………………………. 29

  2. Norbert Hanold Relationship with His Parent …………….. 36

  3. Norbert Hanold Relationship with Gradiva ……………….. 37

  4. Norbert Hanold Relationship with Zoë Bertgang …………. 44

  B. The Description of Norbert Hanold’s Mental Problem ………. 46

  1. Norbert Hanold’s Unconscious Mental Activity ……………47

  a. Norbert Hanold’s Id and Superego ……………………47

  b. Norbert Hanold’s Ego and Neurosis …………………. 49

  c. Norbert Hanold’s Denial ……………………………... 49

  2. Norbert Hanold’s Repression and Neurosis ………………. .51

  3. Norbert Hanold’s Delusion …………………………………52

CHAPTER V CONCLUSION … ……………………………………… 57 BIBLIOGRAPHY ……………………………………………………… 59 APPENDICES ………………………………………………………….. 61 Appendix 1: The Summary of Wilhelm Jensen’s Gradiva:

  

ABSTRAK

  LAMBERTUS LAGADONI LEDJAB (2004). A Psychological Study of

  

Norbert Hanold’s Mental Problem in Wilhelm Jensen’s Gradiva: A

Pompeiian Fancy. Yogyakarta: Jurusan Sastra Inggris, Fakultas Sastra,

Universitas Sanata Dharma.

  Tesis ini sebagai sebuah telaah psikologi, membahas novel Wilhelm Jensen yang berjudul Gradiva: A Pompeiian Fancy melalui sudut pandang psikologi. Telaah ini merefleksikan efek psikologi modern terhadap karya sastra dan kritik sastra. Freud, sebagai tokoh fundamental, selain ahli-ahli psikologi lainnya, telah memberikan konsep-konsep baru tentang alam pikir manusia dengan menjelajahi area-area baru dan berbeda seperti ketidaksadaran, represi, neurosis, hasrat-hasrat dan pemenuhan keinginan dan menggunakannya dalam kritik sastra. Berdasarkan pengaruh konsep-konsep baru ini, tesis ini mencoba mengungkap permasalahan mental tokoh utama, Norbert Hanold seperti yang digambarkan dalam novel Wilhelm Jensen Gradiva: A Pompeiian Fancy.

  Untuk mengungkap permasalahan mental tokoh utama, Norbert Hanold, ada dua formulasi pertanyaan yang telah dibuat. Pertanyaan-pertanyan itu adalah: 1). Bagaimana tokoh utama, Norbert Hanold dikarakterisasikan dalam novel Wilhelm Jensen Gradiva: A Pompeiian Fancy; dan 2). Apakah permasalahan mental Norbert Hanold. Jawaban-jawaban dari pertanyaan-pertanyaan ini akan menjadi intisari dan tujuan dari tesis ini.

  Metode yang diaplikasikan dalam penulisan tesis ini adalah yang terutama metode riset pustaka, yang menyediakan banyak sumber-sumber pustaka dan informasi-informasi tentang Freud dan beberapa ahli psikologi lainnya dan juga teori-teori mereka tentang permasalahan mental. Walaupun ada banyak sumber- sumber pustaka, sebagian besarnya berhubungan dengan psikoanalisis Freud dan hanya sebagian kecilnya tentang ahli-ahli psikologi lain dan teori-teori mereka tentang permasalahan mental. Karena tesis ini adalah sebuah telaah psikologi, pendekatan yang digunakan di sini adalah pendekatan psikologi sebagai kritik berbasis teori yang menyediakan teori-teori, prinsip-prinsip dan kebenaran- kebenaran dasar serta nilai dari seni.

