A Comparison of the Supernatural in Tempest, Julius Caesar, and Midsum

Supernatural Phenomena in The disturbance, Julius Caesar, and Midsummer Nights Dream The Oxford English Dictionary defines uncanny as something that is out of the ordinary cross of nature beyond, sur sack, or differing from what is natural. In light of this definition, I shall be discussing the plays The Tempest, Julius Caesar, and A Midsummer Nights Dream by means of three successive pairings, drawing distinctions and comparisons betwixt each play and its large others as relate to some aspect of the supernatural objectivem. In any(prenominal) discussion of two Shakespeare plays, the issue of chronology deserves at least a passing nod. In the case of The Tempest and A Midsummer Nights Dream, knowledge of the chronology of the plays is of dominant importance in understanding the differences in tone, language, and the relationship dynamics between Oberon/Puck and Prospero/Ariel/Caliban. A Midsummer Nights Dream came out roughly 1594-5, The Tempest around 1611-12, some seven teen years later. The development of Shakespeares imagination, as closely as his powers as a playwright and poet, are certainly sheer in The Tempest The language is richer and more convoluted, the tone darker, more brooding, as are the denotations (a feature characteristic of Shakespeares Jacobean phase), and the whole message of penalise transmuted into forgiveness and resignation is a remarkable departure from traditional Senecan motifs. Also, as often seen in the later plays, a particular character or group dynamic seen in an earlier play is updated, expanded, and lucubrate upon, in this case that of Oberon and Puck. In MND, Oberon is proud and imperious, but basically overhauls the course of true love run smooth in the end with the help of... ...20th century might consider a quaint dramatic expedient, a colorful, fanciful, booga-booga quality, for the Elizabethan and Jacobean theatre-goer of the time, the world of fairies and ghosts and demons and witches was genuinely much a real one, and it pays to bear this in mind when reading and attending the plays. To try and theorise that such things really people ones world, really have a blot somewhere in the immense chain of being, is to feel a very vital resonance within that nothing in the gray, bleak, so-called post-modern landscape can ever provide. Works Cited Badawi, M.M., Background to Shakespeare, London, MacMillan Education Ltd., 1981. Boyce, Charles, Shakespeare A to Z, invigorated York, Roundtable Press Inc., 1990. All act, scene, and line number citations refer to the Arden editions of the several(a) plays discussed in this monograph.