Lacan, Jacques - Desire & the Interpretation of Desire in Hamlet, (1977) 55-56 YFS 11

7/13/2019 Lacan, Jacques - Desire & the Interpretation of Desire in Hamlet, (1977) 55-56 YFS 11

1/42

acues aca

D D a

Th Obj Ohi

s a sort of comeo aouced tat would spea today abouttat pece of bat amed Opela, ad I be as good as my word

Our purpose, as you remember, s to sow te tragedy of desreas t appears amet uma desre, at s, suc as we are cocered wt psycoaalyss.

We dstort ts desre ad cofue t wt oter terms f wefal to locate t referece to a set of coordates tat as reudsowed, establs te subject a cea osto of depedeceuo te sge Te sger s ot a reecto, a product pure

ad smple of wat ae called teruma reatosps - all psycoaalyc eperece dcates te cotray To accout for tepresupostos of ts eperece, we must refer to a topologcalsystem wtout wc all te peomea produced our domawould be dstgusable ad meagless. e llustato sowste essetal coordates of ts topology

Te story of Ham (ad ts s wy cose ) reeals a most

d drmatc sese of ts topology ad ts s te source of tseceptoal power of captato Saespeare's poetc sll doubtless guded m aog te way, step by step but we ca also assumetat e troduced to te play some obseratos from s oweperece oweer drecty

Saespeares pay cotas oe sft te pot tat dstguses from preous treatmets of te story, cludg bot

te arrates of Sao Grammatcus ad Belleforest ad te oteplays of wc we possess fragmets Ts sft oles te caracter Opea

Opela s preset, o be sure from te begg of te legedo Se appears te eary ersos, as ve sad, as te bat


2/42

ae rench Stdes

the trap that Hamlet doest a t, rst becase hes waredn advance and then becase phea here ree t have any

part o t, hav o bee ove wth the prce accrd teeret vern. Perhap haespeare merely extended hernctn the plt, whh s t capture Hamlet's secret by srprse t she ths becmes ne the nnermt element nHamlet's drama, the drama Hamet as the ma wh has lostthe way h dere. he prvde a eental pvt n the her'proress tward hs morta redezvos wth hs act-a act that

he carre t, n me ene, n pte hme There a leveln the sbect o whch t ca be sad that hs ate s epressed trms a pre sger a evel at whch he merey the reveresde a messae that s ot even hs ow Well, Hamlet s thevry mage th evel sbectvty, as we hal ee even mreeary n what llw

r rt step n th drectn wa t expres the extent twhch the play s dmated by the Mother as ther [ue .e.the prmrda bect the demand a dandJ The mnptence o whch we are aways speakng psychaalyss s rst all the mnptence the bect a sbect the rt demandad ths mnptece mst be related back t the Mther.

The prncpa sbect the pay beynd all dbt rnceHamlet The play s the dama o a dvda sbectvty andthe her s alway preent n tage, mre than n any ther playHow s the desre the ther maested n the very perspectve th bect, Prnce amlet T dere the mther, esetaly manested the act that, coronted n ne had wthan emnent dealed, eated bect - h ather - and n the

ther wth the deraded despcable obect ads, the crmnaland adlter brther amet de t cheHs mother does not choose bcase somethn present sde

her le an tncve vracty The acrsanct geta bect thatwe recenty added t ur techncal vcablary appar t her a


3/42

Jcques c

oect to e eoyed bt dun ussanc] wht s tulythe dret stscto o eed d oth else. Ths s the spet

tht mkes Hmlet wve hs uto o hs mothe Evewhe he tnsmts to her the crudest, cueest tems - theessetl messge wth whch the ghost hs the, hs etustedhm he stll rst ppels to her to st The momet te,hs ppel ls, d he seds he to udus ed, to the mso the m who oce wll ot to mke he ed

Ths ll, ths do gves us model tht eles us to

coceve how t s tht Hlets dese - hs zel wth respectto ct tht he so logs to cy out tht the whole wold ecomes o hm v repoch or hs pepetul dequc tohs own wll - how ths el lwys gs. he depedece o hsdese o the Other suect oms the pemet dmeso oHmlets drm.

To et etter p o the prolem we must o to psycho

logcl detl tht woud em uttely egmtc t wee otplced the totl oetto tht determes the drecto dmeg o the tgedy how ths permet dmso toucheste vey erve d sew o Hmets wl - whch would pper my dm s the hook the questo m, o the Ch vu?o suectvt costtuted d tculted the Other 1

cn refes reeedy i ese sessions o is seir to series

o ds wi wic s diece is edy fi fro e peviosyear ree o e dgs re epodced ee s ey er i ete "bvesion d se et dectiqe d dsir dns l'icoscie fredien 196; i ces c [Pris ei 1966] pp 7938rps p 805 808 [ot eprodced ere 81 81). e reder is reerredbot to te eoreic deveoe roved by e essy d o teeks on ese s in e "ble coee des esetiospqes peped by cesAi Mie for ncso e secondnd scceedg editions o e Ecrs "es gres d dsir, 90908) C lso e Eglis edo, its: A Selton Noro 19)pp 3333.


4/42

Yae Fench Studes

The end-tem that bttese th mode f the subject and hsqueston, is symblzed on ur gaph by the baed sbec ($) n

the pesence of the bect-

n the economc ytem f the psychewe cl ths the antasy. Dese, wh an be stuated on the neA [] a vaabe ndetemnate pont nds n the fantasy tsefeene t ubstaum, ts precs tunng n the magnayegste

hee s smethng mysteous abut the fantasy; ndeed t'ambguus and paadxca It s on one hand the endtem of

dee and o the the hand f we appach t fm one of taspects, ts actuay lcated n the cnscus: ambgous ndeedInsfa a the fantasy mak evey hma pasn wth those tatswhch we al pevese, t appeas n a sufcently paadxca fomt have long ag mtvated the ejecton f the phantasmatcdmenn a eng on the ode f the abd. n ths epect anesenta tep was taen n the pesent age when psychoanalyss

ndetk the ntepetatn f the fantay t vey pevestyhs ntepetaton was made pssble nly y pacng the fantasy an ecnomy of the oncth what y see thegaph

On ths gaph the fantasy s hoked up the ccut f thenonscous, a vey dffeent ne fm the ccut cmmandedby the subect, whch I cal the evel of the demand [emne

In the nomal tate f affas, nothng fom the unconcous ccuts caed ove t the leve of the message f the sgned f theOthe whch the sm and mde of the gncato acuedby the sbjet n human douse. he fantasy s not cmmuncatedto the message evel emans separate and unconscu Whenn the the hand t does css ove t he evel of the messagewe nd oseves n an atypcal stuatn he phases n hch the

antasy makes ths cosove ae f a me ess pathlgcade. We sha gve a name t tese mments of cossve, fcommuncaton whch as the dagam ndcates, can tae placeny n ne dectn I undesce ths essental statement, becauseo ppoe hee s to ee destandng and appcatonof ths appaat


5/42

acqe aca

w et s csde y w te mmet wcamets dee becmes dstacted ad deected cts

Sakespeae tagedy, fa a ts mmet mst be eated backt te pecse adjstmets f s magay egste. Opeas pace t csteat te eve f te ette a t appea epesetat f te fatasy [ . .]

