دور العوامل الخارقة في مسرحيتي شكسبير ماكبث وهامبلت

**د. عبد الله بن محمود** · 24/Mar/2010, 04:21 PM

الباحث: أ / إيمان أحمد علي الدخينة

الدرجة العلمية: ماجستير

الجامعة: صنعاء

الكلية: الآداب

لغة الدراسة: الإنجليزية

تاريخ الإقرار: 2007

Introduction:

Some General Remarks:
Who needs Shakespeare" asked Sidney Finkelstein in his book with the same title , and himself provided theanswer by saying that" We all need him."1 People have studied Shakespeare for different reasons. The energies, the dialectic and the aesthetic of creativity, which form a fascinatinggrid of conscious directions and unconscious drives, permit his readers to construct their own palaces of thought with a view of putting their finest finger on the pulse of the man and his writing.
So significant has been Shakespeare's presence that even an astute critic like T.S.Eliot2 admitted thatDante and Shakespeare divide the modernworld between them ; there is no third. More recently , Harold Bloom3 in his polemical book The Western Canon (1994) has claimed that Shakespeare supplies the unwaveringparadigm for the possibilities of all subsequent western literary production." Echoing Eliot he remarks that Dante and Shakespeare are the center of the canon because they excel all other western writers in cognitive acuity, linguistic energy, and power of inventions."
Edward Armstrong in his book Shakespeare's Imagination observes:
His plays have captivated audiences throughout the centuries for many reasons, but fundamentally because they enable people to understand themselves better and to interpret life as it has to be lived more adequately. we study Shakespeare because life for us is thereby enriched. 4

Robert Ornstein5thinks that Shakespeare escapes the tyranny of scholarly exegesis because he grasped always the permanent significance of contemporary problems and because his vision of lifewas so comprehensive that his art is never lost its relevance to the human situation.

Ornstein further observes:
Because Shakespeare sees the world feelingly, he performs the immemorial service of the artist to society: he humanizes the categorical imperatives which the stern didacticism offers as the sum of ethical truth. There is hardly a tragic theme or mood of the first decade which does not find expression in his plays, particularly those between Hamlet and Macbeth6.

