The Implications of Violence on the Gender Variant People in Indian Visual Media: An Expository Analysis
https://doi.org/10.5281/zenodo.11099142
Author(s): Geetha S & Smrutisikta Mishra
DOI: https://doi.org/10.5281/zenodo.11099142
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Un-enveloping the Enveloped Emotions: A Psychological Study of Tagore’s
The Post Office
Dr Devendra K. Prajapati
Assistant Professor,
SoS in English & Research Centre,
Maharaja Chhatrasal Bundelkhand University, Chhatarpur (M.P.)
Article History: Submitted-22/02/2024, Revised-08/04/2024, Accepted-15/04/2024, Published-30/04/2024.
Abstract:
This paper explores the psychological nuances in Rabindranath Tagore’s The Post
Office, drawing upon the child psychological theories of Sigmund Freud and Erik Erikson. It
uncovers intricate conflicts, desires, and interpersonal dynamics within the play’s symbolic
landscape. These psychological facets collectively shape the narrative, revealing an
unconscious yearning for interpersonal relationships, bridging emotional gaps, and addressing
conflicts related to communication, connection, and personal identity. Through examples and
textual analysis, it demonstrates how a psychological lens enhances our understanding of the
play, providing a deeper appreciation of Tagore’s exploration of human psychology, its impact
on personal growth, interpersonal dynamics, and the complexities of the human condition.
Keywords: Child Psychology, Erikson, Freud, Interpretation.
I
Child psychology explores the complex mental mechanisms and behaviours exhibited
by children, encompassing the developmental stages from infancy through adolescence. It
examines the growth, learning, and interaction patterns of children within their environment,
encompassing cognitive, social, emotional, and physical development factors, while also
acknowledging the impact of environmental influences. Theories in this field provide
frameworks for comprehending and elucidating different aspects of child development,
shedding light on how children acquire knowledge, build relationships, and develop their
personalities. Similarly, literature acts as a conduit through which theories of child psychology
can be examined and understood. It offers glimpses into how these theories materialize in the
thoughts, feelings, and actions of fictional child characters, breathing life into abstract concepts
with concrete examples and narratives drawn from real-world experiences. By analysing
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literature through the lens of child psychological theories, the paper can discern how characters
traverse various developmental stages, confront conflicts, and navigate challenges, all while
being influenced by their relationships and environments. This approach allows us to delve into
the motivations, thoughts, and emotions of characters, providing insights into their cognitive,
emotional, and social growth.
Moreover, literature permits the exploration of cultural and contextual influences on
child psychology, as different works often reflect societal norms, values, and historical
contexts. By tracing the correlation between child psychology, literature, and theories, the
paper deepens understanding of psychological concepts and the potency of literature as a tool
for exploring the human experience. This interdisciplinary approach enriches its
comprehension of the multifaceted nature of child development, offering valuable insights into
the myriad factors shaping children’s lives.
In The Post Office, the character Amal, a young Indian boy confined to a room due to
illness, becomes the focal point of the narrative. Psychological interpretation allows us to
explore the depths of Amal’s psyche as he yearns for freedom, connection, and a sense of
purpose beyond the walls that confine him. Through the lens of psychoanalysis, it uncovers the
unconscious desires that drive his imaginative play, the defence mechanisms he employs to
cope with his isolation, and the emotional conflicts he experiences. By delving into Amal’s
psychological odyssey, it uncovers profound insights into the human condition, the intricate
depths of the characters’ minds, the potency of imagination, the profound effects of
confinement, and the universal threads of human experience that reverberate within each of us.
II
This section delves into Freud’s seminal concepts of the ‘id,’ ‘ego,’ and ‘superego,’
focusing light on the enigmatic realm of the unconscious mind. Freud’s theory highlights the
pivotal role of the unconscious in shaping human behaviour, emphasizing how hidden desires
and conflicts wield significant influence. Although not explicitly referenced, elements of
Freudian and Eriksonian theories subtly permeate the narrative of the play Post Office. Through
analysis of dialogue, interactions, and character dynamics, it can discern the underlying
presence of these psychological concepts. By examining Amal’s experiences of confinement
due to illness, his yearning for freedom and connection with the external world, and his
fascination with the unknown, echoes of Freud’s emphasis on the profound impact of the
unconscious on childhood behaviour emerge.