  Tesis ini menyimpulkan bahwa Norbert Hanold sebagai protagonis, menjadi ahli sejarah karena arahan keluarganya. Dia adalah seorang penghayal dengan hayalan yang kreatif tetapi dia juga seorang yang empiris. Permasalahan mentalnya berawal dari neurosis dalam pikirannya sebagai kebangkitan kembali hasrat cintanya kepada teman masa kecilnya, Zoe Bertgang, yang telah terepresi. Karena pertentangan berkesinambungan yang terjadi dalam aktivitas tidaksadar mentalnya, sebuah perasaan tertarik pada relief Romawi, Gradiva, tercipta di dalam kesadarannya sebagai kompromi. Perasaan tertarik ini selanjutnya menjadi simptom dalam kesadarannya sejak perasaan tersebut mengalami perkembangan mengarah ke delusi yang tersistematisasi dalam kehidupannya. Pada saat yang

  

ABSTRACT

  LAMBERTUS LAGADONI LEDJAB (2004). A Psychological Study of

  

Norbert Hanold’s Mental Problem in Wilhelm Jensen’s Gradiva: A

Pompeiian Fancy. Yogyakarta: Department of English Letters, Faculty of Letters,

Sanata Dharma University.

  This thesis as a psychological study discusses Wilhelm Jensen’s novel entitled Gradiva: A Pompeiian Fancy through the lens of psychology. This study reflects the effect of modern psychology upon both literature and literary criticism. Freud, as the fundamental figure, has given new notions of human mind by exploring contemporary and unusual areas like the unconscious, repression, neurosis, desires and wish fulfilment and using them in literary criticism. In the light of those new notions, this thesis tries to find the mental problem of the main character, Norbert Hanold as it is described in Wilhelm Jensen’s Gradiva: A

  Pompeiian Fancy .

  In order to find the mental problem of the main character, Norbert Hanold, there are two problem formulations that have been set up. They are: 1). How the main character, Norbert Hanold, is characterized in Wilhelm Jensen’s Gradiva: A

  ; and 2). What Norbert Hanold’s mental problem is. The answers

  Pompeiian Fancy of these two problems will be the essence and the goal of this thesis.

  The method applied in making this thesis is mainly library research method, which provides well-supplied resources and informations on Freud and some other psychologists, and also their psychological theories on mental problem. Despite the great numbers of resources, most of them are dealing with Freud’s psychoanalysis and only a small numbers of them concern with other psychologists‘theories on mental problem. Since this thesis is a psychological study, the approach that is used here is psychological approach, which as the theoretical criticism; it provides the theories, principles and tenets of the nature and value of art.

  This thesis concludes that Norbert Hanold as the protagonist becomes an antiquarian because of his family direction. He is a contemplative person with a creative imagination but he is also an empirical person. In addition, his mental problem comes from the neurosis in his mind as the awakening of his repressed love desires to his childhood friend, Zoë Bertgang. Because of the never-ending battle in his unconscious mental activity, an attractive feeling to the Roman bass- relief of Gradiva is created in his conscious mind as the compromise. This attractive feeling then becomes the symptom in his mind since it has been developed into a systematized delusion in his waking life. At the same time, Norbert Hanold in fact has had a paranoia psychosis in his mind as his mental problem.

CHAPTER I INTRODUCTION A. Background of the Study The foundation for all forms of psychological criticism irrefutably belongs to Freud and his theories and techniques developed during his psychiatric practice. Whether any practicing psychological critic uses the ideas of Jung, Frye, Lacan, or

  any other psychologist, all must acknowledge Freud as the intellectual founding father of this form of criticism (Bressler, 1998: 159).

  As it is stated in Guerin’s A Handbook of Critical Approaches to

  

Literature , during the twentieth century, psychological criticism has come to be

  associated with a particular school of thought: the psychoanalytic theories of Sigmund Freud and his followers. The foundation of Freud’s contribution to modern psychology is his emphasis on the unconscious aspect of the human psyche. A brilliant creative genius, Freud provided convincing evidence, through his many carefully recorded case studies, that most of our actions are motivated by psychological forces over which we have very limited control (Guerin, 1998: 126-127).

  There are Freud’s three major premises, which has become the centrality of psychological criticism. That most of the individual’s mental processes are unconscious is thus Freud’s first major premise. The second is that the prime psychic force motivates all human behaviour ultimately: libido or sexual energy. certain sexual impulses, many of our desires and memories are repressed (Guerin, 1998: 128).