Wt espect t te bject at ce mag ad pats tesbjet fee msef t be a magay stat f teessTs bject atses eed ad tsef aeady eatve e

paced eat t te sbject. t s bv m smpe pemegy (ad t s metg t wc I sa et afew mmets) tat te sbect s peset te fatasy d tebject s te bject f dese y by vte f beg te edtem te fatay Te bject takes te pace wd ay wtte sbject s symbcay depved f

Ts may seem a bt abstact t tse w ave t accmpaed s ag te ad tat as ed p t ts pt Wat ttat te sbect s depved f Te pas; ad t s fm tepa tat te bject gets ts fct te fatasy ad mte pas tat dee s cttted wt te fatasy as tefeece

Te bject f te fatasy mage ad pats s tat te

eemet tat takes te pace f wat te bject s symbcaydepved f. Ts te magay bect s a pst t cdese tsef te vtes te dmes f beg ad t becme tatvetabe de f beg d t] tat Sme We teatswe se fcse te vey desest ad mst paqe eatsp f a ma t te bject f dee te eatsp f Mes Mse t s stgb. Ts s te cmat f te fets

caacte f te bject f ma dese. Ideed a bjects f tema wd ave ts caacte, fm e ae at east. [. ]e pae caacte f te bject te maga fatasy

detemes t ts mst pced fms as te pe f pevesedese It s te stcta eemet f pevess sfa as pve s caactezed by te cmpete empass te fatasy


6/42

Yae Fenh Studies

on the stity maginay tem In aentheses with it we aso

enounte us us and so foth: the most eaoate ominaons of sequeae of ingeng taes omined y hane y means

of whih a fantasy as taized and funtions in a evese

desie But howeve izae the fantasy of evese desie may a

ea to you neve forget that the sujet is aways n some way

esent and invoved in hat fantasy. n the antasy the sujet

aways stands in some eationshi to the athos of exstene - to

the suffeing of eisng itsef o that of existing as a tem in a

seua ongration. or a sadti fantasy to endue the sjet'snteest n the eson who sues humiiation must oviousy e

due to he osiy of the sujets eing smited to the same

humiiation himsef This is the henomenoogia oint to whih

was auding a ew moments ago. ts a wonder indeed hat eeoud eer thnk of aoding this dimension and oud teat the

sadsti tendeny as an instane of ima aggesson ue and

sime

The tme has ome to atiuate the te oosition etween

eresion and neuosis.

Pevesion is indeed something atiuate inteetae anayz

ae and on eisey the same ee as neurosis In the fantasy

as have said an essena eatonshi of the sujet to his eing

is oaied and ed We wheeas in the evion the aent

s on the ojet the neuosis an e siuated as haing its aent

n the othe tem of he fantasy the

The fantasy s oated at the exteme ti the endoint of the

sujets uestion as if it wee its utess bu it autment]

just as the sujet ties to get onto of himsef in the fantasy in

the sae eyond the demand. This is eause he must nd again

in he ey disourse of the Othe what was ost for him, the

sujet the moment he enteed into this disourse What utimatey

mattes not the truth ut the ho [u tth


7/42

Jc c

Th i wh pmi pci h fac ha m pdly dgh h ay f fm h faay f

piTh fay p ambl pac pd aihip I i mp b h id m h cay h y ba f h lahp bc b h ay i h ihp hbc m Th bc chgd wh h gcac gh wh I ca h h h i whch h bjc i awy

h h f lw ly lI ha aid bf h hyia i chcd by h fci d d ad b by h fc f mpib d B byd h w m h w c a dighd by lahp wh m h b cwy p h iii gm hi m i cri pcpacy fdamal lac f ma

Thi h b ic bhi i i m grfrm h bc d hi f m so hu]i hi bc, d i i h bc h h wi a m u Th wh w g back fd Hm whm ry ca ib w h fm f rcbh a f y w g , p chac Th fc h I dicd y Hm c wa

h a f dpdc wh c h d h hh di f hi mh Hr w h cd fac h I aky cg Haml caly dd h m fh Oh hgh h i y h y d

D y mmb f h igpi w fcd wh w w bgiig dciph h f Halt igh py c h kg bcm ld ad by al h

w g icpab f iwig h dmaai f h w cmHam h h mph ad mck h kg h wy h mig h h ady gd wih h mh h cmp h pfah pay Cld hk h dph fh big by h c h h hw him h y c


8/42

Ya rch Stds

tac ad program o his dd. Hamlt stads or this

Cladis, ho y ry idicatio is ot oly i o stat to dfd

himsl t also dos ot s th thrat that hags or hishad Ad Hamlt stops cas its ot tim. ts ot th ho

o th Othr ot tim or th Othr to rdr his adt" to

ha. That od too d, rom o pot o i, or too

cr rom aothr. hat iht ot a his athr proprl,

cas prayr, ig a str o rptac, miht op p th

ay to saatio or Cadis. ay cas o thi s sr

alt, ho as st aad to cac t coscic o tig as pad-stops Not or a momt dos h th that his

ti has com Whatr ay happ latr, tis is ot t or

o th Othr ad h sspds hs actio. Watr Hamlt mayo, i o it ol at t or o th Otr.

amt accpts rthi. ts t ot that at th ii th stat o disgst h as alrady i ( or his tig

ith th host) cas o his otrs rarria, h thoht olyo laig or Wittrg. A rct commtary o a crtai

practicai that s coi or a or tpical o prstay

li sd this as a lltratio otig that Hamlt as th st

amp o th act that ay dramatic criss ca aoidd yth prompt issac o passports. Hamt had gi his

paprs to tral to Wittrg, thr old ha o drama

Wh h stays o it is th hor o his parts. Wh h sspds his crim it is th hor o th othrs. Wh h las or

Eglad it is th hor o his stpathr. ts th hor o Roscratz

ad Gidstr h h sds thm o ahad to dathith

a casalss tat aa r- as o a it o hocspocs

that h rigs o ot hal ady Ad it s th hor o Ophlia th

hor o r sicid, h th tray ill r its cors i a

momt h Hamt has st ralid that its ot hard to i ama th tim to say o . h ot o hat hit him.

H rcs ord o a t that i o ay sms to prois

a opportity to ill Cladis a toamt, th rs o hichha ork ot to t as tal. y tpt hi t th


9/42

Jace

takes- preco bjects words ttings, nd the things that

hve vae ony s ries; this hod be oowe in the text,

for these are the nances of the wor o the collector Hmletsn f rivry n honor is rse by th amptn tht erte

is th mr killl wormn n by th hndcp h grnte

to Hamet n he rm f the wger hs compcte eremoy

i a trp for hm to a into, ai by hi stepfather nd his frien

aerte : w kow hs, bt Hmlet es not Fr hm, ging ng

with the wger wil be lrk lke plying hokey. Stll, he fel

ight wing ignal in the regin f hi heart smething trbe him or a moment here the diectic of oreboding brings t

specl ccet t th pay Bt a , t s st t the h o

the Other n wht mr, for the ke f th Other wger

(fr it is Cadis, nt Hmet, whoe posessons are t stake)

wring the king' colors, for hi tepfther's ke, tht Hamlet

nter int thi ppoey frenly combt with mn conier

to be beter swrdsman than he Th Cdis an Laertes havearosed hi see of rivary nd honor as part of a trap tht is

cat t be foprf

h he rhes to the tp id by th Other ll tht'

chnged i the energy n e with whih he rhe into it Unti

the ast tem, nt the na hur, amets hor, whh he

mrtay wonded befor he wons h enemy, the tragey fllows

ts cour n ttin completon t the hor f Other thi is theabstey esset rmewk ccpt f wht

oed here

This is the ense in which Hamets am h the precie meta

physcl rennce f th qetion f the moern hero Ie

something hs changed ince caca tiit in the reatioship

f the her t hs fte

As I hve s th thig ht stghe Hme frmOedip is tht Hmet knows. Thi chcteritic expln, fo

eampe, Hmlet maness n the tragedie of ntiqiy, there

are mad heros, bt, to th best of my knwledge, there ae no

19


10/42

le Fenc Stues

ees-n tgey sy n n legensn ees w fegn

mness Hmle wee es

m nt syng t eeyng n s mness cmes wn tfegnng bu unesce e t e essentl ctesc

n te gnl legen e n te esns f Sx mmtus n

Bellefes s tt te e fegns mness becuse e knws t

e s n psn f weness An fm t mmen n eeyng nges n e quesn f ws gng n s mn

Hwee supel ts es my seem yu ts

sll h h ha haksa sd o o hs am hose sty f e w s fe t fegn mness n e

fllw te wnng pts t lad hm o h omlo f hs a

e pen w knws s nee n suc pelus pstn, mke

o al ad sa, ha h s ld t mads, ad eenas asal sas o b mad alo wh s. madness s tus ne f te mensns f wt we mgt ll te stegy

