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Shakespeare: Magic and the Supernatural, 2006.
This paper highlights the magic and supernatural themes present in Shakespeare's "A Mid-Summer Nights Dream", "Hamlet" and "The Winter's Tale".
860 words (approx. 3.4 pages), 0 sources, £ 21.95
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Abstract
The author emphasizes the ideas of magic, fairies and ghosts that lie, sometimes hidden, in the works of Shakespeare. In "A Mid-Summer Nights Dream" the main theme is that of magic, with fairies; in "Hamlet" the theme is ghostly apparitions, whilst "The Winter's Tale" is full of the supernatural in many different forms. The author points out that these plays continue to appeal to many people in many different cultures, perhaps because of the various themes and ideas related to magic and the supernatural.
From the Paper
"In A Mid-Summer Nights Dream, Shakespeare utilizes many themes and symbols, yet the most predominant theme is that of magic, especially in relation to fairies and other supernatural beings. The play itself was written to celebrate a marriage, perhaps for a private performance at a great estate or possibly at court, and it must be remembered that fairies dominate all aspects of this play, a possible reflection on the Elizabethan penchant for fairies in relation to weddings. The plotline in this play is actually three, one layered upon another, the first being Theseus and the four lovers, the second, the silliness of Bottom and his friends, and lastly, the fairy plot. In this play, there are "songs" or slices of poetry that allude to Robin Goodfellow, a fairy from Oberon, where ghosts abound and where the King and Queen of fairies sing and dance in the moonlight. These fairies are also artificers and creators of illusion and use strange ointments and pranks to make their powers known to all. Thus, the function of the fairies in this play is to create the illusion of magic, something that was quite important in any Elizabethan wedding ceremony, especially when taking place in the dim and dark forest just outside of the palace at Athens."
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Magic in Shakespeare's 'A Midsummer Night's Dream', 2000.
An exploration of Shakespeare's treatment of magic and the supernatural in 'A Midsummer Night's Dream'.
1,450 words (approx. 5.8 pages), 3 sources, MLA, £ 33.95
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Abstract
This paper explores the theme of magic in 'A Midsummer Night's Dream', and discusses how Shakespeare uses supernatural elements throughout the play. It considers the boundaries between good and evil, and comments upon the ways Shakespeare presents the play as a supernaturally charged adventure.
From the Paper
"There was a strong belief in the supernatural in Shakespeare?s era and subsequently, some form of the supernatural realm is a common theme throughout his plays. The supernatural is a central theme in A Midsummer Night?s Dream which is set in an enchanted fairyland wood and the play clearly demonstrates the power of the supernatural and the dramatic influence the spiritual world has upon the natural order of things. "
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The Supernatural in Shakespeare's Plays, 2007.
Examines how the supernatural is presented in plays by William Shakespeare.
1,375 words (approx. 5.5 pages), 4 sources, MLA, £ 31.95
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Abstract
William Shakespeare was in many ways a man of his time regarding his own beliefs in regards to religion, magic, and the supernatural. This paper examines how Shakespeare's family and historical environment clearly influenced the way that the supernatural was deployed in his later plays.
From the Paper
"All of these conflicting ideas about the supernatural and religion Shakespeare infused into his plays. For example, in Shakespeare's plays, the supernatural often appears during times of great national torment. In "Hamlet," after the murder of the king, the ghost of Hamlet's father comes back from purgatory to demand that his son avenge his death. Even before anything evil happens in "Macbeth," the witches prophesize doom for Scotland. In Julius Caesar, supernatural occurrences occur before Caesar's assassination."
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The Supernatural in the Works of Shakespeare, 2008.
A discussion on the role of the supernatural in "Hamlet" and "Macbeth" by William Shakespeare.
1,320 words (approx. 5.3 pages), 2 sources, APA, £ 30.95
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Abstract
The paper states that the role of the supernatural in Elizabethan drama cannot be underestimated or overlooked. It was a critical part of the plot as we see in Shakespeare's work, as in those days the supernatural was an acceptable phenomenon. The paper comments that for this reason, it would be wrong to assume that Shakespeare made an effort to incorporate supernatural forces in his plays. They just had to be part of his writings because they were so widely believed in. The paper highlights that the role of supernatural forces in "Hamlet" and "Macbeth" is to exploit the weaknesses of the main characters. They serve as catalysts to the plot and carry the story forward but on the whole they are neither immensely powerful nor dangerous. The paper concludes that their impact is evil as their presence spells doom and destruction. They simply play with character's weaknesses and that leads to destruction by default.
