Page:American Journal of Psychology Volume 21.djvu/119

Rh for other legends in which it is more prominent (e. g., those of Cyrus, Kama, etc.).

The third factor to be considered is the process technically known to mythologists as "doubling" of the principal characters. The chief motive for its occurrence seems to be the desire to exalt the importance of these, and especially to glorify the hero, by decoratively filling in the stage with lay figures of colourless copies whose neutral movements contrast with the vivid activities of the principals. This factor is sometimes hard to distinguish from the first one, for a given multiplication of figures may subserve at the same time the function of decomposition and that of doubling. In general it may be said that the former function is more often fulfilled by the creation of a new person who is a relative of the principal characters, the latter by the creation of a person who is not a relative; this rule however has many exceptions. In the present legend Claudius seems to subserve both functions, and it is interesting to note that in many legends it is not the father's figure who is doubled by the creation of a brother, but the grandfather's. This is so in some versions of the Perseus legend, and, as was mentioned above, in those of Romulus and Amphion; in all three of these the creation of the king's brother, as in the Hamlet legend, subserves the functions of both decomposition and doubling. Good instances of the simple doubling processes are seen in the case of the maid of Pharaoh's daughter in the Moses legend, or of many of the figures in the Cyrus one. Perhaps the purest examples of doubling in the present play are the colourless copies of Hamlet presented by the figures of Horatio, Marcellus and Bernardo. Laertes and the younger Fortinbras, on the other hand, are examples of both doubling and decomposition of the main figure. The figure of Laertes is more complex than that of Fortinbras in that it is composed of three components instead of two; he evinces, namely, the influence of the Brother-sister complex in a way that contrasts with the ' 'repressed' ' form in which this is manifested in the central figures of the play. Hamlet's jealousy of Laertes' interference in connection with Ophelia is further to be compared with his resentment of the meddling of Guildenstern and Rosencrantz. These are therefore only copies of the Brother of mythology, and, like him, are killed by the hero; in them is further to be detected a play on the "Twin" motive so often found in mythology, but which need not be further developed here. Both Laertes and Fortinbras represent one "decomposed" aspect of the hero, namely that concerned with revenge for a murdered or injured father.