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THE IMPORTANT ROLES OF IMAGES, SUPERNATURAL ELEMENTS WITH

SUPERSTITIONS AND PROPHECIES IN JULIUS CAESAR, MACBETH AND
HAMLET

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THE IMPORTANT ROLES OF IMAGES, SUPERNATURAL ELEMENTS

WITH SUPERSTITIONS AND PROPHECIES IN JULIUS CAESAR,
MACBETH AND HAMLET

Zeynep Rana SELİMOĞLU

Atılım University, Preparatory School

Abstract: Although their existence cannot be proved, supernatural elements, superstitions, prophecies and some
outstanding images have always grabbed the attention of people. In history, there were different times when people
believed in these elements strongly and shaped their life when they witnessed any of them. The aim of this paper is
to focus on the use of these elements in literature in drama. Shakespeare is one of the playwrights that used these
elements in most of his plays. Three of his plays entitled Julius Caesar, Macbeth and Hamlet and are chosen to
reveal how these elements are interpreted differently by the main characters in these plays in particular. Prior to the
discussion concerning these images, supernatural elements, superstitions and omens, what might be done is to have
a look at the Elizabethans’ conception of these elements and images with beliefs in superstitions and prophecies.

Keywords: Shakespeare, Supernatural Elements, Superstitions, Prophecies, Julius Caesar, Macbeth, Hamlet

INTRODUCTION why playwrights of the period preferred using

such elements in their works: “Their repeated
Supernatural elements, superstitions, prophe-
employment of sorcerers, demons, and witches
cies and some outstanding images have always
as indispensable motivators of their plots was in
grabbed the attention of readers, audiences or
full keeping with the Elizabethan belief that the
spectators. Thus, authors, screenplay writers or
supernatural world and the earth were not, at all
playwrights try to use them in order to be written points, mutually exclusive. Heaven had receded to
about or watched more. However, in history there a remote distance, but not Hell—at least not yet.
were periods when people deeply believed in the Black magic was feared as never before, because
existence of supernatural elements, superstitions of its powers over human life. As an effect of the
and prophecies. They were the Elizabethan and doctrine that linked the occult with the mundane,
Jacobean periods that playwrights of the periods the Elizabethan and Jacobean playwrights, worldly
used such elements and beliefs in order to reflect as they were in temperament, composed a secular
the way of life of the audience. In his essay en- genre of drama in which supernatural agents
titled “Supernatural Intervention: Two Dramatic are among the principal characters; and even
Traditions” Robert Rentoul Reed writes the reason in a number of plays which lie slightly outside

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this genre a witch, a sorcerer, or a demon is an them terrible nightmares. Besides, disasters and
important, though not the dominant, motivator diseases were often blamed on witches. In short,
of the plot” (1965:15). ignorance and fear of the unknown, mixed with
the fear of the forces of nature and supernatural
Shakespeare was one of the playwrights of that
resulted in the belief in superstitions during the
period who used supernatural elements, supersti-
tions, prophecies and images to make his plays Elizabethan period (Agarwalla, 1995:43).
more interesting. Thus, the aim of this paper is In this society it was also believed that the cos-
to focus on the important roles of the images mos and human society were connected to each
and supernatural elements with superstitions other. The universe was expected to display a
and omens in three of Shakespeare’s plays titled pattern of harmony. The stars revolved in their
Julius Caesar, Macbeth and Hamlet and how courses, and astronomers predicted what next
they are interpreted differently by the characters would happen overhead. Thus, astrology was
in these plays in particular. Prior to the discussion
influential on people’s lives as they believed the
concerning these images, supernatural elements,
positions and the movements of the stars could
superstitions and omens, what might be done is
foretell and affect events on Earth. In that period
to have a look at the Elizabethans’ conception
the human body was thought to be a miniature
of these elements and images with beliefs in
representation of the universe as a whole. The
superstitions and prophecies.
parts of the body were linked to the planets and
ELIZABETHAN CONCEPTION OF SU- the signs of the zodiac. The things that hap-
PERNATURAL ELEMENTS AND SUPER- pened in the universe, which was known as the
STITIONS “macrocosm”, were supposed to happen on a
much smaller scale within the human body, the
Supernatural appearances and powers, witches,
ghosts and prophecies were all parts of the “microcosm” (McMurtry, 1998:65).
Elizabethan view of life. Many superstitions JULIUS CAESAR
of the Elizabethan Age were based on various
beliefs and traditions and dated back to much The first play which is to be examined, Julius
earlier times, including the Age of the Roman Caesar, has many elements that could be con-
Empire. The English Renaissance brought a new sidered as supernatural, ranging from dreams
spirit to16th century England, but the old belief in and visions to prophecy and ghostly visitations.
ghosts, witches, prophecy and superstitions still Besides, there are superstitions and omens. At
showed its effects. They were all important to the very beginning of the play, in Act I, scene ii,
people as the official religious beliefs taught by an example of superstitions and prophecies starts
the Church. They generally thought supernatural with Caesar who is coming back to Rome with
elements or appearances came out at night to play his wife Calphurnia, Antony and many other men.
tricks on innocent people. It was also believed Here Caesar is seen as a superstitious person with
they could make people go insane and give his order to his wife first:

