Abstract
AbstractGhosts are omnipresent in Early Modern Theatre. Not only in Shakespeare but also in Corneille’s drama these apparitions serve to structure tragedies. The article discusses three functions of ghosts at the beginning of the 17th century: first, their technical aspect as a new form of a ‘deus ex machina’; second, their anthropological dimension as spirits, and third, their Christian equivalent as demons. Ghosts are used to decide the battle between good and evil or - as in Corneille’s Médée - between a king and a witch, that is between mystical and magical power systems. Whereas the king in this tragedy tries to strike the witch with a ban, Medea strikes back with the cunning technique of a ghost. By comparing techniques and functions of the use of ban and ghost, the article shows that Medea’s revenge is part of a duel between two powerful systems of magic and politics.
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