![4
Duncan, he questions ‘is this a dagger I see before me’ (2.1.33-34). As Macbeth’s morality
comes into question, the supernatural resurfaces as an apparition of the dagger, luring
Macbeth into committing murder and treason. He questions ‘art thou but/ A dagger of my
mind, a false creation…?’ (2.1.37-38). Macbeth suggests that this dagger is ‘false’ and a
‘creation’, attempting to free his conscience and himself from being damned. His torment
between what is real and not real reflects his own torment inside of whether to choose evil, or
save himself from eternal damnation. Lady Macbeth’s conscience is also in torment. In her
sleepwalk she confesses ‘here’s the smell of the blood still. All the perfumes of Arabia will
not sweeten this little hand’ (5.1.42-43). James I argues conscience is ‘the light of knowledge
that God hath planted in man which [creates] a feeling that hee hath done wrong when ever
he committeth any sinne’.6 Her subconscious wants confession to free her guilty conscience
of their sin and if God’s ‘light of knowledge’ plants the feeling of guilt, he also has the power
to take it away. The Macbeth’s attempt to deceive themselves with these supernatural visions,
but it is their guilt which conjures up these apparitions and so they fall into madness unable to
save themselves.
Whilst the devilish supernatural attempts to manipulate the Macbeths, Prospero, in
The Tempest, believes he can own the indigenous Ariel and Caliban, as he is more
knowledgeable and superior as a white male settler. However, the island is their supernatural
world thus Ariel demonstrates true power by uniting everyone eventually - including Antonio
and Prospero. At the beginning, Ariel creates the tempest boasting it ‘flamed amazement’
(1.2.199), and forming ‘fire and cracks/ Of sulphurous roaring the most might Neptune/ Seem
to besiege, and make his bold waves tremble’ (1.2.204-206). The spirit places itself with the
gods, Jove and Neptune, suggesting it is more powerful by making Neptune ‘tremble’ and
‘shake’ (1.2.206-207). In Act 3 Scene 3, Ariel descends ‘like a harpy, claps his wings upon
6 James I, ‘Basilikon Doron’, in The True Law of Free Monarchies and Basilikon Doron,ed. Daniel Fischlin
and Mark Fortier (Canada: CRRS Publications, 1996), pp.83-177 (p. 109)](https://image.slidesharecdn.com/47464393-186d-471a-853e-6fe24eb033da-151005203309-lva1-app6892/85/SE2561-Jacobean-Shakespeare-4-320.jpg)
![5
the table, and, with a quaint device, the banquet vanishes’ causing Alonso, Sebastian and
Antonio to fall in a state of despair. Ariel acts as God here as Alonso suggests the thunder
proclaimed their ‘trespass’ (3.3.99), thus the supernatural creates a spectacle so powerful that
they believe they are being punished for their sins. David Norbrook argues ‘the only figures
who can be said to have some natural claim to priority [are] not natural but supernatural’.7 I
suggest Prospero has natural claims to priority in the nonspiritual world but on the island
Ariel is aligned with the Gods demonstrating its power over the secular.