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“Calphurnia !/…/ Stand you directly in Antonio’s to-day or no; / For he is superstitious grown of
way / When he doth run his course. Antonio! late, / Quite from the main opinion he held once
(Act I, scene ii 1-4.). Then, he talks to Antonio: / Of fantasy, of dreams, and ceremonies” (Act
Forget not in your speed, Antonio, / To touch II, scene i, 194-197).
Calphurnia; for our elderly say, / The barren,
And when the day comes, Caesar sends a servant
touched in this hold chase, / Shake off their sterile
to the priests to learn their opinions before leaving
curse” (Act I, scene ii 6-9).
the house in order to understand if the gods ap-
It is the Lupercalia which was an annual Roman proved of some specific enterprise (Act II, scene
festival held on 15th February to honour Faunus, ii, 5-6). Although he does not want to listen to
the god of fertility and forests. Many noble youths the Soothsayer on that day, the condition of the
run up and down through the city naked. It is for weather and also Calphurnia’s cries in her sleep
sport and laughter and when they meet someone make him frightened. Caesar says: “Nor heaven
on their way they strike them with shaggy thongs. not earth have been at peace to-night. / Thrice
Many women also purposely get in their way, hath Calphurnia in her sleep cried out, / “Help,
and like children at school present their hands to ho! They murder Caesar!” Who’s within?” (Act
be struck, believing that the pregnant will thus be II, scene ii, 1-4.). Later the servant comes with
helped in delivery and the barren to pregnancy the reply of the priests: “They would not have
(Schindler, 1970: 136). As Caesar does not have you to stir forth today. / Plucking the entrails of
a child and he thinks Calphurnia is barren, he an offering forth, /They could not find a heart
wants her to touch Antonio while he is running. within the beast” (Act II, scene ii, 38-40).

However, Caesar, who pretends to be a superstitious However, interpretation of omens or prophecies

person in this running scene, does not care about is a very subjective issue and instead of taking
the Soothsayer’s prophecy. The Soothsayer shouts this prophecy negatively, Caesar substitutes his
to Caesar from the crowd: “Beware the Ides of own opinion: “The gods do this in shame of
March!” (Act I, scene ii 18). Caesar laughs at the cowardice; / Caesar should be a beast without
a heart / If he should stay at home to-day for
Soothsayer without letting him explain himself,
fear” (Act II, scene ii, 41-43).
and says: “He is a dreamer, let us leave him”.
(Act I, scene ii, 24) Caesar believes that he is With his own interpretation Caesar believes
more powerful than fate, and for that reason here that he has to go to the Capitol in order not to
he seems that he does not believe in superstition, be named as a coward. Although he thinks that
which later costs him his life. Yet, when Brutus nothing will happen to him, the Elizabethan audi-
and Cassius meet in Brutus’s house, while they ence would be aware that Caesar really is going
are discussing whether Caesar will go to the to die on the Ides of March, when they first hear
Capitol on that day, Cassius talks about Caesar’s the Soothsayer’s prophecy. They see Artemidorus
beliefs in superstitions. He remarks: “But it is while reading a letter which is written to warn
doubtful yet / Whether Caesar will come forth Caesar for the second time in Act II, scene iii.