  For several decades after its introduction to literary studies, Freud’s psychological criticism focused mainly on the author. Known as psychobiography, this method of analysis begins by amassing biographical data of an author through biographies, personal letters, lectures, and any other documents deemed related in some way to the author. Using these documents and author’s canon, Freud’s psychological critics believed they could theoretically construct the author‘s personality with all its idiosyncrasies, internal and external conflicts and most importantly, neuroses. In 1950s, Freud’s psychological critics turned their attention away from psychobiography to character analysis, studying the various aspects of characters’ minds found in an author’s canon. Such a view gave rise to a more complex understanding of a literary work. Individual characters within a text now became the focus (Bressler, 1998: 161).

  This thesis will focus on seeing Norbert Hanold, especially on his mental problem in Wilhelm Jensen’s novel entitled Gradiva: A Pompeiian Fancy. It is told that Norbert Hanold, one of the main characters in the novel, gets his own delusion as his symptom of his mental problem after he was entranced with the image of a young girl on a Roman sculptural relief. The beauty of the figure fascinates him and he names her Gradiva (Latin for "she who advances"). Haunted by her image, he dreams that he sees Gradiva walking in Pompeii on the day Mount Vesuvius erupted in 79 AD. As he rushes to approach Gradiva, he Gradiva disappeared and he searched for her. She appeared to come to life in someone else's body. Hanold met her as Zoë Bertgang, who was actually his childhood close friend and this becomes the main idea of his mental problem.

  In the analysis, Freud’s idea about mental processes was mostly used. According to Freud, a child has stored many painful memories of repressed sexual desires, anger, rage, and guilt in his or her consciousness. Because the conscious and unconscious are part of the same psyche, the unconscious with its hidden desires and repressed wishes continues to affect the conscious in the form of inferiority feelings, guilt, irrational thoughts and feelings, and dream and nightmares. Freud asserts the unconscious expresses its suppressed wishes and desires. Even though the conscious mind has repressed these desires and has forced them into the unconscious, such wishes may be too hard for the conscious psyche to handle without producing feeling of self-hatred or rage. The unconscious then redirects and reshapes these concealed wishes into acceptable social activities, presenting them in the form of images or symbols in our dream or writings (Bressler, 1998: 152-153). These ideas will be used to analyse how Norbert Hanold in relation with his mental problem is characterized.

  There are some views that have been elaborated in Jensen’s work. Most of those views, including Freud himself, concern on how to see the writer’s relationship to his writing, whether the character’s dream and delusion were fictitious or whether they represent repressed knowledge on the part of the writer himself. Besides they also concerning on seeing how the relation of delusion to

  In the conclusion next, it will be found out how Norbert Hanold is described relating with its personality, internal and external conflicts and his neurosis. Then it will be found also, what Norbert Hanold’s mental problem is relating with Freud’s idea about child-repressed memory and Strange as Kartono’s idea about mental disorders.

  B. Problem Formulation

  Based on the explanation affirmed earlier, these are some questions I would like to discuss as the main railway for the next analysis on this thesis. The questions to gain a comprehensive understanding on the title of the thesis can be formulated as follows:

  1. How is the main character, Norbert Hanold, characterized in Wilhelm Jensen’s novel Gradiva: A Pompeiian Fancy?

  2. What is Norbert Hanold’s mental problem?

  C. Objectives of the Study

  The objective here is the aims that want to be found out by this study. The first one is to identify how Norbert Hanold, the main character is characterized and to identify Norbert Hanold’s mental problem in Wilhelm Jensen’s novel

  

Gradiva: A Pompeiian Fancy . There will be seen also how the contribution of the

  other characters through Norbert Hanold’s mental problem based on his relationship with them as it is described in the story. The second one is to understand what Norbert Hanold’s mental problem is by analysing its description and combining with the theory that used in the analysis.

D. Definition of Terms

  

Psychological Study : This study reflects the effect that modern

  psychology has had upon both literature and literary criticism. Fundamental figures in psychological criticism, including Freud, changed our notions of human behaviour by exploring new or controversial areas like wish-fulfilment, sexuality, the unconscious, and repression" as well as expanding our understanding of how "language and symbols operate by demonstrating their ability to reflect unconscious fears or desires". Psychological criticism has a number of approaches, but in general, it usually employs one (or more) of three approaches: 1. an investigation of "the creative process of the artist: what is the nature of literary genius and how does it relate to normal mental functions?" 2. The psychological study of a particular artist, usually noting how an author's biographical circumstances affect or influence their motivations and/or behaviour.