All right -thinking English people have all along recognized the real worth of Shakespeare. Asked whether he would give up Indian Empire or Shakespeare, Carlyle would say:" Indian Empire or no Indian Empire; we can not do without Shakespeare! Indian Empire will go, at any rate , some day; but this Shakespeare does not go , he lasts forever with us ."As a repository of a great culture Shakespeare's significance can hardly be minimized. Coleridge has drawn our attention to the universality of his work. He observes:" He is of no age- nor I may add, of any religion ,or party or profession. The body and substance of his works came out of the unfathomable depths of his own oceanic mind." Moreover, the intervening centuries have not divested his work of its current relevance. Shakespeare himself has gestured more than once towards the permanent contemporaneity of his work. In Julius Caesar, for example, he writes:
How many ages hence
Shall this our lofty scene be acted over
In states unborn and accents unknown.
(III. i. 128-30)
Shakespeare's works are priceless treasure of humanity . Neither age can wither nor custom can stale the infinite variety of Shakespeare. Milton aptly says, "Thou in our wonder and astonishment has built thyself/ a live -long mournment in every reader's heart."Matthew Arnold7 rightly says:" Others abide our questions thou art free". On another occasion he exclaimed," Shakespeare … you are as obscure as life is." Shakespeare remains a mystery. Browning8 wrote:
With the same key
Shakespeare unlocked the heart!
Did Shakespeare? If so, the less Shakespeare he.
Thousands of books and articles have been written about Shakespeare's life , mind, and art. Kenneth Muir9 feels that " the yearly flood of Shakespearian submerges all but the strongest swimmers and makes it increasingly difficult to see Shakespeare steadily, and see him whole."
When Victor Hugo and his sonwere banished by the emperor , the son asked his father," well father, how do you propose to pass these long twelve weary years?" The father said," I shall watch the beauty of the sea. "And then he asked his son how he would like to spend the time. And the son replied," I shall read the plays of Shakespeare."10
In fact, the study of Shakespeare is like the exploration of the riches of the sea, that is equally arduous and rewarding. In many cases, however, the researches are exercises in futility. Oscar Wilde11 has not exaggerated as he says: " what we do not know about Shakespeare is a most fascinating subject, and one would fill a volume ,but what we do know about him is so meager and inadequate that when it is collected together the result is disappointing."
William Shakespeare has been by far the world's most popular playwright fornearly 400 years. His ingenious ability as a playwright has captivated audiences and will captivate audiences for years to come.
William Shakespeare was born in Stratford-upon-Avon, England, in 1564.
Shakespeare's tragedies are probably the best known of all his plays. He wrote a number of tragedies, but four in particular have become known throughout the world: Hamlet, Macbeth, King Lear, and Othello .During his life he wrote many great tragic plays. Two of such tragic plays are Macbeth and Hamlet.
The effect of tragedy in Aristotle's view was to arouse the emotions of fear and pity, and then to purge them from the audience. However, the tragedies are concerned with more than kingship and the state of nations. The influence of non- human forces is felt strongly in Hamlet, Macbeth, and Julius Caesar.12
During Shakespeare's time, there was a strong belief in the existence of the supernatural. Thus, the supernatural is a recurring aspect in many of Shakespeare's plays . It is an integral part of the structure of the plot of Macbeth and Hamlet. It provides a catalyst for action, an insight into character, and augments the impact of many key scenes. It appears to the audience in many forms. In Hamlet, there appears perhaps the most notable of the supernatural forms, the ghost. However, in Macbeth not only does a ghost appear, but a floating dagger, witches, and prophetic apparitions make appearances.
The special popularity of Hamlet and Macbeth is due in part to some of these common characteristics, notably to the fascination of the supernatural, the absence of the spectacle of extreme undeserved suffering, the absence of characters which horrify, repel, and yet are destitute of grandeur. The reader who looks unwillingly of Iago gazes at Lady Macbeth in awe.; because though she is dreadful ,she is also sublime. The whole tragedy is sublime. In this, however, and in other respects, Macbeth makes an impression quite different from that of Hamlet. The dimensions of the principal characters, the rate of movement in the action, the supernatural effect, the style, and the versification are all changed in much the same manner. In many parts of Macbeth, there is in the language a peculiar compression, pregnancy, energy, even violence; the harmonious grace and even flow, often conspicuous in Hamlet, have almost disappeared. The solemn majesty of the royal ghost in Hamlet appearing in armour and standing silent in the moonlight, is exchanged for shapes of horror, dimly seen in the murky air or revealed by the glare of the caldron fire in a dark cavern, or for the ghastly face of Banquo badged with blood and staring with black eyes.
Bradley, in his Shakespearean Tragedy, regarded Shakespeare's tragedies as the supreme presentation of a view of life, an explanation or at least a glimpse of the great problem of the nature of good and evil; and he thus expressed it. A Shakespearean Tragedy, as a rule, has a special tone or atmosphere of its own, quite perceptible, however difficult to describe. The effect of this atmosphere is marked with unusual strength in Macbeth. It is due to a variety of influences which combine with those just noticed, so that, acting and reacting, they form a whole; and the desolation of the blasted heath, the design of the witches , the guilt in the hero's soul, the darkness of the night, seem to emanate from one and the same source.
Shakespeare's vision was expressed in terms of the world-view of his own and earlier ages, transfigured by the fire of his creative imagination. 13
1.2. The Objectives:
This research work intends to achieve the following objectives:
1.2.1. Broad Objective:
- To discuss the artistic value of the supernatural elements in the overall design of Macbeth and Hamlet.
1.2.2. Specific Objectives:
- To investigate the extent to which the supernatural elementsin these two plays reflect the beliefs and superstition of the Elizabethan age.
- To study how the plot in these two great tragedies depends on the supernatural .
- To discuss the extent to which the use of supernatural element
helps Shakespeare to elaborate his vision of life.
- To highlight the techniques by which Shakespeare makes the use of the supernatural a very powerful attitudinal presence in his tragedies.
- To explain the extent to which the use of supernatural elements in Hamlet resembles and is also different from its use in Macbeth.

