Henry Vi Witchcraft Essay

William Shakespeare’s play, Henry VI Part I and II revolves around the idea of folk magic or witchcraft to be a prevalent force throughout the play. The use of witchcraft is primarily linked to women through their use of words and the idea of supernatural powers were used to entice men to achieve their own wicked deeds. Witches were deemed to be cultural constructs and symbolic amidst the system of Christianity, the battle of good and evil. The role folk magic had in Henry VI Part 1 and II pertained to how harmful the superstitions were in bringing the downfall of the undaunted women who sought out their own beliefs and goals.

Shakespeare’s portrayal of witchcraft and magic in Henry IV Part I and II mirrors fourteenth and seventeenth century

V. 123). The concept of familiars is also present in Henry VI Part II, “…he has a familiar under his tongue ; he speaks not i’ God’s name…” (IV. VI.107-108). The assumption of Joan of Arc being a witch is brought up by Talbot, who fervently pushes his proposal that Joan of Arc could not achieve the greatness she built without the assistance of a diabolical, fiendish familiar spreading lies and deceit. Tabolt’s allegations of witchcraft muddle and put Joan of Arc’s judgement of her identity and characterization cause a rift amongst the English and French. Joan of Arc makes claim that her abilities were a gift from her protector, the Virgin Mary, “…God’s Mother deignèd to appear to me,/ Willed me to leave my base vocation, / Her aid she promised and assured success. / That beauty am I blest with, which you may see” (I.II.79-87). Joan of Arc’s honorable deeds and valiant representation of France is tarnished, in which she faces a harsh punishment of being subjected to burning at the stake. Her character is questioned within the play as she is subjugated at the stake under false accusations of being a witch. William Shakespeare takes a turn in molding her into being the very thing that she fervently denied under the guidance of the Virgin Mary. She resorts to yielding to their idealizations of her by calling out for the assistance of demons and dark familiars in order to evade being captured, declaring, “…Now, you familiar spirits that are culled, Out of the powerful regions under earth, / Help me this once, that France may get the field” (.III.10-12). Joan of Arc futilely spouts in hopes of forming a pact or contract, in which her request is refused amidst the demon, unbending to her command. She resorts to offering her body in hopes of enticing the deal, yet her pleas fall on