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Freud’s psychoanalytic theory delves into the id, ego, and superego as integral facets of
the human psyche, shaping our thoughts, actions, and desires profoundly. These psychological
components shed light on the inner turmoil and aspirations of characters, revealing their
struggles to navigate societal norms and moral standards. The id represents the primal and
instinctual aspect of the mind, guided by the pleasure principle, relentlessly seeking instant
gratification of desires while often disregarding consequences. Freud elucidates this dynamic,
stating, “Just as the id pursues pleasure exclusively, the ego prioritizes safety. The ego’s task is
self-preservation, a duty the id seems to neglect” (Freud, 1940, p.199). Here, the id operates
through the pleasure principle, contrasting with the ego’s adherence to the reality principle
(Simon Boag). Correspondingly, Kendra Cherry notes that “the id operates on the pleasure
principle, seeking immediate fulfilment of all desires, wants, and needs” (Cherry).
The play revolves around Amal, who, despite being confined to his sickbed, embodies
the id with his childlike innocence and spontaneous nature. He is driven by an unquenchable
thirst for knowledge, adventure, and freedom from societal expectations and the limitations of
his confined environment. Amal’s words highlight how the id shapes his actions, emphasizing
the primal desires and impulses that guide his behaviour.
“I don’t want to be learned; I won’t.” (Tagore 5) “I don’t want to go to school…I
want to run in the fields, play in the water…I want to wander in the hills.” “No,
I would rather go about and see everything that there is.” (5) “I shall go right
away the moment I’m well again.” (7) “I’ll walk on, crossing so many streams,
wading through water…I will tramp on and on seeking work far, very far.” (7)
Amal’s desires and fantasies provide an escape from his reality. For example, in
Act I, he says, “It seems to me because the earth can’t speak it raises its hands into the sky and
beckons…I would catch hold of the winds and mount up to the sky… I would run away to far-
off lands” (6). He prioritizes personal pleasure over societal expectations. He yearns to partake
in joyful pastimes and immerse himself in the wonders of nature, to express his inner self and
break free from the constraints placed upon him. His heart aches for the liberating feeling of
escaping these restrictions by immersing himself in the beauty of nature and engaging in
playful activities.
Amal’s persistent yearning to escape the confines of his room and venture into the world
beyond vividly reflects his primal, id-driven desires. The ego plays a vital role as an
intermediary between the untamed id and the superego, reconciling our innate desires with
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societal expectations. Its primary objective is to satisfy the id’s demands in a manner that is
practical and socially acceptable. In this context, Laura E. Berk mentions, “The ego, the
conscious, rational part of the personality, emerges in early infancy to redirect the id’s impulses
so they are discharged in acceptable ways” (Berk 15). Ego becomes apparent in the situation
as Madhav initially restricts Amal’s ability to venture outside. However, Amal eventually
makes a promise not to venture outside alone. Despite this, he later appeals to Madhav to
accompany him, demonstrating a rational request that reflects his ego. He says, “I won’t. but,
uncle, you’ll let me be in this room by the roadside” (Tagore 8). Here, Amal understands that
Madhav is declining his request for his well-being. This illustrates Amal’s rational thinking and
highlights his concern for his health. In addition, his conversation with the dairyman provides
logical reasons for staying inside the room and being unable to go outside, as he explains, “I
can’t tell. You see, I am not learned, so I don’t know what’s the matter with me” (8). In this
portrayal, the ego instinct is discernible within his personality. On the side of adulthood, Amal’s
uncle comprehends the significance of adhering to societal norms and endeavours to harmonize
Amal’s ambitions with pragmatic considerations. He articulates, “We must teach him how-to
live-in society, not to make a fool of himself.” Further, Madhav uses his ego instinct, “Now,
think of it; very, very learned people are like you; they are never out of doors” (5). Madhav
endeavours to engage in a rational discussion with Amal, considering the practical importance
of education. He recognizes Amal’s aspirations but strives to discover a balanced solution that
harmonises individual desires and societal expectations.