h mod ho

hs w a a h pnt a whh hla ms lll h

e f te stutue f te ply s elly s mpe s e ust

ptye t s beng yu my be wneng w s e pn fte te Opel Opel s busly eent Se s lke

fee f centue t te gue f Hmlet

Sme peple e oahd me f h md wt wcey feel e been pceeng n' nk ts e se

wulnt wnt encuge yu t pue te st gws

t psynyt tets e fl f m us supse tt nby's

pnte u tt Opel s ha, baus yu n te ngsequly gss gn exgnt f yu us pen e Par

amt wc Ea ha unftunely lef unnse n wc

t ws peps mstke t publs fte e et.Sne s getng le us wn stes w ppens

hla h os o h la

We st e Opel spken f s te use f Hmlet's s olo hoaal wm am sad, and


11/42

Jacque Lacan

that' ecaue he not hay, and if he not hay it ecaueo my daughte. ou don't now hehe' the vey net thee

i-and of coue a a fathe could neve emt he to . . . We t ncounte Oheaand th mae he qute a ema

ale gue aleady-in the context of a clincal oevation. he

ndeed ha the good otune to e the t on amlet un

nto ate hi unetting encounte with the ghot, and he eot

h ehavo n tem that are worth notng

My lor as I was sewing in my loset

or Hamet with his blet all unbraeNo hat on his hea his stkings foleUngartee an owgv to his anklae as his shirt his knees knoking eah other

An with a ook s ites in ortAs i he ha been os t of hell seak f hrrrs he mes before me.

He tok me by the wrist an hel me ha.

hen ges he t the ength of all his armAn with his ther han ths o'er his browHe falls t suh ersal f my faeAs a wo raw it. ong saye he soAt ast a itte shaking f mine armAn thre his hea ths waving an ne raise a sigh so iteos an ronAs it i seem to shatter a his blkAn en his being That one he es me g

An with his hea over his sholer trneHe seeme to n his way witht his eyesr ot o rs he went withot their hesAn to the last bene their light on me

At , Sc. I)

nd Polonu ce out: hi love!

h dtance fom the oect that amlet tae n ode to

move on to whateve new and hencefoth difcut identicatonh vacllaton n the eence o what ha een unt now the oject

of ueme exaltaton give u the t tage which i to ue th

Engh wod one o etangement

hat' a we can ay. Nevethele I dont eleve that t'


12/42

ae Fen Sde

eeve denae mmen a paa aed eped f pn f eve danan en

men n e fana ave and make e mpen f efana appea epeene aed depealan ee f e mana lm eeen e and eane ead a aed n e ene e fanadmenn e e

dmenn ae en men fm e manae f e fana plaed n mmnan men

a nma eae e eve f e meae e e mae f ee e n e ae n a mae m n eMeve me a ke Feden ne ea pen eneea ean eeen e feen f e je n dand e anene f a ae n a ean a eape n e e a aaned

ma ave fed n ee a f e ppe f neen

n epde eaed ean pef lnal epeene B I ae a efeene paa ema mple ae a Fed ae elevae leve f ana nde e name f dsUeh e nann ked n a me eeved, all f pn fm e nn ae an maane a ae n e fana en dempe n

e m na aned , and ejn e mae f e ee.In e ae f Hame Opea afe epde mplee

ll and dved a a ve e dd ve ne" Hamea. Henef elan Opea e aed n na aa e f e aen make ee eneand pala e ene a pe e mdde f e pa

e ane n al f aa eaen ade e nd a ae f a I menned a mmena e pevee maane f e fanama eanp ene fana pped ad e e Hame n ne eaOpea ke a man a a Se eme n ee e deae


13/42

u n

o vry n fuur rdr of nn," dnd o ucum

o vry cumny. S no longr t rfrncpont fo lf

Hm condmn n t nc In or t tng plr dtruton nd o of t ojct. or ujc

oc pp, f I my put y on oud ujct no ongr t ojc jc ll fo of ng

nd ll not nd gn untl r mf It n

n t t ojct uvnt of, um pl of,

ndd -t pllu

cond tg n t rltonp of t uj ot ojc Opl t t pon pllu xrorzd nd

jctd y ut ymo gnfyng lf

W ndcon of ? r no nd to ro to t

ymology of Opl" Hml p onnly of on tng

ldrng. Conpon ng" ll olonu, u p

n y on your dugr nd ll of dlogu Opl

drcd omn oncvd rr of tt vl lngtt cur nd drd up forvr. u of ord

nunnry" n Spr tm nd n lo rf

o rol nd n rlonp of pllu nd o

of dr lo ndctd n Hmt tud durng t py n?n Op prnc y of r to mor H ml

mor ttrtv" nd n o plc d n gr

g dy ll I l n you lp?"ondrng gr nrt of onogrpr suj

I don n xcv o no tt l of or n t

mdt of c Opl dron rlf, xplly nlud dd

mn ngr" pln n quon t Ochs sa

rld o t mndr nd nc o t pc mn Youll

nd dd mn ngr" n xfod sh Dcoay ot

undr ngr nd n n nry of on und "D, rSpr' luon duy ctd

trd g o c I v lrdy drctd your non

svl ms grvyrd n n our of c Hm

nlly prnd oty o ndng tng up, of


14/42

Yale ren Sues

usn s fae e wle sene s ree war furusbale a e bm f e mb w ave sesse epeey

an w s enely f Skespeares wn nvenn Hee we seesmen lke a eneran f e bje a wn bak ere e pe munn n ea

sul be ble ns up ne me

Al 5

Desir d Mouig

Tus r Hmle, e ppnmen s lwys erly, n epspnes . Prasnn s us ne f e essenl mensns e y.

Wen n e ny, e es , s alwys sn. Wenes e ? Wen a f suen smen n e ealm f evens,

beyn m an s en, as u m an seems em sme s f ambuus penn w s n spe psy4analyl ems nrue e perspeve we ]n e mensn f amplsmen

Nn u be ee n s se an e mmen n wHamle uses waever s mvn ben e rras an kllsPnus O n m wenn n e e f n n e

srmsse sp n bu lms n aze, bekn e seals e messe bne by Rsenaz n Guensen, subsunalms aumlly ne messae fr aner, a uplan eryal se w s faers rn He en as e mzn uk be re by pres w enbles m s us,w w ff uwny er wn eeun

We ee ee a penmenly s fmi us fmur epeene n u neps e penmenly f eeu n s eln s e Bu I ve su le yubeyn ese arerss, wever srkn ey my be


15/42

Je n

wed o en yo eye e l h

een hh he ly Hme i lwy he h f he

Ohe.

Th, e, mie, bee, 've id, hee

no h h n Ohe o he Ohe 'y a a d'A d

. 2 n he nie hee i nhn h nee he dimen

i h onded by he ine. o Hmle hee o h

b hi wn Meve, hee i nly ne h, he ho f hi

deo The ee edy o am ed n he wyi how he neenin movemen of he be wd h

h.

Ye he be oinmen wih he h f h den

he mm lo o eveyoe, menl n he dey evey

ndividl Wih me diihin , Hme' fae woldo be o h e me Th he e e

wh i he eiiy f Hmle' fe Wh mke ex

dnly blem?

Wh doe Hme ck Cn we, on he bi f he ln ofh edy, omoed by hkeee, n dw d e o

h lck in wy h oe beyd ll he xm h we

hve wy o emn eve nd h ode he eelfzzie no nly of eminly b l of how we wh

e d o he eo we mke hem?

Nevehee, le wh n ximn. Y n y mle, eveydy em wh me lk he neve e ol

2 This en eee Ln rm hes sgush he Oeiliz) fm he her (lwer se) in Lns wn sse em by e O in n w he mlemen he negin he sbje n ise esenil ubje. Alhuh he bje m ke ul esns, beginnin wih e e s nins he Ohe, he Ohe ninsnl in e smbli egis, l in e e lnguge uiw, nsgessi, snin All his mes i imssibe r he Oe hve n Oher is wn T.


