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The use of the supernatural in Shakespeare's work is generally well-known and widely discussed. The use of a ghost in Macbeth and Hamlet as well as fairies in the Midsummer night's Dream are well-known. If you stop to think about it, you might conclude that you don't have any explanation for these superstitions.
The use of the supernatural in Shakespeare's work is generally well-known and widely discussed. The use of a ghost in Macbeth and Hamlet as well as fairies in the Midsummer night's Dream are well-known. If you stop to think about it, you might conclude that you don't have any explanation for these superstitions.
The use of the supernatural in Shakespeare's work is generally well-known and widely discussed. The use of a ghost in Macbeth and Hamlet as well as fairies in the Midsummer night's Dream are well-known. If you stop to think about it, you might conclude that you don't have any explanation for these superstitions.
Do you know exactly why thirteen is an unlucky number? Or why it's a bad omen for a black cat to cross your path? Or why knocking on wood is supposed to protect you? If you stop to think about it, you might conclude that you don't have any explanation for these superstitions. And yet they exert a mysteriously powerful influence on the way we behave. You'd have to look long and hard to find a skyscraper that has a floor numbered thirteen. Many people go to great lengths to avoid walking under ladders.
The Elizabethans were no different, in fact, in an age before
computers had been invented, before medical science understood disease, before astronomy, meteorology, and geology had learned much about the heavens and the earth,
magical beliefs played an even larger role in daily life than
they do today. Most Elizabethan households were well stocked with peculiar superstitions and strange practices: there might be a horseshoe over the door to ward off evil spirits; an astrological almanac on the table, a bowl of cream set out for the fairies every night, and a stockpile of charms to ward off ghosts and witches should they come aknocking. The use of the Supernatural in Shakespeares work is generally well-known and widely discussed. He incorporated various supernatural elements into many of his plays, with varying extent and with different intentions. He gained popularity for his masterful use of a ghost in Macbeth and Hamlet as well as for his portrayal of fairies in the Midsummer Nights Dream and the supernatural atmosphere in the Tempest. Shakespeares manner of using the Supernatural, the function he attributes to it as well as the implying effect thereof has been subject of many discussions.
Supernatural by Shakespeare and the other authors makes it
possible to thoroughly analyze the use of the supernatural features as dramatic devices on behalf of Shakespeare, as opposed to rather mere references reflecting the popular beliefs of that periods audience on behalf of the other three authors. Romeo and Juliet may be the most famous pair of "starcrossed lovers" but other Shakespearean characters also reflect the influence of the stars and magic.
If worries about ghosts weren't enough to guarantee
sleepless nights, there were the fairies to think about, too. Those to be feared weren't the tiny sweet playful fairies that Shakespeare invented for A Midsummer Night's Dream that mischief-making but good-hearted fairy tribe led by Oberon and Titania; nor were they the cute little animated figures who flit around Walt Disney Studios on their shimmering wings. No, these Elizabethan fairies were lifesized creatures, fiendish and malicious, who made the milk go sour and the livestock sick. This is the kind of fairy that
Dromio of Syracuse means when he calls his churlish master
in The Comedy of Errors "A fiend, a fairy, pitiless and rough."
Fairies came in several models: there were hostile river
spirits and wily mermaids who lured unsuspecting sailors to their deaths; giants and hags; fairy aristocrats who, like their human counterparts, spent their time dancing, hunting, and feasting; and the ordinary everyday goblins. But not all fairies were malevolent. Best-known of all was the native English fairy Robin Good-fellow, or Puck, a "shrewd and knavish sprite," as Shakespeare calls him, who was the special guardian of home and hearth.