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A warning of these sorts raises doubt and serves cruxes of the play and she continues: “By this time
to increase the dramatic tension of the audience in the course of the drama an internal conven-
as they are familiar with such omens in real life. tion has been established regarding dreams and
omens: whatever their source, they are true, and
Another important image that is used as a warning
it is dangerous to disregard them. Shakespeare’s
is the dream. First Calphurnia’s dream which is
audience would certainly have been familiar with
full of violence and blood is told. Caesar tells of
the story of Julius Caesar, and such a collection
this dream to Decius: “… / Calphurnia here, my
of portents and premonitions would have seemed
wife, stays me at home: / She dreamt to-night she
to them, as it does to us, to be infallibly leading
saw my statue, / Which, like a fountain with an
to the moment of murder” (1974: 53).
hundred spouts, / Did run pure blood; and many
lusty Romans / Came smiling and did bathe their In her book titled Dream in Shakespeare: from
hands in it…” (Act II, scene ii, 75-80) Metaphor to Metamorphosis, Garber comments on
the dreams from a Freudian perspective that such
Although Calphurnia thinks this is a kind of
visionary dream figures are found in Shakespeare
warning and Caesar also agrees with her, after
only in plays which are directly concerned with
he hears Decius’ interpretation, he changes his
the psychological condition of the characters. In
mind. For Decius, the dream is about the “re-
her book, in the discussion of the major tragedies
viving blood” that Caesar’s leadership bestows
the idea of the dream is grossly over-extended,
on Rome. (Act II, scene, ii, 85-90) As Caesar is
by reliance on Freudian theory, to “encompass
represented to the countrymen as a character who
the entire world of the play”, so that the tragic
is a total realist, who does not believe in supersti-
action starts in the consciousness of the character.
tion, he does not want people to think that he is
(1974:73). Here especially the visit of Caesar’s
weak and fears anything. Also, he thinks that if
ghost to Brutus can be given as an example.
he were represented as a man who believes in
After the murder of Caesar, he bears his crime
superstition, he would not be the most powerful
on his conscience and cannot sleep, though he
being in Rome, for there is something even big-
is visited by a ghost which seems to come from
ger than him that controls his fate. In fact Caesar
the dream state. “Ghost: Thy evil spirit, Brutus.
actually does believe in superstition because
/ Brutus: Why com’st thou? / Ghost: To tell thee
when Calphurnia told him about her dream, that
thou shalt see me at Philippi / Brutus: Well; then
he will die in the Senate the day after, he acts at
I shall see thee again? / Ghost: Ay, at Philippi.
first as if he does not believe anything at all and
/ Brutus: Why, I will see thee at Philippi then”
is confident, but when he later talks to Decius,
(Act IV, scene iii, 281-286).
he starts worrying about the dream, but after
all convinces himself that it is just a dream and The audience can again guess earlier that Brutus
goes to the Senate. In her essay titled “Dream will die in the battle in Philippi. During the battle,
and Interpretation: Julius Caesar,” Marjorie B. the conspirators die one by one with the sword
Garber defines Calpurnia’s dream as one of the they killed Caesar. So after that visit of the ghost,

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Brutus thinks that it is Caesar whose spirit walks ous manifestations of weather and climate with
around and makes them die. He says: “O Julius a hint of magical effects. Shakespeare drew on
Caesar, thou art mighty yet! / Thy spirit walks this traditional concept of the storm before the
abroad, and turns our swords / In our own proper Ides of March. On that stormy night with the
entrails” (Act V scene iii, 94-96). thunder and lighting there happen some strange
things and Casca appears on the street, carrying
Psychologically, this is the extension of Brutus’s
an unsheathed sword. He tells Cicero: “O Cicero,
guilt feelings. In his book titled Shakespeare’s
/ I have seen tempests, when the scolding winds
Julius Caesar, Agarwalla also claims that the
/ Have riv’d the knotty Oaks; and I have seen /
ghost of Caesar can serve as a visible symbol that
Th’ ambitious ocean swell and rage and foam,
shows the power of Caesar. “The living Caesar
/ To be exalted with the threat’ning clouds. He
dominates the first part, and his angry spirit
further says: “A common slave, you know him
controls the second. Again the ghost represents
well by sight, / Help up his left hand, which did
the ‘spirit of history’ and indicates that Caesar,
flame and burn / Who glaz’d upon me, and went
the being of flesh and blood, may be struck down
surly by, / … / … / When these prodigies / Do
by the conspirators, but the trends originated by
so conjointly meet, let not men say, / These are
him are not thus to perish”. (1995:46)
their reasons, they are natural.” Calphurnia talks
Another misinterpreted dream is seen by the poet about them: “… / A lioness hath whelped in the
Cinna: “I dreamt to-night that I did feast with streets, / And graves have yawn’d and yielded
Caesar, / And things unluckily charge my fantasy. up their dead; / Fierce fiery warriors fight upon
/ I have no will to wander forth of doors, / Yet the clouds / In ranks and squadrons and right
something leads me forth” (Act III, scene iii, 1-4). form of war, / Which drizzled blood upon the
Capitol; / The noise of battle hurtled in the air;
On seeing the dead Caesar in his dream at a
/ Horses [did] neigh, and dying men did groan,
feast, he is afraid at first but he cannot help going
/ And ghosts did shriek and squeal about the
out that day. The dream and the ghost imagery
streets. /…” (Act II, scene ii, 13-25).
of the play, which should, had it been rightly
interpreted, have persuaded Caesar to avoid the Thus a bond or connection has been established
Capitol, Cinna not to go forth and Brutus not to between the natural and human worlds. The com-
go to Philippi, is deflected by the characters of motion in nature is accompanied by commotion
men, making tragedy inevitable. in the human world. Thus all these supernatural
signs illuminate the course of coming events, but
Storms are another image that is used to reflect
they do not direct or determine them.
the chaotic atmosphere and foreshadow what will
happen. It was a commonly held belief in Eliza- Cassius thinks himself as a very rational man and
bethan times that events involving the powerful he tells Casca that he is not afraid of the storm
on Earth could have repercussions in the heavens. and the things which happen around and also
Elizabethans regarded physical science as mysteri- he believes that all these are in favour of them.

