Stephen has grown up to be a fetishist. After his mother died, he often' thinks much of his beloved mother, whose belongings are described fetishistic. But his super-ego is blaming his conscience, and here necessarily transference is raised. In the National Library Stephen is making a speech about his argument of Shakespeare in the presence of famous literary scholars. We can find many examples of fetish, while he explains his idea quoting from Shakespeare's works. He thinks that Ann Hathaway, Shakespeare's wife, is not virtuous, and Hamlet's mother is not either. Stephen tries to identify his own mother with either of them, so that he may unconsciously get rid of his mental distress.

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T. S. Eliot was born in St Louis Missouri, on 26 September 1888. The Eliots were the aristocrats of the 19th century America. He could spend a happy childhood surrounded by intelligent parents, gentle sisters and a devout nurse. He studied at Harvard and some other universities in Europe. He began to write poems at his very young age, which could gain a good reputation, . Those works suggest his hypersensitivity; in other words, his personal waste land within him. This paper intends to give light to the waste land within him from the psychoanalytical point of view: First, the circumstances in which he was brought up are studiedchiefly on the relationship between Eliot and his mother because the traumatic experience in his childhood is the basic standpoint to know his personal waste land. Second, his too long psychosocial moratorium. This may be the key element to explain his failure to establish a normal ego identity. Lastly, his psychosexual moratorium. This leads him to somewhat homosexual relationship with Jean Verdenal, to hasty marriage to Vivien and to life-long enslavement in the devastation of soul. In order to analyze his own waste land, The Waste Land is chiefly referred to here.

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We can't say that the motives of characters' actions in Richard Ill are fully supplied before and after they are determined upon. As the main examples of incomplete motivation, we can pick up three ones: why did Richard live such a wicked life? why was Anne, the widow of Edward, Prince of Wales, wooed and won by Richard with all her hatred to him? and why were others so helpless against him? There have been many explanations, which we can't be fully satisfied with. Now, in this play we often meet the word 'shadow', uttered mainly by Richard himself. Seeking for its true meaning, we come to the conclusion that it almost coincides with what Jung calls `the shadow'. When we take the viewpoint that Richard is the image of the archetypal shadow as well as of the personal one, the problems picked up above can be solved, I suppose. And observing how others get out of his control over themselves, we find there rises up the image of `the self', one of Jung's archetypes, from behind them.

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Leontes' jealousy is a form of paranoia caused by his narcissism. In his earliest days of childhood, he formed his primary identity, by mirroring himself on his best friend Polixenes. There was a strong resemblance between these two men and each regarded the other as his double. This means that their relation was highly narcissistic. Both Hermione and Polixenes' wife seemed to them to interlude their narcissistic relation. After their marriage, both men have tried to maintain their relation as it was by substituting the exchanges of gifts for it. Now Polixenes' stay at Leontes' castle gives them a chance to return to their childhood. While Leontes tries to extend the period of this return, Polixenes is ready to leave such a relation behind him: he accepts Hermione's advice, refusing Leontes'. For Leontes, Polixenes is a betrayer and Hermione is a seducer of Polixenes who succeeds to tempt Polixenes to give up his narcissistic relation with him. Leontes remembers how he was tempted by Hermione to leave the narcissistic closed world of narcissism which he shared only with his double when he married her. He becomes jealous of the relation between these two enemies of his narcissism. In order to punish both of them, he tries to kill them. After losing Polixenes' friendship, Leontes finds his double in Mamillius. His death, however, ends his wish to regain narcissistic comfort and persuades him to form human relations other than narcissistic ones: i. e. his libido, which has been pent up in his ego, is now released to attach to an object. His acting as go-between for Florizel and Perdita is a substituted form of "reparation': Leontes is trying to repair his relation with Hermione. In the final scene Hermione, who seemed to be a lifeless statue at first, moves. This event symbolizes Leontes'transformation: in the past he stayed in the narcissistic relation which was separated from others and was static; however, now he is living in dynamic relation with others.

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