  3. The analysis of fictional characters using the language and methods of psychology (www. home.olemiss.edu/-egjbp/200/litcrit.html).

  Mental Problem : Jack Roy Strange in his book Abnormal psychology:

Understanding Behaviour Disorders stated that even the very general

  classifications of “mental illness” and “mental disease” are often misleading to a layman. In fact, psychologists continue to debate the efficacy of this term. If abnormal behaviour is a matter of not conforming to group and personal norms,

  The individual has learned to behave in a way that is maladaptive. In such a case mental “illness” and mental “health” are no more than medical euphemisms to label behaviour that is abnormal or normal according to cultural and personal criteria. Mental health and mental illness are not something that a person has or does not have. They are simply terms used to describe his adjustive or maladjustive behaviour.

  In his book, it is also, described several categories of behaviour disorders covered in abnormal psychology. They are: 1. Psychosis: loss of touch with some important aspects of reality as shown in such symptoms as delusions, hallucinations, and confusions. It may result from brain disturbance or from poor social learning. 2. Psychoneurosis or neurosis: social and personal maladjustment accompanied by feelings of dissatisfaction, unhappiness, and inferiority; characterized by symptoms such as phobias, compulsions, obsessions, and conversion reactions. 3. Psychosomatic disorders: bodily conditions (asthma, ulcers, and hives may be examples) that result from prolonged emotional conflict and upheaval involving the autonomic nervous system. 4. Psychopathic

  : antisocial behaviour that disturbs and disrupts society, shown by

  personality

  individuals who are incapable or any ordered, persistent social living. These individuals cannot even participate successfully in a criminal gang. 5. Mental

  

deficiency : insufficient intelligence and judgement for ordinary, normal social

  living. Mentally deficient individuals may or may not suffer any of the foregoing personality disturbances (1965: 9-11).

CHAPTER II THEORETICAL REVIEW A. Review of Related Studies There are some views that have been elaborated in Jensen’s Gradiva: A Pompeiian Fancy . Most of them concern more on how to see the writer’s

  relationship to his writing. They are curious on seeing whether the character dream and delusion were fictitious or whether they represent the writer’s repressed knowledge. Besides they also concern on comparing Jensen’s work with some other German’s works which presents the same theme.

  Nenad Dakovic, in his writing entitled the Post-modern Mephisto,

  

Fragments on War , was interested in Mars Gradivus (the god of war entering into

  battle) and the insane, evidently homosexual projection, which that character links to him. This "bewitching image" is at the bottom of his madness. He needs only look at the models of war on his streets and at his hysterical worship of clothing "objects" which, directly or indirectly, point to death itself. As well as individuals, some social groups, too, sometimes prefer to live in dreams, homogenized around one insane idea, rather than in reality. "We love death", say the insane models of war; it is a matter of lethal simulation by the impotent. The cogito has suspended this madness; it is excluded as the "other" of the philosophical language (fashion), so that it has escaped from the cogito into language, which does not know of the post-modern Gradivus. This is no longer a case of (instinctual) repetition (sublimation of instincts), which requires the discourse of classical psychoanalysis. I think of a being, which does not have a realistic attitude towards death or the "I", because it is always "somebody else" who is dying, and the "I" is infinitely replaceable. Instead of repetition, this is a case of semantic iterability, "which precludes the possibility of existence of pure and great founders, initiators, of great poets, great philosophers" (www.press.jhu.edu/books/hopkins_guide_to_literary_theory/german_theory_and _criticism-_3.html ).

  Peter Graves, in his article entitled Göran Printz-Påhlson (2001) was interested to see deeper Göran’s latest collected poems entitled Säg minns du which appeared in 1984, in its relationship with Jensen’s novel

  skeppet Refanut?, Gradiva: A Pompeiian Fancy . According to him Göran’s Säg minns du skeppet Refanut? was a poetry that seemed to revel in its own exclusiveness, full of

  classical and renaissance allusions, self-consciously literary, playing with complex and obscure verse forms, labelled with Latin mottoes, supplied with its own footnotes, dragging in Virgil and Wittgenstein and just about everyone in between. It was all a long way from "the new simplicity" called for by Lars Bäckström and Göran Palm, with its demands that poetry should move out of what Palm satirized as the "poetry park", should cease to disappear up its own metaphor and should instead dedicate itself to radical political engagement and non-exclusive democratic communication.