In Macbeth, the supernatural can be seen as the return of the repressed in their secular
world, giving Macbeth a chance to opt for prayer. He declares murder as ‘My thought’,
suggesting that the original prophecy of the witches are actually repressed criminal thoughts
which ‘shakes so [his] single state of man’ (1.3.138-139). He chooses evil, despite being
given the opportunity for prayer, which reflects a Calvinist approach: Macbeth is subject to
total depravity thus cannot save himself. He is inherently evil/ corrupt. The repressed returns
again as the ‘Ghost of Banquo’ (3.4) who sends Macbeth into a state of madness where he
raves ‘take any shape but that’ of Banquo (3.4.101). His conscience is once again in torment,
suggesting that rather than supernatural elements, these apparitions are the return of the
repressed. However, instead of repressed thoughts, the ghost of Banquo reflects Macbeth’s
actual sin, thus the repressed comes back in a more monstrous way. The repressed becomes
increasingly monstrous through Macbeth’s descent into evil. Holland argues ‘God could
foresee the future, but […] did not make man act in any particular way’ thus man has ‘free
will’.8 Although it is Macbeth’s ‘thought’ and actions, theologically he will always fall,
unless saved by grace. Considering the theory of the divine right to rule, Macbeth will also
7 David Norbrook, ‘What cares these roarers for the name of the King?: Language and Utopia in The Tempest’,
in The Tempest: Contemporary Critical Essays, ed. R. S. White, pp. 167-190 (p. 173)
8 Norman Holland, The Shakespearean Imagination,p.52](https://image.slidesharecdn.com/47464393-186d-471a-853e-6fe24eb033da-151005203309-lva1-app6892/85/SE2561-Jacobean-Shakespeare-5-320.jpg)
![6
inevitably fail at usurping the throne, as the play suggests kingship is God given to the
rightful ruler.
The divine right to rule is also explored in The Tempest. Although the supernatural
world has power on the island that the nonspiritual cannot ascertain, Prospero is still the
rightful Duke of the secular city Milan. At the close of the play, Prospero’s plot is finally
complete and his ‘dukedom got’ (Epilogue.6). He reveals his ‘charms are all o’erthrown’ and
is magically powerless, now his title has been restored (Ep.1). This suggests that the
supernatural elements are actually divine grace intervening to restore order, giving Prospero
his ‘charms’ until he is rightful Duke of Milan once more. Antonio is almost silenced in the
last scene as he is given one line and is denied the possibility of defending himself, thus
demonstrating his loss of power through his loss of speech, punished for wrongly usurping
and betraying his brother. James I argued God is ‘ever watching over all [man’s] actions’9
thus order is restored through the intervention of grace as divine supernatural as Prospero can
assume his rightful place in the secular world.
The supernatural in both plays aids change and intervenes with the order of society.
The devilish supernatural in Macbeth can be seen as a test, leading Macbeth into temptation.
He inevitably falls and does not succeed as theologically the right to rule is god given and
Macbeth has already chosen the devil as man is inherently evil. In The Tempest, Prospero
juxtaposes Macbeth’s fall. He has wrongly been usurped, thus the divine supernatural is seen
here restoring order and aiding the return of Prospero’s title. Prospero becomes powerless
suggesting order has been restored, as the intervention of the divine powers is no longer
necessary. I suggest that these are theological plays with God and the devil masked as
supernatural elements – the divine and devilish. The supernatural in a production produces
9 James I, ‘Basilikon Doron’, in The True Law of Free Monarchies and Basilikon Doron,ed. Daniel Fischlin
and Mark Fortier, p. 109](https://image.slidesharecdn.com/47464393-186d-471a-853e-6fe24eb033da-151005203309-lva1-app6892/85/SE2561-Jacobean-Shakespeare-6-320.jpg)
SE2561 Jacobean Shakespeare
- 1. 1 Student Number: 1129661 Module Number: SE2561 Module Title: Jacobean Shakespeare Question Number and Title: 2. Discuss how the supernatural, both devilish and divine, is handled in any two plays studied in the module.
