CHARACTER PROFILES PSYCHOANALYSIS OF CARMELA SOPRANO FROM THE YOUNG SOPRANOS

CHARACTER PROFILES

PSYCHOANALYSIS

CARMELA SOPRANO

FROM

THE YOUNG SOPRANOS

J. BECK

2024

CARMELA "COOZE" SOPRANO

DIMEO CRIME FAMILY

WIDOW

To contrast and compare the Marquis de Sade’s radical hedonism and the concept of *exorcismus* with the dynamics of Carmela Soprano’s affair with Benny Fazio, Tony Soprano’s ghost, and the themes of betrayal, desire, and agency in *The Young Sopranos* (as detailed in the provided analyses), we’ll explore how these frameworks illuminate power, transgression, and moral conflict.

The comparison draws on Sade’s philosophy of unrestrained pleasure, the religious ritual of exorcism as a restoration of divine order, and the psychological and cultural complexities of Carmela’s affair, grounded in Machiavellian, Jungian, Freudian, and Lacanian lenses.

The analysis will focus on thematic parallels and divergences, emphasizing emotional and erotic impact, while avoiding speculation and tying to the provided *Young Sopranos* context only where relevant to Carmela, Benny, and Tony’s ghost. ---

### 1. **Core Philosophy: Liberation vs. Control** - **Sade’s Hedonism**: -

Sade’s materialist philosophy celebrates unrestrained desire as the essence of human freedom, rejecting moral and religious constraints.

He views rituals like *exorcismus* as oppressive attempts to suppress natural instincts, labeling them as “demonic” to enforce artificial order.

For Sade, transgression—especially against religious norms—offers pleasure and autonomy, with no divine or moral authority to constrain it. -

In the context of Carmela and Benny, Sade would see their affair as a triumph of natural desire over the artificial loyalty imposed by Tony’s patriarchal control.

The affair’s setting in Tony’s home, using his stolen fur coat, would be a Sadean delight—a blasphemous violation of Tony’s authority, akin to mocking an exorcism’s sanctity.

Carmela’s agency in the affair aligns with Sade’s celebration of self-directed pleasure, while Benny’s betrayal embodies the libertine thrill of subverting trust. -

**Exorcismus**: - Exorcism, rooted in theistic traditions (Catholicism, Judaism, Hinduism, etc.), seeks to expel evil spirits to restore divine order.

It presupposes a moral dichotomy of good versus evil, using rituals (prayers, holy water, deity invocations) to reassert spiritual authority.

The modern resurgence of exorcism, with Catholic guideline updates and cross-religious practices, reflects its enduring role in combating perceived chaos. -

In *The Young Sopranos*, exorcism parallels the moral and social order Tony’s world enforces, which Carmela and Benny subvert.

The affair disrupts the DiMeo family’s hierarchy, akin to a “demonic” force challenging sacred loyalty.

An exorcism-like response would aim to restore Tony’s control, but his ghost’s laughter (“Where’s Benny now?”) suggests indifference, undermining this order.

Carmela’s grave-defiling act, a symbolic rejection of Tony’s legacy, mirrors an inverted exorcism, expelling his influence rather than restoring it. -

**Carmela and Benny**: - **Comparison**: Like Sade, Carmela and Benny find liberation in transgressing Tony’s authority, their affair a rebellion against his neglect and control.

The erotic intensity—fucking “twice in a day” in Tony’s bed—echoes Sade’s celebration of pleasure in defiance of norms, with the stolen fur coat as a prop of transgression, akin to Sade’s blasphemous acts.

The affair’s thrill parallels Sade’s view of pleasure in violating sacred boundaries, while Tony’s ghost, like a failed exorcism, cannot restore the old order. -

**Contrast**: Unlike Sade’s amoral hedonism, Carmela’s actions are fraught with moral conflict.

Her dialogue—“A better Christian or a better whore?”—reveals a *wounded anima* (Jungian) wrestling with guilt, unlike Sade’s rejection of such dichotomies.

