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Hamlet and Ophelia, 2002.
An analysis of the similarties in the characters of Hamlet and Ophelia in Shakespeare's play "Hamlet".
1,802 words (approx. 7.2 pages), 1 source, MLA, $ 57.95
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Abstract
This paper examines there the several distinct characteristics of misery and madness that abound in both Hamlet and Ophelia. It explains how their lunacy each stems from similar sources of grief, but the true evolution of their madness is methodically different due to their gender and their status in Elizabethan society.
From the Paper
"Throughout Hamlet, Ophelia appears in a mere five scenes and is only one of two females present in the play and therefore stands not to pose as a prominent member of the play. Ophelia's father, Polonius, whom is the chief advisor to the new King Claudius, and a highly respected man, demands that his daughter tell Hamlet that she can no longer be with him even though she desperately is in love with him."
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Tragic Figures in Literature, 2002.
Uses two famous literary characters to demonstrate how authors of literature have historically used their works to make their characters evoke emotion in the hearts of their readers.
1,892 words (approx. 7.6 pages), 8 sources, MLA, $ 60.95
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Abstract
This paper presents an examination of tragic figures. The writer compares and contrasts Macbeth and Arthur Dimmesdale as "tragic figures". Their lives, their ideas and the things that happen to them all contribute to the tragic figure persona
From the Paper
"Throughout history authors of literature have used their works to make their characters evoke emotion in the readers hearts. One of the most emotion evoking characters in works of literature is the tragic hero. The tragic hero is a hero in actions and tragic in the flaw that makes him or her human after all. The tragic hero is the character that struggles with human flaws or emotions while at the same time acting in heroic ways. The ways of a tragic hero are often about warriors and the ability to fight but this is not always the case."
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Shakespeare?s ?Macbeth?, 2002.
This paper discusses Shakespeare?s ?Macbeth? for the perspective of the marriage relationship between Lady Macbeth and Macbeth.
1,540 words (approx. 6.2 pages), 1 source, $ 50.95
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Abstract
This paper explains that the marriage relationship between Lady Macbeth and Macbeth is ironically close, given their overwhelming personal ambitions. The author feels that their relationship disintegrates not because they lack love or respect for one another, but because they succumb, by the end of the play, to guilt and other personal psychological demons. The author relates that the porter?s joking about his drunkenness is an analogy for Lady Macbeth and Macbeth?s being drunk on power, as well as the clouding of their moral judgment.
From the Paper
"Macbeth?s soliloquy at the time of his wife?s passing is as full of sorrow as Macduff?s, but Macbeth also lapses into self-absorption and bravado. At first, he mourns his loss, saying ?She should have died hereafter,? (V, v, 19). Macbeth then begins the ?Tomorrow, tomorrow, and tomorrow? soliloquy, which reeks of hopelessness, despair, and nihilism. He feels that life is meaningless, and in so doing may be attempting to extricate himself from his own guilt. Lady Macbeth committed suicide because of her immense psychological trauma. Her husband transforms his guilt into self-righteousness and even after Lady Macbeth?s suicide he still feels invincible because of the witches? prophesy. Whereas Macduff incorporated his loss and pain into a healthy psychological makeup, Macbeth transforms his grief into denial."
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William Shakespeare's "King Lear", 2002.
Analyzes the characters' use of disguises in the play "King Lear".
1,237 words (approx. 4.9 pages), 0 sources, MLA, $ 42.95
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Abstract
This paper attempts to answer why the characters in "King Lear" use disguises and what this need for disguises says about the world in which they live. The paper discusses the disguise of each of the main characters in the play and then explains the purpose each of those disguises.
From the Paper
"William Shakespeare, in his tragedy ?King Lear? describes the story of King Lear who intends to divide his kingdom among his three daughters in accordance with the love that they could profess for him. It was also his intent to retain all the powers of the king while absolving himself of the duties and functions, which has to be performed by a ruling king. But as the fate had decided King Lear divides the whole kingdom into almost two equal portions and gives them to his two cunning elder daughters. The youngest innocent and gentle daughter, whom he loved most and about whom it was expected that she would get the biggest share from the kingdom, is denied her legal rights and nothing is given to her. As soon as the two elder daughters take full command of the situation, they start mistreating their father and the King takes refuge in a jungle."
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"Titus Andronicus", 2002.
A look at the motif of revenge in Shakespeare's "Titus Andronicus".
1,785 words (approx. 7.1 pages), 2 sources, MLA, $ 57.95
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Abstract
This paper discusses how this first tragedy written by William Shakespeare ca. 1590, is full of recognizable themes and motifs which were later incorporated in his more mature works. It shows how "Titus Andronicus" differs greatly from its successors, mainly due to the overt application of revenge perpetrated by its numerous and dangerous characters.
