| Summary: | Recent studies of the conceptualization of the Devil in the early modern period have pointed to the shifting theological and philosophical coordinates, which made possible a diverse spectrum of representation of diabolical evil—from Francis Bacon’s naturalistic scepticism to King James’s supernatural demonology. Shakespeare has always been central to this discussion but has not yet been placed in a contextual frame that incorporates the rise of scholarly interest in the diabolical. This article interprets Shakespeare’s representation of diabolical evil in <i>Hamlet</i> (1601), <i>Othello</i> (1603), <i>Measure for Measure</i> (1604) and <i>Macbeth</i> (1606) as constituted by a complex tension between natural and supernatural ideas about the origin of evil. Drawing on a raft of recent scholarship on representations of witchcraft and devils in the period, I show that diabolical figures in the universe of Shakespeare during the period of great tragedies between 1601 to 1606 exist in two modes of representation: as a persistent magical ambience and as a localized agent. Ambivalence is expressed in the hesitation between these opposing theological modes and is evident in the way that the Devil’s material agency is obscured and left unresolved. Viewing this through the lens of the fantastic as an ontological uncertainty that results in epistemological hesitation helps us to frame Shakespeare’s ambivalence, which at least in part originates in the ambivalent theology of Calvin. The analysis thereby positions hesitation and diabolic temptation in line with Calvin’s theology and shows how Calvin’s framework of secular evil presents an intellectual context through which Shakespeare’s ambiguity can be understood in theological terms.
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