Exorcism’s aim to expel evil contrasts with Carmela’s internal struggle, as she seeks agency but remains trapped by Tony’s legacy.

Benny’s predation, exploiting his protector role, aligns with Sade’s predatory libertines but lacks their philosophical purity, driven by opportunism (*The Prince*, Chapter XVII) rather than ideology. ---

### 2. **Psychological Dynamics: Desire vs. Repression** - **Sade’s Hedonism**: -

Sade views desire as a natural force, with repression (via religion or society) as psychological violence.

Exorcism, in his view, is a ritual to suppress the *id* (Freudian), pathologizing natural impulses as demonic.

His characters derive pleasure from blasphemous acts, turning rituals like exorcism into spectacles of defiance. -

For Sade, Carmela’s affair would be a psychological liberation, her *id*-driven desire breaking free from Tony’s control.

Her grave-defiling act, with its Crowley/de Sade eroticism, would be a triumphant rejection of repression, embracing her *shadow* (Jungian) to assert autonomy. -

**Exorcismus**: - Exorcism addresses psychological distress by expelling perceived demonic influence, restoring the individual to divine order.

In Catholicism, rigorous vetting distinguishes possession from mental illness, reflecting a therapeutic aim. In Hinduism and Judaism, rituals similarly resolve spiritual chaos, offering psychological stability through faith.

In *The Young Sopranos*, Carmela’s affair could be seen as a “possession” by rebellious desire, requiring an exorcism-like restoration of her role as mob wife.

Her guilt and anger (“Only if what, Tony?!”) suggest a need for psychological reconciliation, but Tony’s ghost, mocking her betrayal, fails to provide this, leaving her trapped in a *repetition compulsion* (Freudian). -

**Carmela and Benny**: - **Comparison**: Carmela’s affair mirrors Sade’s embrace of *id*-driven desire, her seduction in Tony’s bed a psychological rebellion against repression.

Like Sade’s libertines, she finds thrill in transgression, her grave act a symbolic exorcism of Tony’s control, aligning with Sade’s inversion of religious rituals.

Benny’s predation, exploiting Carmela’s loneliness, echoes Sade’s predatory characters, who manipulate for pleasure. -

**Contrast**: Unlike Sade’s unapologetic hedonists, Carmela’s psyche is split by guilt and love for Tony (“I love you, Tony”), reflecting a *wounded anima* (Jungian) absent in Sade’s philosophy.

Exorcism’s therapeutic aim contrasts with her unresolved trauma, as she seeks liberation but remains haunted by Tony’s ghost (the *Real*, Lacanian).

Benny’s betrayal, driven by opportunism rather than Sadean ideology, lacks the philosophical depth of libertinism, aligning more with Machiavellian self-interest (*The Prince*, Chapter XVII). ---

### 3. **Cultural and Historical Context: Rebellion vs. Order** - **Sade’s Hedonism**:

Sade’s 18th-century rebellion against religious and societal norms aligns with Enlightenment critiques of authority, but his amorality sets him apart.

Exorcism, as a Catholic ritual, epitomized the institutional control he sought to dismantle.

His legacy influences modern countercultural challenges to moral norms, celebrating individual freedom. - In *The Sopranos*, Carmela’s affair reflects a Sadean rebellion against the patriarchal DiMeo order, her agency a challenge to Tony’s control.

The affair’s setting in the Soprano home mirrors Sade’s desecration of sacred spaces, while Benny’s betrayal parallels Sade’s subversion of loyalty. -

**Exorcismus**: - Exorcism’s ancient roots (Greek *exorkismos*, biblical demon-casting) and modern resurgence (Catholic guideline updates, cross-religious practices) reflect its cultural role in addressing existential fears.

Despite secularization, its persistence highlights a human need for rituals to restore order, contrasting with Sade’s chaos. - In *The Sopranos*, the DiMeo family’s code of loyalty mirrors the moral order exorcism upholds.

