The document summarizes Freudian principles of psychoanalytic literary criticism and Carl Jung's mythological criticism approach. It defines key Freudian concepts like the unconscious, tripartite psyche, dream symbolism, and importance of sexuality and creativity. It also explains Jung's collective unconscious and archetypes as universal symbols expressed in myths. The summary differentiates the two approaches, with Freud focusing on the author's psyche and Jung emphasizing shared archetypes in the collective unconscious expressed through literature.
2. WHAT TO EXPECT?
At the end of the lesson the students are able
to;
a. Understand the Freudian Principle
b. Identify the six concepts of Freudian
Principle
and,
c. Differentiate Freudian Principle from Carl
Jung and Mythological Criticism
3. THE YOUNG GOODMAN BROWN
BY: NATHANIEL HAWTHORNE
SUMMARY
Goodman Brown says goodbye to his wife, Faith, outside of his
house in Salem Village. Faith, wearing pink ribbons in her cap,
asks him to stay with her, saying that she feels scared when she
is by herself and free to think troubling thoughts. Goodman Brown
tells her that he must travel for one night only and reminds her to
say her prayers and go to bed early. He reassures her that if she
does this, she will come to no harm. Goodman Brown takes final
leave of Faith, thinking to himself that she might have guessed the
evil purpose of his trip and promising to be a better person after
this one night.
4. Goodman Brown sets off on a road through a
gloomy forest. He looks around, afraid of what
might be behind each tree, thinking that there might
be Indians or the devil himself lurking there. He
soon comes upon a man in the road who greets
Goodman Brown as though he had been expecting
him. The man is dressed in regular clothing and
looks normal except for a walking stick he carries.
This walking stick features a carved serpent, which
is so lifelike it seems to move.
6. Theman’s words confuse Goodman Brown, whosays that even if this is so, he
wants to return to the village for Faith’s sake.At that moment, the two come
upon an old woman hobbling through the woods, and Goodman Brown
recognizesGoody Cloyse, whoheknows to bea pious, respected woman from
the village. Hehides, embarrassed to beseenwith the man, and the man taps
Goody Cloyse on the shoulder. She identifies him as the devil and reveals herself
tobea witch, onherway to the devil’s evil forest ceremony.
7. Despite this revelation, Goodman Brown tells the man that he still
intends to turn back,for Faith’ssake. The man saysthat Goodman
Brown should rest. Before disappearing, he gives Goodman Brown
his staff, telling him that he can use it for transport to the ceremony if
he changeshis mind. As he sits and gathers himself, Goodman Brown
hears horses traveling along the road and hides once again.
8. Soon he hears the voices of the minister of the church and Deacon
Gookin, who are also apparently on their way to the ceremony.
Shocked, Goodman Brown swears that even though everyone else in
the world has gone to the devil, for Faith’s sake he will stay true to God.
However, he soon hears voices coming from the ceremony and thinks
he recognizes Faith’s voice. He screams her name, and a pink ribbon
from her cap flutters down from the sky.
10. A figure appears on a rock and tells the congregation to present the converts. Goodman
Brown thinks he sees his father beckoning him forward and his mother trying to hold
him back. Before he can rethink his decision, the minister and Deacon Gookin drag him
forward. Goody Cloyse and Martha Carrier bring forth another person, robed and
covered so that her identity is unknown. After telling the two that they have made a
decision that will reveal all the wickedness of the world to them, the figure tells them to
show themselves to each other. Goodman Brown sees that the other convert is Faith.
Goodman Brown tells Faith to look up to heaven and resist the devil, then suddenly
finds himself alone in the forest.
11. Thenext morning Goodman Brown returns to Salem Village, andeveryperson
hepasses seems evil to him. He seesthe minister, whoblesses him, and hears
Deacon Gookin praying, buthe refuses to acceptthe blessing and calls Deacon
Gookin a wizard. He sees Goody Cloyse quizzing a young girl onBible verses and
snatches the girl away. Finally, he sees Faith at his ownhouse and refuses to
greet her.It’s unclear whether the encounter in the forest was a dream, but for
the rest of his life, Goodman Brown is changed.Hedoesn’t trust anyone in his
village, can’t believe the words of the minister, and doesn’t fully lovehis wife. He
lives the remainderof his life in gloomand fear.
12. WHAT IS FREUDIAN PRINCIPLE?
is a literary criticism that uses the psychoanalytic
theory of Sigmund Freud to interpret a work in terms
of the known psychological conflicts of its author, or,
conversely , to construct the author’s psychic life from
unconscious revelations in his work. (Britanica.com)
Psychoanalytic criticism was emerged in 1960s
This principle is based on the specific premises of the
workings of the mind, the instincts, and sexuality.
