Double double, toil and trouble! This may just be the most iconic line, uttered by the witches of William Shakespeare’s “Macbeth”, that has been echoed by witches in the centuries following. With Shakespeare’s heavy use of the supernatural in his plays, including “Macbeth”, “Hamlet”, “The Tempest”, and “A Midsummer Night’s Dream”, it is no surprise that these characters have fundamentally shaped modern archetype of witches, fairies, ghosts, and many others. It is evident that elements of the supernatural play integral roles in the drama of the renowned playwright William Shakespeare. But what might be the reason for utilizing the supernatural so rigorously? The main considerations include to instill fear in the audience by exploiting widely held superstitions of the Elizabethan era, to prompt the audience to question the protagonists’ sanity, in “Hamlet” and “Macbeth” most especially, and to develop the characters through their interactions with supernatural elements. Yet in the case of Shakespeare’s tragedies “Macbeth” and “Hamlet” in particular, the supernatural is not only a significant character but also triggers the hamartia, or tragic flaw, peripeteia, or point of no return, and reveals the anagnorisis, or “moment of illumination,” for the protagonists.

The Shakespearean Era

During Shakespearean times, the supernatural was an accepted and real part of life, a probable explanation for inexplicable occurrences. Religion, more specifically Christianity, heaven, hell, purgatory, angels, demons, ghosts, witches, and magic were all part of Elizabethan life and can be observed in nearly every one of Shakespeare’s plays where they have been included and referenced to, directly or otherwise. It is no surprise, then, that such a commonplace aspect of life at the time is incorporated into the drama of the era. In “Hamlet”, for example, the ghost of King Hamlet is described as “I am thy (Hamlet’s) father’s spirit, / Doom’d for a certain term to walk the night, / And for the day confin’d to fast in fires, / Till the foul crimes done in my days of nature / Are burnt and purg’d away.” (Hamlet, Act I, Scene V, Lines 9-13). These lines make references to the existence of ghosts, the afterlife, purgatory and hell in the Christian canon, and some form of punishment for deeds committed during one’s life. In “Macbeth”, Act I, Scene III, Lines 52-59, Banquo says “ I’ th’ name of truth, / Are ye fantastical, or that indeed / Which outwardly ye show? My noble partner / You greet with present grace and great prediction / Of noble having and of royal hope / That he seems rapt withal. To me you speak not. / If you can look into the seeds of time / And say which grain will grow and which will not, / Speak then to me, who neither beg nor fear / Your favors nor your hate.” Banquo accepts the witches’ apparent clairvoyant abilities and asks to know his own fate. Banquo and Macbeth’s ready acceptance of the supernatural natures of the witches and their prophecies establish the attitudes towards acceptance of the existence of magical beings and abilities. Both plays begin with an element of the supernatural in the first scene , the witches and King Hamlet’s ghost, respectively. To the 21st century audience, witches and ghosts are not particularly fearsome and are even considered child’s play. Much of the contemporary impressions of witches and ghosts were derived from this era, after all (Witchcraft and Magic - Popular Culture in Elizabethan England, n.d.). Yet in the context of Shakespeare’s time, to the audience members watching in the Globe Theater, the notion of the supernatural right at the beginning of the play must have been horrifying and had quite the effect .

