While Otto Rank associates the idea of the double with a feeling of preservation and immortality, the monster’s vision of his own “miserable deformity” (104) more likely is associated with the “castration by a doubling or multiplication of the genital symbol” (Freud 425). The monster covets the appearances of the DeLaceys, “the perfect forms of my cottagers – their grace, beauty, and delicate complexions” (104). The DeLaceys serve in Freud’s Oedipal complex as the mother, with the monster being the young son in the stage of polymorphous sexuality and desiring the mother. However, the monster becomes “terrified, when I viewed myself in a transparent pool… unable to believe that it was indeed I who was reflected in the mirror” (104). This terror is due to the fact that the monster sees the separation between him and his mother – he has a phallic penis while she does not, and thus he can never be like her, just as he will never have the perfect form of the DeLaceys. This terror stems from his fear of castration; he sees that the DeLaceys are different than himself and worries that his phallic penis will also be taken away. His hatred for himself represents the Oedipal hatred for the father with whom he associates due to the common penis, but whom he believes has stolen the penis of the mother (or created the differences between himself and the DeLaceys). Eventually however, he identifies with the father when he “became fully convinced that I was in reality the monster that I am” (104).
Freud mentions the “unfulfilled but possible features to which we still cling in phantasy, all those strivings of the ego which adverse external circumstances have crushed, and all our suppressed acts of violition which nourish in us the illusion of Free Will” (426). The double is a representation of these unfilfilled and suppressed actions. Even though the monster wants others to overlook his deformity, he can’t help but be disgusted by the unconscious feelings of desire for his mother and hatred for his father. The double is also associated with early ideas of narcissism, rendering “it possible to invest the old idea of a ‘double’ with a new meaning and to ascribe… those things which seem to the new faculty of self-criticism to belong to the old surmounted narcissism of the earliest period of all” (426). Initally the monster is unable to even believe that his own reflection is staring back at him out of the pool, which is a protection provided by his early stages of narcissism. Our senses of self-criticism and the ability to accept ones flaws revert back to narcisssim with the incorporation of the double. When he sees his reflection in the pool, his double reflection prevents him from being able to look at his appearance objectively and he reverts back to the more basic form of narcissism to form his self-image giving him the “bitterest sensations of despondence and mortification” (104).