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منتدى الإيوان
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24/Mar/2010, 04:21 PM	#1 (permalink)
د. عبد الله بن محمود عضو اللجنة الاستشارية للمنتدى تاريخ التسجيل: Jan 2009 المشاركات: 457 Thanks: 102 Thanked 85 Times in 44 Posts معدل تقييم المستوى: 4	دور العوامل الخارقة في مسرحيتي شكسبير ماكبث وهامبلت الباحث: أ / إيمان أحمد علي الدخينةالدرجة العلمية: ماجستير الجامعة: صنعاءالكلية: الآدابلغة الدراسة: الإنجليزيةتاريخ الإقرار: 2007 Introduction: Some General Remarks: Who needs Shakespeare" asked Sidney Finkelstein in his book with the same title , and himself provided theanswer by saying that" We all need him."1 People have studied Shakespeare for different reasons. The energies, the dialectic and the aesthetic of creativity, which form a fascinatinggrid of conscious directions and unconscious drives, permit his readers to construct their own palaces of thought with a view of putting their finest finger on the pulse of the man and his writing. So significant has been Shakespeare's presence that even an astute critic like T.S.Eliot2 admitted thatDante and Shakespeare divide the modernworld between them ; there is no third. More recently , Harold Bloom3 in his polemical book The Western Canon (1994) has claimed that Shakespeare supplies the unwaveringparadigm for the possibilities of all subsequent western literary production." Echoing Eliot he remarks that Dante and Shakespeare are the center of the canon because they excel all other western writers in cognitive acuity, linguistic energy, and power of inventions." Edward Armstrong in his book Shakespeare's Imagination observes: His plays have captivated audiences throughout the centuries for many reasons, but fundamentally because they enable people to understand themselves better and to interpret life as it has to be lived more adequately. we study Shakespeare because life for us is thereby enriched. 4 Robert Ornstein5thinks that Shakespeare escapes the tyranny of scholarly exegesis because he grasped always the permanent significance of contemporary problems and because his vision of lifewas so comprehensive that his art is never lost its relevance to the human situation. Ornstein further observes: Because Shakespeare sees the world feelingly, he performs the immemorial service of the artist to society: he humanizes the categorical imperatives which the stern didacticism offers as the sum of ethical truth. There is hardly a tragic theme or mood of the first decade which does not find expression in his plays, particularly those between Hamlet and Macbeth6. All right -thinking English people have all along recognized the real worth of Shakespeare. Asked whether he would give up Indian Empire or Shakespeare, Carlyle would say:" Indian Empire or no Indian Empire; we can not do without Shakespeare! Indian Empire will go, at any rate , some day; but this Shakespeare does not go , he lasts forever with us ."As a repository of a great culture Shakespeare's significance can hardly be minimized. Coleridge has drawn our attention to the universality of his work. He observes:" He is of no age- nor I may add, of any religion ,or party or profession. The body and substance of his works came out of the unfathomable depths of his own oceanic mind." Moreover, the intervening centuries have not divested his work of its current relevance. Shakespeare himself has gestured more than once towards the permanent contemporaneity of his work. In Julius Caesar, for example, he writes: How many ages hence Shall this our lofty scene be acted over In states unborn and accents unknown. (III. i. 128-30) Shakespeare's works are priceless treasure of humanity . Neither age can wither nor custom can stale the infinite variety of Shakespeare. Milton aptly says, "Thou in our wonder and astonishment has built thyself/ a live -long mournment in every reader's heart."Matthew Arnold7 rightly says:" Others abide our questions thou art free". On another occasion he exclaimed," Shakespeare … you are as obscure as life is." Shakespeare remains a mystery. Browning8 wrote: With the same key Shakespeare unlocked the heart! Did Shakespeare? If so, the less Shakespeare he. Thousands of books and articles have been written about Shakespeare's life , mind, and art. Kenneth Muir9 feels that " the yearly flood of Shakespearian submerges all but the strongest swimmers and makes it increasingly difficult to see Shakespeare steadily, and see him whole." When Victor Hugo and his sonwere banished by the emperor , the son asked his father," well father, how do you propose to pass these long twelve weary years?" The father said," I shall watch the beauty of the sea. "And then he asked his son how he would like to spend the time. And the son replied," I shall read the plays of Shakespeare."10 In fact, the study of Shakespeare is like the exploration of the riches of the sea, that is equally arduous and rewarding. In many cases, however, the researches are