The superego personifies the internalized moral principles and societal ideals. It serves
as the conscience and aspires towards moral excellence. Several interpretations and quotes
underscore Amal’s superego-like attributes. Amal’s strong sense of obligation displays a
profound sense of duty and responsibility. For instance, when his uncle persuades him to remain
in the village, Amal reluctantly acquiesces, remarking, “I’ll stay… for you, for all of you. “I
won’t. But, uncle, you’ll let me be in this room by the roadside” (8). Despite longing for
freedom, he feels obliged to fulfil his duties towards his family and society. This sense of duty
reflects the superego. Amal’s conscience and moral judgment possess a keen conscience and
make moral judgments in various situations. He becomes concerned for the welfare of his
friends when he says, “I’m worried about all the little boys and girls in the village. They must
be sad, just like me” (8). Further, when Madhav says the ‘king loves you’, he is coming now
and you can beg for a gift from him during this humble situation; Amal gives his moral reply
by hiding his id instinct by saying, “Don’t worry, uncle. —I’ve made up my mind about it”
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(32). These qualities contribute to his complex character and highlight the internal conflict
between his desires and societal expectations. During his conversation with the Doctor, Amal
feigns good health as he states, “Feel awful well today, doctor. All pain seems to have left me”
(27). Conversely, the doctor comprehends the situation and discreetly advises Madhav to look
after him. He mentions “don’t quite like the look of that smile. Bad sign that, his feeling well!”
(27). “I feel well…all pain is gone…” (31). Although the play does not directly feature explicit
quotations from Freud’s superego, we can analyse Amal’s behaviour and statements using the
superego framework to uncover his strong sense of duty and moral judgment.
In examining the characters within the narrative, we plunge into a complex web of
individual instincts (id), practical considerations (ego), and societal norms (superego). This
analysis unveils valuable insights into their drives, inner turmoil, and endeavours to reconcile
personal desires with societal expectations. Against the timeless backdrop of the struggle
between individual wishes and societal pressures, we gain a deeper understanding of the
characters’ motivations and actions. While Freud’s concepts of id, ego, and superego offer a
lens through which to comprehend these intricacies, it is essential to recognize that Tagore’s
work predates Freudian psychology’s widespread influence, suggesting that his writing may
not directly reflect Freud’s ideas.
Amal’s character embodies latent desires and inner conflicts that simmer beneath the
surface. His yearning for freedom, exploration, and a connection with the outside world
remains suppressed by his confinement, serving as a powerful symbol of the submerged desires
and conflicts that dominate his psyche. These unconscious forces steer his actions and
profoundly influence his psychological well-being. In Amal’s own words:
“See there, where Auntie grinds lentils in the quern, the squirrel is sitting with
his tail up and with his wee hands he’s picking up the broken grains of lentils
and crunching them. Can’t I run there” (4, Tagore) “How lovely! I’ll go about
like them too, finding things to do.” (6) “Please, uncle, when shall I get well?
I’ll walk on, crossing so many streams, wading through water. I will tramp on
and on seeking work far, very far.” (7) “I would go with you if I could.” (8)
These lines convey Amal’s yearning for freedom and his profound bond with nature.
They imply that his innate desires for exploration and a connection with the world beyond are
suppressed because of his confinement. The allusion to dreams alludes to the potential role of
the unconscious mind in shaping his perceptions and desires.
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“I can’t tell you how queer I feel when I hear you cry out from the bend of that
road through the line of those trees! Do you know I feel like that when I hear
the shrill cry of kites from almost the end of the sky?” (10) “It would be
splendid to have a letter from the king every day. I’ll read them at the window.”
(14) “Amal won’t forget me? I am Amal, remember that.” (18)
In these statements, Amal underscores a deep yearning for communication and
connection with the outside world. They can be seen as a symbolic portrayal of his
subconscious desires for meaningful interpersonal relationships and social interaction, which
Amal profoundly craves. As he says “I See that far away hill from our window -I often long to
go beyond those hills and right away.” (6) “But I love to talk to a stranger.” (7) “Really,
dairyman, never been there at all. But the first-day doctor lets me go out, you are going to take
me to your village” (9). Amal’s observation of individuals frequenting the post office to
exchange news hints at his deep intrigue with the world beyond, as well as his subconscious
yearning for information and connection. This keen interest underscores his thirst for a broader
viewpoint and intellectual stimulation and reveals the subtle influence of his latent desires and
insatiable curiosity.