16/42

Yale Frenh tudie

or hmel, an objet-a hoie that alway ha omethig arbi

trary" about it

o put it i ommoneial term amlet jut doent ow

what he want Thi apet i brought out in the peeh that hae

peare ha him pronoune at one o the turnngpoint in the drama

the moment when he drop out o ight the brie interval when he

goe away on thi nautial eurion rom whih he will returnmot rapdly. e ha no ooner let or ngad tll obediant in

ompiane wth the ing order than he enounter the troop

o Fortinbra who ha been preent rom the beginning in the

bacground o the tragedy and who at the end will ome t gather

the dead to tidy up to retore order. In thi ee our ried

amlet i tru by the ight o thee ourageou troop going o

to onuer a ew are o Poih oil or the ae o ome more ore pointle mlitay pretet hi give amet paue to oniderhi own behavior

How ll osons o nfo gns eAn s evege Wh s n hs he oo e of s eBe u o slee n fee? A es, no oe

Se e e us wh su lge souse,

-the epreion that i goed reaon i large dioure un

damental dioure what I have reerred to in other eminar a

onrete dioure"

sh lge soseookng eoe n fe

-now here where the word reaon" ome i

e us not n gole esono fus us nuse ow, whee eBesl olo

betia oblivion" one o the eyword by whih to meaureamet' eiee i the traed


17/42

Jcqes Lc

o som cavn scupl inin oo pcily on vn ou wic, quad, a bu on pa wisdom

nd v t pats cowad - I do no knowWy yt I liv o ay, Tis tins o do,Sit I av caus, and will, and stn and manso do. Eamps oss as at xot mWinss is amy o uc mass and caLd by a dca and nd pinc,Wos pii wi divin amition pd,Maks mous at t nvisibl vn,

Exposin wa is moal and unsu

To a a on, da and dan daEvn o an sll ily o b as no to sti wiou a aumn,But aty o nd ual in a awWn onos a stak. ow sand I n,Ta av a a killd, a mo staind,Ecimnts o my ason and my blood,nd al sp wi to my sam sT immnn dat o wny osand mna o a anasy and ic o amo o avs lik bds, o a ploWon numbs canno y caus,Wic is no omb no and coninnTo id lan 0 om tim oMy outs b bloody o b notin wot !

c IV, c. IV)

Sc is Hme's medii e bjec mn ci

Tis bjec leves e dr wide pe s r ll w Is c e pricliis we sll csider T s rededici-seddig nes bd r be cse, r rHn s prryed crrecly: beig lly cmmed by neswrd. As e gi we s lyss cn erk is ccreedeemii cn elp beng srck by is weig be i i es i cmmime

W Im ryng sw y ere s merey e cmmrm ll is e es cmm demir s qesi rmlsm. Wen I wrie e rml $a e end eqes e sbec i serc is ls wd ask i


18/42

a nc Sdi

O i i no omi i cay op o ini

io xcp in a pcia xpic wi w ca pycoayi

princ nd wic mak poib xporaon o concio cici nnin on pp ac of p

W w' concnd wi i or circ in iminryi bwn d and wic i aco om i i

anay. I pr _ nr cr of nay by $,w i a cain aionip of bjc o inir-i i

bjc a idciby affcd by ini-nd w indic bc aion an niy imiyc ojour] dinad by a no objc of di b

objc d.

L y o om noion of i fncio o objc in

. dma am mk i poib o ara an xmpay aicaion i ncion and i i wy w

a c a in in c of Sapa

yT i o ain poi o i aioip i

nr bjc i dpid of omin o im o i y

i wic a amd of wic bind im o

ini. T pa i o rm fo i of i ainioni icaon. W bjc i dpid of i ini a

pica obc bcom o im objc of di Ti i

mnin of$( . objc o dir i iy i om obc oy nd o Somi bcom an objc n di w

i pac of wa by i ry rmin concd

om bc a cic pond o wic

mod ] in i aioip o ini.

i proondy nmaic o i imy ainip

o omin c d iddn f yo pmi m o on ofo om wic com o m wri my no ma i

cod b dnd a cc in wic ro wa iaion Ti

forma i j n ima mamaic mpo Wn I yon ' o o o b moo


19/42

1 aqu a

u prly o wh l a magay umr. h qur

oo of mus o o coespod o yhg h is uj

o our uo, ayhg ral- h mahmal o hm- y, mu coserved, alog wh u uo

h am wh ha h lm of lvg rr, h

u isofar , g o h o f g, h o be

u a uh

Th oao $ p h y h be ecipsed a

h pr po whr h o aa ga valu h

ply why w gap h u uo o h o olyy urvyg vru pol rlaohp o h m.

woul v, phap, f were o y h h agy o

Haml oo u ovr h ag o ho uo o h

o u ly o u o go muh rh h

ayo ha vr go y ay rou.

2

a wh h g, h meetig h ho o h

appm

Th whh Hamlet nay puts te fu weigt of

h l o h l, h pr or g l o omplh h

actio-tis h h v ugo, h omhg o h mom a h o h hu wh vryo mov

for h . h mom wh h eaces competo e

alo h r rough o ay y D A po ha hhou w l wh cedbe y

mal, whav h ro o ah, a wh the a

h ohom h uou oy who om o Hml

o propo h ourm, ha po ow o ro hmTh h structre-extaordar simpe Th orm

Haml h poo o g h o who h wr a

up h of Caudus h u and stepfate. H h w

ohr ma olo.


20/42

Yae Fren Sude

e ournamen nvove rgly, eran ae n e dalogue

eeen Hamle and e man o ome o el m o e ond

on o e one nong pared o dazze you e

qualy numer and array o e oe agered Hame e

aere arary ore, agan aee ae Fren

raper and ponard, a ompee oung or duel along

anger-e aard, I uppoe ree ave a e ex all

mo delae arrage an epeay elegan epreon o reer

o e loop rom e ord ang I e or o ord a

oeor oud ue and e ame a e ord or e uppor

o a annon.

ee preou oje gaered ogeer n all er pendor

are aed agan dea a gve er preenaon e

araer o a aed a n e regou radon o all oe are preened a e ae n e od o uman

dere - e oje a

I ave ndaed e paradoal and even aurd naue o e

ournamen a propoed o Hamle e e eem ju o ledon and ro oer one more me, a ere ere nong n m

o and n e ay o eng onany and undamenally a

omeod ee e and all Sr, ll al ere n e al.

I peae maey, e reang me o day me

e e o e roug e genleman llng and e ng old

prpoe I l n or m an an f no, I gan nong my ame and e odd S

omeng a o u e very naure o e anay.

e momen n Hame on e pon o reoluon

nally a eer, on e verge o reolon-ere e , rngme o o omeone ee and a more geng nong n

rern dong a or ree, even oug e oer peron preely

enemy e man a e mu deea He ae reoluon

aan e ng a nere m lea n e orld, and e doe n order o n or omeone ele

e oer n ey an arm Hame ee oe,e olor em and ey are doule rong Sll ey are


21/42

Jqu L

mg a ffv appl ha d r hm. H rd fr h a hr-h Hgl ll h gh fr pur

pg 3rd fr h a f hr h phm g a rl hm h mrr dmr. W hp

paug fr mm dr h ud f h

add y Shapar hih yu ll rgz h dal

f h alrdy lgfmlr mm ur dalgu h mr

rr g.