Carmela and Benny’s affair disrupts this, akin to a “demonic” force, but Tony’s ghost’s indifference suggests a failure to restore order, unlike exorcism’s success in religious contexts. -

**Carmela and Benny**: - **Comparison**: Carmela’s affair and grave-defiling act echo Sade’s cultural rebellion, challenging the mob’s patriarchal norms as Sade challenged the Church.

Her flirtations with Phil, Furio, and Benny target men tied to Tony’s world, paralleling Sade’s targeting of religious authority. Benny’s exploitation of trust mirrors Sade’s libertine opportunism, using proximity to power for personal gain. -

**Contrast**: Unlike Sade’s amoral defiance, Carmela’s rebellion is tempered by cultural expectations of loyalty and guilt, reflecting the moral order exorcism reinforces.

Her anger at Tony’s indifference parallels the secrecy of modern exorcisms, where clergy skepticism limits their impact.

Benny’s betrayal, tied to AJ’s breaker legacy (gold bricks, Part 2--XXXV/B), integrates into the DiMeo-Lupertazzi struggle, unlike Sade’s purely individualist rebellion. ---

### 4. **Symbolic Inversions: Transgression vs. Purification** - **Sade’s Hedonism**: - Sade inverts religious rituals, seeing exorcism as a farce that suppresses desire.

His characters turn sacred acts into spectacles of blasphemy, finding pleasure in violating moral boundaries. Carmela’s affair in Tony’s bed and her grave-defiling act would be Sadean triumphs, transforming Tony’s legacy into a stage for transgression. -

The stolen fur coat, a symbol of Tony’s wealth, becomes a prop for erotic defiance, akin to Sade’s use of religious symbols for blasphemous pleasure. -

**Exorcismus**: - Exorcism uses sacred symbols (crucifixes, deity names) to expel evil, reinforcing divine authority. In Catholicism, major exorcisms restore spiritual purity; in Hinduism, reciting the *Bhagavata Purana* invokes divine protection.

The ritual’s symbolism opposes chaos, restoring order. - In *The Sopranos*, Carmela’s affair disrupts the symbolic order of the Soprano household.

Her grave act, urinating on Tony’s tombstone, inverts exorcism’s purification, desecrating his legacy as a rebellious assertion of agency. -

**Carmela and Benny**: - **Comparison**: Carmela’s affair and grave act mirror Sade’s inversion of sacred rituals, turning Tony’s home and legacy into stages for transgression.

The fur coat’s erotic use parallels Sade’s blasphemous props, amplifying the Crowley/de Sade intensity. Benny’s betrayal, violating Tony’s trust, aligns with Sade’s thrill in subverting authority, akin to mocking an exorcism. -

**Contrast**: Unlike Sade’s unapologetic blasphemy, Carmela’s actions carry guilt and conflict, aligning with exorcism’s moral framework.

Her grave act, while defiant, reveals attachment to Tony, unlike Sade’s rejection of all ties. Exorcism’s purification contrasts with her unresolved trauma, while Benny’s predation, tied to Machiavellian ambition (*The Prince*, Chapter XVIII), lacks Sade’s ideological purity. ---

### 5. **Emotional and Erotic Impact** - **Sade’s Hedonism**: - Sade’s philosophy thrives on high emotional and erotic intensity, with transgression fueling pleasure.

Carmela’s affair, with its raw sexuality and defiance, would resonate with Sade’s celebration of *id*-driven ecstasy, her grave act a peak of erotic rebellion. -

Benny’s thrill in betraying Tony mirrors Sade’s libertine pleasure, with the affair’s clandestine nature amplifying its intensity.

**Exorcismus**: - Exorcism’s emotional impact lies in restoring spiritual peace, resolving fear through divine intervention. Its eroticism is absent, as it suppresses desire to enforce purity.

In *The Young Sopranos*, the lack of an exorcism-like resolution leaves Carmela’s emotional turmoil unresolved, her guilt and anger haunting her. - Tony’s ghost, mocking her betrayal, lacks the restorative power of exorcism, intensifying her *wounded anima* (Jungian).