Catholicism

It is difficult to deny the influence that religion and the religious turmoil of Shakespearean England has had on Shakespeare’s choice in injecting a plethora of supernatural elements into his work. Shakespeare’s own religious beliefs has been a hotly debated topic but regardless of his views, undoubtedly had a significant impact on this choice. Up until the Elizabethan era, England was led religiously by the Roman Catholic Church and politically by the monarch. However, with the reign of Henry VIII and the establishment of the Church of England, this all changed. Leading up to the rule of Elizabeth I, England had been Protestant, under Henry VIII and Edward VI, Catholic, under Mary I, and now Protestant once again. With the reign of Protestant Elizabeth I, Catholics in England were forced to move or hide their beliefs and conform to the practices of the Church of England. Catholics were ruthlessly prosecuted and tensions were high between Protestants and Catholics, with over 800 Catholic rebels being killed in the Northern Rebellion of 1569. Catholicism and the supernatural were considered analogous and the priest and the magician were “by no means clearly distinguished in the popular mind” (Filomeno, 2019). Shakespeare’s audience would have been familiar with these connotations and other practices of the time, regardless of their personal beliefs. Some even suggest that Shakespeare’s use of the supernatural was, in actuality, a code meant for Catholic audience members and symbolism used to criticize the Church of England’s prosecution of Catholics. While Shakespeare never disclosed his own beliefs and appeared to be a conforming member of the Church of England, there is evidence that he may have been a recusant Catholic. Many family members, including his father, mother, and daughter, professed their Catholic faith. Shakespeare also married Anne Hathaway in a Catholic ceremony. He was associated with many Catholic, Papist, and Jesuits throughout his life, such as his first schoolmaster, friends, and the witness to his Last Will and Testament (Filomeno, 2019). There is also, of course, the many Catholic allusions and symbolism in Shakespeare’s work. Shakespeare’s plays tell the “true story of England” through coded language and symbolism, some believe. In her book, Claire Asquith argues that the plays “serve a dual purpose.” Seen from the right angle, they would act in the same way as a pun—perfectly clear, yet perfectly deniable ... All plots and characters, however complex, would have equally complex shadow identities,” (Asquith, 2005). The symbolism, most especially that of the supernatural, allows readers a peek into what Shakespeare might have believed. One can reasonably conclude, for example, that the ghost of King Hamlet in “Hamlet” is in purgatory, atoning for his sins. “I am thy father’s spirit, / Doom’d for a certain term to walk the night, / And for the day confin’d to fast in fires, / Till the foul crimes done in may days of nature / Are burnt and purg’d away,” the ghost says (Hamlet, Act I, Scene V, Lines 9-13). The allusion to purgatory is significant because Protestants do not believe in purgatory. It must be acknowledged that allusions in the plays do not necessarily reflect Shakespeare’s personal beliefs, although those who support this theory do propose an intriguing point. Regardless of Shakespeare’s beliefs, one cannot deny that there exists a correlation between religion and the supernatural, which Shakespeare has incorporated into “Macbeth” and “Hamlet”, amongst other plays. Whether it was meant to be a form of social commentary is difficult to determine, but one must take into consideration this possibility when analyzing supernatural elements in Shakespearean drama.