  In its relationship with Jensen’s novel, he stated that Printz-Påhlson says that he intended it to be a sort of opera-bouffe, harking back to "the parody romantic tone of the world of Mozartian opera". It occurs to me, however, that "Gradiva" is much more Printz-Påhlson’s Faust, with its changing scenes, its hotch-potch of ideas, characters, and themes, its tender lyricism and its cynicism, its baroque burlesque and its grotesqueness, its flight from the sublime to the earthy and then aloft again. The central figure, Norbert Hanold, a dry as dust academic archaeologist, has to venture Faust-like into a world of myth in order to get a life. The scene opens, in a reminiscence of Faust, in the study and should perhaps be a warning to many of the reader since it starts in academia and ends in a bathetic limbo. "Gradiva" is a rich work, stimulating sometimes in a thought- provoking way, sometimes in a crossword-puzzle sense, but glowing from beginning to end with the humour of humanity. It allows itself to be expansive and makes one feel that perhaps too many of Printz-Påhlson’s poems have – unlike, his essays, for instance – been too tightly controlled, insufficiently discursive. The big, untidy format suits him. In the opening essay of När jag var

  

prins utav Arkadien he writes with some admiration of Dennis Potter’s "mimo-

  melodramatic" television trilogy "Pennies from Heaven" and one can see why: Potter, without going outside the bounds of twentieth century popular culture was aiming at a similar kind of discursive cultural referentiality. (This article appeared in the 2001:1 issue: http://www.swedishbookreview.com/article-2001-1- graves.asp).

  Philip Rieff in “The Introduction” of Delusion and Dream wrote that the study of Jensen’s Gradiva reflects Freud’s ambition to read the truth back into every fiction. Nothing falls outside the range of the “meaningful and interpretable.” Whether the dreams of Norbert Hanold’s related in Gradiva were fictitious or represent repressed knowledge on the part of the novelist, Jensen himself, in no way affects Freud’s analysis. “Those dreams which have never been dreamed,” Freud wrote, “those created by the authors and attributed to fictitious characters in the context of their stories,” reveal as much, to the psychoanalytic view, as the dreams of real patients. Of course, Freud did try to examine the novelist, Jensen, as well as the novel, Gradiva. He sent a number of polite psychoanalytical inquiries, and Jensen replied somewhat testily. Freud did say that no dream could be interpreted without possessing the associations of the patient. He said as well that associations are necessary when one can interpret the dream symbolically; the dream reveals the patient, whatever he may choose to tell about it (1956: 2).

  From all of those views, this undergraduate thesis, however, is an attempt to capture how the main character, Norbert Hanold, is characterized in the story. It also wants to see his mental problem from the perspective of Freud’s theory of child’s repressed memory. This analysis uses Freud’s theory on the repression and the unconscious mental activity as the main theory. Nevertheless, some aspects can make this thesis different from other views. First, the other views put its attention more on seeing how the author’s psychoanalysis knowledge background influences the story making. In addition, the second one is the other views more interests on dream analyzing as the focus of their study.

B. Review of Related Theories

  This study will apply two main theories. They are theories on character and theories on mental problem. Theories on character will be used in order to analyze the characterization of Norbert Hanold. In addition, theories on mental problem consist of two parts: they are theories on unconscious mental activity and theories on neurosis and delusion. Theories on unconscious mental activity will be used to analyse Norbert Hanold’s unconscious mental activity and mental problem and theories on neurosis and delusion will be used to find out what kind of mental problem that Norbert Hanold has as it is described in the story.

