Sinister, unearthly, sometimes even all-knowing: Ghosts and metaphysical entities accompany stories, legends and and superstitious tales throughout the centuries. They are doomed as evil and satanic, or used to illustrate morality by “settling” their earthly bussiness with human evil-doers. They might even be good, yet can never completely to be trusted. Their connection with the dead makes them attractive as characters with powers above the human boundries.
In the Elizabethan drama as in contrast to modern dramas, supernatural events and entities such as ghosts, apparitions, dreams and visions play a major and sometimes even crucial role in the plot. In this paper I would like to take a closer look at the Elizabethan fascination with the “unseen”, how authors implemented it into their plays and what roles these ghosts and dreams played. Introductory I will look at the general view of the unnatrural from the Renaissance perspective.
In order to stay within the proper range of this paper I have chosen a selection of four tragedies written by four different playwrights. In each of the plays, a ghostly character appears, mostly in dreamlike visions. I would like to discuss the scenes in which these characters appear and compare the characters with another in the conclusion of the paper.
Table of Contents
1. Introduction
2. The natural and unnatrural in the Renaissance philosophy
3. Ghosts and Dreams:
3.1 The Ghost of Don Andrea in Thomas Kyd’s „The Spanish Tragedy“
3.2 The Ghost of Montferres in Thomas Middletons „The Atheists Tragedy“
3.3 The Ghost of Brachiano in John Webster’s “The White Devil”
3.4 The Ghosts of Shakespears’ Richard III
4. Conclusion
5. Bibliography
Objectives & Themes
This paper examines the role and function of ghosts, dreams, and visions in Elizabethan revenge tragedies, analyzing how these supernatural elements serve to advance the plot, illuminate characters' psychological states, and reflect the period's philosophical views on order and morality.
- Analysis of the Renaissance philosophy of the natural and supernatural.
- Examination of the dramatic function of ghost-figures in Senecean-inspired plays.
- Comparison of ghostly manifestations across four key tragedies.
- Exploration of how supernatural encounters influence character motivations and moral judgment.
Excerpt from the Book
3.1 The Ghost of Don Andrea in Thomas Kyd’s „The Spanish Tragedy“
The Spanish Tragedy was written between 1582 and 1592 by the english dramatist Thomas Kyd. The play was one of the first examples of how the Senecean revenge tragedies were reinterpretated in the elisabethan times. The background the plot and of the upcoming revenge is introduced within the first scene of the play as the ghost Don Adrea recalls his (in his opinion) unrightly death in the War, seperating him from his love Bel-imperia.
Act 1.1
Line 10-14 Ghost of Don Andrea: In secret I posessed a dame, Which hight sweet Bel-imperia by name. But in the harvest of my summer joys Death’s winter nipped the blossoms of my bliss, Forcing divorce betwixt my love and me.
The ghost of the murdered Don Andrea is a typical supernatural figure in the tradition of Senecean plays. These figures served as observers of the handling throughout the play and announces the upoming acts of the revenge that is to happen. Revenge in itself also takes on a corporeal figure and stands in dialoge with the ghost. He serves as guide to the plot and vengeance of Don Andrea.
Summary of Chapters
1. Introduction: Outlines the scope of the paper, focusing on the Elizabethan fascination with the "unseen" and the chosen selection of four tragedies for comparative analysis.
2. The natural and unnatrural in the Renaissance philosophy: Explores the philosophical duality of the Elizabethan era, examining how Renaissance thinkers categorized the spiritual and material worlds within a structured cosmology.
3. Ghosts and Dreams: Investigates the dramatic impact of supernatural entities in revenge dramas, discussing how they act as intermediaries for fate, destiny, or moral instruction.
3.1 The Ghost of Don Andrea in Thomas Kyd’s „The Spanish Tragedy“: Analyzes the Ghost of Don Andrea as a typical Senecean observer who guides the plot and highlights themes of revenge.
3.2 The Ghost of Montferres in Thomas Middletons „The Atheists Tragedy“: Discusses the unique role of Montferres as a ghost who delays revenge to convey a moral lesson regarding divine providence.
3.3 The Ghost of Brachiano in John Webster’s “The White Devil”: Examines the ghost's role in illustrating corruption and chaos within the court, serving as a reflection of the protagonist's internal state.
3.4 The Ghosts of Shakespears’ Richard III: Explores the eleven ghosts in Richard III as catalysts for influencing the plot and dramatizing the victory of moral order over tyranny.
4. Conclusion: Synthesizes the findings, highlighting the diverse functions of ghosts as either dramatic observers, moral agents, or psychological reflections.
5. Bibliography: Lists the academic sources and secondary literature utilized for the research.
Keywords
Renaissance, Elizabethan Drama, Revenge Tragedy, Ghosts, Supernatural, Philosophy, Morality, Seneca, Thomas Kyd, John Webster, William Shakespeare, Psychology, Cosmology, Divine Providence, Dramatic Function.
Frequently Asked Questions
What is the primary focus of this academic paper?
The paper explores the role and dramatic function of ghosts, dreams, and visions in Elizabethan revenge tragedies, analyzing how these supernatural elements contribute to the narrative and moral framework of the plays.
Which plays are specifically discussed in the study?
The author analyzes Thomas Kyd’s "The Spanish Tragedy," Thomas Middleton’s "The Atheists Tragedy," John Webster’s "The White Devil," and William Shakespeare’s "Richard III."
What is the central research question?
The research investigates how Renaissance authors implemented supernatural entities into their plays and what specific roles these ghosts and dreams played in influencing plot, character psychology, and moral outcomes.
What scientific methodology is applied?
The work employs a comparative literary analysis, examining specific scenes featuring ghostly apparitions across the four selected tragedies and interpreting them through the lens of Renaissance philosophy and contemporary scholarly essays.
What is covered in the main body of the paper?
The main body covers the philosophical background of the natural and supernatural in the Renaissance, followed by an in-depth analysis of individual ghost figures in each of the four chosen tragedies.
How are the keywords defined for this work?
The keywords, such as "Revenge Tragedy," "Supernatural," and "Renaissance," reflect the paper’s focus on the intersection between the era's philosophical worldview and its dramatic literary output.
How does the ghost in "The Atheists Tragedy" differ from the one in "The Spanish Tragedy"?
Unlike the Ghost of Don Andrea in "The Spanish Tragedy," who guides the plot toward vengeance, the Ghost of Montferres acts to delay revenge, emphasizing a moral lesson that divine providence is superior to human retribution.
Why are the eleven ghosts in Shakespeare's "Richard III" considered unique?
These ghosts are unique because they appear to two characters simultaneously, serving as both instruments of justice that torment the tyrant Richard and as figures of comfort and blessing for Richmond.
- Quote paper
- Tinani van Niekerk (Author), 2007, Ghosts and dreams in the renaissance drama: A comparison between selected tragedies, Munich, GRIN Verlag, https://www.grin.com/document/72608