Insanity

The theme of insanity is recurring throughout both “Hamlet” and “Macbeth” and is often in part portrayed using elements of the supernatural. Hamlet’s mental state and whether he is truly insane or simply putting on a facade has been a point of contention amongst audiences for centuries. In “The Sanity of Hamlet,” two aspects of this debate are showcased. A certain Doctor Johnson remarks, “Of the feigned madness of Hamlet there appears no adequate cause, for he does nothing which he might not have done with the reputation of sanity.” The other perspective, presented by one Coleridge, “finds in the play evidence of ‘Shakespeare’s deep and accurate science in mental philosophy.’” Coleridge believes that Hamlet possesses great and secure mental capacities and that “His (Hamlet’s) thoughts, and the images of his fancy, are far more vivid than his actual perceptions;’ there is ‘a great, an almost enormous, intellectual activity, and a proportionate aversion to real action consequent upon it.” Coleridge characterizes Hamlet as “brave and careless of death, but he vacillates from sensibility, and procrastinates from thought, and loses the power of action in the energy of resolve,” (Davis, 1921). Hamlet, Horatio, Marcellus, and Bernardo all see the ghost of King Hamlet at the beginning, but only Hamlet sees him during their dialogue in Gertrude’s chambers. Marcellus says, “Peace, break thee off; look where it comes again.”, prompting Bernardo to reply, “In the same figure, like the King that’s dead” (Hamlet, Act I, Scene I, Lines 40-41). Hamlet goes on to converse with the ghost, saying “Whither wilt thou lead me? Speak. I’ll go no / further.”, and the ghost replies “Mark me” (Hamlet, Act I, Scene V, Lines 1-3). Yet only Hamlet sees the ghost and Gertrude does not. He says “A king of shred and patches— / Save me, and hover o’er me with your wings, / You heavenly guards! What would your; gracious figure?” and the stunned queen cries, “Alas, he’s mad!” (Hamlet, Act III, Scene IV, Lines 103-136). This brings into question Hamlet’s sanity and whether the apparition is genuine or simply a byproduct of Hamlet’s deteriorating mind. On the other hand, Macbeth’s descent into madness and tyranny is much more prominent. Before actually killing Duncan and only contemplating the act with Lady Macbeth, Macbeth hallucinates a floating dagger, saying “Is this a dagger which I see before me. / The handle toward my hand? Come, let me clutch thee. / I have thee not, and yet I see thee still. / Art thou not, fatal vision, sensible / To feeling as to sight? or art thou but / A dagger of the mind, a false creation, / Proceeding from the heat-oppressed brain?” (Macbeth, Act II, Scene I, Lines 33-39). The hallucination allows the audience to infer that perhaps the dagger is a manifestation of Macbeth’s internal conflict: whether to protect Duncan as he is his kinsman and subject, or kill him and rise to the throne. He becomes increasingly paranoid because of his guilt from what he has done and fear of his power being usurped. Macbeth’s mental state only declines from this point onwards. His mental torment keeps him from sleeping, proclaiming “‘Glamis hath murder’d sleep; and therefore Cawdor / Shall sleep no more—Macbeth shall sleep no more’.” (Macbeth , Act II, Scene II, Lines 41-43). He later sees the ghost of Banquo, and cries “Prather see there (the ghost). / Behold! look! lo! how say you? / Why, what care I? If thou canst nod, speak, too.” (Macbeth, Act III, Scene IV, Lines 48-109). Lady Macbeth suffers a similar plight, seemingly unable to wash out the bloodstains on her hands and talking in her sleep about the murders as she laments, “Out, damned spot! Out, I say! One, two / why then; ‘tis time to do’t. Hell is murky.” and “Here’s the smell of blood still. All the perfumes / of Arabia will not sweeten this little hand. Oh, oh, / oh!” (Macbeth, Act V, Scene I, Lines 32-33, 46-48). The supernatural occurrences in both “Macbeth” and “Hamlet” are used to prompt the audience to question the protagonists’ credibility and sanity.

Characterization

Shakespeare uses the reactions of the protagonists and other characters to supernatural beings to expose their personalities to audiences and develop their characterization. From the character’s reactions, the audience can gauge personality traits such as impulsivity, ambition, and pride. Using the supernatural to reveal this is especially effective, as one of the first interactions that audiences see is between the protagonist and the supernatural. Take “Macbeth”, for example. In Act I, Scene III, he and Banquo receive the first prophecy of the witches. The contrast between the reactions of Macbeth and Banquo, a foil of sorts to the former, reveals the ambition and impulsive nature of Macbeth. Upon hearing the prophecy, Banquo, who was not addressed, asks the witches to show him his fate but says that he “neither beg[s] nor fear[s] / Your favors nor your hate.” (Macbeth, Act I, Scene III, Lines 60-61). Macbeth, however, demands the witches tell him more, saying “speak, I charge you.” (Macbeth, Act I, Scene III, Line 78). His ambition is revealed to the audience during an aside in the same scene. “If good, why do I yield to that suggestion / Whose horrid image doth unfix my hair / And make my seated heart knock at my ribs / Against the use of nature? Present fears / Are less than horrible imaginings. / My thought, whose murder yet is but fantastical, / Shakes so my single state of man / That function is smothered in surmise, / And nothing is but what is not,” Macbeth says. Having just heard the prophecy Macbeth is already contemplating killing Duncan, showing his ambition for the crown and foreshadowing the cruelty and lengths that he is willing to go to in order to protect his power. Similarly, Shakespeare develops Hamlet’s characterization through the supernatural. In Act I, Scene VI, Hamlet insists on following the ghost when it beckons him despite urging from Marcellus and Horatio not to. The ghost identifies itself as the soul of Hamlet’s father, reveals the nature of his death, and calls upon Hamlet to avenge him. Hamlet pledges to do so almost immediately after, saying “Remember thee! / Ay, thou poor ghost, whiles memory holds a / seat / in this distracted globe. Remember thee!” (Act I, Scene V, Lines 95-98). Through these scenes the audience sees Hamlet’s impulsivity and rashness, a crucial element in his characterization that connects to his tragic downfall. As a modern audience reading the plays and analyzing each line, one must remember how Shakespeare intended for them to be experienced. A play, after all, is meant to be watched rather than pored over, line after line, and dissected. Shakespeare uses the supernatural, most especially on stage, to clearly and impactfully develop the characters for his audience in the theater.

