In his essay, "The Theme of the Three Caskets, " Sigmund Freud points out that the casket of lead stands for the Goddess of Death and, by "replacements by the precise opposite, " the Goddess of Love. A portrait of Portia's is locked in in this casket of lead. Thus Portia is closely associated with both "creators and destroyers, " in other words, with "goddesses of life and fertility and goddesses of death. " This ambivalence of hers is made explicit in her name and in her association with Medea. It is also plainly represented in what she does in the play. She gives money to Antonio, Bassanio, Lorenzo and Jessica and takes it away from Shylock. Since everyone of them thinks that money is the source of his (or her) life or life itself, Portia's giving money to these three Christian Venetians and Jessica means that she gives life to them while her taking it away from Shylock means that she gives death to him. In this way, the ambivalence that Freud finds in Portia in the casket scene is appropriate through out the play of The Merchant of Venice.

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Classification of the various characters according to Jung's psychological type reveals that each character lives at ease without paying any attention to the depth of his own mind -the inner world of unconsciousness. The situation seems rather strange for us, because neither Claude nor Elizabeth identifies his or her own son. At the same time, Colby doesn't know his own parents. Kaghan, Lucasta's fiancdoesn't know his parents, either. In short, this drama shows alienation among human beings in general. By the pursuit of the process of finding Colby's parents and his establishing his own identity, that is, by the pursuit of his own individuation process we may give light to the psychic totality of the characters in this work.

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In 1910's E. M. Forster (1879-1970) was exposed to the basic ideas and concepts in the school of psychoanalysis. His critical writing and commentsupon Freud, Jung, Bergson, and Proust written then and after and now available throw a new light on his stories, "fantasies, " since his deep and correct understanding of subconsciousness, collective consciousness, archetypes, and other key concepts on artistic creativity make his stories relevant to a psychonanalytic interpretation of them, which this paper tries to give, focussing on "The Story of a Panic", one of his stories. An approach of myth criticism and archetypes to literature is valid as well in understanding metamorphosis, Pan myth, and identity as seen in the story. Discussion in the paper proceeds along as follows: I. Physical and Spiritual Transformation II. Pan Myth DI. Fantasy IV. E. M. Forster and Psychoanalysis V. "The Story of a Panic".

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