In the annals of theater, the paranormal and witchcraft have been recurring themes. Numerous plays have dealt with problems related to ghosts, wizards, witches, magic, and other mysticisms throughout the history of literature. (Gibson, 1). In literature, the supernatural has typically been portrayed in two different forms. It is first used to produce results that the natural agents find intolerable. It is also used to depict human belief, turning it into an object force that produces outcomes obtained through only natural means. The first strategy is properly referred to as poetical. Examples of its use can be seen from the works of most great poets. On the other hand, the second method can be justly called the dramatic approach. Arguably, the world’s most famous playwright, William Shakespeare stands alone in this. The weird sisters in Macbeth and the old king in Hamlet confirm this assertion for being central to the plays’ plot.
The supernatural refers to any phenomena that cannot be explained either by physical laws or the accepted laws of the natural science. Simply put, is the belief in the existence of the paranormal such as witches, ghosts, and fairies among others, which has been common for many years. It is worth noting that the meaning of the phrase, the supernatural, fluctuates depending on its applicability, natural order, and antithesis. In most literature, supernatural themes have been associated with occult and magical ideas to realize a certain objective.
The use of the mystic elements in Shakespeare’s work is widely discussed and extensively well-known. He fused diverse supernatural elements into most of his dramas with not only different intentions but also varying extent (Bartlett, Merissa, 4). Shakespeare is so skillful in the use of supernatural elements going by the fact that they play a significant role in his plays. Besides, he makes the supernatural part and parcel of the drama. It is no surprise thereof that he gained admiration for his masterful usage of ghosts in Hamlet and Macbeth. Also, he equally earned admiration for his depiction of the fairies in the Midsummer Night’s Dream and the ghostly atmosphere in the Tempest (Pavlíčková 5). This paper seeks to discuss the supernatural elements in Shakespeare’s plays by canvassing why they were used and the effect they achieved. It also provides analysis of how various supernatural elements have been employed in plays such as Macbeth, Hamlet, and the Tempest.
The supernatural in Drama
The prevalent use of supernatural elements in most of Shakespeare’s plays has their roots in the Elizabethan era. The society and the era had their beliefs in supernatural creatures such as the ghosts, fairies, and witches (Pavlíčková, Jana, 12). It can be safely attributed that the era was poured into beliefs regarding the presence of these mystical creatures along with the spectacles of “unseen creatures.” This is supported by the fact that the belief of the ‘unseen creatures’ dates back from the medieval times. It is known that the belief spread through the Elizabethan period up until the twentieth century. Shakespeare, the supernatural wordsmith, the master playwright of all times, deployed the use of supernatural themes as well as elements in his plays to express the concerns of the Elizabethan society. It is through the supernaturalism along with their attitude towards them that he artfully expressed the society’s concerns.
Shakespeare’s England had the most universal belief when it came to the presence of powers of the supernatural. While such belief entirely touched the national life, customs were shaped and dictated by it. It was widely supposed that the power of the unseen creatures was more powerful than the sovereign. When it came to exacting implicit obedience from the mass of the people, the former prevailed. Still, Pavlíčková notes that the superstitious credulity was limited to neither the illiterate nor the ignorant (7). All and sundry were beneath the superstitious spells right from the nobles of the court to the beggars. In that connection, Shakespeare’s society was thus vastly communally stratified. With the majority of people undereducated and unable to read, it was more likely that their views and values would revolve around prevalent beliefs and associated customs of the time. During this era, there was a prevalent insecurity among people. It is for this reason that they sought some security and assurances for the future that they could have. It is no doubt therefore that Shakespeare sought to link people’s immediate concerns in his plays (Ritchie, Fiona, 8).
The medieval traditions were heavily influenced by the ancient traditions where there were beliefs of the return of purgatory. They believed they returned in the form of ghosts to manifest life after death and deliver certain messages (WENDROFF, 8). Furthermore, there were other spiritual apparitions such as witches and fairies. Whereas fairies could take any appearance and be either good or bad, witches were attributed to negative characteristics and were responsible for disastrous events.