- 2. 2 Discuss how the supernatural, both devilish and divine, is handled in Macbeth and The Tempest The supernatural is explored in Shakespeare’s plays with the devilish supernatural in the tragedy Macbeth and the divine supernatural in the romance The Tempest.1 Whilst the supernatural may produce an entertaining spectacle for an audience, I propose that, from a theological view, the supernatural is either the devil or divine grace intervening with societal order. I will thus explore the effect of the supernatural on order, especially with the belief of the divine right to rule which, contextually, was a belief held by many including King James I. The witches of Macbeth test Macbeth’s willpower against temptations of evil. They immediately greet Macbeth with the titles ‘Thane of Glamis’, ‘Thane of Cawdor’ and ‘king’ (1.3.46-48). Instantly placing the idea of ascertaining power in Macbeth’s head, their emblematic name reveals the witches true purpose. They are named the ‘weird’ or weyward sisters, from the Old English “wyrd” meaning “fate” (1.3.30). I suggest that the supernatural here takes a devilish form and tempts Macbeth into a sinful fate in exchange for great power. Donald Tyson observes James I ‘was a strong believer in the supernatural and the power of magic, but he ascribed all working of magic to the devil’.2 James’ view was held by many in the early 17th century thus the witches of Macbeth are seen as products of the devil tempting Macbeth into falling. Norman Holland suggests ‘in some way they seem to preside over, even dominate, the action of the tragedy, and yet they do not actually do anything: Macbeth seems 1 William Shakespeare, Macbeth, in William Shakespeare:Complete Works, ed. Jonathan Bate and Eric Rasmussen (Basingstoke: Macmillan Publishers Ltd, 2008), p. 2569 – 2632. All further references are to this edition and are given parenthetically in the body of the essay. William Shakespeare, The Tempest, in William Shakespeare:Complete Works, ed. Jonathan Bate and Eric Rasmussen (Basingstoke: Macmillan Publishers Ltd, 2008), p. 3055 – 3116. All further references are to this edition and are given parenthetically in the body of the essay. 2 Donald Tyson, The Demonology of King James I (Minnesota: Llewellyn Publications, 2011) p. 5
- 3. 3 to create his own tragedy’. 3 Paralleling Jesus temptation by Satan in the desert, Macbeth is tempted by Satan in the form of these witches suggesting that although they show a fate Macbeth desires, they do not seal his fate.4 Macbeth seals his own fate. In The Tempest, Prospero uses supernatural forces to create change and control other’s fate. Miranda observes that her father, by his ‘art’, has ‘put the wild waters in this roar’ (1.2.1-2). Prospero uses his ‘art’ to create the tempest in order to shipwreck his betraying brother Antonio and his crew. He suggests the wreck is a ‘direful spectacle’ (1.2.26) where ‘not so much perdition as an hair/ Betid to any creature in the vessel’ (1.2.30- 31). Prospero plans his magic meticulously so it stuns and shocks the crew without placing Antonio’s company in direct danger, thus this ‘spectacle’ is for effect. It demonstrates his power through the capability of producing this spectacle. Francis Barker and Peter Hulme observe ‘the issue of legitimate authority is brought immediately to the fore’ in the storm scene.5 Prospero’s power is asserted where Antonio’s is not. His use of the supernatural suggests that Prospero has ‘legitimate authority’ as he has the ability to manipulate the others into being where he wants, and hopefully doing what he wants. Unlike Macbeth who is culpable for his actions, the crew’s fate is in the hands of Prospero as he exerts his power over the secular and supernatural world. As ‘master’ of Ariel and Caliban, both worlds appear at his bidding (1.2.295). Prospero therefore uses these supernatural elements to enable him to change other’s plots, assuming godlike power. Macbeth debates whether the supernatural world truly controls Macbeth’s own plot. His conscience seems disguised by this world, as Macbeth deceives himself, through the devilish supernatural, that he has no choice in his fall. When Macbeth considers murdering 3 Norman Holland, The Shakespearean Imagination (London:Indiana University Press, 1968) p. 50 4 Matthew, ‘The Gospel of Matthew’ in The Holy Bible: New International Version (London: Hodder and Stoughton,1996), 4:1-11 5 Francis Barker and Peter Hulme, ‘Nymphs and Reapers Heavily Vanish – the Discursive Contexts of The Tempest’, in The Tempest: Contemporary Critical Essays, ed. R. S. White (London: Macmillan Press Ltd, 1999), pp. 32-48 (p. 39)