From the Paper
"Macbeth's supernatural friends have an equally devastating effect on the main character's life. The three witches, though limited in their powers, caused major crisis when they foretell Macbeth's future. Here it must be made clear that just like Hamlet's father, the three witches did not want anything evil. They foretold the future because they saw something good for Macbeth. It was Macbeth who destroyed everything in his haste to see the future sooner than it was meant to unfold. Everything has a time at which it unfolds and Macbeth failed to exhibit the required amount of patience. Instead he simply allowed himself to be led astray in his ambition to become the next king."
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Supernatural in Literature, 2007.
An analysis of the depiction of the supernatural through some of William Shakespeare's works.
1,266 words (approx. 5.1 pages), 2 sources, MLA, £ 29.95
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Abstract
This paper discusses the depiction of the supernatural in literature. It specifically looks at the ways that the supernatural is portrayed in William Shakespeare's plays and focuses on the witches in "Macbeth" and the fantasy and illusion of "A Midsummer Night's Dream." The paper concludes by mentioning other works that have depicted the supernatural, such as Rudolfo Anaya's novel, "Bless me, Ultima."
From the Paper
"There are no significant actual dreams in the play but rather some dreamlike situations that add to the magical quality of the story. For example, after Titania, the fairy queen whom Oberon wanted to fall in love with someone other than the little boy of her friend's, wakes up from her sleep with love potion on her eyes and under the spell of that charm, immediately falls in love with a clownish figure Bottom. This may appear to be a very hilarious situation to the readers but it is situations like these that were responsible for bringing about a significant change in the course of the play. During that period when she was under the influence of the charm, she dotes on the clown but as soon as the spell ends, she starts loathing the very same person. Whatever has taken place during the spell was a beautiful dream to Bottom who lacked the intelligence to fathom what had happened to him. (IV, i., ll.205-214) Another very important role of dreams can be understood by the speech of Puck in the last Act when he offers an explanation for dreamlike situations to other characters. He wants them to think of their past as nothing but a dream because this explanation could answer whatever questions they had in mind. (ACT V)"
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The Supernatural in Renaissance Drama, 2005.
An analysis of the supernatural in the plays "Hamlet" and "Midsummer's Night Dream" by Shakespeare, and "Dr. Faustus" by Christopher Marlowe.
1,154 words (approx. 4.6 pages), 3 sources, MLA, £ 27.95
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Abstract
The theme of the supernatural in Renaissance drama emerges more as a 'problem' than as a unified theology. This paper explains that the use of supernatural and characterization thereof, says more about the playwright's ability to use language to characterize, than about the ideology of the period. It explains that Shakespeare's stress on characterization results in more human fairies and spirits than in Marlowe's world.
From the Paper
"These questions of truth and reality become even more sharply defined in "Hamlet." Ironically, Hamlet begins the play wanting to go back to Faustus' Wittenberg to study-but ends up meeting the supernatural on his own doorstep. Rather than the comic Faustus, stewing over his books, Hamlet's meeting with his father is frightening, and causes Hamlet to consecrate his life to revenge. (1.3) But Hamlet is never sure if the ghost is true or false, hence he uses a play as a truth-test of his uncle's guilt, noting that the devil has a power to assume a pleasing shape. By the end of the play, the supernatural has virtually retreated from the play entirely-the ghost disappears after preventing Hamlet from killing his mother in anger, and Hamlet does kill Claudius, but without the satisfaction of revealing to the court with his own words, or before his mother what really happened to his father."
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The Supernatural in Daniel Defoe's Works, 2003.
An analysis of the theme of the supernatural in Daniel Defoe's novels "Moll Flanders" and "Journal of the Plague Year".