Wh xprly arud h x-drly ru

. h prdy h h p r fr Hml hdul [semblable]. Wh Or h du urr h g

h prpl f h dul p Hml f h dvrary

pg h m f h m hm h hav h

h ml Ham u hm ff Sr h dm uffr

prd yu hugh I dvd hm vay ud

dzy h rhm f mmry ad y u y h p

f h qu al" V S I). H dlr xrmy prury ph pardyg h yl f h m h addrg H

lud I hm ul f gr rl d h fu

f uh darh d rr m ru d f hm h m

lal h mrrr ad h l ud ra hm h umrghg m

h mg f h hr a yu prd hr m

plly arg h hldr. h parular u f h pgad h gr ha h Ham

ud ard r fr h dul h payrgh u

h f aggrvy h prxym f rp h

magary rgr frmly xprd mrr rlhp a

mrrrd r h yu gh h yu dm h m

h g dal a rdg Hgl frmula hh y h

x mpl h yu hv ll

"Lue de pu pege. B, IV Aof Heg's Phenmeny f Mn in Alexandre Kjv Inn a ue de Hege, ed. Queneu (Pr: Gmd 1947 11-34p. 8 22 24 Tr


22/42

ae ench tdies

Hamlet esponds to this necessity only on a disinteested levelthat of the toament. He commits himsef in what we might caa fomal, o een a ctie way He is n tth, enteng the mostseios of games withot knowing it. In that game he lose hislifein spte of himself. He is going otagain withot knowingitto meet his act and his death which, bt fo an inteval of a fewmoments wi coincide

Eveything that he saw in the aggessve elationship was onlysham, a miage. hat does that mean It means that he has enteed

into the game withot shall we say his phalls This is one wayof expessing the paticlaity of Hamlet as sbect in the pay

He does ente into the game neetheless. The foils ae blntedonly in his delded vision n eality thee is at least one that isn'tthat has been maed to be gien to aetes when the weapons aehanded ot: it has a eal pont and what's moe s poisoned

The offhandedness of a sceenwite is hee copled with what

we might call the fomdabe intition of the playwight. hakespeaedoesn't actaly bothe to explain how the poisoned weapon getfom the hand of one of the delists into that of the othethismst be one of the difclties i payg the scene In thei ceafte Laetes scoes the hit fom which Hamlet will die he pointchanges hands o on bothes to expain sch an amaing incidentand no one needs to Becas the impotant thing is to show that

amlet can eceie the intment o death only fom the otheand that t is ocated otde the ealm of what can actaly beepesented on the stage The dama o the llment o amet'sdesie is played ot beyond the pomp of the tonament, beyond hisivaly wth tht moe handome dobe the vesion of himsethat he can love n hat ealm beyond thee is the phals. Ulmately the enonte wth the othe sees ony to enable amet o

deny hmself with the atal gneThe fny thng s its thee in the text. Thee's tak o ols as

tey ae being handed ot: Gie them the ols yong OiCosin Hamlet/ o know the wage alie Hamlet hmelf Gv s ols Bw two alet

2


23/42

Jaqus Laan

mas a pla on ords b our fo Larts n mn noan our s shall l a star th arst nht t ry

off ndd t V . h Frnh translator os hat han "Lert, mon feuret [fnn fol} ne er que feurette [ttl

or] aupr du vte ut th or fol" hr larl dos not

man a fnn fol ; th ord has a mannnd a farl

ommon on-tht an tra ba to ts sp ourrns n

haspars da fol s th sam or as th l Frnh

euie usd prousl to dsnat a ontanr for somthn

prous .. a jl as. hus th passa mans: shall bthr soll to st off our stllar brllan aanst th blanss

of th s hs ar th r ontons o th du : th os ar

st at to .. Hamlt s n a hanap. ut h th pun

on fol"? ts no ant that ts thr n th tt.

On of Hamts funtons s to na n onstant punnn ord

pla oublntnrto pla on ambut. Not that haspar

vs an ssntal rol n hs plas to thos haratrs that ar alldfools ourt strs hos poston allos thm to unor th most

hdn motvs th haratr rats that annot b dsussd franl

thout olatn th norms of propr onut. ts not a mattr

o mr mpun and nsults What th sa prods basall

b a of ambu of mtaphor puns onts mannr sph

-thos substtutons of snrs hos ssntal funton ha

bn strssn. hos substtutons ln haspars thatr astl a olor that s th bass of ts psholoal dmnson. Wll

Hamlt n a rtan sns must b onsr on of ths lons

h at that h s a partularl dsturbn haratr shoul not

p us from raln that hs s th tra that brns about ths

foos ths punstrs annhlaton Wthout ths mnson as

somon has pontd out mor than ht pr nt of th pa

ould dsapparhs onstant ambut s on o th mnsns hh

Hamts tnson s ahv a tnsn that s onal b th

maqural s of thns or Clauus th usupr th s

sntal thn s to unmas Hamlts ntntons to n ot h


24/42

Yle ench Stdies

he is eigning mdness tll, we mst not neglect the wy in whichHmle eigns mdness his w o lcking ides o o the i

ootnities o nning eqivocton to dle his enemies withthe bilince o n insied momentll o which give his seechn most mncl qul

he othes then stt to bild on this themselves even to tetes Wht sties them n wht Hmlet ss is ot t isconebt on the cont its secil etinence t is in this llnesswhich s not meel l o disgses bt the l o signes

in the dimension o mening, tht the ve siit o the l esides.Evething tht Hmlet ss nd t the sme time the ections

o those ond him constitte s mn oblems n which thedience is constntl losing its beings his is the soce othe scoe n mot o the l

emnd o o ll this to convince o tht thee is nohing

bit o excessive bout llowing ths lst ittle un on the wod"oil its oce Hmlet's n toches the immedite uestonHmlt fit ju d mts vc c qu st lrs u: the distiution o he weons He ss to etes "'ll be ou oi Andsue enogh wht wi e moment lte but the ve oi thtwonds him motll nd tht lso will emit him to comletehis cicit nd to i both his oonen nd the king the nl

obect o his mission. n this n thee lies ltimte n identiction with the mot hlls.

Hee then is the constelltion in which the n ct is sitted.he del between Hmlet nd his moe hndsome doble is on helowe level o o gh ()m Hee the mn o whom evemn o womn is mee wveing eeking ghost o living beingnds vl his own size The esence o his customized oblewil emit him, t est o moment, to hold his end o thehumn wge in tht moment he too wil mn B thiscusomiing ob is onl esut not the beginning it is the conseqence o the immnent esence o the hllus which will be bleto e onl wth the sence o the sbect himsel. The


25/42

aces aca

bect w sccb eve beoe h tae t had to becohe a rdeer.

Oe qesto as : what eabes h to have access to thse th way7 o eply we hall retr oce ore to ocosoads th ost sa cosoad whch have etoedbeoe, e. to what taes place the aveyad. [. . . ]

Let e a yo to ret to the raveyad cee, to whch

have alead eed o thee te. hee o wll se soethttely charactetc alet caot bea Laetes' dpay of oow at hs ste' bal. t s th otetatoss o Laeteso that aes alet oe cotro that tae h, thathae h so poodl that he caot pt p wth a loe

h the t vay ad the ot athetc by a Wheea

Halet appoachs th del wth the whole appaat o chvalad a blted fol, at the raveyard he oe o Laets' thoat,leap to the hole to whch pa's bd ha t beelowered.

Sho m ha hou't oWoo oo h oo' . . .Ill o Dos ou o h o hno oua m h lag n h ga?

B b uk h h an o ll IA ho a o mou l hm ho

llo o a o ll o goung h aga h bunng zon t! N hou' mouh,'ll a a ll hou.

heepo eeo s cadaled ad hs to sepaat thwa both Ad Halet cotes

o .Wha h o h ou m h lo o o mat l hml o h h mah a ll m og ll h h a.

A


26/42

Ye eh Stdes

hee's ove eeet hee whh th deves ts oeo oes tht soe o o e e o dw! ot

o to the hee.te se wth Hoto Het w e tht heod't std to w Ltes s set o o hs s s to the het o soeth tht w oe ete oet

ht s the oeto betwee o d the ostttoo the oet dese ets o t the esto w o wht

s ost obvos to s wh w es see te ost eoto the ete o wht we'e seei hee.Het s ted o d e towd , d

the soe. hve d stessed the dee esso d thto tt e ostt oses o e, beoo te ve sbo o te to o s dese The sdde the oet es ts ed d s woth o

I lvd Oli Fy huad bthCld nt with ll hi q lMk my um ha wit hu h

(Act V c )

These e te tes whh he bes hs hee to teHe too s htst tht esets Hets stte

deet o d oetes t o so s the oet oHet's dese hs beoe osse oet t eoeoe oe the oet o hs dese

the deses o osesso eots we hve ed eoted the osbe s ot o ds Bt et' ot b too esstsed wth these ove ovos ees. he ve sttet the ss o dese ws ds ot o ossb to te

oet o h dese ht htees the osesso eoti t s tht he ehses the ootto wth thsossb ote wod, e sts vg so tt teoet o hs dese beoes te se o ts ossbt.