From the Paper
"Shakespeare accomplishes this movement towards disaster through the idiosyncrasies, actions and reactions of many characters bent on revenge via a long list of reasons. For instance, when Titus Andronicus, known for his victories over the barbarian Goths and candidate for the emperor of Rome, decides to sacrifice Alarbus, Tamora?s eldest son, to appease the spirits of the Roman gods, the plot immediately commences on a full throttle movement towards revenge via Tamora, queen of the Goths and her two surviving sons, Demetrius and Chiron. This action then prompts Bassianus, the son of the late emperor of Rome, to kidnap Lavinia, the only daughter to Titus Andronicus, which sets into motion additional vengeance."
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Sexual Jealousy in Shakespeare, 2002.
This paper introduces, discusses and analyzes the plays "Othello" and "The Winter's Tale" by William Shakespeare.
700 words (approx. 2.8 pages), 2 sources, MLA, $ 24.95
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Abstract
This paper discusses how sexual jealousy drives the plots of "Othello" and "The Winter's Tale". It shows how one play is a tragedy, the other a romance, or tragic-comedy, and how different genres imply different audience expectations. The paper explains how Shakespeare modifies the two jealousy plots to produce the effects aimed at in the two different kinds of plays.
From the Paper
"Sexual jealousy prevails in the romantic and yet sometimes tragic "The Winter's Tale" from beginning to end. Leontes believes his wife, Hermione has been unfaithful to him, and has her jailed. While in jail, she has a child, who he disowns and abandons in the wilderness. However, Leontes soon learns that his jealousy is not only misplaced, it is extremely costly to his family. His only son dies from grief at his mother's imprisonment, and soon Hermione is also reported dead. Leontes is so distraught, he secludes himself for sixteen years before he discovers his lost child and that Hermione is still alive. The romance ends happily, with everything right in the world again. "
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?The Prince?, 2002.
Discusses how William Shakespeare's character, Iago from his play, "Othello" fits the characteristics of a true Machiavellian figure from "The Prince".
907 words (approx. 3.6 pages), 2 sources, MLA, $ 32.95
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Abstract
The paper begins by examining how Machiavelli portrayed the characteristics of a true leader in his book, "The Prince", which was meant to offer sound advise to those in power. The paper then looks at Iago from William Shakespeare's "Othello" as an example of how selfishness can sometimes lead to success and how one might use evil powers of manipulation and ruthlessness to destroy the life of one's enemies.
From the Paper
"Iago possesses the genius of Machiavelli?s prince. He is ruthless and cares about no one but his own goals and ambitions. Secondly, just like the prince, he is least concerned about morality or ethical aspects of his actions. He simply believes in winning by hook or by crook and that is exactly what Machiavelli wanted his prince to do. Iago is aware of the evilness of his intentions as he says, ?To counsel Cassio to this parallel course,/Directly to his good? Divinity of hell!/When devils will the blackest sins put on,/They do suggest at first with heavenly shows,/As I do now:? (Act 2, Scene 3)"
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William Shakespeare, 2002.
Discusses the influence of the Bard's writings on literature and what influenced his own writings.
2,002 words (approx. 8.0 pages), 7 sources, MLA, $ 63.95
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Abstract
William Shakespeare was born in 1564 and spent most of his childhood in Stratford, Great Britain. It wasn't until the age of 28 that Shakespeare began to gain prominence as a playwright. This paper shows that little is known about the private life of the man who would later be recognized as ?the greatest and most famous of English writers?. The paper shows that by skillfully creating realistic characters and situations is his plays, Shakespeares is still considered a major influence on writers across the world. Even in poetry, Shakespeare was able to transcend the boundaries of poetry and engage the reader in such a way in which all poets seek to imitate.
From the Paper
"Up until 1594 his plays appear to be influenced from Roman and medieval dramas. From 1594-1600, Shakespeare began to develop a distinctive style. The histories of this period are Shakespeare's best, portraying the lives of kings and royalty in most human terms. He also begins the interweaving, in these histories, of comedy and tragedy that would become one of his stylistic signatures. His comedies mature in this period as well, portraying more characterization in their subjects than previously. Between 1600-1608, Shakespeare wrote his tragedies, which would be the play that brought him infamy for centuries to come. Clearly, Shakespeare was at his best when he was writing these tragedies. The writing of Shakespeare until 1608, brings into focus the romantic tragicomedy. Many claim that Shakespeare seemed to be concerned with redemption at this time because the writing is more serious. These plays were also more lyrical and demonstrate how Shakespeare successfully mastered the technique of symbolism."
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Hamlet and Orestes: Contrasting Heroes, 2002.
Examines the characteristics of the heroes in William Shakespeare's "Hamlet" and Aeschylus' ?The Libation Bearers?.
1,919 words (approx. 7.7 pages), 2 sources, MLA, $ 61.95
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Abstract
The hero of the revenge tragedy is known for having certain characteristics. These include that the hero is compelled to act by certain forces, that the existing authorities are unwilling or incapable of satisfying the hero's craving for justice, that the hero has a detailed and devious plan they are determined to carry out and that there is a moment of declaration where the avenger tells the victim why they are going to be killed. "Hamlet" (William Shakespeare) and "The Libation Bearers" (Aeschylus) are two revenge tragedies, with the heroes of each Hamlet and Orestes. Since Hamlet and Orestes are both revenge heroes, it would be suggested that they are similar characters and they would each meet the criteria of the revenge hero. However, a close look at the two plays in this paper show that Hamlet and Orestes are very different characters. Orestes meets the fours criteria of the classic revenge hero, while Hamlet pushes all the boundaries of what would be expected and either only partially meets, or does not meet, the four criteria at all. To illustrate the differences, Hamlet and Orestes are compared, based on the four characteristics identified.
