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Shakespeare and Ondaatje, 2005.
A discussion of the similarities between Shakespeare's play "Romeo and Juliet" and Michael Ondaatje's 1992 novel "The English Patient."
1,225 words (approx. 4.9 pages), 2 sources, MLA, $ 41.95
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Abstract
Although the plot and characters differ considerably as do the time periods in which the stories are set, "Romeo and Juliet" and "The English Patient" share themes, imagery and motifs in common. This paper explains that both stories take place amid violence and war; both are also set in Italy. It also looks at how both focus on tales of passionate, forbidden and unrequited love that is made all the more powerful against the violent backdrop.
From the Paper
"War also causes the characters in both Romeo and Juliet and The English Patient to concoct convoluted plans that cause tragedy and death. For example, Juliet takes a potion that makes her appear dead and lies in a family crypt awaiting Romeo's arrival. Her plan backfires due to mixed messages; because she took the potion a day early and because Romeo never became aware of the plan the two lovers die side by side. Similarly, the English Patient is forced to leave Katherine in a cave with the intent of returning to rescue her. His plan backfires as well, causing her death and his being burned. Both stories thus end in a bittersweet peace. The tragedy befalling all the sets of lovers is foretold and foreshadowed by the warlike imagery and violent backdrop; war and violence pervades both Romeo and Juliet and The English Patient. No plan, however well-concocted, can save or reunite the lovers. Death is the inevitable outcome of war, tragedy the inevitable outcome of romance. In the end of both Romeo and Juliet and The English Patient, a sense of peace and relief sets in over the characters; however, this peace is bittersweet, borne of the acceptance of death, tragedy, and unfulfilled romantic love."
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The Duke of Gloucester, 2005.
An analysis of the character of the Duke of Gloucester from William Shakespeare's "Richard III."
950 words (approx. 3.8 pages), 3 sources, MLA, $ 33.95
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Abstract
This paper examines how although Shakespeare's Richard III, The Duke of Gloucester, may not bear much resemblance to the real life King, in character and appearance, in the play, he is certainly the most dominant and a fully developed figure that serves as both the protagonist and villain of the play. It discusses whether "Richard III" can actually be called a tragedy since the protagonist appears less a tragic figure and more a vain, cruel and malicious king who was ruthlessly ambitious and killed people not for the love of his country, as most other tragic kings did, but to advance his own objectives.
From the Paper
"As in all Shakespeare tragedies, the ghosts of those he conspired against and killed visit Richard III. They admonish him and foreshadow his death. This happens a day before his army is to clash with Lancastrian heir, Henry, Earl of Richmond's forces. while the ghosts of his victims haunt Richard, Richmond is praised as the rightful ruler. The ghosts tell him to 'live and flourish!' [5.3.131] and instruct him to, 'Arm, fight and conquer, for fair England's sake.' [5.3.150]. Though Richmond's army is no match for Richard's in term of size, yet the former has divine support. Bosworth Field serves as the last battleground for Richard as Richmond manages to bring an end to Richard III's terrifying reign by slaying him: 'Now civil wounds are stopp'd, peace lives again.' [5.4.53]"
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"Henry IV", 2004.
A discussion of the art of the drama in Shakespeare's "Henry IV" and "Hamlet, Prince of Denmark".
1,322 words (approx. 5.3 pages), 2 sources, MLA, $ 44.95
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Abstract
This paper compares the characters of Prince Hal and Hamlet in William Shakespeare's plays "Henry IV" and "Hamlet, Prince of Denmark". The paper analyzes the dramatic aspects of each character. The paper illustrates the personas that each character creates for himself, in addition to their personality as defined by the author. The paper highlights the constant contrasts between Prince Hal and Hamlet.
From the Paper
"Shakespeare is of course a dramatist, that is, he was an author of plays with fictional characters in them, portrayed by real people known as actors. Yet quite often Shakespeare's fictional characters are themselves 'actors' in their own life stories, creating personas that they play in addition to acting out their true, 'real life' struggles of the plot as defined by the author. For instance, Prince Hal, of Henry IV, Part I and Hamlet are two such individuals-the first pretends to be a rouge, even though he is really a skillful prince and politician destined to be a king, the second is an avenging son who assumes madness as a truth-telling device, and also as protection for his eccentric actions and behavior in a fraught Danish court. "
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Courtly Love in Literature, 2005.
