Mahon E
Columbia College of Physicians and Surgeons, USA.
Psychoanal Study Child. 1998;53:276-81.
Shakespeare has placed a parapraxis in Hamlet's mouth in the soliloquy in Act I. Hamlet says, "But two months dead, nay not so much not two." The slip attributed to Hamlet is of course no slip at all when seen as an aesthetic contrivance of the bard's to suggest the tension between warring aspects of Hamlet's psychology. I argue that Shakespeare's artistic methodology, his aesthetic sleight of hand, so to speak, which layers this complex drama with meanings concealing other meanings, supports Freud's notion that an unconscious latent oedipal drama underlies the whole manifest content, imbuing it with subtle but substantial dramatic tension. The slip of the tongue is not only a window into the unconscious of Hamlet that sheds light on the hero's Oedipus complex and the complexities of his attempted resolutions, it is also an example of Shakespeare's aesthetic subtlety at its most refined.
莎士比亚在《哈姆雷特》第一幕的独白中，让哈姆雷特出现了一个口误。哈姆雷特说：“才死了两个月，不，还不到两个月。” 从莎士比亚这位诗人的美学构思角度来看，这个被认为是哈姆雷特的口误，根本就不是口误，它暗示了哈姆雷特心理中相互冲突的各个方面之间的紧张关系。我认为，莎士比亚的艺术手法，可谓是他的美学技巧，为这部复杂的戏剧层层叠叠地赋予了隐藏着其他含义的意义，这支持了弗洛伊德的观点，即整部戏剧表面内容之下潜藏着无意识的俄狄浦斯戏剧，为其注入了微妙却又深刻的戏剧张力。这个口误不仅是洞察哈姆雷特潜意识的一扇窗口，揭示了这位主人公的俄狄浦斯情结以及他尝试解决情结时的复杂情况，它也是莎士比亚最为精妙的美学微妙之处的一个例证。
