Born April 23, 1564, exact location is unknown as merchant father John Shakespeare and wife Mary Arden

were the proprietors of several dwellings thus, historians can only place his birth somewhere in Stratford, England (Mabillard). William Shakespeare purportedly attended a free grammar school from which he acquired the bulk of his meager instruction. November 28, 1582 he married local farmers daughter Anne Hathaway their marriage was blessed with three children eldest daughter Susanna and twins Hamnet and Judith. Though there is limited information known about Shakespeare in his first years of fatherhood, it is known that his son Hamnet died at the tender age of 11 (Fields, 26). In 1588 William Shakespeare began to gain notice as both an actor and playwright while working for Pembroke's Men, as well as numerous others, in particular Hunsdons Men, which later became the Chamberlain's Men, with whom he remained for the rest of his career. (Miller, 74) Of his works thirty-six of his known thirty-seven plays were amassed and published soon after his death by his two closest acquaintances John Heminges and Henry Condell who stated their reasoning for doing so was only to keep the memory of so worthy a friend and fellow alive as was our Shakespeare. (Miller 86-87) in his career when London theaters were closed down due to the spread of the black plague Shakespeare composed a book-length account of poetry in 1592 to 1594 of which his works titled Venus and Adonis and The Rape of Lucrece are the most notable of his poetic writings (Fields, 56). Included with these poetic narratives Shakespeare also wrote several sonnets during the years of the plague, which were published without his consent in 1609 (Miller 82). Elements of the supernatural are used throughout several of Shakespeares dramas. Used for different functions within his works the supernatural elements he employs are utilized to either take part in the action of the plays story or set both the foundation as well as the zenith of the performance. It is my assessment however that to truly understand the scope of Shakespeares dependence on the otherworldly one must look at two different genres of his works such as his epic tragedy Macbeth and his great comedy work A Midsummer Night's Dream to compare and contrast his use of the supernatural. In Macbeth, Shakespeares famous characters the Weird Sisters decree the famous line of fair is foul, and foul is fair, (1.1.11) this great revelation of all not being right in Scotland is perhaps a superlative example of this tragic works theme as well as a glimpse into the understanding of the catastrophic demise of its vital character from an otherworldly spiritual source is very telling to readers. As the play opens with the manifestation of the witches in a detonation of thunder and burst of lightning audiences are made aware of the immense amount of influence that will be made by such an infusion of supernatural elements within the play, for though these Weird Sisters are not present within every scene by opening the drama with what appears to be their summoning audiences remain deeply aware of their presence. As if they linger within the surroundings undetected except for the sense of darkness and dread that seems to pervade the essence of the tragedy. This hovering presence can be seen as nothing more than the witches fulfilling their promise to hover through the fog and filthy air (Macbeth, 1.1.12), which in turn may impart some explanation as why the three often rematerialize throughout much of the play as omens of kismet and Macbeth's imminent demise; in turn this gives credence to the essential need for the witches and the supernatural elements they establish to the play. In his comedic work Shakespeare uses the otherworldly aspects in a slightly more conspicuous manner in his comedy A Midsummer Night's Dream. In this grand comedy the mystic rudiments take part in the action of the story and only moderately direct the action of their earthly counterparts unlike in that of Macbeth, where the actions of the mortals are completely directed by that of the supernatural beings. However there is significant difference from the

supernatural specters that predict the ascension and downfall of Macbeth, the beings depicted in A Midsummer Night's Dream are from an entirely different realm known as Faery. It from this strange realm from which the characters of Oberon, Titania, Puck hail from. This comedic drama grants an astonishing disparity to that of the tragic Macbeth. With the precise role of the witchy specters is plainly evident it is dubious to say that the obvious display of occultism within Macbeth is merely subsidiary as these mystic elements form the solemn nature of the drama. By acting as steady reminders of the darkness that overcomes Macbeth and the appalling acts that he has committed that ultimately bring about his downfall. The Weird Sisters do more than simply act as unforgiving reminders, as mentioned before by using their power of sight the sisters prophesize certain happenings, however they only revel a very limited amount so as not to completely control the action. For instance when one of the three cries, by the pricking of my thumbs, something wicked this way comes (Macbeth, 4.1.44-45), not only do these lines announce the arrival of Macbeth into the scene it signifies the fulfillment of the witches prophecy and so seeks to acknowledge the wicked deeds done by Macbeth and his now following a dark path that shall draw him on to his confusion (Macbeth, 3.5.29) as proclaimed by Hecate. In A Midsummer Night's Dream the use of the supernatural while put to considerable use just as in Macbeth does so in an astonishingly diverse way. While the witches created a grave darkness throughout their drama the fairies of Shakespeares comedic text augment the comedic temperament of the drama. Seen as humorist plot devices used primarily to progress the play along rather than to comment on the actions being done these Fay creatures are active contributors to the action of the play rather than unreceptive bystanders as the witches were, allowing them to shape the result of the action rather than merely being reminders its inescapability. This of course is not the most prominent difference within these two dramas. The most prominent difference within the use of the supernatural of these two dramas is the introduction of the mystical, otherworldly powers into the action of the plays. In Macbeth audiences are right away thrust into the supernatural aspects of the play as the very first lines articulated in the play are vocalized by one of the Weird Sisters. Whereas in A Midsummer Night's Dream audiences are introduced to the mortal characters of the play as it is the character Theseus who opens the play not a supernatural being. No, in this comedic production the two worlds of the natural and unnatural are clearly distinguished as within palace audiences are submerged within the clearly human elements of play such as reasoning and the pervasiveness of law. Once within the woods however, the focus is shifted to that of supernatural as if the forest itself were enchanted grounds. Unlike in Macbeth whos opening with the three witches completely colors audiences perspective of the drama with its ill-omened visions that disturb Macbeth as his actions come to fulfill the divinations of the witches, the supernatural element of the fairies realm is not brought into play till the second act. Instead audiences are introduced to the young lovers and other nonsupernatural beings that will progress the tale of the predicament they face. The fey creatures Oberon, Titania and Puck are then introduced in order to cause impish interference to create further difficulties within the plot and compel the anecdote toward its cheerful conclusion. While ultimately less influential or pervasive when compared to that of the supernatural in Macbeth, the roles of the fairies is more dynamic as they actually contribute to the action, of course this means their effect on the main characters is not as long-lasting as that of the witches. Also as these supernatural beings do not hover in the background or create a sense of their continuous presence

