Tarantelli Carole Beebe
Int J Psychoanal. 2010 Dec;91(6):1483-501. doi: 10.1111/j.1745-8315.2010.00339.x. Epub 2010 Aug 24.
The author examines the tragedy of Macbeth from the vertex of its portrait of the effects of the hero's abandonment to the "blindest fury of destructiveness" (Freud, 1930, p. 121), using aspects of psychoanalytic thought to illuminate the theme. She affirms that Macbeth's immediate transformation in phantasy from loyal subject to future assassin threatens to flood his psyche with the uncontainable energy of destruction and thus to produce a psychic catastrophe. The remainder of the play is then examined as a representation of Macbeth's attempts to defend himself from that catastrophe: the only objects whose existence he can tolerate are those that cannot challenge his possession of the crown, which leads him to attempt to destroy all opposition. Since this is impossible, his alternative is to denude his mind of its perception of the reality in which the actions of others will inevitably produce future transformations which he is unable to control. The play's last soliloquy anticipates the final state, the repose of emptiness; it portrays a mind, emptied of emotion, looking at a world which it has denuded of meaning.
作者从麦克白被弃于“最盲目毁灭性狂怒”(弗洛伊德,1930年,第121页)所产生影响的描绘角度审视了这部悲剧,运用精神分析思想的多个方面来阐明主题。她断言,麦克白在幻想中从忠诚的臣民瞬间转变为未来的刺客,这有可能让他的心灵被无法遏制的毁灭能量淹没,从而引发一场精神灾难。该剧的其余部分随后被视为麦克白试图保护自己免受这场灾难的表现:他唯一能够容忍存在的事物,是那些不会挑战他对王位的占有之物,这导致他试图摧毁所有反对势力。由于这是不可能的,他的另一种选择是让自己的心灵不再感知现实,因为在现实中他人的行动将不可避免地带来他无法控制的未来变化。该剧最后的独白预示了最终状态,即空虚的平静;它描绘了一颗没有情感的心灵,凝视着一个被剥夺了意义的世界。