Psychoanalyzing Medusa
Sigmund Freud was an Austrian Neurologist, and the father of psychoanalysis. His views on Medusa were revealed in a paper published posthumously in 1940 concerning the monster entitled "Medusa's Head." In this, he came to the conclusion that the terror of the monster originated mainly from the fear of castration- Medusa’s decapitation evokes castration to his view. Interestingly enough, the mane of snakes and the petrifying gaze are considered lessening to the terror, and in fact reassuring. This viewpoint originates from Freud’s interpretation of the mane of snakes and the stiffening effect of the gaze as phallic symbols, reassuring and countering the fear of castration. Some more recent scholars, however, draw comparison to the paralyzing effect of fear instead of a phallic reassurance, so there is some room for debate here.
Freud also looks into the origins of Medusa. He considers Medusa to have found her roots in the fear of men- the reason Medusa was cursed by Athena was because she was raped by Poseidon. Freud associates her with the mother figure, a very prominent figure in his psychoanalytical theories, and argues that her gaze serves in an apotropaic manner, warding off unwanted spectators and threats. This fits in with the tradition of the ancient Greeks using Gorgoneion- representations of Medusa's head- on walls, fortifications, gates, doors, and the like as signs to ward off evil.
Freud also looks into the origins of Medusa. He considers Medusa to have found her roots in the fear of men- the reason Medusa was cursed by Athena was because she was raped by Poseidon. Freud associates her with the mother figure, a very prominent figure in his psychoanalytical theories, and argues that her gaze serves in an apotropaic manner, warding off unwanted spectators and threats. This fits in with the tradition of the ancient Greeks using Gorgoneion- representations of Medusa's head- on walls, fortifications, gates, doors, and the like as signs to ward off evil.
Image of Sigmund Freud
Consistently Ambiguous
Medusa's characteristics can be thought of as a compilation of multiple contrasting traits. For example, she is beautiful and monstrous. In general terms, Medusa was not a very complex character in her conception. In fact the only interesting thing about her was that she had beautiful hair. This simplistic characterization leaves her personality a blank slate, and therefore she represents the essential, common, general woman.
In being beautiful and monstrous she demonstrates a certain intrinsic duality of the male perception towards the female sex. A further discussion of this duality is presented in an article by Laurens de Vos. She alludes to Medusa's unique nature, "She is the only one of the Gorgones that is not immortal, but she is not human either. Staying at the gates of Hades she lingers in the twilight zone between life and death." (De Vos). The article later goes on to establish that Medusa is the embodiment of existential fear as well, "Medusa reminds us of our past, of the primitive mother to whom all access is made impossible, irrevocably ending each return in death." (De Vos). Additionally, Medusa contains the ability to create life (as in the case of Pegasus and Chysaor see origins), and kill with the power of her gaze. In accordance with the previous statement, this demonstrates the duality of the female character as seen by the patriarchal society. Drawing on the views of Freud, De Vos states that Medusa, the typical woman, in giving birth gives man a sense of his transience, or knowledge of his unavoidable decay. Therefore, Medusa's character makes her the definition and reference for difference. She contains the normal positive elements, which are easily identified as such (since the author will make it clear that they are seen as positive), as well as the evil incorrect aspects. In this manner she conforms rather well with Cohen's thesis on monsters especially the one that states that monsters "dwell at the gates of difference" (Cohen 7). Medusa is undeniably different and she gives us a sense of our own difference. Her power is in her symbolism. |
Medusa Represents Ambiguity - Charles Gilbert, All Is Vanity (1892) |
Representing Women's Power
One of the more sympathetic viewpoints of Medusa came from the feminists. Many of them believe that Medusa was born out of the misogynistic abuse that she had gone through at the hands of Poseidon. Some feminist authors such as Hélène Cixous dispel Medusa's monstrosity as a misinterpretation of her true being.