1. Theories on Character

  Roger B. Henkle in his book entitled Reading the novel (1977) divides characters into major and minor characters. The characters that are observed most often in the novel and whose appearances are frequent can be considered as major characters. These characters are given a good deal attention as well as their characters in a novel continually talk about it (1977: 90). The readers will give their fullest attention to these major characters because if they understand them, they presumably understand the experience of the novel. A part from this, the major characters perform as essential structural function in the story. Besides major, Henkle explains also about the minor characters. Secondary characters in the secondary character, an identification of some of these function are necessary. First function is to populate the world if the novel. Since fiction presents human context, the minor characters establish that context. The minor characters are actually representative figures that play larger roles in a novel without reaching the importance of the major characters. It is often encountered in the characters that seem to embody the attitudes and way of life that is assumed average or normal fir a person in this society (1977: 55).

  Characterization may also be easily identified in accordance with the functions of the characters. The characters can be the main or the chief characters and the supporting characters. They are the protagonist and the antagonist of the story. Chris Baldick in the Concise Oxford Dictionary of Literary Terms defines protagonist as the chief character in a play or story, who may also be opposed by an antagonist. He also added that in ancient Greek theatre, the word referred to the principal actor in a drama. The antagonist, according to him, is the opponent of the protagonist. Usually, antagonist is a villain seeking to frustrate the protagonist, but in the works in which the protagonist is represented as evil, the antagonist will be virtuous or a sympathetic one (1991: 35).

  William Hudson in his book An Introduction to the Study of Literature wrote an author’s success in characterization depends on his method in giving detailed description toward his characters. In a play performance, characterization can be shown from gesture, make-up, customs, and the look of the characters. In reading the novel, all those descriptions are based merely on orders imagination only. Thus, it is very important for author to give vivid descriptions about his characters.

  There are two methods of characterizing characters in a story: direct or analytical and indirect or dramatic methods. In the latter method, a novelist leaves the characters to reveal themselves through their dialogues and action, and portrait of a character through comment or judgment from other characters. The former method, a novelist pictures his characters from outside, gives the reader detailed information. The novelist informs their passion, motives, thought, and feeling; explains and comments. The author also gives judgment upon his characters (1958: 147).

2. Literature and Psychology

  Bressler in his book entitled Literary Criticism an introduction to theory

  

and practice describes a clear explanation about the relation between literature,

  literary theory and literary criticism. He said that literary theory assumes that there is no such a thing as an innocent reading of a text. Whether our responses are emotional and spontaneous or well reasoned and highly structured all such interactions with and to a text are based on some underlying factors that cause us to respond to the text in a particular fashion. Then he continues that because our reactions to any text have theoretical bases, all readers must have a literary theory.

  The methods we use to frame out our personal interpretation of any text directly involve us in the process of literary criticism and theory, automatically making us

  When analyzing a text, literary critics ask basic questions concerning the philosophical, psychological, functional, and descriptive nature of the text itself.

  Traditionally, literary critics involve themselves in either theoretical and or practical criticism. Theoretical criticism formulates the theories, principles, and tenets of the nature and value of art. By citing general aesthetic and moral principles of art, theoretical criticism provides the necessary framework for practical criticism. Practical criticism (also known as applied criticism) applies the theories and tenets of theoretical criticism to a particular work. Using the theories and principles of theoretical criticism, the practical critic defines the standards of taste and explains, evaluates, or justifies a particular piece of literature. The basis for either kind of critic, or any form of criticism, is literary theory. Without theory, practical criticism could not exist (Bressler, 1998: 5).

  Moreover, psychology as one of studies can become a theoretical criticism, which provides theories, principles, and tenets of the nature and value of art. This kind of critic is known also as psychological critics. As Guerin stated in his book A Handbook of Critical Approaches to Literature, Aristotle has used this kind of critic as early as fourth century in setting forth his classic definition of tragedy as combining the emotion of pity and terror to produce catharsis. Besides, Sir Philip Sidney, with his statements about the moral effects of poetry, was psychologizing literature, as were such romantic poets as Coleridge, Wordsworth, and Shelley with their theories of the imagination. In this sense, then, virtually early literary critic has been concerned at some time with the psychology of

  However, during the twentieth century, psychological criticism has come to be associated with a particular school of thought: the psychoanalytic theory of Sigmund Freud and his followers. The foundation of Freud’s contribution to modern psychology is his emphasis on the unconscious aspects of the human psyche. He demonstrated that, like the iceberg, the human mind is structured so that its great weight and density lie beneath the surface (below the level of consciousness). Principal among these is his assignment of the mental processes to three psychic zones: the id, the ego and the superego (Guerin, 1998: 127-128).

