Madness, myth, and misogyny: A study of Shakespeare's 'Hamlet', 'King Lear', and 'Macbeth'

This study examines cultural interactions between the discourse of madness, doctrines of western religion, and Shakespeare's mad characters, and investigates the degree to which Shakespeare's construction of madness in these three tragedies is informed by a misogyny based in medical and religious texts and institutions. I argue that for Shakespeare's female characters madness or severe mental perturbation results in spiritual and moral despair, while instances of male madness or perturbation result in spiritual or moral regeneration. Feminine madness closely aligns with patriarchal religious doctrine regarding sin, guilt, and despair misogyny informs Shakespeare's constructions of both female and male madness.The dissertation first examines medical and philosophical tradition from Plato to Burton, then discusses religious myths from the Judeo-Christian heritage before moving to representations of female madness in drama before Shakespeare, and finally, discusses madness in Hamlet, King Lear, and Macbeth. I deal extensively with the madness or emotional perturbation of Ophelia, Lady Macbeth, Hamlet, King Lear, and Macbeth.Each female character is readily identifiable, for good or evil, according to a misogynist cultural definition of Woman determined by religious and medical discourse. Madness is attributed to a characteristic of Woman's essential nature. For the most part, Ophelia is portrayed as an innocent virgin-victim and Lady Macbeth as an almost demonic temptress. Both are figures who have been abandoned, who have been failed by the sacraments that were to protect and guide them to salvation. Ophelia is denied a full Christian burial Lady Macbeth performs rites and rituals of confession, but to no avail.The spiritual frailty and corruption of the women characters precipitate madness in Hamlet, King Lear, and Macbeth. Each of the male characters has an important religious function to perform in the restoration of his sanity each acts the role of priest, confessor, godly scourge, or in Macbeth's case, the role of deceived and betrayed man. Because each of the great heroes' descent into madness and corruption is at least somewhat relieved by the orthodox religious function that he takes toward the women characters, the moral and political power structures are reinforced in Tudor-Stuart England.