Michael Gorski

ERH 321WX-01

Short assignment on Hamlet, Prince of Denmark

27 March 2015

Help Received: EasyBib to cite; Class Discusions

Life After Death: An Analysis of Early Modern English Perspective on Spirits

Part A.

            During England’s early modern time period, the supernatural was a common cultural belief. People thought spirits were influential and active in the natural world and aligned themselves with either good or evil. This belief spawned from the biblical concepts of angels, demons, and purgatory. Constance Jordan’s chapter “Spiritual and Mental Life” summarizes and presents excerpts from this time period concerning the views of the behavior and nature of spirits and their interaction with the natural world. She highlights the works of Joseph Hall, a writer during the time period; Ludwig Lavater, a Swiss Protestant theologian; George Gifford, a Protestant minister; and Samuel Harsnett, a professor and clergyman of the time period. All of these authors argued and agreed with the existence of an interactive supernatural realm, but had varied perspectives on the nature of the spirits.

Many views exist concerning the nature and purpose of spirits in the natural world. Joseph Hall argued for the classic struggle between good and evil; and viewed the malevolent spirits as demons and the amicable as angels. He also advocated that spirits heavily influenced human behavior. Jordan presents an excerpt from Hall’s Meditation and Vows that focuses on the existence of spirits and their relation to human life. He described the good angels’ tasks as, “ever removing our hindrances from good and our occasions of evil, mitigating our temptations, helping us against our enemies, delivering us from dangers, comforting our sorrows, furthering our good purposes, and, at last, carrying up our souls to heaven (Hall, Meditations and Vows, 159).” The demons had a different nature and seek to destroy the lives of men. Hall stated, “Provoke us to sin and plot mischiefs against us by casting into our way dangerous objects (Hall, Meditations and Vows, 159).” Gifford’s opinions concerning spirits mirrored those of Hall. The excerpts that Jordan selected solely focused on the evil spirits. Gifford provided more detail concerning the physical make-up of a spirit, their origin, and how demons select their targets. He described them as “hath neither flesh nor bones (Gifford, A Discourse of…Devils, 165).” Although Gifford’s excerpt focused mostly on demons, he does reference the supremacy of angels and good over evil. He also described how demons sought their victims. Availability was the key factor in choosing those to influence for malice. The soul must be willing. Hall and Gifford’s views differed from the opinions of Lavater.

Lavater espoused that spirits were occupants of purgatory, a Catholic belief of a supernatural realm where people pay of their sins until Judgment Day and they were seeking retribution. They maintained a quid pro quo relationship with humans that allowed for their release from purgatory and a reward for the human. Lavater also argued that spirits from hell were used to morally redirect lost sinners. Lavater does not deny the existence of angels, but purports that those supernatural beings interacting with humans are merely deceased individuals.

Jordan addresses an opinion of the time period that there was no spiritual world. These individuals believed that the appearance of ghosts were hallucinations and evidence of lunacy. False spiritual encounters were a frequent occurrence and this led certain parts of the population to hold a more rational ideal. Jordan addresses this belief with excerpts from Lavater and Harsnett. Lavater agreed that a portion of the population held the rational view that chalked ghosts up the mental tricks and hysteria. He argued that this is the exact opposite the realm of the supernatural is active in man’s life. Harsnett investigated false exorcisms that were used for show and eventually came to the conclusion that they existed for solely for the theater. His argument challenges the existence of the supernatural and more specifically their interaction with man.

The English developed many opinions concerning the supernatural. Early modern English culture was biblically focused and the most prominent idea viewed spirits as angels and demons. The angels worked to better the lives of men, while the demons sought to destroy man and distance him from God. Another biblical perspective focused on the inhabitants of purgatory and hell. Some believed that spirits were deceased humans that sought retribution on earth or as warnings concerning the afterlife. In contrast, a scientific and rational view argued that the supernatural was figment of the imagination or signs of delusion. Overall, the supernatural realm played a major role in influencing the culture of early modern England.

Part B.