The Extent of Supernatural Power

In Act I, Scene I of “Macbeth”, the witches first appear to the audience as completely real and concrete. They appear on the stage and there is no question that the witches exist, at least in the universe of “Macbeth”. The first witch says, “When shall we three meet again? / In thunder, lightning, or in rain?” and the second replies “When the hurlyburly’s done, / When the battle’s lost and won.” (“Macbeth”, Act I, Scene I, Lines 1-4). This incorporates the theme of weather at the beginning of the play and signals that weather holds some meaning. The reference to a battle shows that the witches have knowledge, perhaps prophetic in nature, a battle that will soon end. The third witch says, “There to meet with Macbeth.” (Macbeth, Act I, Scene I, Line 8). The witches already knowing of Macbeth shows that they “will have the control and authority in this coming encounter, whereas Macbeth will be forced into a subordinate role” (Marler, 2013). The witches meet again, and they discuss their various antics. The first witch says “A sailor’s wife had chestnuts in her lap, / And mounch’d, and mounch’d, and mounch’d. / ‘Give me’ quoth I.; ‘Aroint thee, witch!’ the rump fed runyon cries..Her husband to Aleppo gone, master o’ th’ Tiger; / But in a sieve I’ll tither sail / And, like a rat without a tail, / I’ll do, I’ll do, I’ll do.” (“Macbeth”, Act I, Scene III, Lines 4-11). The second says, “I’ll give thee a wind,” (“Macbeth”, Act I, Scene III, Line 12). “An I another.” the third witch pledges (“Macbeth”, Act I, Scene III, Lines 14). And the first witch says, “I myself have all the other; / And the very ports they blow, / And the quarters that they know I’ th’ shipman’s card. / I’ll drain him dry as hay: / Sleep shall neither night nor day / Hang upon his pent-house forbid / Weary sev’nights, nine times nine, / Shall he dwindle, peak, and pine. / Though his bark cannot be lost, / Yet it shall be tempest-tost.” (“Macbeth”, Act I, Scene III, Lines 15-26). This exchange, trivial upon first glance, is crucial for establishing the power and abilities of the witches. From these lines, one can infer that the witches possess some amount of control over meteorological happenings and can manipulate these events to their purposes. This demonstrates to the audience the witches’ supernatural abilities and foreshadows their influence on Macbeth. A compelling argument seems to be made, upon reading these lines, for the witches controlling and manipulating Macbeth with their supernatural powers into committing his many murders and usurping the crown. Marler, however, presents an intriguing perspective. One could argue that the witches’ powers and control are centered around Macbeth. The first scene, despite Macbeth not having even made an appearance, purely concerns him. The line, “There to meet with Macbeth.” reveals the purpose of their next rendezvous and places Macbeth at the center of the witches’ plotting (Macbeth, Act I, Scene I, Line 8). At this meeting, the third witch says, “A drum, a drum! Macbeth doth come.” (Macbeth, Act I, Scene III, Line 31). This too demonstrates Macbeth’s significance to the witches and suggests his role in their power. The witches’ characterizations and identities are defined by Macbeth. There is nothing that the witches do that is not caused by or in relation to Macbeth. At the witches and Macbeth’s first meeting, they only address Macbeth. “Live you, or are you aught / That man may question? You seem to understand me, / By each at once her choppy finger laying / Upon her skinny lips.” Banquo questions (Macbeth, Act I, Scene III, Lines 42-45). Macbeth then says, “ Speak, if you can. What are you?” (Macbeth, Act I, Scene III, Lines 48). This prompts the witches to greet him with “All hail, Macbeth! Hail to thee. Thane of Glamis! / All hail, Macbeth! Hail to thee. Thane of Cawdor! / All hail, Macbeth, that shalt be King hereafter!” (Macbeth, Act I, Scene III, Lines 48-50). It is only upon Banquo’s urging that they foretell his future as well. Once the witches do tell Banquo’s future, it is only relative to Macbeth. They say, “Hail! / Hail! / Hail! / Lesser than Macbeth, and greater. / Not so happy, yet much happier. / Thou shalt get kings, though thou be none. / So, all hail, Macbeth and Banquo!” (Macbeth, Act I, Scene III, Lines 62-69). The witches’ interactions with Macbeth could be interpreted as suggesting that their power is somehow limited to or derived from Macbeth.