The quoted lines highlight Freud’s core theory, emphasising how the unconscious mind
profoundly influences our psyche. They suggest that beneath our awareness lies a complex
realm of desires and conflicts shaping our behaviour. Amal’s imaginative world in “The Post
Office” mirrors Freud’s idea of the unconscious influencing dreams and fantasies, serving as
an outlet for suppressed emotions. Applying Freud’s theory to the play reveals the characters’
hidden desires and conflicts, such as Amal’s longing for freedom and the role of imagination in
expressing unconscious thoughts.
III
Erikson’s theory highlights the significance of addressing psychosocial conflicts
throughout various life stages and the hurdles individuals encounter at each phase. Below are
instances showcasing how Erikson’s theory applies within the play.
The stage of ‘trust versus mistrust’ is crucial in early childhood, where individuals
develop a sense of trust in their environment and the people around them. “Trust in infancy sets
the stage for a lifelong expectation that the world will be a good and pleasant place to live”
(Santrock, 23). In The Post Office, as a young child, Amal is confined to a room, his trust in
the outside world is tested, and he grapples with the challenge of establishing trust in his limited
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environment. He embodies hope and trust as he eagerly awaits the arrival of each letter,
believing that they contain messages of love, friendship, and a connection to the outside world
through the characters: postman, Sudha, and Dairyman. Despite his physical limitations, Amal
maintains a positive outlook and a deep trust in the power of human connection. He says, “I
feel quite happy, and then I don’t mind being quiet and alone” (Tagore 26). This statement
highlights Amal’s unwavering belief in the postman’s ability to bring him joy, love, and a sense
of belonging. These lines illustrate Amal’s deep trust in the outside world and his unwavering
optimism in discovering purpose and contentment through the letters he eagerly anticipates. As
his family and friends gather around him, Amal forges a profound connection with his dear
friend and mentor, the postmaster. In the postmaster, Amal finds a symbol of trust and nurturing
care, which helps to fill the void created by his absent family. The postmaster’s presence helps
Amal to develop a sense of security and reliance on others. This is evident when Amal says,
“That’s what I’d like best. What makes you smile so? …your work is great.” (14). Refers that
You are the only one who listens to me. You are the only one who understands me. Amal trusts
them to share their experiences and stories, which expands his understanding of the world
beyond his immediate surroundings. His trust in their words and ability to provide him with a
sense of connection and knowledge allows him to develop a strong foundation of trust and
security. Amal trusts the visitors who come to the post office, hoping they will bring him stories
and experiences from the outside world. His reliance on these individuals and his anticipation
of their visits reflects his need for emotional connection and validation. However, when visitors
disappoint him or fail to return, Amal experiences feelings of mistrust and emotional turmoil.
In the conversation with the headman, he feels mistrusted because he used to say, “You are
King’s chum” (29). In his response, Amal says, “Mr. headman, I thought you were cross with
me and didn’t love me. I never could have believed you would fetch me the king’s letter” (30).
Amal’s trust is tested when he encounters the character of Gaffur, a cynical and sceptical
individual who doubts the significance of the letters Amal receives. Gaffur’s presence
represents the potential for mistrust and scepticism in Amal’s life. Additionally, Amal develops
a deep bond with Madhav, the postmaster who delivers his letters. Through their conversations
and interactions, Amal sparks Madhav’s imagination and inspires him to embrace his dreams
and aspirations. This exchange demonstrates Amal’s ability to connect with others on an
emotional and intellectual level and his desire to contribute positively to their lives.
During the stage of ‘initiative versus guilt’, children explore and develop a sense of
purpose. They grapple with the conflict between taking initiative and feeling guilty about their
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actions. As Erikson comments “Children encounter a widening social world, they face new
challenges that require active, purposeful, responsible behaviour. Feelings of guilt may arise,
though, if the child is irresponsible and is made to feel too anxious” (Santrock 23). Amal’s
curiosity, imagination, and desire to connect with others reflect his initiative to explore and
understand the world around him. This can be observed when Amal says, “I look out of my
window every day, and see the same things over and over again. I want to see something new!