            In Shakespeare’s Hamlet, Prince of Denmark, he challenges the common cultural perception of supernatural interaction with the natural world. An opinion in early modern England was supernatural phenomena were not real. Instead, what people perceived as interaction with spirits were merely products of the imagination. Along with imagination, people attributed seeing and interacting with spirits to mental illness. These two beliefs spawned from the occurrence of false supernatural experiences. Shakespeare challenges the existence of spirits and the supernatural through the nature of the interactions of Hamlet Senior’s spirit with other characters. His interactions with his father’s ghost are responsible for the development of his plot for revenge against Claudius and the eventual decline of his mental stability. Shakespeare utilizes the interaction with the supernatural between Hamlet and his deceased father to challenge the accepted notion that the supernatural existed.

The manner in which Shakespeare presents the ghosts provides room for inquiry concerning its existence. Hamlet Senior’s ghost appears to Marcellus, Bernardo, and Horatio in Act One, Scene One during their evening guard shift. The ghost is asked by the men on guard to speak, but it does not obey their commands. Later in Act One, Scene Four, Hamlet is brought by Horatio to view the ghost during a guard shift. Hamlet observes the spirit and answers the ghosts request to follow itself. In the next scene, Hamlet and his father’s ghost are alone when he describes the crimes of Claudius to his son and convinces Hamlet to exact revenge. The circumstances surrounding the ghost’s introduction are unusual, because Hamlet is the sole communicator with this entity. Other characters merely view the ghost and there is no interaction.

Act Three, Scene Four is central to Shakespeare’s challenging of ghosts. Hamlet is talking to his mother concerning her treachery and Claudius’ crimes. During the course of their argument, the ghost of Hamlet’s father enters the room and Hamlet tries to convince his mother that the ghost is there, but she will not believe him. The queen says, “This is the very coinage of your brain. This bodiless creation of ecstasy is very cunning in (Shakespeare, Act 3, Scene 4, Lines 139-141).” She attributes the claims against her new husband and Hamlet’s talk of ghosts to be figments of his imagination. After interacting with the ghost and being labeled as a lunatic by his mother, Hamlet randomly kills Polonius. This incident alludes to the idea that the spirit of his father is an idea created by Hamlet. The increased decline of his mental facilities and his continued obsession with revenge creates an image for the audience that Hamlet is becoming a lunatic and the spirit is nonexistent.

Shakespeare’s Hamlet, Prince of Denmark seeks to challenge the cultural belief in the supernatural with the interactions between the ghost and other characters. His depiction of Hamlet’s decline in mental health creates the concept that the ghost is not an actual ghost, but a figment of his imagination. The spirit gives him an avenue escape from the grief of his father’s death and it developed out of the grief. Shakespeare challenges the audience to consider the reality of the supernatural during the early modern English time period.

Works Cited

Jordan, Constance. “Spiritual and Mental Health.” William Shakespeare’s Hamlet, Prince of Denmark. 2nd ed. New York: Pearson/Longman, 2005. 157-80. Print.

Shakespeare, William, and Constance Jordan. William Shakespeare’s Hamlet, Prince of Denmark. 2nd ed. New York: Pearson/Longman, 2005. Print.

Michael Gorski

ERH 321WX-01

Short Assignment on Othello

6 March 2015

Help Received: EasyBib to cite

Part A.

During the early modern time period in England, Venice and its culture were held in high esteem. The English believed that it was an upper level society, more sophisticated and modern compared to the city-states surrounding it. Hall analyzes two different aspects of Venetian culture. The glorified aurora ascribed by other societies and the harsh reality of Venice’s history. The English and other European societies had created a utopian society that was not representative of Venice’s actual circumstances.