The famous line, “Fair is foul and foul is fair”, does much more than simply to introduce the theme of good and evil (Macbeth, Act I, Scene I, Line 12).. One could argue that Macbeth’s echo of this line. “So foul and fair a day I have not seen.”, is evidence that the witches have control, or at least some amount of influence, over Macbeth’s mind (Macbeth, Act I, Scene III, Lines 38. This could be evidence that the witches indeed are the cause of Macbeth’s atrocities and the reason for his downfall. Yet this conclusion is perhaps too hasty. The witches’ influence over Macbeth is dubious and quite difficult to prove or disprove. It must be noted that Macbeth’s line, “So foul and fair a day I have not seen”, does not convey that the fair takes the place of the foul and the foul of the fair, but rather the two are existing at the same time (Macbeth, Act I, Scene III, Lines 38). That is, the day is both foul and fair. Similarly, the witches prophecy does not inherently imply evil or violence. Although the witches’ presence signifies the coming of evil and destruction, especially within the context through which they were seen during Shakespearean times, their prophecy is not, in itself, evil (Marler, 2013). The witches simply say that Macbeth will one day be king and do not mention the means through which he will accomplish this, which is of course the many murders that he commits. He, too, knows this and even acknowledges this. In an aside he says, “This supernatural soliciting / Cannot be ill; cannot be good. If ill, / Why hath it given me earnest of success, / Commencing in a truth I am Thane of Cawdor. / If good, why do I yield to that suggestion / Whose horrid image doth unfix my hair / And make my seated heart knock at my ribs / against the use of nature? Present fears / Are less than horrible imaginings. / My thought, whose murder yet is but fantastical, / Shakes so my single state of man / That function is smothered in surmise, / And nothing is but what is not.” (Macbeth, Act I, Scene III, Line 130-142). Macbeth understands that the prophecy of the witches is neither good nor evil. By doing so, he introduces the theme of fate versus free will, despite foreshadowing about his eventual murder of Duncan. The “supernatural soliciting” is neither good nor ill, so the choice of which to undertake is up to Macbeth. Yet there still exists an element of fate. Macbeth contemplates in another aside immediately following, “If chance will have me King, why, chance / may crown me, / Without my stir.” (Macbeth, Act I, Scene III, Lines 142-144). Macbeth’s acknowledgement that if the rest of the prophecy is true he would not need to give fate a homicidal shove calls into question the extent of which the decision to kill Duncan and to commit the subsequent murders that followed is his. Despite his ambition being revealed, he still opposes the notion of killing Duncan. Some believe that Macbeth’s intention to murder Duncan existed before his meeting the witches, in turn presenting the possibility that the witches had little to no control over Macbeth. Upon Macbeth’s refusal to Lady Macbeth’s suggestion of killing Duncan to take the throne, she says, “What beast was’t then / That made you break this enterprise to me?” (Macbeth , Act I, Scene VII, Lines 48-49). This implies that Macbeth had previously promised his wife that he would one day become king, or perhaps even promised to rise to the throne through violent means. If one is of the belief that Macbeth indeed had already conceived of killing the king, then the power of the witches over him would be completely undermined. The witches would simply be bringing to light what was already present and suggesting to Macbeth that it might truly be possible to become king. The conflict and ambiguity between whether or not the witches possess power or control over Macbeth is in itself an element of the theme of fate versus free will.