B g v

6


27/42

aes aa

Feda olatos have alead taght s to olateog ts of a obetlaoshp dd s ot stg

that t was Fed who st stessed the obet o og atea those as whh pshologss had vd ad thoghthe obet o og deves ts potae o s o

e detato elatoshp that Fed attpted to deost pesel wth the te "opoato et's see we aatat the dtato that tas pla og thvoabla that we've leaed to se o wok so a.

we ps ths ot aed wth o sbolal appaatswe wll ga pespetves o the to o og that I beleveto be ew ad eetl sggestve pespetves to whh owold othewse have o aess. he eso o what detatos st be eldated b those atgoes whh hav st oth these seas ove the eas .e the sbol the agaad the eal

What s the opoato o th lost obet? What does thewok o og osst ? We'e let p the a whh plasthe sease o all spato alog th path that Fd evethlssopeed p "Mog ad Melahola. he esto has'tbee posd popl

ets sta wth the ost obvos aspets o the peee oog h sbet who deseds to th aelsto of soowds hse a eta elatoshp to he obe whh sllstatd ost lal the gavead s at lap tothe gave ad ebaes the obet whose loss s the ase o hsdes a obt that has attad a xstee that s all th oabsolte bease o oge oesps to athg ealt.h o baable dso of posbe ha xp s t

the epeee o oes ow deah whh o oe has bt thxp of the dath of aothWhee s the gap the hle tht sls o ths loss ad that

alls foth og o th pat of th sbt t a hol theal b eas o whh the sbt tes to a elatoshp that


28/42

a F tdi

te ee f wt t ft al mi det me Veeug [ediat, el]

t wat eted m t ymbli git aai t eal e am wy t l i t eal t elt fml et te ige i mti i le de e l t ti f te miig ge, wi i eetl t tete t Ote i te ge we be leaet Ot iab edg t y qti t igit be d y wit y w e d y w bld,te gie tt i eety te eil ll

t i tee tat ti igie d t le Yt at te metm t at d t it a titd y at t lel t te t i at ti it tat, a yiti i wemig d yi e etdtt wm f m fmw t emea mig ie me te a te y te emea wi ea diid te md mait itef bt al t wi attt t

ate t mt emabl lletie mde te m-mity me, emle wi i bgt t t f a ie te g, tt imge wi t e l ead a we we mee dete m ti li tb maied by t te tt it ll

Wt e tee ite, eally by wi we f bigtit wt i d te mmy dead- t te tta mateet, fm t eigt e t te det ell t i y t ymbli git [

dd ee i tig igie tt ll tat li t e et ttalty te igie e w mig i mlid t te ll f g: ay gs att g mmity, lg g d mmity iggzd lty, ae it mitay w f ig it l emed t atiy t dide tt i ded byt idqay f igiyig met t wit l a bee eted i eite, it i t ytm f igi itei ttality w i imad by t let iae mig

8


29/42

qus

s xls bl w d ollo v osssoo o l sg o usl o somg

sso o dd w o goss d ss g l b omsso o sg

w s w dmso gd o Hamle s gd o udwold gos ss om xblos. om s sv Ol s s vm od o o modl os sm olds o mud o oous d dulous dggg oud o s bod

b .ml suddl us loos d mos vo, oos

g ss o ddls ull bd s w ums xsso d ox d ll o a so ogm o dds. ms dg o s bod do od gs vo oud m, s uso mo o w s o l mo su

mougNx m w sll v o sll ou oo bw

s d somg sms doxll ds om, . oblos, s so s moug msus o sd som lg o s oo s d ous o l Hamlet wl bl us o g b gs o oomv losl od o l mg, d

smbol. . . .

(2 A 199)

Phallophay

gd Hamlet s agd o ds. Bu s w omo d o ou o s m o o w o wss o o s, w s mos obvous kow o ommo wo s v ob o m s m,owv d s o ovoo o s b omuld omo d o Hamlet o o all o s bou s moug


30/42

Yle ench Ste

Mong wht me the me of Hmet mothe ocnlo In h egene to now th ce of he belove

on tempe he hf I obt t no othe btthe mn/ H fthe th n o oeh mge nthee no nee to mn o of wht Hme bo heleftove fom the fnel be met tng p on the mge able ft, thft, Hoto.

h tem ttng emne ht n th ccommotonwoe ot b moen ocet between e vle n exchnge

v t pp omtn tt bn ovoo n tMxn nl of econom the omnnt one fo the thohtof o tme-omtn woe oc n xtent w fe t vemomnt tl vle Even thogh w note them contntl no penc, t m b f to tm pc conton nt fcto n mn conom

I hve le lle to the fncton of tl n monng

Rt ntoc om mton of t gp ac] opne pb monng Mo pecel tl opete n ch w to m t gp conc wt tt t ac, t pont the mbolc lc. h nvel of the em to whch e efet one pont, pehp notn bt the pcholocl conteptof th lc

No cn we fl to be tc b the fct tht n l te ntnce

of monng n Hamle one elemnt lw peent: the teve been ct hot n pfom n cetFo potcl aon olon s b ecetl wthot

cemon pothte An o mbe the whole bne ofp b Te t con of ow t tt pe,hvn mot pobbl commtt ce-t t let the common beeft b on Ctn on T ve

hve no obt tht f he h not been of ch gh ocl tnnhe wol ve ben tte ffentl No the pet n fvoof vn e Ctn b (" o n on nnctve logell th lt tmpet Fo ctbe pe Snt, n pbb o b t on ct S ] n


31/42

aque aa

e rte t w e a eed are temee abbreated

We at al ake all ee g au ad ere

are ma ter a welle gt amlet ater a a expable greae e

wa e a eterall wrged ag bee tae uaware-ad

t e te leer mtere a t e meag

traged e blm ] He ad tme bere

de umm up te mpure r waeer tat wuld

ae prepared m t g ee te tre udgmet

ere we ae a umbe cue a te a Eglw erge a mt gat wa-ad were d te

pt? te relap te drama dere t murg ad

t demad

T e pt ta wuld lke t u da a

aempt t dee t te quet te bet u a we e

uer paal-e bje dere

Tere r all a mple relatp tat e ubet a

t te bjet dere a relatp at ae expreed term a apptmet But u wll ae ald t e

ta we are apprag te quet te bet m que a

deret agle we we peak te bjet u a te ubetdete mel wt t murgte ubet t ad a

etegrae e be eg. Wat de at mea7 Arewe dealg ere wt tw pae w are t reled p

aa er? et t all r a atemp t get deeper t

te prblem

Wat ae jut ad abut murg m mut tbure te at at a te tm t murg ma Od tere a rme Up a erta p te we

rapd ue e tae mug aer ae a be

ee a equee e al re ee at

am a Oedpa drama e a we a read a a ed


32/42

Yae rench Suis

Oedipus Rex an lcae a he same uncial eel in he eneal

f a. his is als wha pu reu an his iscipls fer him

n h imprace f amlet

nee he pschaalyc aiin ss Oipus crim he

quinessenial charin f he elaishp f he subec wha

we call he h Oh i. he lcus f he inscripi f he

law his same ran places amle a he cenr f s cn

sierain f h prblm f rins. his s a pin a whih

recall cerain essnial ails f hw he rlainship f he

subec he riinal crime has been arculae fr us up ill nw

nsea f aki he usual curse leain his in a sae

f fu cnfuin which sn mae herecal speculain an

easier w mus mak sici. he are w saes

h a f h crme pfec ilua b T T wch eres b calle h ruian mh We can

en sa ha reus cnsrucin ma wll be h sle xample

f a fullee mh hae mre i ur hisrcal ae his

mh shws us an ssena cneci h rer f he law ca

be cnceie l n h basis f smeh mre primral a

crime. his s als he meanin fr reu f he Oepal mh

r ru he primal murr f he faher frms h ulimae

hin f he prblem f rs Ne ha h ns i rl

ean fr er pschaalytc issu a h ner cnsrs a

iscussin clse uni i is bruh in hs pimal paricie which

he placs a he riin f h hre a a he rii f he uaic

aiin clarl has a mhc characer

h cnnecn bwen he law an he crime is n hi.