A look at how four famous Renaissance writers each represents the variety of ideas about courtly love that were present during the Renaissance.
1,361 words (approx. 5.4 pages), 7 sources, MLA, $ 45.95
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Abstract
This paper explains how Renaissance writers William Shakespeare, Christopher Marlowe, John Donne and Ben Jonson illustrated the emerging traditions of a new form of writing with traditional notions of courtly love. The paper shows us how Shakespeare depicts Juliet and Rosalind as two assertive women that act in their own interests, while Christopher Marlowe's writing presents us with more traditional aspects of courtly love and Jon Donne and Ben Johnson's writings presented different ideas about women in love altogether, causing us to think differently about the idea of women in love.
From the Paper
"The Renaissance was an interesting time in literature because many of the writers of this time were experimenting with new techniques based upon medieval ideas. While writers of the Renaissance were concerned with conventional notions, they were also heavily influenced by Humanism. M. H. Abrams notes that "Renaissance writers were in their own way profoundly original, but they did not think of originality as involving opposition to or revolt against literary traditions or artistic conventions" (Abrams 424). Abrams notes that writers were challenged "something fresh and new" from medieval traditions. Medieval ideas concerning love often viewed love as something spiritual rather than physical. Renaissance writers took a more humanistic approach to love. William Shakespeare, Christopher Marlowe, John Donne, and Ben Jonson are writers that incorporate new ideas with the traditional notion of courtly love."
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Revenge in Plays, 2005.
An examination of the concept of revenge in the William Shakespeare's "Hamlet" and Thomas Middleton's "The Revenger's Tragedy."
1,101 words (approx. 4.4 pages), 2 sources, MLA, $ 38.95
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Abstract
Shakespeare and Middleton explore the depth and range of the human psyche in their plays, "Hamlet" and "The Revenger's Tragedy." This paper discusses how, through the characters of Hamlet and Vindici, we discover different motivations to their feelings of vengeance, illustrating the complexity of human nature as it relates to revenge. It explains however, that while both plays operate under the same theme of vengeance, they are quite different in terms of how each protagonist is portrayed and how each play is received. Hamlet, because he relates his father's death to the state of the world, represents a larger social commentary on mankind while Vindici and his antics represent a play that shocks rather than provokes thought.
From the Paper
"Hamlet is also motivated by an outside force, which is the ghost. The presence of the ghost guarantees that hamlet will find no rest from his sorrow or his shock until he avenges his father's death. The presence of the ghost adds a supernatural element to Hamlet that The Revenger's Play does not have. This element allows us to believe Hamlet when he compares the rankness in Denmark to the fallen state of the world. The ghost heightens Hamlet's inner conflict not only because it exists but because of its request. Hamlet's religious upbringing has taught him that murder is wrong and Hamlet tries to get out off killing Claudius by wasting time trying to determine of the ghost is legitimate or simply a "goblin damned" (Shakespeare i.iv.44). Even when hamlet decides that the ghost is good, he experiences difficulty following his orders. The ghost in Hamlet opens the play up to spirituality and thus spiritual conflicts."
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The Unforgivable Othello, 2005.
A brief discussion about whether it is easier to feel sorry for or to forgive Othello in Shakespeare's play.
1,113 words (approx. 4.5 pages), 1 source, MLA, $ 38.95
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Abstract
This paper discusses that, while it is one thing to feel sympathy for Othello, the protagonist in Shakespeare's play, "Othello", it is another thing to forgive him for his anger and other bad behavior. It shows how Othello proves himself to be a man that acts spontaneously in addition to acting irrationally when it comes to matters of the heart.
From the Paper
"This question tells Iago that Othello respects his opinion. In addition, Othello allows himself to be influenced by Iago when Iago warns him, "O, beware, my lord of jealousy!/It is the green-eyed monster, which doth mock/The meat it feeds on" (III.iii.166-9). Iago knows that there is no reason for Othello to be jealous and Othello should know better but he does not. It is unforgivable that Othello allows Iago to have so much influence when it comes to matters of his intimate life with Desdemona."
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Revenge in "Hamlet".