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(Act I, scene iii, 126-130). However, he begins to On their first meeting with other characters, the
regard omens in a different light. When Cassius Weird Sisters are seen not only by Macbeth, but
goes to Philippi, two mighty eagles follow him. also by Banquo. Banquo is not sure about their
First of all, he interprets this in a positive way. form, so he asks whether they are spirits, pro-
He talks to Messela and he explains his opinion claiming that they do not look like “inhabitants
has changed: “You know I once held Epicurus o’ th’ earth,” (Act I Scene iii. 39). Both Banquo
strong, / And his opinion; now I changed my and Macbeth take the prophecies of the witches
mind, / And partly credit things that do presage” seriously although they do not understand the
nature of them. Banquo thinks whether they are
(Act V, scene i, 76-78).
imaginary or not. Macbeth knows that they will
“Since the eagle was a symbol of Rome and a disappear with the thickening mist, and when they
high-ranking bird in the hierarchical order of do, comments that “what seemed corporal, melted,/
creation, this visitation was seen in a positive As breath into the wind.” (Act I Scene iii 79-80)
light.” (McMurtry, 1998:73) However, the omen Once they have disappered, Banquo questions
changes as the birds have flown away and instead whether he and his companion have been subject
of them ravens, crows and kites come. to an illusion: “Were such things as do speak
about? / Or have we eaten on the insane root /
MACBETH That takes the reason prisoner?” (Act I Scene
The second play which is examined in order to iii. 81-3).
reveal the important roles of supernatural ele- First, both Banquo and Macbeth are suspicious
ments, superstitions and prophecies is Macbeth. about the existence of the witches and they
The play starts in a battlefield on a stormy with question themselves if they are the creation of
thunder and lightning. The thunder is a symbol their imagination. However, then, with their ut-
of darkness and gives the audience the first im- terances to the witches it can be said that they
pression that the play will not be ordinary. Then persuade themselves that their imagination is the
three witches who call themselves “The Weird indicator of a part of reality. Banquo says they
Sisters” appear. They always appear in thunder are the ““instruments of darkness,” (Act I Scene
and then they vanish mysteriously. They play iii 124) and for Macbeth they are “supernatural
a prophetic role, and, at the beginning of the soliciting.” (Act I Scene iii 129)
play, inform the audience that they are to meet In fact, the reason why Banquo thinks that
with Macbeth. From the beginning, then, their they symbolize evil is the representation of the
existence outside of the imaginings of any of idea about witches in the Elizabethan and the
the other characters is established. The witches Jacobean period. In the beginning of the 17th
appear in scenes where no other characters are century, the English people still believed in a
present, and therefore can be seen to have an great variety of evil spirits, who disturbed the
independent existence. order of nature. Stephen Greenblatt focuses on this

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in his book entitled Will in the World in chapter prologues to the swelling act / Of the imperial
eleven. Greenblatt emphasizes King James’s theme.—I thank you, gentlemen. / {Aside} This
anxiety about witches and apparitions were no supernatural soliciting / Cannot be ill, cannot
laughing matter because he believed that witches be good. If ill, / Why hath it given me earnest
exist and are a significant danger to the whole of success, / Commencing in a truth? I am the
realm (2004:242-343). Also, an act passed in thane of Cawdor. / If good, why do I yield to
1604 against witchcraft in which all practices f that suggestion / Whose horrid image doth unfix
“witchcrafts, enchantments, and sorceries” were my hair / And make my seated heart knock at
fully decided to be punished by death, and not my ribs, / Against the use of nature? Present
only the appliers but also believers were to be fears / Are less than horrible imaginings; / My
punished (2004:243). In his article titled ‘Drama thought, whose murder yet is but fantastical,
and Society’ Michael Hattaway also says single / Shakes so my single state of man that function
women were sometimes looked upon with sus- / Is smothered in surmise; and nothing is / But
picion. It was mainly single women who were what is not” (Act I scene iii 127-141).
accused of being witches by their neighbours. A
Macbeth wants Duncan’s downfall and he believes
woman called Elizabeth Sawyer was executed
that he has to take part in to realize it. For him
as she was accused of being a “real witch”. He
the only way to make the witches’ predictions
says “Elizabethan witchcraft prosecution gener-
come true is to act on his urges. When Macbeth
ally derived from accusations of evil practices
explains this prophecy to Lady Macbeth, her
(malefice)…” (eds. Hattaway and Braunmuller,
greediness and cruelty increases and she encour-
1990:115). That’s why Banquo equates these
ages him to kill the king in his visitation to their
Weird Sisters with evil.
house. Lady Macbeth tries to persuade Macbeth
When Macbeth is compared to Julius Caesar, to murder Duncan. Throughout Act I, scene v,
it is possible to see a similar beginning with a there are many speeches in which she tries to
prophecy. In Macbeth, instead of a Soothsayer, convince him. “Glamis thou art, and Cawdor;
three witches take their place. Although Julius and shalt be / What thou art promised. Yet do I
Caesar does not believe in the Soothsayer’s fear thy nature; / It is too full o’ the milk of hu-
prophecy, Macbeth considers what the witches man kindness / To catch the nearest way. Thou
say a lot. Besides, Macbeth himself takes part wouldst be great; / Art not without ambition, but
in the realization of the prophecy. Before he without / The illness should attend it. What thou
reaches his house, two of the prophecies come wouldst highly / That wouldst thou holily; wouldst
true. Macbeth becomes the Thane of Cawdor not play false, / And yet wouldst wrongly win. /
in an unexpected time. Macbeth is quite over- Thou ‘ldst have, great Glamis, / That which cries,
whelmed when he hears that he is now the Thane / “Thus thou must do, if thou have it” / And that
of Cawdor. However, almost immediately, he which rather thou dost fear to do / Than wish-
starts thinking about how to bring about his rule est should be undone. / Hie thee hither, / That I
as king. “{Aside} Two truths are told, / As happy may pour my spirits in thine ear, / And chastise

