a tendncia de passar para o ferico, ou para o fantasticamente ldico ou ainda para o supraterreno e

demonaco. (p.292)
AUERBACH, Erich. O prncipe cansado. In: Mimesis: a representao da realidade na literatura
ocidental. So Paulo: Perspectiva, 1976. p. 277-297
Thematic criticism is particularly useful in reminding us that these plays are about more than the particular
characters, that there are social, political, gender, religious, and moral issues at stake and that, as we proceed through
the play, we do need to attend to how the drama is putting pressure on our understanding of those ideas in the context
established by the play (and beyond).
Macbeth, for example, is more than the story of one particular ancient Scottish warrior-king. It is
also clearly about the nature of evil in our world, about loyalty, and other matters as well. If we fail
to attend upon these issues, because we are overly concerned with, say, Lady Macbeth's motivation,
then we are missing some essential elements in the play.

[This document has been prepared by Ian Johnston for students of English 366 at Malaspina
University-College. It is in the public domain, released May, 1999]
[This text was last revised on November 19, 2001]

Macbeth - Gothic Elements

In the first Act of Macbeth, there are numerous amounts of Gothic elements. At the beginning
of the play there is the ominous sound and appearance of thunder and lightning which sets the
scene and seems to have a dark, malevolent tone ,'when shall we three meet again? In
thunder, lightning or in rain?. When the three witches are introduced the theme of the
supernatural, which follows throughout the first Act, seems to emphasize the Gothic elements.
Another point to make about Macbeth would be how the three Witches sing in tune Fair is
foul, and foul is fair which adds to the sinister Gothic theme because of their eerie singing and
speech which seems to rhyme. Also relating back to the weather, the storm seems to invoke a
disorder in tandem. The setting in the later scenes is Macbeth's castle, a typical element to a
Gothic novel which creates an air of mystery, suspense. Another common element would be a
prophecy, usually obscure but not in this case as the three witches tell Macbeth that he is the
Thane of Glamis, Thane of Cawdor and that shall be king hereafter but due to his scepticism
and gorwing thirst for power he starts to think about how he could become King, even plotting
after Duncan reveals that the Prince of Cumberland will be Malcolm, 'the Prince of
Cumberland, that is a step on which I must fall down or else o'erleap.'
By Tasha Rook in:
http://tasha2englit.blogspot.com/2009/10/macbeth-gothic-elements.html

The following list identifies some key characteristics of the gothic text. No text is likely
to display all of these, and some of the qualities below tend towards the mutually
exclusive; nevertheless the list should prompt some useful reflection:

a fascination for the past, particularly but not exclusively the medieval era


a liking for the strangely eccentric, the supernatural, the magical, and the sublime,
sometimes subtly intermingled with the realistic

psychological insights, especially into sexuality, through (at best) fascinating and
intricate characterisation, or (at worst) stereotypical caricatures

representation and stimulation of fear, horror, the macabre and the sinister, within the
context of a general focus on the emotional rather than the rational

frequently exotic settings and locations, although this tendency may be contrasted to a
more 'domestic' gothic tradition, especially found amongst American texts

plots within plots often multiple narrators, and other stylistic characteristics such as the
use of 'tableaux' and overt symbolism.

Gothic, which developed in the late eighteenth-century as a reaction to the central ideology
of the Enlightenment that valorized human reason.

Demons/Devils/Witches/Spirits/Angels
Often symbolize conflicting forces within the human soul. The hero may be tempted by
evil spirits or redeemed by good spirits that symbolize the hero's own potential for evil
or good. The picture opposite is an illustration of the three witches from Shakespeare's
play Macbeth . Their prophecies inflame Macbeth's ambition to become King of
Scotland and inspire him to assassinate the current monarch.
Ghosts
Ghosts are spirits that can represent some aspect of the protagonist's experience that
will not die, that cannot be repressed or escaped. For instance, in Shakespeare's play
Macbeth , the ghost of Banquo (whom Macbeth has had murdered) returns to haunt
Macbeth, suggesting Macbeth's stricken conscience and his guilt over destroying his
innocent friend. The painting above depicts the Japanese ghost ( yurei ) of Okiku, a
character of Japanese legend who was murdered by her master. Okiku worked as a
serving maid in the home of a Samurai (Japanese warrior). When she refused her
master's sexual advances, he killed her and threw her body down a well. Every night
after her death, Okiku's ghost would rise from the well and weep loudly throughout the
night. Hearing the continuous weeping eventually drove Okiku's murderer mad. Thus,
Okiku's ghost embodied the murderer's own undying guilt that eventually led to his
insanity.
Gothic literature is devoted primarily to stories of horror, the fantastic, and the darker
supernatural forces. These forces often represent the dark side of human natureirrational
or destructive desires.
Ghosts are spirits that can represent some aspect of the protagonist's experience that will not
die, that cannot be repressed or escaped. For instance, in Shakespeare's play Macbeth , the

ghost of Banquo (whom Macbeth has had murdered) returns to haunt Macbeth, suggesting
Macbeth's stricken conscience and his guilt over destroying his innocent friend.

Haunted Castle/House
The protagonist's castle or home can reflect the protagonist's psychological character.
Hidden chambers, subterranean vaults, twisting corridors, and secret passages can
symbolize the hidden depths of the mind, unknown aspects of the psyche that are
beyond rational control. Consider Manfred's castle in the Alps where he practices black
magic in a forbidden tower, or Frankenstein's secret laboratory at the top of his house.
Blood
A prominent symbol in Gothic works often intimating the paradox of the human
condition; blood can represent both life and death, or both guilt (e.g., murder) and
innocence (e.g., redemptive blood). The picture at right depicts vampire hunters from
Dracula thwarting the attack of a female vampireher innocence and beauty are
contaminated by the blood dripping down the front of her gown, evidence of her cruel
animal nature. Consider references to blood in Byron's Manfred and Mary Shelley's
Frankenstein .
According with Douglas