In “Hamlet”, the power of the supernatural is similarly challenged. The ghost of King Hamlet is initially seen by Horatio, Marcellus, and Bernardo. Horatio says, “What, has this thing appear’d again to-night?” implying that the ghost has made multiple appearances before and has been seen by all three of them (Hamlet, Act I, Scene I, Line 21). Hamlet’s conversation with the ghost of King Hamlet in Act I, Scene V confirms that the ghost is real and not simply a figment of the imagination. The ghost of King Hamlet is also seen ordering Marcellus and Horatio to “Swear.” from beneath the stage (Act I, Scene V, Line 148). Both Horatio and Marcellus hearing this command refutes any argument that the ghost may be a hallucination that Hamlet has. Furthermore, the fact that stage direction says “[cries under stage] Swear.” confirms the ghost’s supernatural nature (Act I, Scene V, Line 148). The Globe Theater was separated into three sections: the heavens, represented by the stage roof, earth, or the main stage, and hell which was the trapdoor leading to under the stage (A Tale of Heaven to Hell | Blogs & Features, 2020). Having the ghost speak from beneath the stage clearly represents it being in hell and its authentic spectral nature. From these lines and elements, audiences are confident that the ghost is real. Yet Shakespeare contradicts that and forces the audience to question their beliefs. Hamlet says as the ghost appears, “A king of shreds and patches— / Save me, and hover o’er me with your wings, / You heavenly guards! What would your gracious figure?” (Hamlet, Act III, Scene IV, Lines 101-104). Gertrude replies “Alas, he’s mad!”, showing that she is unable to see the ghost of her late husband, who is only visible to Hamlet in this appearance (Hamlet, Act III, Scene IV, Lines 105). This, apart from raising the question of Hamlet’s sanity, also challenges the authority of the supernatural, as Shakespeare repeatedly does in many of his plays.

Hamartia

The supernatural, however, is far more than simply a way to shock the audience or perhaps even to make a discreet criticism of the Church of England. The elements of the supernatural, most notably in “Macbeth” and “Hamlet,” are used as a plot device to develop the protagonists according to the structure of the tragic hero and expose their tragic flaw, or hamartia. In “Macbeth”, Macbeth’s ambition for the crown and hunger for power are exposed and given a metaphorical push when he hears the prophecies of the witches. Upon becoming the Thane of Cawdor he says in an aside “the greatest is behind,” signifying that he will become king and foreshadowing the lengths to which he is willing to go to obtain it (Macbeth, Act I, Scene III, Line 118). Macbeth’s tragic flaw is once more exposed in another interaction with the witches. The three witches show Macbeth the apparitions, which say, “Be bloody, bold, and resolute; laugh to scorn / The pow’r of man, for none of woman born / Shall harm Macbeth,” and “Be lion-mettled, proud, and take no care / Who chafes, who frets, or where conspires are: / Macbeth shall never vanquish’d be until / Great Birnam wood to high Dunsinane Hill / Shall come against him,” (Macbeth, Act IV, Scene I, Lines 77-79, 88-92). This inspires Macbeth to become the cruelest he has been yet and truly impose his tyranny like never before; he has nothing to fear, for he believes that he is invincible. Both of Macbeth’s tragic flaws, ambition and hubris, are activated by the witches. Likewise, Hamlet’s encounter with the supernatural also reveals his tragic flaw. His indecision and rashness, seemingly contradictory characteristics, are shown during his first encounter with the ghost of King Hamlet. Hamlet’s nearly immediate decision to avenge his father by killing Claudius, displays his prolonged hesitation and unreasonable rashness, the eventual cause of his downfall. After seeing the ghost he says, “Now to my word: / It is ‘Adieu, adieu! Remember me’. / I have sworn’t,” (Hamlet, Act I, Scene V, Lines 110-112). The supernatural, evidently, plays a crucial role in triggering the intrinsic, inborn hamartia of the protagonists of “Macbeth” and “Hamlet”. Whether they are at fault for the tragic heroes’ downfalls, however, is an entirely different debate.