Therefore, it is evident from the aforementioned discussion that Elizabethans were neither significantly different from their preceding nor subsequent periods. It is common to have popular beliefs of higher powers and that there is the existence of a force beyond the rational world in each period. In respect to drama, every audience is sensitive towards different scenes. Even so, such audiences react to different concepts in varying ways. For this reason, and as many scholars conclude, Shakespeare’s audience together with his contemporaries most likely wanted to see the forms of supernatural on stage. The audience probably wanted the drama and played attributed to the similar functions as well as characteristics as their everyday life.
Shakespeare and the Supernatural
In his works, Shakespeare makes use of different forms of supernatural elements. In particular, his dramas presents the audience with fairies, witches, nymphs, and ghosts. While the use of supernatural is only marginal in some works, it carries high significance and influence in some plays. Nonetheless, in some plays, the references and appearance are more influential in the overall context. Typically, just like his contemporaries, Shakespeare’s use of apparitions are striking and shocking with the intentions to attract the attention of the audience. Besides, the apparition seeks to shift and streamline the course of the drama either through commentary, indirect or direct interactions.
It is worth pointing out that the supernatural aspect does not have to be visibly manifested in the appearance of the presence of supernatural beings. This is to say the superstitious elements of the Shakespeare’s plays are considered in totality. Even drama that entails some unpredictable elements which cannot be grasped rationally is considered. In this respect, it can be noted that Shakespeare understood his audience of the time. He carefully considered how and when to introduce the general background of supernatural elements into most of his plays. The most outstanding plays in respect to the superstition can be considered to be the Tempest and the Midsummer Night’s Dream (Pavlíčková, Jana, 17). This follows how carefully Shakespeare handled the overall atmosphere and his portrayal of the world of fairies. In Macbeth and Hamlet, he portrayed remarkably well the supernatural elements in the plays.
The depiction of superstitions is not just limited to the above-mentioned pieces of work. Many other plays by Shakespeare expose references to omens, portents, prophecies, dreams and astrological signs and events. Regardless of how often Shakespeare uses the various forms of supernatural, he renders them with specific considerations and particular objectives. What stands out is the fact that he does not let his audience get used to the presence of such elements in his plays. Instead, Shakespeare thoughtfully paces the impact as well as the influence of these features on his audience (Poole, Kristen, 3). In consequence, the audience is prevented from becoming overwhelmed by the unceasing presence and the effect of the supernatural elements. They are, however, allowed to react as they so wish to every supernatural apparition in instances where it does not appear in every scene.
Perhaps, the use of the supernatural elements is employed by Shakespeare to provide an added meaning to the spirits when they appear in various scenes. Nonetheless, the use of the superstitious elements and the extent of the impact on the audience is depended on the setting of the specific usage. Even so, it may depend on the motifs or aspects that are emphasized in a certain play as well as the overall character of the drama. In this regard, the use of apparition in one play may bring about relatively dissimilar insinuation than the use of the equivalent feature in a different play.
Significance of the Supernatural Elements
The use of supernatural elements by Shakespeare was extensively used to achieve various objectives in his pieces of work. Being the popular dramatist that he was, Shakespeare had to furnish his audience with the public taste of the time (Gillies, John, 235). He sought to use superstition in because it was widely believed during the Elizabethan era. Besides, he considered satisfying the public taste regardless of whether or not he believed in the world of superstition. In this regard, and as mentioned earlier, Shakespeare employs the use of diverse supernatural categories. They include the powers of the unseen, witches, ghosts and fairies, which appear and reappear in a number of plays.
It is worth mentioning that the use of the supernaturalism adds a deep moral as well as psychological significance. This is evident in the Tempest, Macbeth, and even Hamlet. In his works, Shakespeare brings into the closet accord with the character of the leading role of his plays. It is why he did not waver to use whatsoever lean towards making his drama box-office successes in many of his stage plays.
Shakespeare’s supernatural elements have distinctive features in each of his works featuring superstition. In most cases, the supernatural elements are placed in the closest relation with the main characters of the plays (Gillies, John, 236). In so doing, the power of the unseen and the apparition definitely contribute to the action of the play. Thus the use of supernatural elements influences the course of action in addition to becoming a crucial part of it. There use provides a validation along with a positive form to the inner movements existing and applying influence that is simply reminiscent.
