The Loss Of Subjectivity:Lady Macbeth As Unconscio

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The Loss of Subjectivity: Lady Macbeth as Unconscious of Macbeth Among most female characters in Shakespeare’s works, Lady Macbeth, who has been attracting attention and debates for centuries is ambiguous in identity and subjectivity. Her fascination lies in the masks beneath which the evil and good counterparts with the other self restlessly seek to hide or show: she is the dedicated wife, sacrificing her womanliness to help realize her husband’s ambition; she is the “fiend-like queen” (V.viii.35)[1], possessing the cruelty of a man, but is born as a woman. However, it is this mysterious woman that lacks the most fundamental component of her subjectivity, a name. As the only female protagonist in The Tragedy of Macbeth[2], she does not have a name of her own unlike Ophelia (Hamlet), or Portia (The Merchant of Venice), or Desdemona (Othello). She is the Lady Macbeth: she, lacking subjectivity, is not defined in her own right but a reflection of Macbeth’s mental status. Many argue that Lady Macbeth’s loss of subjectivity, as a wife, should blame the husband-supremacy in Shakespeare’s age; the other lay emphasis on her denial of her gender. Granting the preeminence of those debates about her controversial characteristics and ambiguous function, Lady Macbeth indeed exists as an externalized unconscious of Macbeth which Shakespeare has carefully incorporated into her “walking shadow” nature of her husband. The unconscious mind, also subconscious, in Freud's opinion is a repository for unacceptable perceptions, hidden phobias or desires, complexes, traumatic or painful emotions rejected by the mechanism of psychological repression. In a psychoanalytic perspective, unconscious is only recognizable, as “tapped” and “interpreted” by methods such as meditation, dream analysis, and Freudian slip (See Freud’s The Unconscious). Macbeth and Lady Macbeth’s
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