as the Weird Sisters do they do not supply any real insight into the characters or their motive, thus only existing as tools of the plot. Of course as the genre of the two plays are completely different as one is a tragedy and the other a comedy it can be expected for the supernatural elements within the tragedy to exist as a window into the essence of the character. While the fairies in the comedy exist as devices to assist the plot. Demonstrating the heavy reliance on the construction of plot and narrative of a comedy and a tragedies predisposition to spotlight the intricacies of its characters. In theatre history renowned playwrights have employed the use of witchcraft as a prevailing premise throughout their works with the use of such mystic characters as witches, wizards, magic and poltergeists. Under the reign of Queen Elizabeth I, celebrated dramatist William Shakespeare was no different as he too made use of such ethereal beings within this works. Shakespeare no doubt incorporated a profusion of supernatural elements into his works due to the widespread allure and apprehension of supernatural creatures as well as the ongoing persecution of witches during this time in Elizabethan England. The most prevalent of Shakespeares dramas that establishes such presence and implication of the supernatural would be his play Macbeth with its illustrious characters of the Weird Sisters with their prophetic powers of sinister sorcery. Written around 1600-1606, Shakespeares display of witchery in Macbeth can be seen as a reflection of the societal climate in Europe during its composure. An age in which witches induced thoughts of mistrust and fear yet where fascinating creatures. The tone of the play its correlation to witchcraft in Elizabethan society is best clarified by Shakespeares famous line delivered by the three witches fair is foul, and foul is fair. hover through the fog and filthy air. (1.1.11-12) Delivered at the end of the opening scene by the Weird Sisters these words set the overall atmosphere for the play. As the Three Witches are only responsible for the introduction of these ideas and for further forming ideas in Macbeths head, but they are not responsible for his actions throughout the play (Mabillard), it is debatable as to whether or not these supernatural beings are the cause of Macbeths demise and murderous propensity it is certain however that their use of sorcery did sway him. By using astuteness forms of enticement to inform Macbeth that he is predestined to be king of Scotland, the witches in essence place him on the path that will lead him to ruin. Effectively using sorcery and foresight for malicious intent They are clearly agents of a darker power, in league with Hecate, the goddess of the underworld, and their purpose is to foment toil and trouble for mankind. (Fallon, 165) As they are the initial characters revealed in Macbeth as well as the succeeding divinations they disclose to Macbeth, it has been deliberated that the witches can be seen as the catalysts for the carnage and madness that transpires within the play. (Fallon 163-164) Depicted as androgynous inhuman supernatural beings, the roles of the witches have traditionally been played females though of course creative liberty has been taken throughout different productions of drama as these characters have stimulated diverse rejoinders and sentiments in theater history. They have appeared as voodoo prophetesses, upper-class royalty, to choruses of singers. (Dickinson, 195-196) In the late sixteenth century and through the seventeenth century European society was fascinated with the strange phenomenon that is the supernatural most particularly that of witchcraft. As those of the Elizabethan era constantly faced uncertainty within their lives with the threat of plagues, wars and famine the European people not only wanted but needed something to blame for their misfortune. As religion was held in such high esteem naturally it was religion that cast the blame to the unknown powers that be. Yet as it was a chauvinistic male

based society that populated Europe the unknown powers that plagued society was thrown at the feet of the female populace. Leading to riots caused by fear and panic of these women labeled witches, Queen Elizabeth issued the Witchcraft Act of 1562 that condemned any form of mysterious activities carried out by women. Stating anyone who should use, practice should use, practice, or exercise any witchcraft, enchantment, charm, or sorcery, whereby any person shall happen to be killed or destroyed, was guilty of felony without benefit of clergy, and was to be put to death (Alchin). As the women being accused as witches where simple healers who practiced medicine with use of herbs any who were unable to combat against rumors of their supposed affiliation to witchcraft were either killed, or forced to flee their homes.