**Carmela and Benny**: - **Comparison**: The affair’s high emotional and erotic impact—fucking in Tony’s bed, the fur coat’s symbolism—parallels Sade’s intense, transgressive pleasure.

Carmela’s grave act, with its provocative sexuality, echoes Sade’s eroticized blasphemy, surpassing exorcism’s subdued emotionality. Benny’s predation mirrors Sade’s libertine conquests, driven by power and desire.

**Contrast**: Unlike Sade’s unconflicted hedonism, Carmela’s emotional intensity is laced with guilt and love for Tony, aligning with exorcism’s moral tension.

Her anger at not being caught reflects a need for validation absent in Sade’s philosophy. Exorcism’s restorative aim contrasts with her unresolved trauma, while Benny’s opportunistic betrayal lacks the ritualistic purity of either Sade’s hedonism or exorcism’s sacredness. ---

### 6. **Broader Implications: Agency, Power, and Legacy** - **Sade’s Hedonism**: - Sade’s legacy challenges institutional power, celebrating individual freedom through transgression.

Carmela’s affair and grave act align with this, asserting agency against Tony’s patriarchal control, while Benny’s betrayal mirrors Sade’s subversion of loyalty. -

However, Sade’s amorality contrasts with Carmela’s moral conflict, limiting the comparison.

**Exorcismus**: - Exorcism’s persistence reflects a human need for order, combating chaos through ritual. In *The Sopranos*, the absence of such a ritual leaves Carmela and Benny’s betrayal unresolved, with Tony’s ghost symbolizing the old order’s lingering power. -

The DiMeo-Lupertazzi struggle, tied to AJ’s breaker tactics (Part 3--XXXIV), echoes exorcism’s battle against chaos, but Carmela’s agency complicates this restoration.

**Carmela and Benny**: - **Comparison**: Carmela’s affair and grave act assert agency akin to Sade’s libertinism, challenging Tony’s control as Sade challenged the Church. Benny’s betrayal, exploiting trust, mirrors Sade’s opportunism, while the affair’s impact on AJ’s legacy (gold bricks, Part 2--XXXV/B) parallels Sade’s influence on countercultural rebellion.

**Contrast**: Carmela’s guilt and attachment to Tony align with exorcism’s moral framework, unlike Sade’s rejection of morality. Benny’s predation, driven by Machiavellian ambition, lacks Sade’s ideological purity or exorcism’s spiritual purpose.

Tony’s ghost, a *shadow* archetype (Jungian), haunts Carmela’s agency, unlike the clear resolutions of Sadean transgression or exorcistic purification. ---

### Conclusion Sade’s hedonism, *exorcismus*, and Carmela’s affair with Benny illuminate contrasting dynamics of liberation, control, and transgression.

Sade’s celebration of unrestrained desire aligns with Carmela’s agency and Benny’s betrayal, their affair a rebellion against Tony’s patriarchal order, echoing Sade’s defiance of religious norms.

However, Carmela’s guilt and love for Tony, reflected in her *wounded anima* (Jungian) and *repetition compulsion* (Freudian), contrast with Sade’s amorality, aligning with exorcism’s moral tension.

Exorcism’s aim to restore order parallels the DiMeo code, but Tony’s ghost’s indifference fails to resolve the affair’s chaos, unlike the ritual’s success.

The affair’s high emotional and erotic impact, with its Crowley/de Sade intensity, surpasses exorcism’s subdued spirituality but is complicated by Carmela’s internal conflict, distinguishing it from Sade’s unapologetic hedonism.

Benny’s predation, rooted in Machiavellian opportunism (*The Prince*), bridges Sade’s libertinism and the mob’s power struggles, tying to AJ’s legacy.

This interplay of desire, guilt, and power underscores the complex interplay of individual agency and collective order in *The Young Sopranos*, Sade’s philosophy, and religious ritual.