I want to know what’s happening outside!” as Amal desires to “wish I were a squirrel! —it
would be lovely…how lovely! I’ll go about like them too, finding things to do” (Tagore 4, 6).
“How I wish I were a bird! Then—” (23) His curiosity, “Does his book learning tell him
everything?” (6) “I would go with you if I could…and you will teach me to cry curds and
shoulder the yoke like you…” (8, 9). This desire for new experiences and knowledge reflects
Amal’s initiative, as he actively seeks to expand his understanding of the world around him.
He is driven by a sense of curiosity and a need for exploration, which are essential aspects of
this stage. However, due to his confinement and illness, he also experiences guilt and self-
doubt, wondering if his desires and actions are appropriate. Amal’s interactions with the visitors
to the post office, such as the older man and the doctor, demonstrate his initiative in engaging
with others and seeking knowledge. However, he also struggles with feelings of guilt, as he
worries about burdening others with his presence. One such instance is when he accidentally
breaks a precious object in his room while playing. His immediate reaction is one of guilt as
he becomes aware of the consequences of his actions: “Oh no! I didn’t mean to break it. What
will they say? I’m so sorry!” “I’ve been feeling a sort of darkness…I don’t feel like talking at
all. Won’t the king’s letter come?” (27). This internal conflict between taking initiative and
feeling guilty shapes Amal’s psychosocial development.
In the industry versus inferiority stage, children aged 6 to 12 strive to master skills and
seek acknowledgement for their achievements. Erikson posits that during this period, they
develop competence and confidence by engaging with peers and their surroundings. Failure to
cultivate this sense of industry may result in feelings of inadequacy.
“Children now need to direct their energy toward mastering knowledge and
intellectual skills. The negative outcome is that the child may develop a sense
of inferiority—feeling incompetent and unproductive.” (Santrock 23)
Amal, a young boy in the play, exhibits a strong desire to learn and explore the world
around him. He is confined to his home due to illness, but his vivid imagination and curiosity
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drive him to engage with the people and objects in his immediate surroundings. Amal’s
interactions with characters such as Madhav, the postmaster, highlight his eagerness to acquire
knowledge and his quest for meaning. He constantly seeks to expand his knowledge and gain
new experiences, showing a sense of purpose and enthusiasm. This can be observed in the
following quotation, “I would rather go about and see everything that there is” (Tagore 5). He
wants to know everything; he wants to understand the world outside; he wants to read all the
books in the world. Amal’s yearning for knowledge and desire to explore the world reflects his
drive to develop a sense of competence and industry. Despite his confinement, he actively
engages with the people visiting him and eagerly listens to their stories and experiences. This
interaction allows him to expand his understanding of the world and fuels his imagination. For
instance, when Amal meets Madhav, he is fascinated by the postmaster’s stories and knowledge
of faraway places. Amal eagerly asks Madhav about the world beyond his room, reflecting his
desire to expand his understanding of the world; Amal says “It seems to me because the earth
can’t speak it raises its hands into the sky and beckons” (6). “I can’t tell you how queer I feel
when I hear you cry out from the bend of that road through the line of those trees…I feel like
that when I hear the shrill cry of kites from almost the end of the sky” (10). Amal’s thirst for
knowledge and his enthusiasm to explore the world demonstrates his industry. However,
throughout the play, Amal also faces challenges and moments of self-doubt, indicative of the
inferiority aspect of Erikson’s theory. He often questions his abilities and worries that his
physical limitations make him inferior to others. This is evident in the following quote of Amal:
“Can’t I go near the window…” (21). Amal’s doubts and fears about his future highlight his
struggle with feelings of inferiority. However, through the support and encouragement of the
people around him, particularly Sudha, he can overcome these negative thoughts and embrace
his unique strengths. However, Amal also faces challenges and moments of self-doubt
throughout the play, representing the opposing force of inferiority. He often questions his
abilities and worries that his physical limitations make him inferior to others. Amal’s
perseverance in learning and self-improvement, despite physical limitations, reflects his
industrious spirit. Over time, he gains confidence and a sense of purpose, overcoming feelings
of inadequacy and leaving a positive impact on others. Finding solace in his imagination, Amal
symbolizes industry through his ability to create a rich inner world. Though confined
physically, his thoughts roam freely, exploring new realms and crafting adventures within the
boundless expanse of his mind. When he converses with Gaffer, “I will go his gate and cry,
victory to thee, o kink! And dancing to the tabor’s sound…I may go about, lantern in hand,
delivering your letters from door to door” (21).