Helene Cixous is an Algerian-born French professor and renowned author of the mid-20th century . Cixous goes as far as to say that Medusa's face is and has always been beautiful, and those who believe that Medusa has such a monstrous face and snakes for eyes, misunderstand Medusa. Cixous contends that the only reason that Medusa's face is described as horrendous is because she "has been directly determined by the male gaze"("'The Laugh of Medusa' Research Page."). Cixous proceeds to question whether Medusa can actually turn men into stone, or whether this is yet another myth perpetuated by men's fear ("Medusa").
Other feminists during the 20th century such as the Scottish poet Carol Ann Duffy also characterize Medusa as a victim. However, unlike Cixous who placed an emphasis on the myths of Medusa, Duffy focuses on the comparison between Medusa before and after her transformation. In her poem "Medusa", Duffy does not deny Medusa's appearance or that Medusa has the power to turn men to stone. Rather, Duffy capitalizes on the monstrosity of Medusa to paint her as a victim. By discussing how Medusa's "bride breath soured" or how when she stared in the mirror she saw a dragon instead of a Gorgon, Duffy depicts Medusa as a cursed individual, who hates every minute of her existence ( "Medusa").
Many feminist authors believe that Medusa was a misunderstood creature. Some like Cixous contend that she was created out of male abuse. Others like Duffy wish to emphasize how Medusa is the victim of a curse laid upon her. Many feminists believe that this fear is caused by women being unsure with what they can or cannot do. By relinquishing fear of how men would interpret their actions, women would not only be able to express themselves freely but also see Medusa as a beautiful woman (“‘The Laugh of Medusa’ Research Page”).
Helene Cixous is an Algerian-born French professor and renowned author of the mid-20th century . Cixous goes as far as to say that Medusa's face is and has always been beautiful, and those who believe that Medusa has such a monstrous face and snakes for eyes, misunderstand Medusa. Cixous contends that the only reason that Medusa's face is described as horrendous is because she "has been directly determined by the male gaze"("'The Laugh of Medusa' Research Page."). Cixous proceeds to question whether Medusa can actually turn men into stone, or whether this is yet another myth perpetuated by men's fear ("Medusa").
Other feminists during the 20th century such as the Scottish poet Carol Ann Duffy also characterize Medusa as a victim. However, unlike Cixous who placed an emphasis on the myths of Medusa, Duffy focuses on the comparison between Medusa before and after her transformation. In her poem "Medusa", Duffy does not deny Medusa's appearance or that Medusa has the power to turn men to stone. Rather, Duffy capitalizes on the monstrosity of Medusa to paint her as a victim. By discussing how Medusa's "bride breath soured" or how when she stared in the mirror she saw a dragon instead of a Gorgon, Duffy depicts Medusa as a cursed individual, who hates every minute of her existence ( "Medusa").
Many feminist authors believe that Medusa was a misunderstood creature. Some like Cixous contend that she was created out of male abuse. Others like Duffy wish to emphasize how Medusa is the victim of a curse laid upon her. Many feminists believe that this fear is caused by women being unsure with what they can or cannot do. By relinquishing fear of how men would interpret their actions, women would not only be able to express themselves freely but also see Medusa as a beautiful woman (“‘The Laugh of Medusa’ Research Page”).
Medusa Unravelled
The face of Medusa on Aegis shield
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The culmination of the different ideas and interpretations of Medusa presented above leads to a more resolute conception of her monstrosity. The psychoanalytic aspect of her monstrosity tells of why Medusa is such a treacherous thought to most males- the subliminal fear of castration. She often time symbolizes a powerful female leader to some authors such as Cixious and Duffy. By these people she is thought of as a victim who was brought down by misogynists to shroud any possibility of women expressing themselves. These along with Medusa's paradoxical nature illustrate her monstrosity as a misunderstood powerful being acting as a symbol against female suppression. Her wicked gaze turning men into figures of their misconceptions and her snake dreads menacing anyone in her path add to her precarious monstrosity. Even her severed head has incredible power, and the fact that she was placed on the shield Aegis as a menacing test of anyone's bravery helps portray how people feared and were intimidated by her power. Her fearlessness when facing a combatant and her blind rage toward any man gives the impression of a monstrous entity worthy of the title Medusa.
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