Peripeteia

Intriguingly, the supernatural plays a significant role in furthering nearly every element of Aristotelian tragedy in the plays “Macbeth” and “Hamlet”. Notably, the peripeteia is caused by the supernatural in some way, either directly or indirectly, in both “Macbeth” and “Hamlet”. Macbeth’s peripeteia, or the reversal of fortune, is when he kills Duncan. He himself realizes this. Upon killing the king, Macbeth says, “Still it cried’ Sleep no more’ to all the house; / ‘Glamis hath murder’d sleep; and therefore Cawdor / Shall sleep no more—Macbeth shall sleep no more’.” (“Macbeth”, Act II, Scene II, Lines 41-43). The emphasis here is the phrase “no more”, which Macbeth repeats three times. He too acknowledges that he shall sleep no longer having committed this murder. Macbeth also says, “Whence is that knocking? / How is’t with me, when every noise appals me? / What hands are here? Ha! they pluck out mine eyes. / Will all great Neptune’s ocean wash this blood / Clean from my hand? No / this hand will rather / The multitudinous seas incarnadine, / Making the green one red.” (Macbeth, Act II, Scene II, Lines 58-63). Macbeth’s description of his hand being so eternally bloodied that it would redden the sea signifies the permanence of his deed. Both of these lines, spoken by Macbeth interestingly, show that the killing of Duncan is truly his point of no return; Macbeth himself also seems to realize this. After killing Duncan, a string of other murders follow, all to protect his newly obtained power. Although the extent to which the witches had an influence on this choice is unclear, as discussed above, there is no doubt that they played some role in Macbeth’s decision to kill Duncan.

In “Hamlet”, Hamlet’s peripeteia is when he fails to kill Claudius as he is praying. Hamlet is unique in the fact that his peripeteia lies not in what he does but rather what he does not do, his inaction. Hamlet considers killing Claudius, but sees that he is praying. He decides not to kill him then and to wait for a better time instead, one that would make Claudius endure the most suffering and go to hell immediately. Hamlet considers, “Now might I do it pat, now ‘a is a-praying; / And now I’lol do’t—and so ‘a goes to heaven, / And so am I reveng’d. That would be scann’d: / A villain kills my father; and for that, / I, his sole son, do this same villain send / To heaven. / Why, this is hire and salary, not revenge. / ‘A took my father grossly, full of bread, / With all his crimes broad blown, as flush as / May; / And now his audit stands who knows save / heaven? / But in our circumstance and course of thought / ‘Tis heavy with him / and am I then reveng’d To take him in the purging of his soul, / When he is fit and season’d for his passage? / No. / Up, sword, and know thou a more horrid hent.” (Hamlet, Act III, Scene III, Lines 73-88). Yet unbeknownst to Hamlet, Claudius could not have asked for forgiveness then. Claudius himself confesses, “My fault is past. But, O, what form of prayer / Can serve my turn? ‘Forgive my foul / murder’!; That cannot be / since I am still possess’d / Of those effects for which I did the murder— / My crown, mine own ambition, and my queen.” (Hamlet, Act III, Scene III, Lines 51-55). Hamlet’s hesitation, ultimately the cause of his downfall, is first seen here. Had he killed Claudius then, he would have been condemned to eternal suffering as he was unable to ask for forgiveness. This forgone opportunity, however, allows Claudius to plot against Hamlet. Claudius is colluding with Rosencrantz and Guildenstern, and Hamlet suspects this. He says in an aside, “ Nay, then, I have an eye of you” (Hamlet, Act II, Scene II, Line 289). Claudius and Laertes also conceive of a plan to kill Hamlet. The two have a lengthy discussion, mostly regarding their grievances with Hamlet. Laertes then resolves, “I will do’t; / And for that purpose I’ll anoint my sword. / I bought an unction of a mountebank, / So mortal that but dip a knife in it, Where it draws blood no cataplasma so rare, / Collected from all simples that have virtue / Under the moon, can save the thing from / death / That is but scratch’s withal. I’ll touch my point / With this contagion, that if I gall him slightly, / It may be death.” (Hamlet, Act IV, Scene VII, Lines 139-148). Hamlet’s peripeteia is caused at least in part by the ghost of King Hamlet, ironically, as he urged him to avenge his murder.