This paper discusses the concept of revenge in William Shakespeare's "Hamlet".
1,745 words (approx. 7.0 pages), 10 sources, MLA, $ 56.95
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Abstract
This paper explains that, through the 20th and 21st centuries' psychological and individualistic lens, "Hamlet" often is thought of as a drama primarily about one man's relationship with a dead father and a living and murderous stepfather, but it also can be seen as a play almost completely about the circular economy of revenge, which, during the Elizabethan and Jacobean era, was one of the ways individuals remained connected to the past and the world of the dead. The author believes that the most chilling display of the ideology of revenge is the scene in the graveyard, where Ophelia's corpse is wrestled between her brother and Hamlet. The paper relates that, in Act 4, when Hamlet returns from England, the site of Protestantism, he no longer sees revenge as a positive thing; the Elizabethan audience would have approved of this attitude, which despised revenge and purgatory as anti-humanist, but still acknowledged the need to survive in a bloody, politically uncomfortable, and divided society.
From the Paper
""Hamlet" begins with a Denmark under siege in Scene 2, with the Norwegian Fortinbras demanding revenge for his dead father in the form of restitution of Norwegian lands. Upon meeting the ghost of his dead father, Hamlet vows revenge upon his uncle. He says he will forget all of his studies, even his identity, until this is accomplished. Hamlet does not kill his uncle at prayer, because the revenge will not be full and fitting if Claudius does not suffer in purgatory, calling this hire and salary, rather than true revenge. Laertes vows revenge upon Hamlet, the man who killed his father. Ophelia bedecks herself in flowers and uses the flowers to communicate, through the riddles of her broken mind, to say what she could not say while sane."
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"Othello" vs. "The Tempest", 2004.
A comparative essay of Shakespeare's plays, "Othello" and "The Tempest".
1,566 words (approx. 6.3 pages), 6 sources, MLA, $ 51.95
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Abstract
This paper claims that, at first glance, Shakespeare's "Othello" and "The Tempest" could not be more unlike. "Othello" is a tale rooted very firmly in the here-and-now, the actual city of Venice, an important and central location for the Renaissance man. "The Tempest" is a fantasy taking place on a "marvelous" island. However, the paper explains, a closer look reveals that Venice, too, is marvelous and is, moreover, the perfect link between the civilized and the savage. It is no wonder then that the story of the 'noble savage' in the character of "Othello" was placed there. Nor is it any wonder that the less noble savage, Caliban, is found on an island that, while not straddling the literal old and new world orders, nonetheless bears representatives of each. The paper contends that both "Othello" and "The Tempest" are indeed exemplary of the statement, "Europeans contact with people of other cultures during the Renaissance period had a disorienting effect, as it raised the question of who was truly 'civilized,' and who was truly 'savage'." Shakespeare seems to answer that question in both plays, often in ways that may, at first, like the true meaning of Venice, be hidden.
From the Paper
"The Renaissance was about discovery, artistic, scientific and geographic. The geographic discoveries led to European's 'finding' new lands-although the lands had clearly been there long before any Europeans sailed to them-and thus to European culture bumping into cultures far different. The Europeans, since they had 'discovered' those other people, found it easy to set themselves up as superior to the discovered populations; that being the case, they then began to colonize the natives of those places, to civilize them (or, as one might say in a more politically sensitive age, Europeanize them, although that sounds even more paternalistic than colonizing). Cefalu argues that hierarchy was central to the European concept of civilization; any culture that lacked masters and subordinates was, therefore, uncivilized. Such as the culture found in "The Tempest"; it paralleled, Cefalu argues, the lack of stratification in the American colonies at the outset (Cefalu 2000)."
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"The Tempest", 2004.
An analysis of the characters in William Shakespeare's play, "The Tempest".
1,238 words (approx. 5.0 pages), 2 sources, MLA, $ 42.95
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Abstract
This paper reviews Shakespeare's "The Tempest," depicting a world that seems to confirm the idea that there are 'no small parts', namely, that it is not the size or even the plot significance of a character that matters in terms of that character's impact upon the audience. The paper contends that what really matters is how significant that minor character is in terms of underlining the themes of the play and what that character represents in the world of the play. The paper explains that, by making all of his minor characters three-dimensional and multifaceted in their complex psychologies, Shakespeare creates an island world that is fully populated with beings who have a sense of psychological verisimilitude, even if they are airy sprites and earthly devils.