  Although Freud himself made some applications of his theories to art and literature, it remained for the psychologist Ernest Jones, to provide the first full- scale psychoanalytic treatment of a major literary work. Jones’ Hamlet and

  , originally published as an essay in the American Journal of psychology

  Oedipus

  in 1910, was later revised and enlarged. Jones points out that no satisfying argument has ever been substantiated for the idea that hamlet avenges his father murder as quickly as practicable. Shakespeare makes Claudius’ guilt as well as Hamlet’s duty perfectly clear from the outset—if we are to trust the words the ghost and the gloomy insights of the hero himself. The fact is, however, that Hamlet does not fulfil this duty until absolutely forced to do so by physical circumstances—and even then, only after Gertrude, his mother, is dead. Jones also elucidates the strong misogyny that Hamlet displays throughout the play, especially as it is directed against Ophelia, and his almost physical revulsion to sex. All of this adds up to a classic example of the neurotically repressed Oedipus

  In http://www.literatureclassics.com/ancientpaths/litcrit.html#Psych, it is also clear explained that psychological critic views works through the lens of psychology. They look either at the psychological motivations of the characters or of the authors themselves, although the former is generally considered a more respectable approach. Most frequently, psychological critics apply Freudian psychology to works, but other approaches (such as a Jungian or Lacanian approach) also exist. The example which is given there is a psychological approach to John Milton's Samson Agonisties. It might suggest that the shorning of Samson's locks is symbolic of his castration at the hands of Dalila and that the fighting words he exchanges with Harapha constitute a reassertion of his manhood. Psychological critics might see Samson's bondage as a symbol of his sexual impotency, and his destruction of the Philistine temple and the killing of himself and many others as a final orgasmic event (since death and sex are often closely associated in Freudian psychology). The total absence of Samson's mother in Samson Agonisties would make it difficult to argue anything regarding the Oedipus complex, but Samson refusal to be cared for by his father and his remorse over failing to rule Dalila may be seen as indicative of his own fears regarding his sexuality (www.literatureclassics.com/ancientpaths/litcrit.html#Psych).

3. Theories on Mental Problem

  In the analysis next, Freud’s theory on mental problem will be used because its explanation on repressed motives as the main cause of mental problem Freud sees repressed motive as the unconscious which is produced as the result of the struggle between ‘Id’ as the power of love desire and ‘Superego’ as the forces, which repressed it. This main idea will be used as the main point on the analysis of Norbert Hanold’s mental problem next.

  a. Freud’s Theory on Unconscious Mental Activity

a. 1. Id and the Superego

  In Freud's theory, the unconscious mind was the domain of a thing he called the "id'. Freud thought of the id sort of like a creature with a mind of its own. It is completely devoted to satisfying the needs and wants of the person of which it is a part. It is completely selfish. It is not bound by any social, moral, or intellectual judgments or constraints. The id might find pleasure in acts of cruelty. It has no sense of embarrassment, shame, guilt or remorse. For Freud, the id is a part of every individual, like a physical organ such as the stomach, and not a social construct.

  The id's behaviour, as manifested in the behaviour of the organism, is limited by another part of the mind, partly conscious and unconscious, that Freud called the "superego". The superego is essentially the same as the conscience. It is an internalisation of socially constituted morals, so it is a social construct. Through the action of the superego, some of a person's primitive, id- based desires are "sublimated" or "repressed." By "sublimated" Freud meant that that they are modified into socially acceptable forms. By "repressed" he not even allowed knowing that they exist .

  ( www.psikoloji.fisek.com.tr/freud/genel.com)

  a. 2. The Ego and Neurosis

  The id and the superego are locked in a constant battle to control a third thing called the ego. The ego, essentially, is the conscious mind. It is what thinks, feels, and acts. As the prize in the id-superego struggle, the ego is the slave of the winner. Neurosis, leading to psychological and social dysfunction, comes from the excessive domination of the ego by either the id or superego. Notice that the meaning of the term ego here is different from the one that is used most commonly. We tend to say that somebody has a "big ego" when we mean that they have too much self-esteem. Freud used the term very differently.

