This dissertation examines how early modern English playwrights employ absence to enrich their representations of the unknown, including witchcraft and the supernatural. Throughout the sixteenth and seventeenth centuries magical themes were often dramatized through visual and linguistic excess. Whether this excess was manifested through the use of vibrant costumes, farcical caricatures, or exaggerated dialogue, magic was often synonymous with theatricality. Playwrights such as William Rowley, Ben Jonson, and William Shakespeare, however, challenge stereotypical depictions of magic by contrasting excessive magic with the subtler power of restrained or off-stage magic. Embedded in the fantastical events and elaborate plots of Shakespeare and his contemporaries, absence, whether as an unstaged thing or person or an absent ideology, becomes a crucial element in understanding how playwrights represented and understood occult issues during the early modern period. Further, when gendered feminine, magical absences serve to combat oppressive silences within scripts and provide female subjects with an unimpeded and inherently magical space from which to challenge pre-established patriarchal systems of control. Each chapter in this dissertation, therefore, appraises the magical possibilities that theatrical absences provide to women as a platform from which to develop their narrative voice. Partnered with a complementary discussion of Jonson’s The Masque of Queens and two thematically linked witchcraft cases, my first chapter argues that Mistress Ford uses the complete stage absence of both a witch and a queen in The Merry Wives of Windsor to reform her community and critique her society’s unjust categorization of women. In chapter two, I examine a series of “vanishing acts” in The Birth of Merlin and argue that Rowley’s female characters use their final moments on stage to contextualize their impending absences for audiences as moments of magical defiance rather than defeat in the face of male tyranny. In my final chapter, I look at how magical objects, such as the handkerchief in Shakespeare’s Othello or the belt in Jonson’s The Sad Shepherd resist the absence of their female creators and continue to provide physically absent or dead women with magical agency. By structuring my dissertation on these three specific gradations of absence, I provide a nuanced analysis of the purposes these dramatic omissions serve by focusing on how these shades of absence subtly alter the ways in which we interpret and define early modern magical belief. / Thesis / Doctor of Philosophy (PhD)