From the Paper
"At first, "The Tempest" depicts a world that is entirely dominated by the figure of Prospero. All of the other characters are dwarfed to his prominence as a figure of manipulation. He causes the tempest that propels the plot of the action on stage. But the emotional effect of the resolution of the play, that of Prospero's reinstatement to his former place in society that takes place after Act 5, is less intense that might be expected, given that Prospero only meets his usurper in front of the audience face-to-face at the end of the play, after his daughter Miranda has become betrothed. "The Tempest's" onstage conflicts are really more compelling in the way that minor characters are actively paired against one another as dual forces, more strikingly than the main plot of the play."
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Hamlet and the Memento of Death, 2005.
A look at how the theme of 'memento mori' can be seen throughout Shakespeare's "Hamlet".
2,452 words (approx. 9.8 pages), 5 sources, MLA, $ 74.95
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Abstract
This paper explains how the language and plot of Hamlet easily lends to the ideology of the 'memento mori,' which means 'remember your death,' and how the entire plot may be seen as embodying the concept of memento mori.
From the Paper
"When the Renaissance brought about a rebirth of many of the philosophies and customs of antiquity, it resurrected the ancient stoical idea that by mediation upon death one might be able to come to terms with it and pass beyond grieving into a more rational relationship with the dead. Of course, even prior to the Renaissance, the culture of the middle ages had certainly been preoccupied with death. "More than any other period in history, the late middle ages were preoccupied with the thought of death," writes Henry Jacob in his book on Memento Mori and Shakespeare. He goes on to explain that during the middle ages, individuals lived with the constant reminder of mortality; they faced plagues and wars, famines and frequent problems with child birthing and high infant mortality - not to mention the constant slaughter and harvest implicit in farming life. Death was ubiquitous."
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Was Hamlet Mad?.
Character analysis of Hamlet and a look at whether he was or was not really mad.
1,162 words (approx. 4.6 pages), 1 source, $ 40.95
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Abstract
This paper argues that Hamlet feigns madness because it will give him the leverage he needs to avenge his father's death. The paper asserts that Hamlet realizes that, by feigning madness, he will have more freedom to act in a manner that will allow him to get revenge on the murderer of his father.
From the Paper
"In both these scenes, Hamlet is talking with people he has always viewed as close friends and confidantes. After determining who he can and cannot trust, he tells those he trusts, and who can help him achieve his goal, that he is not mad. He tells those he cannot trust, Rosencranz and Guildenstern, that he is mad. Each person is convinced of exactly what Hamlet needs them to believe. This is not madness. It is, in fact, the height of rationality. Hamlet is like a play master, scripting what he wants the four characters to do and say."
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Hamlet's Downfall, 2005.
Examines how Shakespeare's character, Hamlet, suffers from mental instability, which is the cause of his downfall.
1,619 words (approx. 6.5 pages), 0 sources, $ 52.95
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Abstract
This paper explains that Hamlet is a complex character with many nuances and subtleties. So complex is his emotional makeup that he is pulled by conflicting thoughts and emotions to the point of mental instability. It shows how Hamlet displays his grief openly, inviting suspicion on himself, which is an unwise move for someone plotting against the king. The writer concludes that Hamlet's negative perspective leads him on a downward spiral to despair and ruin.
From the Paper
"Hamlet is plagued by self-doubt. His inconsistent behavior is a manifestation of his lack of trust in himself. Not trusting his own senses, Hamlet wonders if he really saw the ghost of his father, which causes him to wonder if the story of the murder is actually true. In order to get verification or evidence against the king, Hamlet contrives to have the actors play out a similar scene in front of the king in order to observe his reaction. Still not quite trusting himself, Hamlet calls upon his friend Horatio to also watch the king and serve as a judge of his reaction to the play. While one cannot really blame Hamlet for questioning his own sanity after seeing a ghost, this scheme is necessary in order to validate Hamlet's lust for revenge. Hamlet seeks confirmation in the king's reaction that he is not insane, that he has a rational hold on things. Without it, Hamlet would always doubt his actions, whether or not he was in the right. After killing Polonius, Hamlet sees the ghost of his father again, this time in the company of his mother. Hamlet is taken aback when he realizes that his mother cannot see the apparition. This feeds his doubts and causes him to question his sanity even further. The timing of the ghost's arrival is telling, however. Shortly after Hamlet spared the life of the usurper, then subsequently killed an innocent man, the ghost appears before him as if to serve as a reminder of his own guilt. The ghost accuses him of waning purpose, which is what Hamlet, most fears in himself- that he will not have the strength to avenge his father."