  ( www.psikoloji.fisek.com.tr/freud/genel.com).

  a. 3. Denial

  Denial is a process by which a conscious mind insists on believing something that cannot be so, or refuses to believe something that must be so.

  By "can't be so" and "must be so”, we mean that there's an obvious case for consensus about something that, for some obviously unconscious reason, a person can't participate in. Think of someone who is so emotionally attached to someone else who has just died that they cannot allow themselves to believe that the person is actually dead. Psychologists might have separate technical definitions, but we are including the ideas of "delusion" and "self-deception" in with denial. For the most part, denial is a social concept, since its definition it up here because it seems like a process that could occur meaningfully even in desert island situations. The idea is that a person is in denial if other people, if they were present, would have a consensus different from the belief of the person who's "in" denial (www.psikoloji.fisek.com.tr/freud/genel.com).

  b. Freud’s Theories on Neurosis and Delusion

  b. 1. Theory on Neurosis

  Neurosis, according to Freud, comes about from the frustration of basic instincts, either because of external obstacles or because of internal mental imbalance. In a situation of extreme mental conflict, where a person experiences an instinctual impulse which is sharply incompatible with the standards he feels he must adhere to, it is possible for him to put it out of consciousness, to flee from it, to pretend that it does not exist. So repression is one of the so-called "defence mechanisms," by that a person attempts to avoid inner conflicts. However, it is essentially an escape, pretence, a withdrawal from reality, and as such is doomed to failure. For what is repressed, does not really disappear, but continues to exist in the unconscious portion of the mind.

  It retains all its instinctual energy, and exerts its influence by sending into consciousness a disguised substitute for itself - a neurotic symptom. Thus, the person can find himself behaving in ways which he will admit are irrational, yet which he feels compelled to continue without knowing why. For by repressing something out of his consciousness he has given up effective control over it; he repression and recall it to consciousness (www.blupete.com/Literature/Biographies/Philosophy/Freud.htm).

b. 2. Theory on Delusion

  In his book Delusion and Dream (1956: 74, 86, and 94), Freud explains about how a delusion can be formed in mind. The most important of all explanatory and exonerating consideration remains the facility with which our intellect decides to accept an absurd content if impulses with a strong emotional stress find their satisfaction thereby (and this generally meets with too little acceptance). How easily and frequently intelligent people give reactions of partial feeble-mindedness under such psychological constellations; anyone who is not too conceited may observe this in himself as often as he wishes, and especially when some of the thought processes concerned are connected with unconscious or repressed motives (1956: 74).

  It has already heard that in actual illness the formation of a delusion very often attaches to a dream. Dreams and delusions spring from the same source, the repressed; the dream is, so to speak, the psychological delusion of normal human being. Before the repressed become strong enough to push it up into waking life as a delusion, it may easily have won its first success under the more favourable conditions of sleep, in the form of a dream whose effect lingers on (1956: 86).

  The symptoms of the delusion--fantasies as well as actions--are result of a compromise between the two psychic streams, and in a compromise the to forgo some part of what he wanted to carry out. Where a compromise has been established, there has been a struggle—here, the conflict assumed between the suppressed eroticism and the forces, which keep it alive in the repression. In the formation of delusion this struggle is never ended (1956: 94).

  Jack Roy Strange in his book Abnormal psychology: Understanding

  

Behaviour Disorders states that delusion is just one of several symptoms that

  shown that someone has loss of touch with some important aspects of reality or it is called psychosis (1965: 9-11).

  Furthermore, Kartini Kartono, in her book Psikologi abnormal &

  

Abnormalitas Seksual (1984: 67-68), states that the systematized delusions and

  fixed ideas which filled someone’s mind actually is the symptom which shown that he has gotten a serious mental disorder that known as paranoia psychosis.

  The characteristic of this paranoia psychotic person is he has systematized delusions, especially delusion of grandeur and persecution, and he also has a jealousy feeling. He still has a logical mind, but his ideas will always be wrong especially his fixed ideas which are influenced directly by his delusions (My translation).