Anagnorisis

Anagnorisis, similarly, is also another element of Aristotelian tragedy exposed by the supernatural. In “Macbeth”, Macbeth’s anagnorisis is when he sees the English forces move towards him carrying the branches of the trees from Birnam Forest. He realizes that he is not invincible, as he had previously been led to believe. His arrogance and tyranny were in part inflated by the second prophecy of the witches. They show Macbeth the apparitions of the armed head, bloody child, and crowned child. The bloody child says “Be bloody, bold, and resolute; laugh to scorn / The pow’r of man, for none of woman born / Shall harm Macbeth.” (Macbeth, Act IV, Scene I, Lines 77-79). The crowned child says, “Be lion-mettled, proud, and take no care / Who chafes, who frets, or where conspirers are: / Macbeth shall never vanquish’d be until / Great Birnam wood to high Dunsinane Hill / Shall come against him.” (Macbeth, Act IV, Scene I, Lines 88-92). These seemingly impossible occurrences, the forest moving atop a hill and for a person not to be born of a woman, convinces Macbeth that he shall never be defeated. He says, “That will never be. / Who can impress the forest, bid the tree / Unfix his earth-bound root? Sweet bodements, good! / Rebellion’s head rise never till the wood / Of Birnam rise, and our high-plac’d Macbeth / Shall live the lease of nature, pay his breath / To time and mortal custom. Yet my heart / Throbs to know one thing; tell me, if your art / Can tell so much—shall Banquo’s issue ever / Reign in this kingdom?” (Macbeth, Act IV, Scene I, Lines 93-101). He realizes that he has been misled when a messenger tells him, “As I did stand my watch upon the hill, / I look’s toward Birnam, and anon methought / The wood began to move.” (Macbeth, Act V, Scene V, Lines 32-34). It is then that Macbeth realizes the true nature of his circumstances. His suspicions are confirmed when Macduff reveals, “Despair thy charm; / And let the angel whom thou still hast serv’d / Tell thee Macduff was from his mother’s womb / Untimely ripp’d.” (Macbeth, Act V, Scene VIII, Lines 13-16). This revelation would not have occurred without the witches’ intervention.

Hamlet’s anagnorisis, the realization that his father, King Hamlet, was murdered by his uncle Claudius, is also facilitated by the supernatural. This is revealed to Hamlet when the ghost of King Hamlet appears to him, saying “I find thee apt / And duller shouldst thou be than the fat weed / That roots itself in ease on Lethe wharf, / Wouldst thou not stir in this. Now, Hamlet, hear: / ‘Tis given out that, sleeping in my orchard, / A serpent stung me; so the whole ear of Denmark / Is by a forged process of my death / Rankly abus’d; but know, thou noble youth, / The serpent that did string thy father’s life / Now wears his crown.” (Hamlet, Act I, Scene V, Lines 32-39). Hamlet then replies, “O my prophetic soul! / My uncle!” (Hamlet. Act I, Scene V, Lines 40-41). Hamlet comes to the realization that his father was murdered by his uncle to usurp his throne. The ghost of King Hamlet then urges him to avenge his death. It is important to note that the anagnorisis of Hamlet occurs at the beginning of the play and Macbeth’s occurs much later, their effect is similar: it reveals to the tragic hero the true nature of their circumstances.

Conclusion

After experiencing a masterpiece such as the tragedies of “Hamlet” or “Macbeth”, one may very well feel that they have been left with more questions than answers. This, ultimately, is the true brilliance of Shakespeare’s work and what has allowed it to transcend both time and space. Many crucial elements of characters in these plays are left ambiguous. Audiences remain uncertain about the nature of Hamlet’s insanity. What Gertrude knows and her involvement in King Hamlet’s death are impossible to discern. The circumstances surrounding Ophelia’s death are shrouded in mystery. The extent of witches’ influence on Macbeth are impossible to ascertain. The origins of the Macbeths’ ambition is unknown. Did the witches light the fire of murderous passion or simply add fuel to its flickering flames? Ultimately, there is no way to tell. Shakespeare’s decision to keep such a multitude of questions unanswered is what has allowed his plays to be timeless. The tragedies of “Macbeth” and “Hamlet” are a different play for each audience member, one that is shaped by the unique interpretations of each person. One could dissect the plays and analyze each line, but the true nature of “Macbeth” and “Hamlet” lies with the Bard only. Like an intricate puzzle with no solution, similar to the aforementioned mysteries surrounding the playwright himself, one cannot hope to decipher these plays but simply marvel at their beauty.