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with the valor of my tongue / All that impedes arisen in nature, forecasts the upcoming trouble
thee from the golden round, / Which fate and for Scotland.
metaphysical aid doth seem / To have crowned
Another important warning is the vision of a
the withal” (Act I scene v 14-29).
dagger that Macbeth sees before he kills Duncan.
Lady Macbeth believes that although there is a When the dagger appears to Macbeth he immedi-
prophecy, in order to realize it Macbeth should ately questions its reality, being unsure of its real
take part in the action. This belief is what drives existence than he is of that of the witches. “Is
Macbeth and his wife during the first two acts this dagger which I see before me, / The handle
of the play. Although they feel that they need to toward my hand? / Come, let me clutch thee: / I
make some effort, they do not seriously consider have thee not, and yet I see thee still. / Art thou
the possibility that the predictions would be real- not, fatal vision, sensible / To feeling as to sight?
ized without any effort. / Or art thou but / A dagger of the mind, a false
creation, / Proceeding from the heat-oppressed
In addition to the witch figure, symbolic images brain? / I see thee yet, in form as palpable / As
are presented in the play. The day before Julius this which now I draw” (Act II scene i 33-41).
Caesar is killed, the stormy weather and extraor-
As with the witches, the appearance of the dag-
dinary things in the streets are like warnings. In
ger reflects the thoughts in his mind, for he had
Macbeth the same things happen when Macbeth
been contemplating murder with the use of such
decides to kill Duncan at night. Everybody wit-
a weapon. Macbeth can definitely conclude,
nesses that nature is in turmoil and the unnatural
though, that “There’s no such thing,” (Act II
is happening. Lennox explains: “The night has
scene i 47) he has imagined the existence of the
been unruly: where we lay, / Our chimneys were
dagger, which appeared only to him. Later he
blown down, and, as they say, / Lamentings heard
also sees blood on the dagger. The reason for
i’th’air, strange screams of death / And prophesy-
this hallucination is his inner conflict. Follow-
ing with accents terrible / Of dire combustion ing the murder of Duncan, Macbeth is again
and confus’d events, / New hatch’d to th’woeful disturbed by a phenomenon that only he is the
time. The obscure bird / Clamour’d the livelong subject of: he hears voices accusing him of his
night. Some say, the earth / Was feverous and did crime. Lady Macbeth must reassure him that his
shake (Act II scene iii 49-56). imagination is responsible, for he is thinking too
All these strange events foretell something bad much of his deed.
will happen. After Lennox’s description of the Ghostly visitations are another way of reveal-
night, they learn of the murder of Duncan by ing the inner conflict of the character. In Julius
Macduff. In Act II Scene iv, the same night is Caesar, after Brutus and his friends kill Caesar,
talked about by an old man and Ross. For in- Brutus sees Caesar’s ghost that brings the mes-
stance, they talk about an owl that kills a falcon, sage of death in the battlefield. In Macbeth, after
and Duncan’s horses eat one another. This chaos, Macbeth makes Banquo kill, he sees his ghost.