her s wha eelps frm hs cnnecin whe he rac

her-bh Oeipus a each e f s peniall a sme pin

f ur bein wh w repea h Oipal rama-rnws he law

he ll f a an a sr f bapism uaranes is

rebirh. his s he secn sae

he ra f Oeipus sases perfec he enn I hae

us ien f mh as riual repuci Oepus wh is acuallcmplel incn uncnscius an unaware maas wihu


33/42

Jaus aa

alz -n a so o da s s l l s a daoee e caels o access om cme o e esoao o ode

H as o uns sl ad a nd ss o so e casaeds s l a as dd w s ousvs

o s sa, a o e pmal mude. Ided, os oan s uns, sano asao dd o e umaao o sexuay e key c e ae usod b o o a adns o voo

o dese al o place s o wou s a o o dssseee e aedy o Oedpus ad e aedy o amle wold b oo laboa an s o ls n dal, b sall eeeless e you a e dcaos

Oedpu as a a lv o os oneeao as aeady ake place a e leel of

d ao dp , ow was do sme ay uded y ae ; e e cmes ad o dlbal.

e cme s e esul o eaya amles ae

s a y sus n s sl n a wa a s ul oo e cue o s ak ous I as cu o e says

vn blossos o sn. e s su y a lo o a

seco om c e does o epec a ue uso o eal a ba n ad o dsn e ds as Sasa'se lls s o a bd o ows c e payscee ll o so as o epoduce n o ao

e sudde uso o e cme s oow, paadoxcallyonsad o b a a s as sb kns s o oe o e less puzz aspecs o la e dama

o H, ul a o Ods, dos o sa o w queso Ws o on, W s e W s al? bs w dnunao o w cme as s ou o l n ea o e u W cass abu o s vlao n o usd o


34/42

al Fr Studi

abra t msag t uiu i.. t igir

arrd ()

t rma rm i w a put it a wa t Oipa

tua i mdid t Far i i t x

td ur ai rm u Ot ttrut abut tru T Far mut b aut t law

a u r i a mr a a l a bau

t mu ubmt t t ba w mak im iar a i t

ra a a atratd atT tuat at t bgiig Ha i mptl dt

tug it a b rprtd b t am tat T Otr

rals iml rm t bgig a t barrd Ot.

barrd t l rm t wrd t lig but al rm i

jut tibui a trd t kigdm ll wit tiim ti dbt tat a t b ab t pa a ipiab

dbt as Ad idd ti i r i t mt gtig

impliati i rlati

Odp paid rprt ma w i lt i t

a t bud rquitd dbt. O t ta amlt atr

mut mplai r all tit tat wa itrupd tak b

urpri ut i mdtramtat t m t pblit

p tibuti i rr ald

u tat ur iigati a it m ag lad u t

ak quti abut rtributi ad pumt i abut wat

ild i t igir pallu atrati

rud ml idatd prap a mwat k

wa tat r m ra w w lid ut t Odipal drama

it wa dtid t b a warpd rm ad r url tat Ha

dr amlt t amati at t d t

t at tm ut it ud pt/ at r

wa b t t t rigt ! urd . . - wrd pi'' wi

appa tuut Sakpa t a b talatd

pt ud xat- did it ut pu pt But lt'

au . T udtad t Eaba mut t tu

44


35/42

aues Laan

ean ods aound on e nges so as o gve em a meanng

somehee beteen he subeve one and he obeve one Todaye od se-as n he dd ou o ue se- has a sub

eve meanng, eeas n usd spe s somehee n

beteen, beteen e eeene of he sube and he nuse

n he old. We seem o have lo he sense of s efeene o

e od ode usd se" s a Hamle feels seful

oad and also he ay ha he me s nus o m Pehap

ou eogne ee n assng ansended by Saeseaes voa

bulay he deluson of e ch S fom hh e have no

esaed fa om all ou effots nothsandng Wen e

feed o he sonnes us no, as no puely gauous So-

anslae : " maio ue je e sois amais pur e remere

i

s uses and deeens ou undesandng of Hame as os

sbly llusang a deaden fom of he Oedpal suaon s

delne s s e same od ha e nd n Feuds eesson

Uera e ips-Kmpe he delne o dssouon of

e Oedus omle-n e lfe of eah ndvdual he means s

s he le he gves o one of h es, no long one h Id

le o bng o you aenon no ou'll nd n Volume XII

of he Gemme Wer S E XIX 17-79].

2

Thus n eud mself a aenon o ha s umaely

he ue o e edus omle s no smly a e sube

aned desed o ll s fahe and o voae s moe bu

a a s n he unonsous

4 son o Hegels ile o he wihwn onelive

"ef sol (Phenomenogy f Mind, Bie ew Yor : Hrer& Row 67} 66-6 67-76 7) eer oiere ise so in n o ve o eigheeh- n erl nneeen-enrwries rr n Gen n severl oher onexs Ln Jins hsei o oher n he Penmenoog "ser-sve "w o heher) n sree h he ei o eones he eeve soeo he worl ron hi wiho reogning h his sorer is eeion o his ow ner se e Et, 77 2 22 4Tr


36/42

Ya Frh Sud

w d ha m h uu w d

m rd hr ha h u durg a mpra prd

h l h lay prid whh h ur h u

h r wrd lgr rd by h Odpal

ua a al uh a x ha Frud uld adm a a

a h gg h ram h u ha a da a

h lak a happy, d lu h whl

bu?

L' bg wh wha Frud ll u h w'l whhr '

r ur ml.Wh d h Odpu mplx ardg Frud g

Ura ha d al h j' uqu

dlpm Wh h ubj l h hra ara ad

m h mp h Opa a. Ifh a ak h mhr' pa h am hg wll happ

-rmmbr ha h awar h a ha wma aad

h prp markg h mp ad mauy h Odpumplx. hu wh rgard h phallu h ub augh

a mpbl dlmma wh .au ap

hu h phallu h hg ha prd by Frud a h

h Ur h Odpu mp I ay h ad

j au a ral hg ha ha y b

ma a ml, u ha ha h pal m

Frud' pra h prblm pu h mal hld

a ua ha a all dymmal wh ha h mal

Wh rp h hg h ub r a rahp

ha w may all laudh wrd Frud' x

whr gaa rd A r h y h dd h

u up Ad a r h gr h g up ay xpa

graa h wayh rua xpd

mr lary hr a ha h Al w a ay xprd

a rmua ha d' m u Fud' x u wh

pr rywhr dad h Odpu mplx g

d a a h u mu mu h phallu

46


37/42

Jaue aan

T eve o llumnae e lae funon of momen ofdee Te a ad fagmen of e Oedu ome, moe o

le nmleely eeed emege n ubey n e fom fneuo ymm Bu a no all I e ommon eeene

f analy a e genal nomalan of e be 5 no nly

n e eonomy f unnou bu alo n e onomy of

magnay ege deend n e delne f e Oedu ome

If e oe of genal mauaon o n ou ell e Oedu

mle m be emnaed a omleely a ble fo e

neuene of omle n bo man and oman e ae emonal gma of e aaon omle We may be able

o ed me lg on e delne of e Oedu omle a moun

ng fo e all f e efe o a Feud ng ell u

abou e meanm of mounng Tee a yne o be made

ee.

Wa dene e lm f e be f e may ave

o mun oo a no ben ed ou ye We an eanlymagne a e allu n u one moe obe o be mouned

le all e e Hee a eveyee ele a a lae of

n, a lae aa T lae a e an deemne

deemne agan a bagund Ten e ae f e bagundelf l beome aaen a a el

Hee ee on omleely ne gound ee e enoune

a I all e uen f e lae of e obe n dee T

e ueon a I ave been elong e e bore]

yu by mean f a ee f nen e vao ee

on gve vao eonane and ou analy f Hmet

uld e ue fue

Wa gve e all aula value Feud ele a

alay ou e lge eauone bol u ve and

an God e dd ll e day e ded fo ee e nve

ould ave ned a e ad lay o [rr n eld

5 See the article "Stade (ou Organisatn} gntae) in Tean Laplnchead J.-B Pnta, Vocabulaie de la psyhanalyse (Pais : Pees Unvesiares de Fae 1967 Tr.