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"Hamlet", 2004.
An analysis of William Shakespeare's "Hamlet," with a focus on Hamlet's oedipal complex.
2,200 words (approx. 8.8 pages), 5 sources, MLA, $ 68.95
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Abstract
This paper reviews the play, "Hamlet," by William Shakespeare. The paper contends that "Hamlet" is a complex play and can support a wide variety of interpretations. The paper describes one aspect of the psychology of the main character that harks back to the ancient world and the story of Oedipus, who was ordained to kill his father and marry his mother, which he unwittingly did. This story would later serve as a source for Sigmund Freud as he developed his oedipal theory, and the paper explores a similar idea that is played out by Hamlet in terms of his mother and father. The paper explains that Hamlet does not kill his own father, but he does have to kill his step-father at the behest of the ghost of his father and plays out the idea of sexual jealousy because his mother has remarried.
From the Paper
"In Hamlet as in other Elizabethan drama, the fate of kings is tied to the order of the universe, and dissension and tension in one is reflected in the other. Yet, the issue is complex, and while the usurper has no right to rule, it is not always clear who has the right to prevent him from ruling. The hesitation of Hamlet, much commented on by critics, may derive from the fact that while he knows Claudio to be a regicide, to kill Claudio would make him a regicide as well. The usurpation of the throne leads to a more dangerous and uncertain environment in the land, and nature concurs by expressing through storms and other travails visited upon the people that a great political wrong is also a great moral and religious wrong. The effects of a regicide are seen in storms and the like because such actions offend the gods, or God."
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"Hamlet", 2004.
A review of William Shakespeare's "Hamlet".
1,845 words (approx. 7.4 pages), 4 sources, MLA, $ 59.95
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Abstract
This paper presents William Shakespeare as a political critic in his play, "Hamlet". The paper contends that "Hamlet," as a literary work, is clearly an assassination of the fragile nature of a monarchical government controlled by one fragile man and his selfish desires. The paper explains how Shakespeare challenges the status quo not with what is within the work, but with what is left out: any mention of the population of lives altered by the treachery, intrigue, ambition and lust inherent in humankind. The paper claims that Shakespeare's subtlety allows viewers to overlook the political assassination in the work as it boldly pronounces the very personal and local results of the real assassination of a king.
From the Paper
"Treachery, intrigue, ambition and lust all emotions and situations the modern world is intimately aware of, yet universal in their historical control over humankind. Unresolved grief for many is the cornerstone of madness, the death, or subversion of reason as the monitor of emotion the biggest fear within Shakespeare's Hamlet, within the play itself and within the character of Hamlet. (Levy 83) Stricken by the universal outgrowth of treachery, intrigue, ambition and lust Hamlet struggles to regain control over his emotions. Hamlet wavers between the rational and the emotional, with only marginal ability to control either and within his struggle lays the fate of a nation."
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"Hamlet" and "Oedipus the King", 2005.
Character analysis of Prince Hamlet in "Hamlet" by William Shakespeare and Oedipus in "Oedipus King" by Sophocles.
807 words (approx. 3.2 pages), 1 source, APA, $ 28.95
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Abstract
In this paper, a character analysis of both Prince Hamlet and Oedipus is conducted, arguing that both characters have exhibited tragic flaws that ultimately determined their downfall in life.
From the Paper
"In Aristotle's literary discourse, "Poetics," he discusses his theory of tragedy, wherein he introduces the concepts of tragic flaw or "hamartia," which serves as the catalyst for the protagonist's downfall or the tragedy of the story to happen. He determines a tragedy as a "drama" that brings about a "sorrowful conclusion, arousing fear and pity in the audience" (Roberts and Jacobs, 1998:1189). Tragic stories are identified through three (3) characteristics or elements: first, the protagonist, usually a male, must be of noble stature; second, the protagonist or tragic hero must possess a tragic flaw or "hamartia" that shall become his downfall at the end of the story; and third, the hero's downfall must come with a self-realization on his part, making him a 'reformed' individual even if a tragic outcome happens to him."