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When the ghost of Banquo appears and sits in create in Macbeth’s mind remains throughout
Macbeth’s seat, it is only Macbeth who can see it. the whole play. Ambiguity, or conflict between
Lady Macbeth both equates his “vision” with that appearance and reality, is one of the key themes
of the dagger, which she explains as products of in this tragedy. This ambiguity is created by us-
his imagination as a result of the fear. Macbeth, ing witches, apparitions and some images like
however, believes the ghost of Banquo is real. dagger and storm. Especially, the witches know
When it appears a second time, he is afraid and that Macbeth is an ambitious man who just needs
calls it imaginary, an “Unreal mock’ry.” (Act III a spur in order to rouse his ambition and let it
scene iv 107) However, when the ghost disappears, develop fully to achieve his end. They show him
and he is himself again, he believes in its reality what he wanted to see. They tell him what he
and cannot understand why his guests can remain wanted to hear. Their prophecy awakens his inner
calm. However, others cannot see it. Macbeth demon and Macbeth is thus deceived.
also wants to see and arrange a meeting with the
In his book titled O’Neill’s Shakespeare, Nor-
witches to again to get further knowledge about
mand Berlin gives O’Neill’s ideas on ghosts that
the events of the future. Unlike Caesar, Macbeth
Shakespeare uses in his plays. He says when
is a superstitious character and he believes in the
Shakespeare uses a ghost it is to show the other
prophecies of witches. So in order to learn what
world, beyond death, which has an important
will happen next, he looks for them. With the
effect on what is happening to the protagonist
help of apparitions, witches tell him about his
in this world.
future and the last prophecy is: “Be lion-mettl’d,
proud, and take no care / Who chafes, who frets, When ghosts appear on stage in Shakespeare,
or where conspirers are. / Macbeth shall never those visited will soon die. The early ghosts of
vanquish’d be until / Great Birnam Wood to high Shakespeare who appear in mechanical fashion
Dunsinane Hill / Shall come against him” (Act at Bosworth Field in Richard III, the ghost of
IV scene i 89-93). Julius Caesar appearing to Brutus, the ghost of
Old Hamlet giving his son a deadly mission, the
The apparitions prophesy that no human born
ghost of Banquo sitting in Macbeth’s seat – all
of women can kill Macbeth ever, and he would
bring death on stage, all forebode the deaths of
not be killed unless Birnam Wood would come
the protagonists. In Shakespeare these ghostly
closer to his fort. He is so sure that it would not
figures are strongly connected to the important
happen. However, the soldiers of the opposite
Elizabethan theme of revenge (1993:24).
side hide under the leaves of the forest, and this
makes him think that the forest itself is moving HAMLET
towards him, and he loses all his hope and cour-
The last play to be examined is Hamlet which
age to fight further.
includes a ghost in it. In fact, except the appari-
It is clear that what the prophecies foretold was tion of the ghost, it is not possible to see too any
half-truth to destroy Macbeth. The ambiguity they supernatural elements or prophecies. However,

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as the visitation of the ghost is at the beginning Hamlet starts with the strange behaviour of
of the play and it affects the course of the play, it Francisco and Bernardo. They have seen a ghost
has a great importance. In the book titled Shake- while it is walking along the walls of the castle
speare’s Hamlet in the Movies: The Perception twice. This ghost looks exactly like the old king,
of Hamlet’s Ghost in Zeffirelli, Kozintsev and Hamlet’s father, who has just died. Hamlet’s
Olivier Melanie Bobik talks about the Elizabethan friend, Horatio, sees the ghost too and decided
that he will ask Hamlet to come and see it. This is
perception of ghost. The majority of Elizabethans
a very exciting beginning to a play as it includes
believed in ghosts and was very much afraid of
fear, mystery and a ghost. The ambiguous role
them. Due to the unclear opinion whether a ghost
of the apparition in the drama reflects the gen-
was to be seen as good or bad, the presentation
eral confusion about spirits in Elizabethan time.
of such an apparition on stage was an effective
Throughout the play, the ghost appears in different
means to create attention and excitement. A ghost
time and it only wants to talk to Hamlet. For some
would always raise the question what kind of critics it can appear as an illusion, a foreshadow-
spirit it might be. Officially, Elizabethans had ing danger to Denmark, a spirit returning from
to obey to the Church of England who labelled the grave because of a task left undone, a spirit
almost all ghosts evil. (2002:7) In his book titled from purgatory sent with divine permission, and
Understanding Hamlet: A Student Casebook a devil who assumes the form of a dead person
to Issues, Sources and Historical Documents, to lure mortals to doom. While Hamlet is chiefly
Richard Corum states that for early modern concerned with this last possibility, each of these
Catholics, five kinds of apparitions operated in perspectives are put to the test at some point in
the everyday world virtually on a daily basis: the play. (Corum, 1998:124)
(1) angels from heaven, (2) ghosts of the dead In Act I scene iv, the ghost reappears when
temporarily returned from purgatory,(3)demons Hamlet, Horatio and Marcellus are together and
from hell disguised as ghosts of dead persons, Horatio sees it first and understands that it wants
(4) ghost-hallucinations in the minds of the mad, to talk to Hamlet. When they are alone in Act I
and (5) ghost-frauds perpetuated by criminals. scene v, the ghost tells Hamlet that it is the spirit
(1998:115) of Hamlet’s father, murdered by Claudius. The
ghost accuses of Claudius for seducing Gertrude
Corum then adds that Protestants reduced this
and calls for Hamlet because he wants Hamlet
Catholic array to the last three, deciding in the
to take the revenge of his death but not to harm
first place that God no longer needed to use Gertrude. Then the ghost disappears. When Horatio
angels to send messages from heaven since he and Marcellus appear, Hamlet repeatedly orders
communicated with his true believers directly them to swear that they will not reveal what they
through the medium of the Holy Ghost, and in have seen. Hamlet vows to take the revenge, but
the second, that since purgatory does not exist, later expresses doubt about the ghost’s identity
neither do purgatorial ghosts. (1998:115) because he thinks that it could be a devil ap-