Hall describes the idealized opinion of Venice held by most Europeans as “the Myth of Venice (Hall, 234).” Hall highlights four facets introduced by David McPherson that form the foundation for this “myth.” Hall states, “McPherson outlines the four components to this myth: Venice the Rich, Venice the Wise, Venice the Just, and Venezia Citta galante (Venice the Gallant City) (Hall, 235).” These perceptions were not just rumors and stories dreamt up by the citizens. Venice was a unique culture, but not as perfect as people created it to be. Venice was a modern culture that was ahead of the curve. During this time period, it was the commercial center of the Mediterranean and exercised firm control over trade in the Mediterranean. Trade introduced many foreigners to the Venetian population, and with these aliens came a wide range of political and religious beliefs. This is another reason why the Venetian society was viewed as superior. Their government was able to maintain control over such a wide range of peoples and operate successful business. These factors gave Venice the perception of being a glorified and advanced society. What the people of early modern England observed in Venice was not as prestigious in reality.

During the time period in which Shakespeare was writing Othello, The Moor of Venice, Venice was experiencing a slue of problems. The prominent issue that Venice experienced was the loss of Cyprus. This showed the weakened state of Venice and their loss of control of trade in the Mediterranean. English traders had taken over some of trade in the Mediterranean and Venice was concerned with keeping peace, which led to the development of a cowardly reputation. Corruption was now infecting the government that had once held a firm grasp on control. Authors attribute this failure to the freedom in which foreigners were allowed to conduct themselves within the city. Hall mentions that Venetian art displays blacks as a staple of Venetian culture. Other societies viewed Venice as a harlot by allowing such cultural diversity to go unchecked in their city.

To other European cultures, more specifically the English, Venice represented a more modern culture. There was a certain aurora surrounding the Venetian culture, which created what Hall describes as “the Myth of Venice (Hall, 234).” Venice was strong and powerful city-state that held control of Mediterranean trade and for a certain time period was the pinnacle of perfection for a society. The harsh reality of Venetian history is that it did not adhere to this myth for long. During the time Shakespeare was writing Othello, The Moor of Venice, Venice had declined from its former glory and lost the supremacy of Mediterranean. Hall highlights the two conflicting cultural views concerning Venetian society in early modern England.

Part B.

            A trending theme in Shakespeare’s plays is the idea of perception versus reality. This concept that Shakespeare consistently utilizes is seen in Othello, The Moor of Venice, in his challenging of what Hall calls “the Myth of Venice (Hall, 234).” Throughout the play, actions of certain characters show the differing views of Venice. Shakespeare reveals both elements of Venetian culture, the powerful and strong Venetian personality and the weakened and declining status. The character of Othello represents this well. Othello displays the concept of perception versus reality by analyzing and criticizing the Venetian society through the character Othello.

Othello’s personality displays the power that eventually declines in Venetian culture. In the beginning of the play, Othello is a bold and outspoken personality. In Scene 3 of Act 1, he is defending himself against the accusations of tricking Desdemona into marrying him. He presents a rebuke towards Brabantio’s claims and maintains order throughout the situation. There is no panic and his attitude is one of calmness. This represents the once powerful Venice that people knew and understood. His ability to maintain composure in a chaotic situation is descriptive of the Venetian government. During its prime, Venice had many foreigners going about their city, but still maintained a sense of order. It is during the decline of Venetian society that this composure is lost and Othello represents this transition.

As Iago begins to trick Othello into believing Desdemona has been unfaithful, there is a change in Othello’s attitude. His reasoning and judgment are nonexistent and he is easily swayed. Due to his unstable mindset, he has a seizure, murders Desdemona for being unfaithful, and kills himself. Othello’s ability to be easily swayed represents the loss of control that the Venetians had over Mediterranean. Othello’s character transition is a clear representation of the decline of Venetian power.

Shakespeare was displaying to the people of England the reality of Venice’s history. Most of England believed in this legend that Venice was a perfect society, invincible to anything. Shakespeare reveals the decline of Venice to show readers Venice was not the great entity they believed it to be. He does this through the character of Othello. In Othello, The Moor of Venice, the protagonist, Othello, represents the decline of Venetian society and supports Shakespeare’s argument for the weakened state of Venice.

Works Cited

Shakespeare, William, and Kim F. Hall. Othello, The Moor of Venice: Texts and      Contexts. Boston: Bedford/St. Martin’s, 2007. Print