Also, the use of the supernatural elements, as presented by Shakespeare, is in closely related to the characters as well as the action of the plays. This means they are fundamental to the order of events and flow of the narrative altogether. The use of the paranormal is as well expedient in intensifying the dreadfulness and trepidation in the dramas. For instance, the ghost in Hamlet is not just a worthless ghost. It is arguably to say that it initiates a train of conflicting judgements in Hamlet’s brain which essentially makes the entire piece.
The atmosphere of darkness is emphasized by the conspicuous measure that has been allotted to the mystical. For instance, ghosts are introduced by Shakespeare in Macbeth, Julius Caesar, and the Hamlet. Whereas Macbeth is the sole tragedy where the dramatists introduced the witches, the play also saw the use of the ghost of Banquo. Perhaps, the scene where the three weird sisters danced around the cauldron with their enchantment must have been a sight to behold to the spectators of the Elizabethan era.
There is a touch of supernatural elements in nearly half of Shakespeare’s dramas that were written in different stages of his theatrical profession. The plays dealt conspicuously with the mystical theme in a fascinating way. For instance, in addition to the Hamlet, Macbeth and the Tempest, the Midsummer Night’s Dream is a good example of the use of the paranormal powers. It is no doubt that all of them expresses the awareness of supernaturalism. Shakespeare’s usage of the apparition, witches and the unseen powers in turn has developed tremendously with an increased connection to the audience (Hibbs and Hibbs 273-296). Besides, he capitalized all the features and the circumstances of prevalent supernatural to make it readily acceptable by the audience.
The other significant use of the mystical elements relates to the limited presence of the supernatural elements in his dramas. Shakespeare had the understanding that the paranormal powers might lose their influence they had if perceived more than normal. His idea was to make the paranormal dominate the entire action and in the process shape the purpose of the protagonist through their sparing appearance. This demonstrates how a masterful dramatist Shakespeare was by the way he presented his skillful use of the supernormal in his artistry.
Plays such as Macbeth and Hamlet reveals that the use of the supernatural elements is not am a mere delusion of the lead character. For instance, the presence of the witches has a purposive aim for the reason that they are seen not just by Macbeth but Banguo as well. The mystical elements contribute to the action since it provides a validation together with a discrete form to the inward intentions of the protagonist’s mind. Therefore, the witches in Macbeth are figurative of the guiltiness in Macbeth’s soul. While the impact of the paranormal character is not obsessive, the audience by no means feels that it has detached the lead character’s responsibility or the capacity to deal with the circumstance by his own means. However, it is simply allusive; the protagonist is at liberty to consent or dismiss it. Even though the hero follows the evocative one, the mystical element accelerates the downfall of the hero.
Plays Analysis
The Supernatural in Shakespeare’s Macbeth
The paranormal in Macbeth has been presented in two forms. One is the witch, and the other is the ghost of Banquo. The witches have been used in a way that their paranormal powers considerably approve to those of prevalent superstitions. This means Shakespeare has modified the vile and has intensified all that could touch the imaginings with horror, terror and a sense of mystery (Bartlett, Merissa, 3). The witches are characterized as deprived, ugly, thin and exhausted. While they are neither portrayed as men nor women, they grow a beard like men and are dressed as women. Like Banquo, it brings doubt as to what exactly is their sex. But Shakespeare gifts them with superpowers where they can move through air without being seen. They have powers to control storms and most importantly, they can foresee what is to come, cast spells and rise apparitions. Given their eerie supernatural portrayal, they use the most abhorrent and dreadful objects such as snakes and toads to do their charm. The powers of the witches belong to their masters, Queen Hecate. In what is depicted from them, they are witches on all accounts of popular imagination.
Shakespeare presents the witches in their foremost appearance with the ability to foresee the future of both Banquo and Macbeth. In every account, the witches are personified as the as the evil of nature. They are keen to establish connection with the remorseful heart as that of Macbeth. For instance, Macbeth’s first words, “so fair and foul a day I have not seen,” expresses this contact since the foremost sentiments of the witches “Fair is foul and foul is fair” are strategic to the drama. It seems to them that what is good is wicked and evil is noble meaning evil is bound to be worthy in Macbeth’s judgements.