- 4. 4 Duncan, he questions ‘is this a dagger I see before me’ (2.1.33-34). As Macbeth’s morality comes into question, the supernatural resurfaces as an apparition of the dagger, luring Macbeth into committing murder and treason. He questions ‘art thou but/ A dagger of my mind, a false creation…?’ (2.1.37-38). Macbeth suggests that this dagger is ‘false’ and a ‘creation’, attempting to free his conscience and himself from being damned. His torment between what is real and not real reflects his own torment inside of whether to choose evil, or save himself from eternal damnation. Lady Macbeth’s conscience is also in torment. In her sleepwalk she confesses ‘here’s the smell of the blood still. All the perfumes of Arabia will not sweeten this little hand’ (5.1.42-43). James I argues conscience is ‘the light of knowledge that God hath planted in man which [creates] a feeling that hee hath done wrong when ever he committeth any sinne’.6 Her subconscious wants confession to free her guilty conscience of their sin and if God’s ‘light of knowledge’ plants the feeling of guilt, he also has the power to take it away. The Macbeth’s attempt to deceive themselves with these supernatural visions, but it is their guilt which conjures up these apparitions and so they fall into madness unable to save themselves. Whilst the devilish supernatural attempts to manipulate the Macbeths, Prospero, in The Tempest, believes he can own the indigenous Ariel and Caliban, as he is more knowledgeable and superior as a white male settler. However, the island is their supernatural world thus Ariel demonstrates true power by uniting everyone eventually - including Antonio and Prospero. At the beginning, Ariel creates the tempest boasting it ‘flamed amazement’ (1.2.199), and forming ‘fire and cracks/ Of sulphurous roaring the most might Neptune/ Seem to besiege, and make his bold waves tremble’ (1.2.204-206). The spirit places itself with the gods, Jove and Neptune, suggesting it is more powerful by making Neptune ‘tremble’ and ‘shake’ (1.2.206-207). In Act 3 Scene 3, Ariel descends ‘like a harpy, claps his wings upon 6 James I, ‘Basilikon Doron’, in The True Law of Free Monarchies and Basilikon Doron,ed. Daniel Fischlin and Mark Fortier (Canada: CRRS Publications, 1996), pp.83-177 (p. 109)
- 5. 5 the table, and, with a quaint device, the banquet vanishes’ causing Alonso, Sebastian and Antonio to fall in a state of despair. Ariel acts as God here as Alonso suggests the thunder proclaimed their ‘trespass’ (3.3.99), thus the supernatural creates a spectacle so powerful that they believe they are being punished for their sins. David Norbrook argues ‘the only figures who can be said to have some natural claim to priority [are] not natural but supernatural’.7 I suggest Prospero has natural claims to priority in the nonspiritual world but on the island Ariel is aligned with the Gods demonstrating its power over the secular. In Macbeth, the supernatural can be seen as the return of the repressed in their secular world, giving Macbeth a chance to opt for prayer. He declares murder as ‘My thought’, suggesting that the original prophecy of the witches are actually repressed criminal thoughts which ‘shakes so [his] single state of man’ (1.3.138-139). He chooses evil, despite being given the opportunity for prayer, which reflects a Calvinist approach: Macbeth is subject to total depravity thus cannot save himself. He is inherently evil/ corrupt. The repressed returns again as the ‘Ghost of Banquo’ (3.4) who sends Macbeth into a state of madness where he raves ‘take any shape but that’ of Banquo (3.4.101). His conscience is once again in torment, suggesting that rather than supernatural elements, these apparitions are the return of the repressed. However, instead of repressed thoughts, the ghost of Banquo reflects Macbeth’s actual sin, thus the repressed comes back in a more monstrous way. The repressed becomes increasingly monstrous through Macbeth’s descent into evil. Holland argues ‘God could foresee the future, but […] did not make man act in any particular way’ thus man has ‘free will’.8 Although it is Macbeth’s ‘thought’ and actions, theologically he will always fall, unless saved by grace. Considering the theory of the divine right to rule, Macbeth will also 7 David Norbrook, ‘What cares these roarers for the name of the King?: Language and Utopia in The Tempest’, in The Tempest: Contemporary Critical Essays, ed. R. S. White, pp. 167-190 (p. 173) 8 Norman Holland, The Shakespearean Imagination,p.52
