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This edited collection of twelve essays from an international range of contemporary Shakespeare scholars explores the supernatural in Shakespeare from a variety of perspectives and approaches.
Daemonologie-in full Daemonologie, In Forme of a Dialogue, Divided into three Books: By the High and Mighty Prince, James &c.-was written and published in 1597 by King James VI of Scotland (later also James I of England) as a philosophical dissertation on contemporary necromancy and the historical relationships between the various methods of divination used from ancient black magic. This included a study on demonology and the methods demons used to bother troubled men while touching on topics such as werewolves and vampires. It was a political yet theological statement to educate a misinformed populace on the history, practices and implications of sorcery and the reasons for persecuting a witch in a Christian society under the rule of canonical law. This book is believed to be one of the main sources used by William Shakespeare in the production of Macbeth. Shakespeare attributed many quotes and rituals found within the book directly to the Weird Sisters, yet also attributed the Scottish themes and settings referenced from the trials in which King James was involved.
Essay from the year 2013 in the subject English - History of Literature, Eras, grade: 80.00, Memorial University of Newfoundland, course: English 3200, language: English, abstract: Witchcraft and the supernatural has been a prevalent theme throughout theatre history, having many plays involving issues of witches, wizards, magic, ghosts, and other mysticisms. The world's most famous playwright, William Shakespeare, who wrote during the reign of Queen Elizabeth I, was definitely no stranger to otherworldly premises. The ghost of the old king in Hamlet and the Weird Sisters in Macbeth are central to the plays' plots, they are a major force in determining the two heroes' actions, form the plays' opening scenes, and they are an important element in establishing the plays' atmosphere.
This book argues that moments of allusion to the supernatural in Shakespeare are occasions where Karl Marx and John Maynard Keynes register the perseverance of haunted structures in modern culture. This "reenchantment," at the heart of modernity and of literary and political works central to our understanding of modernity, is the focus of this book. The author shows that allusion to supernatural moments in Shakespeare ("scare quotes") allows writers to both acknowledge and distance themselves from the supernatural phenomena that challenge their disenchanted understanding of the social world. He also uses these modern appropriations of Shakespeare as provocations to reread some of his works, notably Hamlet and Macbeth. Two pairs of linked chapters form the center of the book. One pair joins a reading of Marx, concentrating on The Eighteenth Brumaire, to Hamlet; the other links a reading of Keynes, focusing on The Economic Consequences of the Peace, to Macbeth. The chapters on Marx and Keynes trace some of the strange circuits of supernatural rhetoric in their work, Marx's use of ghosts and Keynes's fascination with witchcraft. The sequence linking Marx to Hamlet, for example, has as its anchor the Frankfurt School's concept of the phantasmagoria, the notion that it is in the most archaic that one encounters the figure of the new. Looking closely at Marx's association of the Ghost in Hamlet with the coming revolution in turn illuminates Hamlet's association of the Ghost with the supernatural beings many believed haunted mines. An opening chapter discusses Henry Dircks, a nineteenth-century English inventor who developed—and then lost his claim to—a phantasmagoria or machine to project ghosts on stage. Dircks resorted to magical rhetoric in response to his loss, which is emblematic for the book as a whole, charting ways the scare quote can, paradoxically, continue the work of enlightenment.
Bringing together recent scholarship on religion and the spatial imagination, Kristen Poole examines how changing religious beliefs and transforming conceptions of space were mutually informative in the decades around 1600. Supernatural Environments in Shakespeare's England explores a series of cultural spaces that focused attention on interactions between the human and the demonic or divine: the deathbed, purgatory, demonic contracts and their spatial surround, Reformation cosmologies and a landscape newly subject to cartographic surveying. It examines the seemingly incongruous coexistence of traditional religious beliefs and new mathematical, geometrical ways of perceiving the environment. Arguing that the late sixteenth- and early seventeenth-century stage dramatized the phenomenological tension that resulted from this uneasy confluence, this groundbreaking study considers the complex nature of supernatural environments in Marlowe's Doctor Faustus and Shakespeare's Othello, Hamlet, Macbeth and The Tempest.
King Lear has ruled for many years. As age overtakes him, he divides his kingdom amongst his children. Misjudging their loyalty, he soon finds himself stripped of all the trappings of state, wealth and power that had defined him. Arden Performance Editions are ideal for anyone engaging with a Shakespeare play in performance. With clear facing-page notes giving definitions of words, easily accessible information about key textual variants, lineation, metrical ambiguities and pronunciation, each edition has been developed to open the play's possibilities and meanings to actors and students. Designed to be used and to be useful, each edition has plenty of space for personal annotations and the well-spaced text is easy to read and to navigate. Each edition offers: - Short, clear definitions of words - Information about key textual variants - Notes on pronunciation of difficult names and unfamiliar words - An easy to read layout with space to write your own notes - A short introduction to the play
A collection containing Antony & Cleopatra, Coriolanus, Cymbeline, Julius Caesar, King Lear, Macbeth, Othello, Romeo and Juliet, The Life of Timon of Athens, The tragedy of Titus Andronicus, and The History of Troilus and Cressida.