(Mambrol,N. 2016)
13. SIX CONCEPTS OF FREUDIAN PRINCIPLE
1. The unconscious
It is the most significant aspect of Freudian
theory
It is hidden from the conscious mind, which
Freud compared to that small portion of an
iceberg that is visible above the surface of the
water, the unconscious is like the powerful
unseen mass below it.
14. 2. The Tripartite Psyche
Freud divided the human psyche into three
parts; the id, the ego and the superego.
1. ID
- It is the part where the mind is completely
unconscious.
- It tries to satisfy its hunger for pleasure.
- It operates without any thought of
consequences, anxiety, ethics, logic,
precaution or morality.
15. 2. EGO
- It operates according to reality principle.
- Its function is to make the id’s energies
nondestructive by postponing them or
diverting them into socially acceptable
actions, sometimes by finding time for
gratifying them.
- It mediates between the inner selves
and the outer world.
16. 3. SUPEREGO
- It provides additional balance to the id.
- Known as one’s conscience, it operates
according to the morality principle.
- Balance between the license of id and the
restrictions of the superego produces the
healthy personality.
- When the superego is too strong, it may lead
us to unhappiness and dissatisfaction with the
self.
17. 3. The Significance of Sexuality
Freud believed that infancy and
childhood are periods of intense sexual
experience.
It go through three phases of
development that serve specific physical
needs, then provide pleasure, if we are
to become healthy, functioning adults.
18. 1. ORAL STAGE
- It characterized by sucking from mother’s breast,
thumbs or, later, even kissing.
2. ANAL STAGE
- A period the recognizes not only the need for
elimination but also the presence of another
erogenous zone.
3. PHALLIC STAGE
- The child discovers the pleasure of genital
stimulation, connected, of course, reproduction.
19. 4. The Importance of Dreams
According to Freud, dreams are the language of
the unconscious, full of unfulfilled desires that the
conscious mind has buried there.
Through the use symbols that make repressed
material more acceptable, if not readily
understandable to us, the ego veils the meaning
of our dreams from direct apprehension. As in
literature, the process is called condensation.
Condensation can also take place through
displacement – moving one’s feeling for a
particular person to an object related to him/her.
20. As a window the unconscious, dreams
become valuable tools for psychoanalysts
in determining unresolve conflicts in the
psyche, conflicts that a person may suspect
only because of physical ailments, such as
headaches, or psychological discomfort,
such as claustrophobia.
Dreams are meaningful symbolic
presentations that take the reader beyond
external narrative, they are valuable tools
for critics using a psychoanalytic approach.
21. 5. SYMBOLS
Freud’s recognition of the often subtle and
always complex workings of sexuality in
human beings and in literature led to a
new awareness of what symbols mean in
literature as well as in life.
If dreams are a symbolic expression of
repressed desires, most of them sexual in
nature, then images through which they
operate are themselves sexual ones.
22. 6. CREATIVITY
The connection between creative
expression and the stuff of dreams was
not lost on Freud. His curiosity about the
sources and nature of creativity is
reflected in the monographs he wrote
on creative artists from various times
and cultures.
23. CARL JUNG & MYTHOLOGICAL
CRITICISM
Carl Jung is a Swiss physician, psychiatrist, and
philosopher, eventually broke from his mentor,
then built on his teacher’s ideas in ways that he
made an important figure in the new field of
psychoanalysis.
He also believed that our unconscious mind
powerfully directs much of our behavior.
Jung asserted that some of our unconscious is
shared with all the members of the human
species. He described the human psyche as
having three parts.
24. 1. Personal Conscious- a state of
awareness of the present moment.
2. Personal unconscious- is the past
moments.
3. Collective unconscious- a storehouse
of knowledge, experiences, and images
of the human race. It is an ancestral
memory- shared and primeval- often
expressed outwardly in myth and
ritual.
25. WHAT IS ARCHETYPES?
It requires knowledge and use of nonliterary
fields, such as anthropology and folklore, to
provide information and insights about cultural
histories and practice.
Jung defined it as “universal images that have
existed since the remotest times.”
Specifically, he described it as “ a figure that
repeats itself in the course of history wherever
creative fantasy is fully manifested.”
26. Jung believed that in order for us to live
harmoniously we must deal with three powerful
archetypes that compose the self.
1. Shadow- is our darker side, the part of ourselves
we would prefer not to confront, those aspects
that we dislike.
2. The anima- it is the “soul-image”. The life forces
that causes one to act.
3. The persona- is the image that we show to
others. It is the mask that we put on for the
external world.
30. REFERENCES
Dobie, A. B. (2011). Theory into Practice: An Introduction to Literary
Criticism. In Google Books. Cengage Learning. Retrieved From
https://books.google.
com.ph/books?id=QWwIAAAAQBAJ&lpg=PR5&ots=Z3f72tSk7G&d
q=l iterary%20criticism%20pdf&lr&pg=PR10#v=onepage&q&f=false