1,995 words (approx. 8.0 pages), 0 sources, £ 44.95
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Abstract
This paper examines Daniel Defoe's ambivalent attitude towards the supernatural as seen in his novels "Moll Flanders" and "Journal of the Plague Year". The paper asserts that ambivalence is reflected in his realistic characters, who express contradictions in their feelings towards supernatural experiences. The paper points out that Defoe incorporates events that include the supernatural world into both novels, raising questions about his reasons for including such spiritual accounts in novels otherwise prided on their realism. The paper maintains that, most likely, the scenes involving supernatural phenomenon represent the divine world in which Defoe was living. The paper concludes that Defoe's attitude towards the supernatural remains unclear, for although he cannot deny its significance, he does lightly mock it by creating characters that remain themselves in doubt.
From the Paper
"The supernatural plays an important role in Journal of the Plague Year because it sets the tone for most of the novel. Right from the start it is made to be a true account of events and these celestial interferences are prominent factors in portraying the attitude of H.F. In the early parts of the novel, H.F. struggles with the decision of whether he should stay in London or leave to escape the plague that was upon the city. He attributes his decision to stay mostly as "the direction of the Divine power" and "an intimation from heaven." His motivation comes mostly from a superstition common to people of his time and, as he goes on to explain, he felt his staying in London was the will of God and that ultimately God would protect his health and well-being. After explaining all this to his reader, H.F. makes the decision to remain in London, weathering and recording the plague's progress. The contradictions in H.F.'s views arise when, in the beginning of his story, he describes the black magic beginning to be found throughout the town. He calls the belief in astrologers, fortune tellers, and the like as "horrid delusions" and is disgusted by the fact that so many people are allowing themselves to fall into these money making traps."
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Shakespeare's Plays Illustrated by Blake and Fuseli, 2007.
An analysis of the connection between William Shakespeare's works and the illustrations of William Blake and Henry Fuseli.
4,923 words (approx. 19.7 pages), 14 sources, MLA, £ 87.95
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Abstract
This paper discusses the ways in which drama and painting can serve as interpretations or explanations of one another. The paper begins by introducing William Blake (1757 - 1827) and Henry Fuseli (1741 - 1825) as two chief illustrators of William Shakespeare's plays. It then describes some of the scenes from which the artists drew their inspiration using three major themes - the supernatural and the nightmare, the world of dreams and fantasy and the human condition and history.
Table of Contents:
Introduction
The Supernatural and the World of Nightmare
The Fairy World of Dreams and Fantasy
The Human Condition and History
Conclusion
From the Paper
"The painting encapsulates all the drama we can expect from a work by Fuseli. As a matter of fact, the artist did several versions of the scene, including book illustrations and a painting that was exhibited at the Royal Academy in 1808. It is worth mentioning that the Cardinal's death was a popular subject for painters: Sir Joshua Reynolds, for instance, illustrated the same scene for the Boydell Shakespeare Gallery, and even Nicolas Poussin was inspired by that very passage. Fuseli introduces agitated figures in a very fluid composition, but there is a clear allusion to an earlier work, especially the way of gathering the figures around a central character, along with the arm pointed upward, paying homage to a drawing by Poussin, whom Fuseli admired a lot. The painting is a good example of the human condition, because it encapsulates various philosophical themes, such as life and death, guilt, suffering, and so forth."
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Supernatural in ?The Piano Lesson? and ?Sweet Whispers?, 2002.
A discussion of the presence and significance of supernatural forces in "The Piano Lesson" by August Wilson and "Sweet Whispers, Brother Rush" by Virginia Hamilton.
1,463 words (approx. 5.9 pages), 2 sources, MLA, £ 33.95
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Abstract
This paper studys the element of supernatural in the two books ?The Piano Lesson? by August Wilson and ?Sweet Whispers, Brother Rush? by Virginia Hamilton and how supernatural elements exist in two different forms in these texts. It shows that while there are the ordinary ghosts figures in these stories, there are also ghosts which represent the past conflicts and bitterness thus giving a new dimension to apparitions and use of supernatural. It reviews each book in turn, paying close attention to the instances where a reference is made to supernatural elements to see how they affect the plot and why their presence is important.