In Shakespeares time, many superstitions and supernatural
beliefs were current. Faiths in magical power were very widespread. Two kinds of magicians were supposed to exist during the Elizabethan England those who commanded the services of certain superior supernatural beings; and those who were believed to have entered into a contact with the devil. The Supernatural, in the form of fairies, ghosts, witches or visionary phenomena, play a crucial role in defining the thematic materials, plot, the characters and the general philosophical suggestions articulated in the play. Shakespeare wanted to introduce the socio-cultural background of the 16th and 17th centuries from the perspective of popular belief of the people regarding the Supernatural. Initially, it is necessary to mention that the popular beliefs of the Elizabethan audience were not fundamentally different from those of people in other centuries. Although each period has its beliefs and superstitions as well as specific attitudes to these aspects,
people have always believed in ghosts, spirits and witches as
well as in individuals with abnormal powers and abilities. However, each period has also its specifics characteristics in relations to these beliefs and attributes them different importance and values, and as such the attitude towards the Supernatural develops and changes throughout the centuries. Nevertheless, owing to the popularity cross-cutting the scheme of social stratification in the 16th and 17th centuries, supernatural features are a recurring aspect of many plays of that times dramatists. From 1580s onwards, many scientific or pseudo-scientific pamphlets and works on various topics dealing with the Supernatural were published. Although not all of them were decided in the question if the Supernatural exists or not, they nevertheless drew attention to this field.
Shakespeare uses various forms of the Supernatural. His
dramas present us with ghosts, fairies, nymphs, spirits and witches. Some of them are of a high importance and influence to his plays, while some of them are only marginal. The appearance or references are sometimes more influential in the overall context of the play, sometimes these are only mere references. Mostly, the apparitions are shocking and striking, aimed at attracting the attention of the audience and shifting the drama forward and streamlining its course, either by direct or indirect interactions, or through commentary. However, the supernatural aspect does not have to concern only the visible and clearly manifested presence and appearances of supernatural beings. The drama can also involve something unpredictable, some additional aspect to the drama that cannot be grasped rationally. The most important fact is that he does not let his audience become accustomed to such elements in his plays, but rather thoughtfully paces the influence and the impact of these features on his audience. Thus, the audience does not become overwhelmed by the constant presence and influence of the Supernatural, but rather reacts to every supernatural apparition, if it does not appear in every scene.
Shakespeares ghosts highlight anxieties brought about by
the Reformation concerning the fate of the soul after death. In the case of Hamlet, the ghosts parting command to Remember me! appears to have been forgotten by the time Hamlet famously calls death the undiscovered country from whose bourn / No traveler returns. By Shakespeares day the Reformation had done away with Purgatory, where souls could be purged of their sins, as well as prayers for the dead intended to ease a souls passage through Purgatory. With these forms of access to the dead cut off, questions arose about the nature of such apparitions. Were they a figment of the imagination? A devilish trick? Or could the dead still walk the earth? The execution of witches was still widely accepted in Elizabethan times and fear and superstition controlled much of society. Having converted the country back to Protestantism, Elizabeth I was a strong monarch, even having her Jewish doctor executed for apparently trying to poison her. Trust was a huge issue and medical conditions which today can be treated were often believed to be devil possession. Macbeth has superstition at its very core and Lady Macbeth reveals her madness as "more needs she the divine than the physician."
Macbeth takes courage from the witches words. He sees the
ghost of Banquo and continues his quest to remain undiscovered whilst committing more murders. Ghosts were often used in Elizabethan drama to drive the plot forward and even provoked action from susceptible characters. The ghost in Hamlet serves as a warning of the consequences still to be faced after death. WILLIAM SHAKESPEARE IS THE PREEMINENT English playwright that history remembers. Scholars continue to dissect his posthumous Folio nearly 400 years after his death, reading the disciplines into his works. Shakespeare is illuminated by philologists, philosophers, historians. Like any great author, he synthesized his culture and its ideas into meaningful commentary that remains his legacy. Shakespeare lived and authored at a median period of the Scientific Revolution. Birthed by fate between Copernicus
and Newton, Shakespeare shares his birth year 1564 with
Galileo Galilei. By coincidence, 1564 was also the death of Michelangelo di Lodovico Buonarroti Simoni, hierarch of the Italian Renaissanceonly three days after Galileos birth. The end of Michelangelo and the Catholic Old World is fittingly replaced with the Great Spectator, Galileo. Similarly, Shakespeare, in his understanding of Myth and traditions, was able to synthesize this knowledge into existential discourse into culture and the sciences.