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During Erikson’s identity versus role confusion stage, adolescents grapple with forming
their own identity and fitting into society. Amal, at the play’s start, confined to his sickbed,
longs for social interaction, seeking connection through the post office. His yearning reflects
his quest for identity and a desire to establish meaningful connections outside his confines.
Amal’s longing for the letters and visitors symbolizes his attempt to define himself and discover
his societal place. “Letters come from the king’s office here…a letter for me…only a little boy”
(13). This statement shows Amal’s confusion about his identity and his search for a deeper
understanding of himself. He questions his role and purpose in the world, indicating the identity
crisis that adolescents often experience during the psychosocial stage of Erikson’s theory. As
the play progresses, it witnesses Amal’s interactions with different visitors who come to the
post office. Through these encounters, Amal explores various roles and identities. For instance,
Amal engages with the Magistrate, representing authority and power. During their
conversation, Amal expresses his desire to become a king. This dialogue reveals Amal’s
exploration of different roles and his attempt to find a sense of significance and power in his
identity. Amal interacts with the Redshirt, a revolutionary, who challenges Amal’s perception
of the world and introduces him to fighting for justice. As the story progresses, we witness
Amal’s interactions with various visitors, including a postman, a merchant, and a doctor.
Through these encounters, Amal begins forming his identity by engaging with different
perspectives. For instance, when the postman visits Amal and shares stories about his travels,
Amal imagines himself as a wanderer exploring the world. This quote exemplifies Amal’s
desire to embark on new adventures: “I’ll be like you and take my curds from …” and “I’ll be
the king’s postman when I grow up” (10, 13). However, as the play progresses, Amal’s health
deteriorates, and he becomes aware of his mortality. This realization triggers a deeper
exploration of his identity and purpose. In a conversation with the doctor, Amal ponders the
meaning of life and the significance of one’s existence, as he says, “I must have seen it often,
but don’t know exactly which it is” (32). Amal’s contemplation of life’s purpose showcases his
search for meaning and a desire to establish his identity before his time runs out. He grapples
with the existential questions that are common during adolescence and the identity versus role
confusion stage. Amal’s engagement with the Redshirt highlights his exploration of social roles
and his desire to align himself with causes that reflect his emerging identity. The final moments
of the play, where Amal transcends his physical limitations and finds solace in the universe’s
vastness, can be seen as a symbolic resolution to his identity crisis.
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During the intimacy versus isolation stage, individuals aim to forge deep connections
with others while grappling with feelings of isolation and rejection. This stage marks young
adults’ endeavours to establish meaningful relationships. In “The Post Office,” the village girl
embodies this struggle. She symbolizes companionship and emotional closeness for Amal,
offering moments of connection and intimacy through their interactions. Her presence allows
Amal to break free from his confined world and experience a sense of connection. It can be
seen at the end when Sudha comes with flowers to meet him and says, “Mayn’t I give them
into his own hands…tell him Sudha has not forgotten” (33). However, as the play progresses,
the relationship faces challenges and obstacles, reflecting the complexities and conflicts of the
intimacy versus isolation stage. “At this time, individuals face the developmental task of
forming intimate relationships. If young adults form healthy friendships and an intimate
relationship with another, intimacy will be achieved; if not, isolation will result” (Santrock 29-
30).
Throughout the narrative, Amal’s yearning for closeness is portrayed vividly in his
interactions with various characters. Notably, he forges a deep connection with the Postmaster,
who becomes a frequent visitor. The letters brought by the Postmaster hold immense value for
Amal, offering a window to the outside world and fostering a sense of companionship.
Additionally, Amal forms a significant bond with a girl named Shubha, their friendship
blossoming through shared tales, dreams, and aspirations. In Shubha’s presence, Amal
discovers comfort and a profound emotional intimacy. Despite these moments of connection,
Amal’s isolation remains a persistent backdrop, exacerbated by his physical confinement. His
longing for freedom to explore beyond his home, to engage with diverse cultures and
individuals, intensifies this internal conflict. Throughout the play, Amal grapples with the
tension between seeking intimacy and confronting the constraints of his isolation, vividly
expressing his desire to soar beyond the confines of his surroundings, akin to a bird yearning
to spread its wings: “Wish I were a squirrel” (4). Nevertheless, due to his limitations, he is
confined to this room and is afraid that he will never attain the profound connections he craves.