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pearing in his father’s form to tempt him to sin. ghost in Hamlet is the strongest one when it is
This reaction characterizes his attitude toward compared to the ghost of Caesar and the ghost
the ghost until the play scene (Act III scene ii). of Banquo as it affects Hamlet a lot and changes
When he sees Claudius’ reaction toward the play, the flow of the play.
Hamlet understands that what the ghost told him
CONCLUSION
is true. Hamlet’s own uncertainty is mirrored in
the critical debate about the nature of the ghost. In conclusion, Shakespeare uses the supernatural
Most critics agree that Shakespeare intended in many different forms during the course of
audiences to accept the apparition as the ghost Julius Caesar, Macbeth and Hamlet to create an
of Hamlet’s father, but some contend that it may atmosphere and add drama tension and interest
be an illusion or a demon. Some critics argue to the story. Many of the supernatural images
that the ghost is in fact a devil whose object is which appear in the plays are based on the beliefs
to force Hamlet to kill himself by arousing his and superstitions of those around Shakespeare’s
passion for revenge. Another interpretation is time who would have gone to see his plays. The
that the ghost is a hallucination seen by only a theme of supernatural forces and beings occurs at
few characters. many different points during the plays in order to
The ghost makes a final appearance in Act III allow a common thread to be recognized by the
scene iv, shortly after Hamlet stabs Polonius, audience. The supernatural imagery that Shake-
who has been secretly listening to a confrontation speare uses can be interpreted at many different
between Hamlet and Gertrude. The ghost reminds levels by members of the audience who would
Hamlet that he has sworn to take revenge, and as have ranged from royalty to working class. The
they talk Hamlet expresses his regret that he has elements like ghosts and witches are also crucial
not yet acted against Claudius. The ghost then to the plot and they also have a more thematic
draws Hamlet’s attention to Gertrude’s amazement part as well as they play an important role to go
and urges him to assist her in her moral strug- into the main characters’ own dilemma.
gle. Gertrude claims to neither see nor hear the
ghost, and this supports the critical interpretation
that the apparition Hamlet describes to her is a REFERENCES
symptom of his madness. Gertrude’s apparent
AGARWALLA, S.S., (1995). Shakespeare’s Julius
inability to see the ghost has led some critics to
Caesar, New Delhi: Atlantic Publishers and
suggest that Shakespeare wanted his audience,
Distributors. pp. 43-46
too, to interpret the ghost as a hallucination.
BERLIN, N., (1993). O’Neill’s Shakespeare,
Although the role of the ghost is interpreted
USA: The University of Michigan Press. p.24
differently by different critics, by using it as
one of the characters, Shakespeare once proves BOBIK, M., (2002). Shakespeare’s Hamlet in
his ability in using supernatural elements. The the Movies: The Perception of Hamlet’s

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www.iibdergisi.com
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Ghost in Zeffirelli, Kozintsev and Olivier, MORRIS, M., and N., THORNES, (2003).
Germany: Grin Verlag. p.7 Shakespeare – Julius Caesar Teacher Resource
Book, London: Nelson Thornes Ltd. pp. 51-5
BRAUNMULLER, A.R, and M., HATTAWAY
eds., (1990). The Cambridge Companion to REED, R. R. Jr., (1965). “Supernatural Interven-
English Renaissance Drama. UK: Cambridge tion: Two Dramatic Traditions,” in The Occult
University Press. pp.91- 126 on the Tudor and Stuart Stage, Boston: The
Christopher Publishing House. pp. 15-53
CORUM, R., (1998). Understanding Hamlet:
A Student Casebook to Issues, Sources and SCHINDLER, S., Ed., (1970). Encyclopedia
Historical Documents. USA: Greenwood International. New York: Grolier Inc. Vol.
Press. pp. 114-137 11 p. 136

GARBER, M.B., (1974). Dream in Shakespeare: SHAKESPEARE, W., ed. D., DANIELL, (1998).
From Metaphor to Metamorphosis, New Julius Caesar, London: Thompson. p.44
Haven, CT: Yale University Press. Pp. 47-87
SHAKESPEARE, W., ed. G. B., EVANS, (1997).
GREENBLATT, S., (2004). Will in the World: The Riverside Shakespeare, USA: Houghton
How Shakespeare Became Shakespeare. Mifflin Company. Vol. II
New York: W.W. Norton&Company Inc.