From the Paper
" Sutter?s apparition appears to remind everyone of his or her repulsive past but it also helps the characters fight and ultimately conquers their fears. This means that supernatural is not presented to create fear or horror but to highlight the fears, which resided inside Bernice?s heart and which were to be conquered in order to resolve the conflict that existed between herself and Boy Willie. Apart from that there are various other ways in which supernatural is referred to. For example the death of many white men near the railroad is attributed to Yellow Dog Ghosts who, it is believed, are avenging the death of Willie?s father. "
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Supernatural Films, 2005.
Explores the history of films with supernatural themes.
2,781 words (approx. 11.1 pages), 5 sources, MLA, £ 58.95
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Abstract
Supernatural films are those which include gods or goddesses, ghosts, apparitions, spirits, miracles and other similar ideas or depictions of extraordinary phenomena. They may be combined with other genres, including comedy or horror. The paper shows that, interestingly however, supernatural films are usually presented in a comical, whimsical, or a romantic fashion and few are really designed to frighten an audience. The paper traces the history of supernatural films from the pre-WWII era to the present day New Age genre. It gives examples of films through the ages.
From the Paper
"Of course, you don't talk about slasher films without including Halloween. This is perhaps the most influential film on the subgenera of kill-the-teens horror flicks from the eighties. It introduced the cliche of the killer repeatedly coming back to life just when you thought he was dead. The film was directed by John Carpenter, who has since then moved on to such tripe as Escape From L.A. and Village of the Damned."
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"Supernatural", 2004.
An examination of Carlos Santana's music recording, "Supernatural".
1,029 words (approx. 4.1 pages), 5 sources, MLA, £ 25.95
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Abstract
This paper focuses on Carlos Santana?s great music album, named "Supernatural". This paper emphasizes the music produced by Santana in collaboration with other artists. This paper highlights the type of music in "Supernatural" and its effect on the general audience.
From the Paper
"Carlos Santana is considered to be a legend in music. The great guitarist owes to himself record-breaking hits after hits. The Mexican born artist managed to win one Grammy award and other countless awards in his thirty years of career. Santana?s music which is a fantastic combination of rock n roll with blues music integrated with sensuous Afro Cuban rhythms and other types of music from all over the world has intrigued generation for five decades."
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The Supernatural in Worldly Life, 2002.
Discusses the theme, found in Chinese culture, of the supernatural's role in the affairs of the living.
2,400 words (approx. 9.6 pages), 7 sources, £ 61.95
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Abstract
The role of the supernatural in the affairs of the living is a timeless theme within East Asian civilization. Mainly literary sources are used to illustrate this tendency and in the light of scholarly commentary on the supernatural in Chinese civilization, culture and society.
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Supernatural Intervention in Chinese Literature and Culture, 2002.
Uses several literary works to discuss the notion, found in the Chinese culture, of the role the supernatural has in the affairs of the living.
2,400 words (approx. 9.6 pages), 5 sources, £ 61.95
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Abstract
The role of the supernatural in the affairs of the living, as a Chinese literary and cultural theme, is discussed with reference to "Dream of the Red Chamber", "Six Records of a Floating Life", "The Death of Woman Wang", and the works of Yuan Mei. It is emphasized that the supernatural was regarded as a natural and recurring set of forces having effect in the temporal, material world.
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Spiritualism and the Supernatural in Poe's Writing, 2006.
An analysis of Edgar Allen Poe's poems "The Raven" and "The Tell Tale Heart".
1,021 words (approx. 4.1 pages), 6 sources, MLA, £ 25.95
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Abstract
This paper takes a look at the elements of spiritualism and the supernatural found in two of Edgar Allen Poe's most famous poems, "The Raven" and "The Tell Tale Heart". The paper suggests that these poems are a reflection of the author's morbid preoccupation with sorrow and death and the dark side of the human spirit.
From the Paper
"Poe scored an enormous success with "The Raven," and its reception has been compared to the success of some highly popular hit song of today. "everybody reads the Poem (sic) and praises it," said a review in New World; "justly, we think, for it seems to us full or originality and power." Although the work is recognized today for its craftsmanship, rhythms and lavish alliteration, some critics of the time thought the poem vulgar with a commonplace subject and an excess of "rhythmical tricks.""
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