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William Shakespeare's "Othello", 2004.
This paper analyzes the character Iago in William Shakespeare's play, "Othello".
1,105 words (approx. 4.4 pages), 5 sources, APA, $ 38.95
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Abstract
This paper explains that Iago, from William Shakespeare's play, "Othello," is probably one of the best evil characters ever created. The author points out that he is an interesting case study because he is proud of his evilness and plans to use it to his utmost abilities to bring Othello down. The paper relates that another aspect about Iago's character that makes him so detestable is that he really has no reasonable excuse to hate Othello so much; he is not crazy, but rather is smart and clever, two characteristics that make him even more dangerous.
From the Paper
"Another characteristic of Iago that is unforgettable is his cleverness throughout the entire play. Iago must know Othello well because he demonstrates that he knows just the right things to say to Othello to spur his anger and jealousy. Robert Heilman claims, "Wit is Iago's instrument to compensate for what he does not have. He perversely hates and yet lusts after what he does not have . . . and he undertakes to disparage it, minimize it, debunk it, and destroy it." Once he knows what it is he wants to do, he has no trouble achieving his goal. Critic Harold Bloom states that Iago's ruination of Othello is in some ways too subtle for criticism to paraphrase. Iago suggests Desdemona's infidelity by at first not suggesting it, but hovering near and around it." This is all too true."
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Prospero, 2004.
An examination of the character, Prospero, in William Shakespeare's "The Tempest".
1,321 words (approx. 5.3 pages), 1 source, MLA, $ 44.95
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Abstract
William Shakespeare's character, Prospero, in "The Tempest", proves to be one of the playwright's most baffling and interesting creations through his dramatic transformation. This paper shows that, while Prospero is an interesting mix of power, magic, and knowledge, he becomes an example of one of the most humane individuals we encounter in Shakespeare's plays. One of the most striking aspects of Prospero's character is the fact the he abandons his power and decides to return to being a regular human being. His actions clearly demonstrate a desire to return to his humanity rather than become like a god. An analysis of his actions throughout this paper indicate that Prospero does indeed change for the better and, as a result, changes our perception of him, as well as his world of magic. The paper also compares Prospero's traits with other Shakespearean characters, such as King Lear and Macbeth.
From the Paper
"While many may find Prospero's sincerity at the end of the play problematic, a close examination of his actions reveals his true intentions. We can assume that since Prospero spared his enemies, his goal was not simply punishment for the sake of punishment. Certainly Prospero was aware that he could easily destroy them with his magic if he intended to punish them. A grander scheme would have included destroying them while saving the ship, which would have provided the means for Prospero to return safely to Naples. Prospero also comes to the realization that revenge may not be worth its intended results. In some of his last lines he hopes that his final acts assault "Mercy itself and frees all faults/As you from crimes would pardoned be,/Let your indulgence set me free" (V.i.18-20)."
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"Othello", 2004.
An analysis of love as a mockery in Shakespeare's "Othello".
787 words (approx. 3.1 pages), 1 source, MLA, $ 28.95
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Abstract
This paper paper discusses the emotion rampant in Shakespeare's "Othello". The paper contends that many of the loving relationships in "Othello" prove to mock the very word. The paper describes the characters of the play and explains that these characters prove that love, as well as jealousy, can be a destructive force.
From the Paper
"While jealousy is one of the most written about emotions in William Shakespeare's play, Othello, it is far from being the only powerful emotion in the play. Just a jealousy can be a destructive force and "mock the meat it feeds on" (Shakespeare III.iii.168), we learn from some of the characters that love can be as well. Brabantio certainly loves Desdemona but not nearly enough because he allows himself to be swayed against his true instincts. Emilia is blind to what is going on all around her and allows her loving husband to make a mockery of their love. In addition, Othello allows himself to be played as a fool because of his own insecurities. His love for Desdemona becomes nothing more than an afterthought when it too late to do anything at all. These character prove that love, as well as jealousy, is a monster that mocks the meat it feeds on."
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