Historicising the Anatomy of the Ghost’s Passions and its Religious Identity in Hamlet

In the early modern period, the appearance of ghosts carried both religious and pathological connotations in the wake of the twin movements of the Reformation and the Renaissance. According to this belief system, the supernatural was seen as a factor in creating an imbalance in bodily humours, including the black bile, thus resulting in a melancholic disposition. Based on contextual and historical data, this article historicises the religious and pathological identity of the Ghost in Hamlet, which reflects the early modern understanding of the supernatural. This study is separate from existing discussions that focus solely on the role of the Ghost in the play. However, the very nature of the Ghost, a great driving force behind the plot thrust, as understood by Shakespeare and his society, has been fairly neglected. This study, therefore, situates three distinctive aspects of the Ghost in early modern society, warranting attention in Shakespearean criticism. Firstly, the findings of this study underscore the nuanced religious persona of the ghost, encompassing both Protestant and Catholic perspectives, as understood in the early modern period. Secondly, its pathological and melancholic nature is discussed which finds its origins in the theory of humours. This aspect of the Ghost is strongly linked to creating an imbalance in Hamlet’s melancholic humour and driving events to their tragic end in the play. Thirdly, it examines Shakespeare’s exploration of the mind-body discourse through the Ghost’s interactions with the Prince, reflecting the intellectual currents of the seventeenth century. Moreover, as the Ghost belongs to the past, this fact connects the appearance of the Ghost with the idea of the history of the passions—a still-burgeoning field of study in the humanities.