Editing Waiting for Godot (section)

==== Jungian ====
"The [[analytical psychology#Archetypes|four archetypal personalities]] or the four aspects of the [[Psyche (psychology)#Jungian school|soul]] are grouped in two pairs: the [[analytical psychology#Complexes|ego]] and the [[analytical psychology#Shadow|shadow]], the [[Persona#In psychology|persona]] and the soul's image ([[Analytical psychology#Anima and animus|animus or anima]]). The shadow is the container of all our despised emotions [[psychological repression|repressed]] by the ego. Lucky, the shadow, serves as the polar opposite of the [[egocentrism|egocentric]] Pozzo, prototype of prosperous mediocrity, who incessantly controls and persecutes his subordinate, thus symbolising the oppression of the unconscious shadow by the despotic ego. Lucky's monologue in Act I appears as a manifestation of a stream of repressed unconsciousness, as he is allowed to "think" for his master. Estragon's name has another connotation, besides that of the aromatic herb, [[tarragon]]: "estragon" sounds similar to [[estrogen]], the female hormone (Carter, 130). This prompts us to identify him with the [[anima (Jung)|anima]], the feminine image of Vladimir's soul. It explains Estragon's propensity for poetry, his sensitivity and dreams, his irrational moods. Vladimir appears as the complementary masculine principle, or perhaps the rational persona of the contemplative type."<ref>Sion, I., "The Shape of the Beckettian Self: Godot and the Jungian Mandala". ''Consciousness, Literature and the Arts'' Volume 7 Number 1, April 2006. See also Carter, S., 'Estragon's Ancient Wound: A Note on Waiting for Godot' in ''[[Journal of Beckett Studies]]'' 6.1, p. 130.</ref>