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Unit 4: Psychological Criticism: Intended Learning Outcomes
Unit 4: Psychological Criticism: Intended Learning Outcomes
3| Literary Criticism
4.1 Introduction
In order to understand any genres, it is essentially indispensable to catch up on literary
criticism because it is considered as a first step toward developing an understanding of some
rather difficult and at times provocative concepts, principles, and methodologies for textual
analysis. Of all the critical approaches to literature, the psychological has been one of the most
controversial for many readers. Yet, for all the difficulties involved in its proper application
to interpretive analysis, the psychological approach can be fascinating and rewarding.
In this lesson, we are going to discuss psychological criticism – its definition, historical
context and the guide questions that would help you in doing your analysis. At the end of
this unit, you are expected to understand the nature of this theory and its distinction from
other literary theories. Most importantly, you will be required to write your own analysis
using psychological lens.
4.2 Topics
4.2.1 What is Psychological Criticism?
Are you familiar with Freud’s Psychoanalytic Theory, Erikson’s Psychosocial Theory and
Kohlberg’s Moral Development Theory? I think so, because these theories were tackled in some of
your Prof. Ed. courses. Well, some of the terms that you will encounter in this unit are from those
Psychological theories.
First, let us define what Psychological Criticism is…
PSYCHOLOGICAL CRITICISM, also known as Psychoanalytical Criticism, is the
analysis of an author’s unintended message. The analysis focuses on the biographical
circumstances of an author. The main goal is to analyze the unconscious elements within
a literary text based on the background of the author.
Psychological criticism in literature refers to the way in which the work of a
particular writer is analyzed through a psychological lens. This approach psychologically
analyses:
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It helps the readers understand the motivations of the writer as well as the
characters. In other words, this criticism helps us to understand:
▪ Why the writer writes the way he does?
▪ How do his biographical circumstances affect his writing?
▪ Why do characters in the story behave in a particular way?
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memory, denial, displacement, projection, regression, fear of intimacy, and fear of death, among
others.
Id, Ego, and Superego
Freud maintained that our desires and our
unconscious conflicts give rise to three areas of the
mind that wrestle for dominance as we grow from
infancy, to childhood, to adulthood:
▪ id - "...the location of the drives" or libido
▪ ego - "...one of the major defenses against the
power of the drives..." and home of the
defenses listed above
▪ superego -the area of the unconscious that
houses Judgment (of self and others) and
"...which begins to form during childhood as a
result of the Oedipus complex" (Richter 1015-
1016)
Oedipus Complex
Freud believed that the Oedipus complex was "...one of the most powerfully determinative
elements in the growth of the child" (Richter 1016). Essentially, the Oedipus complex involves
children's need for their parents and the conflict that arises as children mature and realize they
are not the absolute focus of their
mother's attention: "the Oedipus
complex begins in a late phase of
infantile sexuality, between the child's
third and sixth year, and it takes a
different form in males than it does in
females" (Richter 1016).
Freud argued that both boys and
girls wish to possess their mothers, but
as they grow older "...they begin to sense
that their claim to exclusive attention is
thwarted by the mother's attention to the
father..." (1016). Children, Freud maintained, connect this conflict of attention to the intimate
relations between mother and father, relations from which the children are excluded. Freud
believed that "the result is a murderous rage against the father...and a desire to possess the
mother" (1016).
Freud pointed out, however, that "...the Oedipus complex differs in boys and girls...the
functioning of the related castration complex" (1016). In short, Freud thought that "...during the
Oedipal rivalry [between boys and their fathers], boys fantasized that punishment for their rage
will take the form of..." castration (1016). When boys effectively work through this anxiety, Freud
argued, "...the boy learns to identify with the father in the hope of someday possessing a woman
like his mother. In girls, the castration complex does not take the form of anxiety...the result is a
frustrated rage in which the girl shifts her sexual desire from the mother to the father" (1016).
Freud believed that eventually, the girl's spurned advances toward the father give way to a desire
to possess a man like her father later in life. Freud believed that the impact of the unconscious,
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id, ego, superego, the defenses, and the Oedipus complex was inescapable and that these
elements of the mind influence all our behavior (and even our dreams) as adults - of course this
behavior involves what we write.
“A Rose for Emily” by William Faulkner tells the story of Emily Grierson, a woman
controlled by her father and shunned by the town. When she meets Homer Barron, she takes a
liking to him and appears to the townspeople as having married him. However, when she later
dies, the townspeople discover that Homer had lain dead for years, and she kept his decaying
corpse in bed with her for the entirety of that time. From this, one can infer that Emily clearly
experienced underlying self-esteem issues that later sparked a fear of abandonment and,
consequently, an unhealthy need for control.
Throughout her life, Emily was constantly barraged with her father’s insistence upon
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maintaining the bloodline of the Grierson family, and she
had no mother to speak of to help combat that immense
sense of duty and responsibility as the only child. The
narrator explains that the townspeople imagined Emily’s
father sending away any suitors she had, deeming they
were not good enough. By the time she was thirty, she still
had yet to marry, which leads to the inevitable for a woman
of that time: low self-esteem. Low self-esteem is “the belief
that we are less worthy than other people and, therefore,
don’t deserve attention, love, or any other of life’s rewards.