He seeks emotional closeness with his mother, whom he affectionately calls ‘mother’. Amal
deeply desires the warmth and affection of his mother. This desire for connection is showcased
by his reference to “mother and father are sitting by my pillow…” (29). By incorporating
Erikson’s theory into the analysis of The Post Office, we gain a deeper understanding of Amal’s
psychosocial development. The play showcases his struggles in various stages of Erikson’s
theory, such as industry vs. inferiority, trust vs. mistrust, identity vs. role confusion, and
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intimacy vs. isolation. Amal’s experiences and conflicts reflect the psychological challenges
individuals face as they navigate the different stages of development and seek to establish a
sense of competence, identity, trust, and emotional connection within their circumstances.
IV
The exploration of child psychology through literature, as demonstrated in
Rabindranath Tagore’s The Post Office, offers profound insights into the complexities of human
development. By intertwining theories of child psychology, particularly those of Freud and
Erikson, with the narrative of Amal’s confinement and yearning for connection, the play
illuminates the intricate interplay between innate desires, societal expectations, and
psychosocial development. Through the lens of child psychology, Amal’s character becomes a
microcosm of the broader human experience, reflecting the fundamental stages of development
and the universal struggle to reconcile individual desires with external constraints. His
confinement due to illness serves as a poignant backdrop against which his psychological
journey unfolds, revealing the innate human drive for exploration, connection, and self-
realization. Freud’s concepts of the id, ego, and superego offer a framework for understanding
Amal’s internal conflicts and desires. His yearning for freedom, exploration, and connection
with the outside world embodies the primal instincts of the id. At the same time, his interactions
with societal norms and expectations reflect the mediation of the ego and superego. Similarly,
Erikson’s psychosocial stages provide a lens through which to examine Amal’s quest for
identity, competence, trust, and intimacy, as he navigates the challenges of illness, confinement,
and social isolation. The play underscores the profound influence of literature as a medium for
exploring the human psyche and illuminating the universal themes of growth, identity
formation, and interpersonal relationships. By delving into Amal’s psychological odyssey,
readers are invited to reflect on their own childhood experiences, adolescence, and the
complexities of human existence. Amal’s character embodies universal struggles, reflecting the
innate human drive for exploration amid societal constraints. Freud’s concepts of the id, ego,
and superego dissect Amal’s internal conflicts, while Erikson’s stages unravel his quest for
identity amidst adversity. The integration of Erikson’s emphasis on growth and Freud’s
exploration of unconscious desires enriches our interpretation of Tagore’s masterpiece,
unravelling profound psychological depths. The Post Office serves as a timeless testament to
the resilience of the human spirit in the face of adversity, offering a poignant reminder of the
power of literature to deepen our understanding of ourselves and the world around us. Through
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the lens of child psychology, we gain valuable insights into the multifaceted nature of human
development, enriching our appreciation for the complexities of the human experience.
Works Cited:
Berk, Laura E. Child Development. Pearson Education, 2013.
Erikson, Erik H. Childhood and Society. Paladin Grafton Books, 1987.
Freud, S. An Outline of Psycho-Analysis. Standard Edn, Vol. XXIII, London: Hogarth, 1940.
Hunt, Peter. Eds, Understanding Children’s Literature. Routledge, 2002.
Santrock, John W. Life-Span Development. The McGraw-Hill Companies, Inc., 2011.
Slee, Phillip T., & Shute, Rosalyn H. Child Development: Thinking About Theories. Oxford
University Press Inc., 2003.
Tagore, Rabindranath. The Post Office. Srishti Publishers, 2012.
https://www.verywellmind.com/the-id-ego-and-superego-2795951 Kendra Cherry, accessed
on 22 January 2024.
https://www.frontiersin.org/articles/10.3389/fpsyg.2014.00666/full Simon Boag, accessed on
22
January 2024.
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Geetha S & Smrutisikta Mishra