exercises in futility. Oscar Wilde11 has not exaggerated as he says: " what we do not know about Shakespeare is a most fascinating subject, and one would fill a volume ,but what we do know about him is so meager and inadequate that when it is collected together the result is disappointing." William Shakespeare has been by far the world's most popular playwright fornearly 400 years. His ingenious ability as a playwright has captivated audiences and will captivate audiences for years to come. William Shakespeare was born in Stratford-upon-Avon, England, in 1564. Shakespeare's tragedies are probably the best known of all his plays. He wrote a number of tragedies, but four in particular have become known throughout the world: Hamlet, Macbeth, King Lear, and Othello .During his life he wrote many great tragic plays. Two of such tragic plays are Macbeth and Hamlet. The effect of tragedy in Aristotle's view was to arouse the emotions of fear and pity, and then to purge them from the audience. However, the tragedies are concerned with more than kingship and the state of nations. The influence of non- human forces is felt strongly in Hamlet, Macbeth, and Julius Caesar.12 During Shakespeare's time, there was a strong belief in the existence of the supernatural. Thus, the supernatural is a recurring aspect in many of Shakespeare's plays . It is an integral part of the structure of the plot of Macbeth and Hamlet. It provides a catalyst for action, an insight into character, and augments the impact of many key scenes. It appears to the audience in many forms. In Hamlet, there appears perhaps the most notable of the supernatural forms, the ghost. However, in Macbeth not only does a ghost appear, but a floating dagger, witches, and prophetic apparitions make appearances. The special popularity of Hamlet and Macbeth is due in part to some of these common characteristics, notably to the fascination of the supernatural, the absence of the spectacle of extreme undeserved suffering, the absence of characters which horrify, repel, and yet are destitute of grandeur. The reader who looks unwillingly of Iago gazes at Lady Macbeth in awe.; because though she is dreadful ,she is also sublime. The whole tragedy is sublime. In this, however, and in other respects, Macbeth makes an impression quite different from that of Hamlet. The dimensions of the principal characters, the rate of movement in the action, the supernatural effect, the style, and the versification are all changed in much the same manner. In many parts of Macbeth, there is in the language a peculiar compression, pregnancy, energy, even violence; the harmonious grace and even flow, often conspicuous in Hamlet, have almost disappeared. The solemn majesty of the royal ghost in Hamlet appearing in armour and standing silent in the moonlight, is exchanged for shapes of horror, dimly seen in the murky air or revealed by the glare of the caldron fire in a dark cavern, or for the ghastly face of Banquo badged with blood and staring with black eyes. Bradley, in his Shakespearean Tragedy, regarded Shakespeare's tragedies as the supreme presentation of a view of life, an explanation or at least a glimpse of the great problem of the nature of good and evil; and he thus expressed it. A Shakespearean Tragedy, as a rule, has a special tone or atmosphere of its own, quite perceptible, however difficult to describe. The effect of this atmosphere is marked with unusual strength in Macbeth. It is due to a variety of influences which combine with those just noticed, so that, acting and reacting, they form a whole; and the desolation of the blasted heath, the design of the witches , the guilt in the hero's soul, the darkness of the night, seem to emanate from one and the same source. Shakespeare's vision was expressed in terms of the world-view of his own and earlier ages, transfigured by the fire of his creative imagination. 13 1.2. The Objectives: This research work intends to achieve the following objectives: 1.2.1. Broad Objective: - To discuss the artistic value of the supernatural elements in the overall design of Macbeth and Hamlet. 1.2.2. Specific Objectives: - To investigate the extent to which the supernatural elementsin these two plays reflect the beliefs and superstition of the Elizabethan age. - To study how the plot in these two great tragedies depends on the supernatural . - To discuss the extent to which the use of supernatural element helps Shakespeare to elaborate his vision of life. - To highlight the techniques by which Shakespeare makes the use of the supernatural a very powerful attitudinal presence in his tragedies. - To explain the extent to which the use of supernatural elements in Hamlet resembles and is also different from its use in Macbeth. [فقط الأعضاء المسجلين يمكنهم رؤية الروابط. ] منتدى الإيوان [فقط الأعضاء المسجلين يمكنهم رؤية الروابط. ] آخر تعديل بواسطة د. عبد الله بن محمود ، 16/May/2010 الساعة 07:59 PM

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