Indeed, we often believe that we deserve to be punished by
life in some way (Tyson, 2006).” With the mantra her father
engrained into her mind of keeping the bloodline alive and
strong, how could her mind resist the fall into low self-
esteem? The text itself gives cause to infer that Emily
eventually lost even her will to maintain her thin figure and
her health: “When we next saw Miss Emily, she had grown
fat and her hair was turning grey (Faulkner).” There is
ample room to liken Emily’s behavior to low self-esteem.
That unfortunate level of self-esteem is not the only
contention Emily seemed to be dealing with psychologically; there is room to consider Emily
experiencing a fear of abandonment in addition to low self-esteem. This can be attributed to the
idea that one core psychological issue can lead to another psychological issue. For example, “…if
low self-esteem is my core issue, I might develop fear of abandonment as a core issue as well. My
belief that I am unworthy of love might lead me to expect that I will be abandoned eventually by
anyone I love (Tyson, 2006).” Within the text, Emily is seen as a recluse, and she deals very
minimally with the outside world. She doesn’t allow anyone to get close to her, and she
eventually kills the one man that befriends her before he can leave her. This fear of abandonment
can also stem from her father’s death and mother’s absence. There is no evidence of childhood or
adulthood friends either, which supports the idea that she pushed away anyone with the
potential to get close to and leave her.
Those two core issues combine to form Emily’s largest psychological issue: the need for
absolute control. Emily’s low self-esteem and subsequent fear of abandonment result in her
obsessive need for control, and her father’s controlling nature throughout her childhood haunts
her unconscious into her adulthood. One’s defenses can repress memories that are painful, and
they can eventually resurface with unfortunate consequences: “Our unconscious desires not to
recognize or change our destructive behaviors—because we have formed our identities around
them and because we are afraid of what we will find if we examine them too closely—are served
by our defenses. Defenses are the processes by which the contents of our unconscious are kept in
the unconscious. In other words, they are the processes by which we keep the repressed in order
to avoid knowing what we feel we can’t handle knowing (Tyson, 2006).” Evidence of that need
is integrated throughout Faulkner’s entire work. Emily would not pay her taxes per decree by
General Sartoris that the town owed her father money; in later years, however, the townspeople
changed their minds. She simply claimed, “I have no taxes in Jefferson. Colonel Sartoris
explained it to me. Perhaps one of you can gain access to the city records and satisfy yourselves
(Faulkner).” She refused to let slip her grasp on the state of her taxes. Emily also did precisely
what she wanted, controlling every aspect of her life despite the opinions of the townspeople.
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When Homer Barron moved to town, Emily took a liking to him and him to her, but the women
of the town deemed their Sunday jaunts inappropriate. They sent the Baptist minister to speak
with her about her behavior: “He would never divulge what happened during that interview,
but he refused to go back again. The next Sunday they again drove about the streets…
(Faulkner).” Emily didn’t stop until she gained complete control of the situations around her,
even if that meant the ultimate form of control: control after death. The text explains her tendency
to deny the death of and kill her relatives and close friends. When her father died, she remained
in denial and kept his body for three days. Psychologically speaking, his death was her chance
to gain complete control over the man who had held control over her for her entire life; in a way,
she finally had a chance for revenge. She utilized her obsession with Homer as well, except she
physically bought the arsenic and killed him to maintain control. She even kept him in a bed as
he decayed so she could sleep with him every night and avoid the loneliness and
uncontrollability that crept up on her. The townspeople didn’t realize the horrors within Emily’s
house until her passing:
The body had apparently once lain in the attitude of an embrace…What was left of him, rotted
beneath what was left of the nightshirt, had become inextricable from the bed in which he lay…Then we
noticed that in the second pillow was the indentation of a head. One of us lifted something from it, and
leaning forward, that faint and invisible dust dry and acrid in the nostrils, we saw a long strand of iron-
grey hair (Faulkner).
Emily was extremely thorough in her quest for control.
Throughout Faulkner’s “A Rose for Emily,” one can infer that Emily Grierson suffered
from low self-esteem, which fed a deep-seeded fear of abandonment and obsessive need for
control. Traumatized by her controlling father, absent mother, and lack of sociality, Emily’s
unconscious brewed quite the assortment of psychological conundrums. These eventually led
her to lead a reclusive, lonely, murderous life, completely devoid of rationale. Emily Grierson is
the definition of a psychologically impaired woman.
_____________________________________________________________________________________________________
EVALUATION #4
Name: _________________________________________ Program, Year & Section: ______________
Professor: _______________________________________Date of Submission: __________________
I. Objective Type
(This will be administered via Google form on Friday, April 23, 2021 @ 9:00AM)
II. Subjective Type
A. Using tabular presentation, discuss the similarities and differences among:
a. Formalism;
b. Reader-Response; and
c. Psychological approaches. (20 pts.)
B. How do you find Psychological criticism as a literary approach? Write a one-paragraph
reaction to it. (10 points)
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C. APPLICATION: Write a psychological analysis on the main characters of the movie
Mulan (2020).
CRITERIA:
• Application of the theory - 20
• Organization and Coherence - 10
• Grammar & Convention - 10
• Originality - 10
TOTAL 50
4.3 References
Pagliawan, D.L. (2017). Literary Criticism: A Resource, A Guide, A Reader. Texts and Visuals
4.4 Acknowledgment
The images, tables, figures and information contained in this module were taken from the
references cited above.
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