- 6. 6 inevitably fail at usurping the throne, as the play suggests kingship is God given to the rightful ruler. The divine right to rule is also explored in The Tempest. Although the supernatural world has power on the island that the nonspiritual cannot ascertain, Prospero is still the rightful Duke of the secular city Milan. At the close of the play, Prospero’s plot is finally complete and his ‘dukedom got’ (Epilogue.6). He reveals his ‘charms are all o’erthrown’ and is magically powerless, now his title has been restored (Ep.1). This suggests that the supernatural elements are actually divine grace intervening to restore order, giving Prospero his ‘charms’ until he is rightful Duke of Milan once more. Antonio is almost silenced in the last scene as he is given one line and is denied the possibility of defending himself, thus demonstrating his loss of power through his loss of speech, punished for wrongly usurping and betraying his brother. James I argued God is ‘ever watching over all [man’s] actions’9 thus order is restored through the intervention of grace as divine supernatural as Prospero can assume his rightful place in the secular world. The supernatural in both plays aids change and intervenes with the order of society. The devilish supernatural in Macbeth can be seen as a test, leading Macbeth into temptation. He inevitably falls and does not succeed as theologically the right to rule is god given and Macbeth has already chosen the devil as man is inherently evil. In The Tempest, Prospero juxtaposes Macbeth’s fall. He has wrongly been usurped, thus the divine supernatural is seen here restoring order and aiding the return of Prospero’s title. Prospero becomes powerless suggesting order has been restored, as the intervention of the divine powers is no longer necessary. I suggest that these are theological plays with God and the devil masked as supernatural elements – the divine and devilish. The supernatural in a production produces 9 James I, ‘Basilikon Doron’, in The True Law of Free Monarchies and Basilikon Doron,ed. Daniel Fischlin and Mark Fortier, p. 109
- 7. 7 spectacle which is used to demonstrate power. With the power of spectacle, the plays can promote and persuade its audience that a ruler’s position is god given. Reflecting James I belief of the divine right to rule, these plays suggest order is restored with its rightful ruler and promote that the consequences of rebelling against God’s will is to fall, like Macbeth. 1,592 words
- 8. 8 Bibliography Primary Texts Shakespeare,William, Macbeth,in William Shakespeare: Complete Works, ed. Jonathan Bate and Eric Rasmussen (Basingstoke: Macmillan Publishers Ltd, 2008), p. 2569 – 2632 Shakespeare,William, The Tempest,in William Shakespeare: Complete Works, ed. Jonathan Bate and Eric Rasmussen (Basingstoke: Macmillan Publishers Ltd, 2008), p. 3055 – 3116 Secondary Texts The Holy Bible: New International Version (London: Hodder and Stoughton, 1996) Alfar, Cristina León, Fantasies of Female Evil (London: Rosemont Publishing & Printing Corp, 2003) Edwards, Philip and Kenneth Muir, Aspects of Macbeth: Articlesreprinted fromShakespeare Survey (Cambridge:Cambridge University Press,1977) Elliott, G.R., Dramatic Providence in Macbeth (NewJersey:Princeton University Press,1960) Fischlin, Daniel and Mark Fortier, The True Law of Free Monarchies and Basilikon Doron (Canada: CRRS Publications, 1996) Holland, Norman, The Shakespearean Imagination (London: Indiana University Press,1968) McGuire, Philip, Shakespeare: the Jacobean Plays (London:Macmillan Press Ltd,1994) Poole, Kristen, Supernatural Environments in Shakespeare’sEngland (Cambridge:Cambridge University Press,2011) Shell, Alison, Catholicism, Controversy and the English Literary Imagination 1558-1660
- 9. 9 (Cambridge: Cambridge University Press,1999) Tyson, Donald, The Demonology of King James I (Minnesota: Llewellyn Publications, 2011) White, R. S., The Tempest: Contemporary Critical Essays (London: Macmillan Press Ltd, 1999)