From how the witches are portrayed, it is an undeniable fact that they are actual beings. If it were a mere hallucination of Macbeth, they would have been noticeable to nobody but him. It explains why Banquo can see them as well. Thus, there use is deliberate and objective with a peripheral presence and a profound significance alike (Rhee, Beau La 221). Their prophecy only serves to usher in wicked views and longings in the heart of Macbeth. Their significance is clear; they epitomize the remarkable blending of the internal and external scuffle of goodness and evil inside man.
The implication of the supernatural powers in continuing the flow of actions is even seen when Macbeth encounters the witches in the subsequent instance. It is now apparent that he has a strong connection with evil having been behind the murders of Banquo and the King. The apparitions rise and disappear and provide forecasts of what is to befall next. This evidently encourages Macbeth and heightens his self-assurance leading to his tumble at the end of the play as greater and bewildering.
The witches are significant supernatural elements presented to delight the audience. Through their predictions, they induce fear and enthuse uncertainty. Just for the reason that evil is worthy for them, so it befits for Macbeth. Shakespeare uses them to not only arouse tension but also dread (Poole, Kristen, 136). A sense of horror, fright, mystery, and anxiety is heightened and deepened by them. As a result, they pervade the gloomy atmosphere of the tragedy, something that makes the work even more interesting.
On the other hand, the use of Ghost of Banquo plays a similar role to that of the witches. The intent is to accommodate the public taste just as much. Just like the witches, the ghost of Banquo has a deep psychological and moral significance. Their resolve is either to provoke people to avenge their murder or divulge a crime. Still, the presence of the apparition in Shakespearean dramas has a figurative implication. The audience is reminded of the worldly things that one can imagine study or dream. It embodies the concealed, definitive control that rules the universe. It appears the supernatural elements as seen with the ghost of Banquo is sometimes a representation of the divine justice.
Also, the ghost of Banquo is presented as an implement of justice as well as retribution. Following the slaying of Banquo, Macbeth becomes tense by it and is as a result provoked to let down himself to the convened visitors. While the ghost manifests itself for the first time since his murder, he intends to propagate justice and administer justice as promised before. Furthermore, Shakespeare uses the ghost to present a psychological marvel. This is an objectification of the personal state of Macbeth. Macbeth is simply hallucinating, but he considers it as illusory ridicule, a total creation of his thrilled point of view. Therefore, through the apparition, Shakespeare expects that the thoughtful spectators will consider it as an illusion, which is the metal fantasy of Macbeth.
Supernatural Appearances in Hamlet
Just like in Macbeth, the supernatural elements are not the only key to the plot and the atmosphere of Hamlet, but a key constituent through their limited appearances as well. Perhaps one way to gauge the artistry of Shakespeare as a playwright is the consideration of how he makes the appearances of apparition count in the action and audience imagination. As the greatest playwright of all time, Shakespeare gets the most out of them dramatically.
Unlike in Macbeth, the supernatural only appears in a single form and even makes fewer appearances. Nonetheless, their contribution to the overall development of the plot is substantially significant. Out of Hamlet’s twenty-two scenes, the ghost, Hamlet’s father, appears only in four scenes (WENDROFF 11). In two scenes, the ghost does not speak. At first, the apparition seems to be a lesser figure until the audience remembers that it is speaking from the dead. Shakespeare attempts to give the apparition a thorough verification. He tries to surround the ghost with all the ordinary circumstances relating to mystical beliefs of the setting (Bloom, Harold, 21). For instance, when the ghost appears to Hamlet, and only to him, it is dressed in night robes. In that regard, their words carry more weight in comparison to those of the living, particularly when spoken by a king.
