The self-violence of conscience

This ("Against Self-Criticism") was an interesting Adam Phillips piece in the London Review of Books about the harm that conscience often causes in the bearer due to self-judgment. Excerpts:

Lacan said that there was surely something ironic about Christ’s injunction to love thy neighbour as thyself – because actually, of course, people hate themselves. Or you could say that, given the way people treat one another, perhaps they had always loved their neighbours in the way they loved themselves: that is, with a good deal of cruelty and disregard. 
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‘The loathing which should drive [Hamlet] on to revenge,’ Freud writes, ‘is replaced in him by self-reproaches, by scruples of conscience, which remind him that he himself is literally no better than the sinner whom he is to punish.’ Hamlet, in Freud’s view, turns the murderous aggression he feels towards Claudius against himself: conscience is the consequence of uncompleted revenge. Originally there were other people we wanted to murder but this was too dangerous, so we murder ourselves through self-reproach, and we murder ourselves to punish ourselves for having such murderous thoughts. Freud uses Hamlet to say that conscience is a form of character assassination, the character assassination of everyday life, whereby we continually, if unconsciously, mutilate and deform our own character. So unrelenting is this internal violence that we have no idea what we’d be like without it. We know almost nothing about ourselves because we judge ourselves before we have a chance to see ourselves.

Freud is showing us how conscience obscures self-knowledge, intimating indeed that this may be its primary function: when we judge the self it can’t be known; guilt hides it in the guise of exposing it. This allows us to think that it is complicitous not to stand up to the internal tyranny of what is only one part – a small but loud part – of the self. So frightened are we by the super-ego that we identify with it: we speak on its behalf to avoid antagonising it (complicity is delegated bullying). 

Like a malign parent it harms in the guise of protecting; it exploits in the guise of providing good guidance. In the name of health and safety it creates a life of terror and self-estrangement. There is a great difference between not doing something out of fear of punishment, and not doing something because one believes it is wrong. Guilt isn’t necessarily a good clue as to what one values; it is only a good clue about what (or whom) one fears. Not doing something because one will feel guilty if one does it is not necessarily a good reason not to do it. Morality born of intimidation is immoral. 
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Just as the overprotected child believes that the world must be very dangerous and he must be very weak if he requires so much protection (and the parents must be very strong if they are able to protect him from all this), so we have been terrorised by all this censorship and judgment into believing that we are radically dangerous to ourselves and others.
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The first quarto of Hamlet has, ‘Thus conscience does make cowards of us all,’ while the second quarto has, ‘Thus conscience does make cowards.’ If conscience makes cowards of us all, then we’re all in the same boat; this is just the way it is. If conscience makes cowards we can more easily wonder what else it might be able to make. Either way, and they’re clearly different, conscience makes something of us: it is a maker, if not of selves, then of something about selves; it is an internal artist, of a kind. Freud says that the super-ego is something we make; it in turn makes something of us, turns us into a certain kind of person (just as, say, Frankenstein’s monster turns Frankenstein into something that he wasn’t before he made the monster). The super-ego casts us as certain kinds of character; it, as it were, tells us who we really are; it is an essentialist; it claims to know us in a way that no one else, including ourselves, can ever do. And, like a mad god, it is omniscient: it behaves as if it can predict the future by claiming to know the consequences of our actions – when we know, in a more imaginative part of ourselves, that most actions are morally equivocal, and change over time in our estimation. (No apparently self-destructive act is ever only self-destructive, no good is purely and simply that.) Self-criticism is an unforbidden pleasure: we seem to relish the way it makes us suffer. Unforbidden pleasures are the pleasures we don’t particularly want to think about: we just implicitly take it for granted that each day will bring its necessary quotient of self-disappointment, that every day we will fail to be as good as we should be; but without our being given the resources, the language, to wonder who or what is setting the pace, or where these rather punishing standards come from. How can we find out what we think of all this when conscience never lets go?

I know plenty of people who have this relationship with their consciences. It's kind of sad but more disturbing.

And finally a fascinating support of different forms of expression and the interpretations thereof:

After interpreting Hamlet’s apparent procrastinations with the new-found authority of the new psychoanalyst, Freud feels the need to add something by way of qualification that is at once a loophole and a limit. ‘But just as all neurotic symptoms,’ he writes, ‘and, for that matter, dreams, are capable of being “over-interpreted”, and indeed need to be, if they are to be fully understood, so all genuinely creative writings are the product of more than a single impulse in the poet’s mind, and are open to more than a single interpretation.’ It is as though Freud’s guilt about his own aggression in asserting his interpretation of what he calls the ‘deepest layers’ in Hamlet – his claim to sovereignty over the text and the character of Hamlet – leads him to open up the play having closed it down. You can only understand anything that matters – dreams, neurotic symptoms, people, literature – by over-interpreting it; by seeing it, from different aspects, as the product of multiple impulses. Over-interpretation, here, means not settling for a single interpretation, however apparently compelling. The implication – which hints at Freud’s ongoing suspicion, i.e. ambivalence, about psychoanalysis – is that the more persuasive, the more authoritative the interpretation the less credible it is, or should be. If one interpretation explained Hamlet we wouldn’t need Hamlet anymore: Hamlet as a play would have been murdered. Over-interpretation means not being stopped in your tracks by what you are most persuaded by; to believe in a single interpretation is radically to misunderstand the object one is interpreting, and interpretation itself.