38/42

ale Fen Sudies

of o-Feud elies a i's a nasssi demand [xgn]

made y e sue

A e momen of e nl ouome of s Oedial deands,e sue seen imself asaed n any ase, deved of e

in, efes as ee o aandon a a of self i ll

enefo e foeve fodden o im, fomin e unuaed

ain of sinies a fos e o of ou diaa f e love

eaonsi a s au u in e aenal diale eedes if

e sue es e Oedal elaonsi o founde is e

ausesays Feudof e lus of a allus a is inoduedso enimailly fom e einnin of e naisss se on

Wa does a mean o us in ems of ou voaulary?

Tee's no on n efen a o all of is unless emsus o sed soe l on a Feud us leave ou He eaves

ou eause e needs o e o e ea of e mae and

doesn' ave ime o dell on s assumons Tis is moeove

e ay a all aon eneally seain, s founded, eseiallyall rue aon i e aion a onens us ee sould e

Well, in ems of ou dsouse, nasssi as sein

o do i e manay eise e's sa y sayn a e

sue us eloe fr r d is elaonsi o e eld

of e Oe ie., e eld oanied in e symoli eise, in

i s dand fo love as eun o eess self is ene emees fom is exoaon, avn aied i o e end, a

e loss of e us ous fo im and is fel as su, a ada

loss Ho does e esond en o e neessiy [xign] of is

mounin? Peisey e ooson of s anay eise

and non esea enoenon ose siaiy o a sy

o eanis ave aleady indiaed. )

Te osiion of e allus s alays veled aas onlyin sudden anifesaions d d hn n a as, y eans

of is eeion on e level of e oe Fo e sue, of ouse,

s a ueson of o ave o no o ave i Bu e adia

osion of e sue a e eve of ivaion, of e sue as


39/42

acqes Lacan

sbect f desire is nt t be it The sbect is himself s t

speak a negative bect

We can say that the frms in which the subect appears at theevels f castratin f frstratin and f privatin are frms f

alienan but we must prvide fr each the three a charac

terizati tat ditinguishes it perceptibly frm the thers At the

level f castratin the subect appears in a blackut yncoe f

the signer It' smething else when he appears at the evel f the

Other in a state f submisin t the law f ne and all ts sme

thing ele again when he himself must sitate hmelf in dere

The rm his diappearance has in thi cae a singular riginality

well suited t prmpt u frmulate it frther n

hi is indeed the directin in which the curse the tragedy

Hmle s taking s

3

ndeed the smething rten with which pr Hamlet is cn

frnted i mt cey cnnected with the poitin the subect

with regard t the phalls. And the phallus i everywhre present

in the disrder in which we nd Hamet each time he apprachesne f the crucia mments f his actin.

There's smething very strange in the way Hamlet speaks abu

his dead father an exaltatin and idealzatin f his dead faher

which cmes dwn t smething like th : Hamlet ha n vice

with which t say whatever he may have t say abt him He

actually chkes up and nally cncudes by saying-in a particuar

fm f the signie that is caed pregnant in English reerrngt smething that has a meaning beynd its meanig-tha he can

nd nthing t say abut his father except that h was like anyne

ese. What he mean is ver bvsy the ppte This i the

rst indcatn the rst trace f what want t tak abut here


40/42

ae renc tde

Anter trace tat te reectin derecatin, cntemt tat

e ct on adi a eery apernce o dao Te

tent f nt tat e nlee n Cladin te reenceo i moter nmelyclminate in te rae in o red

and atce We rely cannt fil t relate ti t te fact tt

in te traedy o mlet, ne tt o Oedi, ter te mrder

f te fater, te all till tere t' tere indeed, and it i

reciely ld wo clled on to embody it

Cad real all i alway mewere in te ctre Wat

doe mlet e to reroac i mter or, ter all i not oran led ere wt t? And wt deected arm and eec

e end er bck to tt , atel obect, ere rea indeed,

arond wic te lay reoe

o ti womnwo doet em to o ry direntrom ter women, nd wo w cniderable mn eelin

tere mt be ometin ery tron tat attce er to er rt

ner. And dent t eem tat tat te nt arnd wicmlet action t and iner? tonded irit, o to pea,

tremble befre metin tt ttery nexected te al

i locted ere in oition tt i entirely ot o lace in term

f t itin in te Oedi cmlex ere te all t be

trc at i re indeed. And amlet away to e ery orce

f wat mae amle arm waer at eery mment, i te narci

itc connection tt Fred tel bot in i tet on te declineof te Oedi cmlex ne cannot trie te all becae

te all een te real a, i h.

We were trbled at te tme by te qetin f wy after

ll n one inted itler-itler, wo i ery mc ti bect

tat nt le te ter t bect x we fnctn in te

omoention o te crowd by men o identication i de

6 Laan's tnslation o Feuds V usuay trsated nEgsh as "egaton Its use here suggests ht Hmets hsie efeencest Cudus c be nepeed s nds epessed dmt eeuds 1925 ssy "Ngaton (Sadad do XIX, 35-39, ad theepndg n phe ad PtsT

50


41/42

Jqus Ln

nstrtd b Frud Dsnt hs d bk t wht wr ds

ussng hr?

h qustn t hnd s the ngt nfesttn f thsgnr pwr f ptn th Odpl stutn wh

prs n the prtulr strkng fr n the r tht w hv n

Hame wth th rn, th usurper n pl nd funtnng

s usurpr Wht sts lt's r ts nt fr-he hs nthng

but tpt fr th gu-ts buse h knws tht h ust

strk sthng thr thn whts there. nded tw nuts

ltr, whn h rrvs t hs thrs hbr nd s bgnnng

t gv hr h hl h hrs ns bhnd th urtn, nd

h ungs ut wthut lkng rst.

I dn't rll nw wht stute nttr pntd ut th

t nnt pssbl blv tht t's udus, bus h's us

let h n th nt r Nevrthess whn he hs dsbwld

pr nus, h rrks hu wrthd rsh, ntrudngl / I tk th r th bter" verne thnks tht h

nt t kl th kng but n th prsn f Cludus, th r

kng d th srpr s wl, h dd ter ll hld k h wntd

sthng r sn btr wntd t ut h f, t n th

sss hs sn udus s h knel thre r h, wsn't

qut wht lt ws terhe wsn't th rght n.

Is qustn th phllus nd tht's wh h wll nver bbl t strke t unt th nt when he hs d th plt

sr-wthut wtng t rvr- ll rssst tth

nts whn h s rtll wundd nd knws t h thng

s srng nd vs rrded n ll srts lttl rddls n

lt's stle

Pnus r h s erel l, n tht he hs n s

sns srd t th sprt f hs fther Whn hs stshd

undr th strs nd evern sks h whts gng n h gs

nt fw f hs ks whh r ws s dsnrtng fr hs

dvrsres vrn wnders whthr wht h ss s rll wht

h ns bus wht ss gts th ll whr the'r th tuh


42/42

Yale Frec Ste

et. But r m t a t, e mut w muc tat te catbeeve t a a rt.

a p tat mut be ute amar t u rm tepeme f te avw me b te ubjet He pea theewr wc up ll w ave remaie a g a eale t temmetatr e b wt te g"-e et ue tewr pe," peae te-ut te g t wt the yepae te wr " wt te wr pallu a u eett tat e te pte b bu up engag] t

matter te paua w-ut te pau te ctrary bu t tg t awa p trug ur gr [. . .]

Hmet e kng a thng Gudnste A n, my d? : O g.

2 5

Frec text ete b JacqeAla Merrm tracrpt Laca Smiar.raate b ame lbert

Documents

Lacan, Jacques - Desire & the Interpretation of Desire in Hamlet, (1977) 55-56 YFS 11