Such a thorough verification was deliberately intended to enthrall the audience with the supernatural environment. Nonetheless, a majority of the typical concomitants of paranormal appearances are submitted to reserve it from doubt of real mystical knowledge or power. Just like in Macbeth, the dramatist intention was to have the play run the course under the subtle awning of the weird and supernatural elements (Hibbs and Hibbs 273-296). Consequently, the plays are made so realistic with the practical drama of the human life motive and action. Besides, while they are stringently administered by the natural laws of the everyday force of operation, the supernatural elements are invested with a rare poetic charm. Debatably, only Shakespeare could be able to pull such a cast about his plays.
Still, Shakespeare’s use of the mystic in Hamlet was purposed to fulfill other aims as well. In every spectator that may testify to the appearance of the apparition, it may be put forward that it is only significant to Hamlet. The rest of the appearances may be perceived as just some strange superstition. The expectation would be for them to fade within a brief time. To Hamlet, the ghostly appearance is a revelation at a time when he is brooding over his father’s murder and when he is overly suspecting his uncle. The point is, whereas the apparition disclosure may be of the slightest, it is enough for the Shakespeare to the purpose and drive his point home. The dramatist sought to majorly advance the play with a shadowy spell of supernaturalism by employing the ghostly beliefs of Hamlet as dramatic forces to create the human action.
Supernatural Elements in Shakespeare’s Tempest
Right from the foremost scenes, magic is employed by Shakespeare to enthrall the audience as well as direct the characters through the drama. It can be said that the plot of the Tempest is almost exclusively reliant on on the use of the mystical elements. Ariel and Prospero are the first supernatural elements to appear in the play since they both have magical powers at their disposal (Poole, Kristen, 168). Both characters, mainly Prospero, to orchestrate many of the other characters and in the process manipulate them using their magic. As a supernatural element, the magic is used to provide the means through which the plot, powers relationships, themes and love affairs are created as well as affected. Simply put, the supernatural elements develop the course of the play, especially the storyline.
Magic is the driving force upon which the plot is developed and important themes guided. As the protagonist, Prospero is the center upon which the Tempest is developed. This follows the critical role he plays to restore order after the disruption caused by the Tempest. This means that the storm is the most significant supernatural feat of the drama. Even though it was produced by Prospero, who coordinated the shipwreck, he intended to avoid the fortunes from ever drooping. While his enemies were not brought by magic to him, Prospero employed magic to pull the storm to destroy the ship. This illustrates how the play is overly dominated by the supernatural elements and how they are used to direct the course of the play.
Still, Shakespeare portrays the atmosphere of the island as one that revolves around the supernatural. The dramatist’s use of the supernatural in the play takes a slightly different approach from that of Macbeth and Hamlet. In the play, magic is the sole tool used by Prospero to exercise power. It takes a twist when the protagonist refuses his powers since he gets the Duke of Naples for his daughter. This reveals that it may not be necessary anymore to practice that power. While the author did not explain the reason behind it, Prospero was given a God-like status to return to the world. Furthermore, unlike in Shakespeare’s other works of tragedy, the Tempest ends without any character getting hurt and with a Prospero triumph.
Conclusion
This paper has canvassed Shakespeare’s use of supernatural powers in his works. The analysis of the paranormal has been guided by the perspective of the general plays as well as the composition of particular plays Macbeth, Hamlet and the Tempest. Considerations were given to the dramatic, literary traditions and the socio-cultural background of his era. It is evident that the use of the supernatural elements in his plays had a significant objective to be achieved. While it varied from play to play, the superstitions were used to develop the story and portray the beliefs of the time. In other words, Shakespeare converts the meaning and functions of the supernatural to an ordinary and natural level. Even so, the supernatural was deployed to captivate the attention of the audience throughout the story.
Furthermore, the analysis of the supernatural elements reveals that it is not about the dramatist believing about the witches and the ghosts. Rather, his plays reveal his understanding of the members of his audience. The Elizabethan society believed in the existence of apparition and witches. The supernatural was understood to bring natural order, and thus they could occasionally intrude themselves into the natural world and affect people and events. Overall, Shakespeare’s use of the supernatural through ghosts, dreams, and witches among other apparitions provided the plays very natural and common aspects, primarily concepts of morality and conscience. He was simply good enough not to have to be perfect.
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