Psychological criticism is a diverse category, but it often employs three approaches.

First, it investigates the

creative process of the artist: what is the nature of literary genius and how does it relate to normal mental
functions? (Philosophers and poets have also wrestled with this question, as you can see in selections from
Plato and Wordsworth in the Criticism: On Poetry ) The second major area for psychological criticism is the
psychological study of a particular artist. Most modern literary biographies employ psychology to understand
their subjects motivations and behavior. One recent book, Diane Middlebrooks controversial Anne Sexton: A
Biography, actually used tapes of the poets sessions with her psychiatrist as material for the study. The third
common area of psychological criticism is the analysis of fictional characters. Freuds study of Oedipus is the
prototype for this approach that tries to bring modern insights about human behavior into the study of how
fictional people act.
Sigmund Freud (18561939)
THE DESTINY OF OEDIPUS
Translated by James Strachey. The lines from Oedipus the King are given in the version of David Qrene.
If Oedipus the King moves a modern audience no less than it did the contemporary Greek one, the explanation
can only be that its effect does not lie in the contrast between destiny and human will, but is to be looked for in
the particular nature of the material on which that contrast is exemplified. There must be something which
makes a voice within us ready to recognize the compelling force of destiny in the Oedipus, while we can
dismiss as merely arbitrary such dispositions as are laid down in Die Ahnfrau or other modern tragedies of
destiny. And a factor of this kind is in fact involved in the story of King Oedipus. His destiny moves us only
because it might have been oursbecause the oracle laid the same curse upon us before our birth as upon him.
It is the fate of all of us, perhaps, to direct our first sexual impulse towards our mother and our first hatred and
our first murderous wish against our father. Our dreams convince us that that is so. King Oedipus, who slew
his father Laius and married his mother Jocasta, merely shows us the fulfillment of our own childhood wishes.
But, more fortunate than he, we have meanwhile succeeded, insofar as we have not become psychoneurotics,
in detaching our sexual impulses from our mothers and in forgetting our jealousy of our fathers. Here is one in
whom these primeval wishes of our childhood have been fulfilled, and we shrink back from him with the
whole..........
E. g. Hamlets Philosophical and Psychological Dilemma in His To Be or Not to Be Soliloquy;
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6SOCILOLOGICAL CRITICISM
Sociological criticism examines literature in the cultural, economic, and political context in which it is
written or received. Art is not created in a vacuum, critic Wilbur Scott observed, it is the work not simply of
a person, but of an author fixed in time and space, answering a community of which he is an important,
because articulate part. Sociological criticism explores the relationships between the artist and society.
Sometimes it looks at the sociological status of the author to evaluate how the profession of the writer in a
particular milieu affected what was written. Sociological criticism also analyzes the social content of literary
workswhat cultural, economic or political values a particular text implicitly or explicitly promotes. Finally,
sociological criticism examines the role the audience has in shaping literature. A sociological view of
Shakespeare, for example, might look at the economic position of Elizabethan playwrights and actors; it might
also study the political ideas expressed in the plays or discuss how the nature of an Elizabethan theatrical
audience (which was usually all male unless the play was produced at court) helped determine the subject,
tone, and language of the plays.
An influential type of sociological