A Comparative Analysis Of The Ghosts Appearances Motifs And Functions In Shakespeare S Hamlet And Kyd S The Spanish Tragedy
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A Comparative Analysis of the Ghosts ́ Appearances, Motifs and Functions in Shakespeare’s "Hamlet" and Kyd ́s "The Spanish Tragedy"
Seminar paper from the year 2013 in the subject Didactics for the subject English - Literature, Works, grade: 1,7, Johannes Gutenberg University Mainz, language: English, abstract: Revenge tragedy is, as the notion implies, primarily concerned with revenge and consequently also with death. One naturally raises the question what may happen to all those dead bodies when sudden death has terminated life on earth. Is the physical death coercively accompanied by the soul’s death? The belief in an afterlife – not only concerning religious conceivabilities – has been popular ever since the beginning of human life. This paper focuses on a very special form of afterlife – the one of being a ghost. Between 1580 and 1590 those “spooky” creatures have been assigned a definite role among the dramatis personae of English (revenge) tragedies: Twenty-six plays written between 1560 and 1610 include fifty-one ghosts (cf. Prosser, 259, Moorman1, 90), being highly different concerning their outward appearances, the inner life and motifs and their general functions in the play. Aeschylus was the first author using revenge ghosts (named Darius and Clytemnestra) in his plays. Euripides introduced the very first prologue ghost named Polydorus, whose function was to summarize the plot and to connect the chain of events. Seneca, finally, was the first author to combine the Euripidean prologue ghost with the Aeschylean revenge ghost (cf. Moorman1, 85/86). This paper focuses on the ghosts in Shakespeare’s “Hamlet” and Kyd’s “Spanish Tragedy”. While Don Andrea and Revenge primary function as prologue ghost and as a commenting and judgemental chorus, dead King Hamlet’s ghost is the “lynchpin” of the play, initiating and pursuing his very own vengeance. In order to point out the ghosts ́ different dramatic functions, they will be compared in terms of the outward appearance (chapter 2.1) and their personal motifs and values (chapter 2.2). Besides, the frequency and manner of occurrences will be analyzed (chapter 3) in order to point out the ghosts ́ overall functions in the tragedies (chapter 4).
A Comparative Analysis of the Ghosts' Appearances, Motifs and Functions in Shakespeare's Hamlet and Kyd's the Spanish Tragedy
Seminar paper from the year 2013 in the subject English - Literature, Works, grade: 1,7, Johannes Gutenberg University Mainz, language: English, abstract: Revenge tragedy is, as the notion implies, primarily concerned with revenge and consequently also with death. One naturally raises the question what may happen to all those dead bodies when sudden death has terminated life on earth. Is the physical death coercively accompanied by the soul's death? The belief in an afterlife - not only concerning religious conceivabilities - has been popular ever since the beginning of human life. This paper focuses on a very special form of afterlife - the one of being a ghost. Between 1580 and 1590 those "spooky" creatures have been assigned a definite role among the dramatis personae of English (revenge) tragedies: Twenty-six plays written between 1560 and 1610 include fifty-one ghosts (cf. Prosser, 259, Moorman, 90), being highly different concerning their outward appearances, the inner life and motifs and their general functions in the play. Aeschylus was the first author using revenge ghosts (named Darius and Clytemnestra) in his plays. Euripides introduced the very first prologue ghost named Polydorus, whose function was to summarize the plot and to connect the chain of events. Seneca, finally, was the first author to combine the Euripidean prologue ghost with the Aeschylean revenge ghost (cf. Moorman, 85/86). This paper focuses on the ghosts in Shakespeare's "Hamlet" and Kyd's "Spanish Tragedy." While Don Andrea and Revenge primary function as prologue ghost and as a commenting and judgemental chorus, dead King Hamlet's ghost is the "lynchpin" of the play, initiating and pursuing his very own vengeance. In order to point out the ghosts different dramatic functions, they will be compared in terms of the outward appearance (chapter 2.1) and their personal motifs and values (chapter 2.2). Besides, the frequency and manner of occurrences will be analyzed (chapter 3) in ord
Ghosts and Dreams in the Renaissance Drama: A Comparison Between Selected Tragedies
Seminar paper from the year 2007 in the subject English Language and Literature Studies - Literature, grade: Gut, University of Bonn (Institut f r Anglistik, Amerikanistik und Keltologie), course: Revenge in the Renaissance, 9 entries in the bibliography, language: English, abstract: 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.