McMURTRY, J., (1998). Julius Caesar: A Guide

to the Play, London: Greenwood Press. Pp.
61-84

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JULIUS CAESAR, MACBETH VE HAMLET’DE İMGELERİN,

BATILİNAÇLARLA DOĞAÜSTÜ UNSURLARIN VE KEHANETLERİN
ÖNEMLİ ROLLERİ

Özet: Doğaüstü unsurlar, batıl inançlar, kehanetler ve imgeler her zaman okuyucunun, dinleyicinin ve seyircinin dik-
katini çekmiştir. Bu sebeple, yazarlar, senaristler ve oyun yazarları daha çok bahsedilmek ve okunmak için bu unsurları
kullanmaya çalışmışlardır ve günümüzde de hala kullanmaktadırlar. Ama tarihte de insanların doğaüstü unsurların, batıl
inançların ve kehanetlerin varlığına derinden inandıkları çağlar olmuştur. Elizabet ve Jacobean Çağları oyun yazarlarının
bu gibi unsurlar ve inançları izleyicilerine hayatı yansıtmak üzere oyunlarında yer verdikleri çağlardır. Shakespeare de
oyunlarının daha ilginç olması için doğaüstü unsurları, batıl inançları ve kehanetleri eserlerinde kullanan çağın oyun
yazarlarından biridir. Bu çalışmanın amacı imgelerin, batıl inançların ve kehanetlerin önemli rollerine Shakespeare’in
Julius Caesar, Macbet ve Hamlet adlı üç oyununda odaklanıp bu unsurları oyunlardaki ana karakterlerin nasıl farklı
yorumladıklarını göstermektir. Bu unsurları oyunlarda tartışmadan önce Elizabeth Çağ’ında doğaüstü unsurlara, batıl
inançlara ve kehanetlere bakış anlayışı ele alınmıştır. Dönem insanlarının bu unsurlara ne kadar çok önem verdiğinden
bahsedildikten sonra Julius Caesar ilk ele alınan oyun olmuştur. Bu oyunda Kral Caesar ‘ın batıl inançlara, doğaüstü
olaylara ve kehanete ne derece inandığına ve bu inançların hayatını nasıl etkilediğine yer verilmiştir. Görünüşte batıl
inançlara inanan bir kralın nasıl olup da kâhinin sözlerini dinlemeyip kendi istediği gibi yorumladığı gösterilir. Ayrıca
görülen rüyaları da ilk başta dikkate alsa da yine kendince yanlış yorumları kralın hayatına mâl olur. Kralın ölümünden
sonra görünen hayaleti gelecekte olacakların haberci olur. Yine aynı oyun içerisinde fırtına, şimşek ve gök gürültüsü
gibi imgelerin seyirciye oyunun akışıyla ilgili bilgi verdiği vurgulanır. İkinci olarak ele alınan oyun Macbeth de fırtına
ve şimşek gibi imgelerle açılan ilk sahnesinde cadı gibi doğaüstü varlıklara yer verir. Kâhinin sözlerine kulak vermeyen
Julius Caesar’ın aksine oyunun ana karakteri Macbeth, cadıların kehanetlerini dikkate alır ama fazla hırsı hayatını kay-
betmesine sebep olur. Bu oyunda da hayalet unsuruna yine Julius Caesar’da olduğu gibi yer verilmiştir. Fırtına ve şimşek
imgelerine ek olarak hançer de olacakların habercisi olarak kullanılmıştır. Son oyun olan Hamlet ise oyunun başında
görünüp tüm oyunun akışını değiştiren hayalet unsurunun kullanımı açısından incelenmiştir. Sonuç olarak her üç oyunun
da ortak noktası Shakespeare gerek dönemin atmosferini yansıtmak gerekse oyunlarındaki gerilimi arttırmak için doğaüstü
olaylara, batıl inançlara, kehanetlere ve çeşitli imgelere eserlerinde yer vermiştir. O dönemde toplumda her bir doğaüstü
unsurun, olayın ya da imgenin kendince bir yorumu olduğundan seyirci herhangi birini gördüğü anda oyunla ilgili yo-
rumunu kolayca yapabilmiştir. Oyun içinde de olay örgüsünü oluşturmada önemli role sahip olan bu doğaüstü unsurlar
karakterlerin ikilemlerini yansıtmalarında da katkıda bulundukları yine bu üç oyun aracılığıyla gösterilmeye çalışılmıştır.

Anahtar Kelimeler: Shakespeare, Doğaüstü Unsurlar, Batıl İnançlar, Kehanetler, Julius Caesar, Macbeth, Hamlet.

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