From the Paper
"The second characteristic of the classic revenge tragedy hero is that the existing authorities are unwilling or incapable of satisfying the hero's craving for justice. In both plays, the authorities are unwilling to right the situation, meaning that it is left to the hero to right it. Hamlet's and Orestes's circumstances are the same on this point. However, the two heroes differ in that Orestes has a craving to right the situation and Hamlet does not. The circumstances in both plays are very similar. In Hamlet, Claudius has killed the king and assumed the role of king. This puts Claudius in the role of power and since Claudius is at the highest level, the authorities cannot right the situation. This creates a need for someone to right the situation and Hamlet is assigned to this task. Seeking revenge is then a way to avenge Claudius's murder, as well as to restore harmony. In The Libation Bearers Orestes's mother Clytaemnestra has murdered her husband and Orestes's father, King Agamemnon. Clytaemnestra has obtained the highest seat of power, just as Claudius did. With Clytaemnestra at the highest level, the authorities cannot right the situation. The task of righting the situations falls to Orestes, with this necessary both to revenge his father's murder and to restore harmony."
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Father-Daughter Relationships in Shakespearean Plays, 2002.
The paper analyzes the use of father-daughter relationships in the plays of William Shakespeare, and focuses on the influence the daughter often possesses over her father.
1,164 words (approx. 4.7 pages), 4 sources, MLA, $ 40.95
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Abstract
The paper looks at the importance of the father-daughter relationship to the playwright and the Sixteenth Century society he wrote for. The paper highlights the Shakespearean play "King Lear" as containing the perfect example of such a relationship, in the way King Lear loved Cordelia, his third daughter. The paper also examines other heroines of Shakespeare who have also been shown in roles as daughters, where they either help their fathers or become a source of genuine comfort for them.
From the Paper
"The relationship between a father and his daughter is one of the most beautiful bonds that Nature has created and is unique in the sense that it provides both the concerned parties a kind of comfort that is missing from father-son relationship. Why this happens is probably not known. But the answer to this question is certainly grounded in psychology, which makes one authority figure deeply care about a younger dependent of opposite sex. While it was in recent times only that we came to learn and appreciate the significance of this bond, Shakespeare was a genius to have felt, detected and illustrated it in 16th century when he used his plays to highlight the beauty and worth of this important connection."
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What is Love?, 2002.
This paper looks for the definition of love in four sources: Ovid's "The Metamorphoses", C.S. Lewis' "The Four Loves", Shakespeare's "Romeo and Juliet" and the New Testament.
1,930 words (approx. 7.7 pages), 4 sources, MLA, $ 61.95
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Abstract
This paper, in the search for definition, explains that the Greek word agape (love) seems to have been virtually a Christian invention. The author cites another type of love, affection or friendship love also know as phileo. The author finds many types of love in ?Romeo and Juliet?, in which Shakespeare managed to combine love of God with love for humans. Long quotations.
From the Paper
"Throughout the tragedy of Romeo and Juliet various types of "love" are displayed. Benvolio believes women are interchangeable, while, at the beginning Romeo believes love is pain. At the beginning, Juliet does not even have a definition of love. Paris's and Lady Capulet's definition of love is in appearance. It is obvious that Shakespeare wants the audience to believe that the only "true" or "real" love is the love that exists between Romeo and Juliet. The first type of love the audience is introduced to is the "interchangeable" love of Benvolio. According to Benvolio, a man should "love" a woman for only the duration of their relationship. If their relationship should end, the man should feel no grief. If the woman rejects the man initially, he should still feel no grief. In either situation, the man should simply start a relationship with another woman. Benvolio's definition of love shows the audience two things about Benvolio: he is a womanizer and he has never before experienced "true love.""
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Hamlet and His Problems, 2002.
An alternative review of Shakespeare's play "Hamlet".
1,289 words (approx. 5.2 pages), 2 sources, MLA, $ 43.95
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Abstract
This paper presents a detailed examination of elements of the Shakespearean play, Hamlet. The writer of this paper uses "The Sacred Wood: Essays on Poetry and Criticism". by T.S. Elliot to illustrate the paper?s central argument. The writer also extracts passages from the play to support and underscore the paper?s theme.
From the Paper
"The play of Hamlet by William Shakespeare has long been studied as one of the greatest and most complicated works of all time. When one takes a first pass at the work one will be impressed by the seeming depth of the plot and the interlaced problems faced by the characters. It is only after one has taken a second look and examined the underpinnings of the truth of the story that one will begin to see what the great work really is. The work of Hamlet is a re-arranged version of an earlier play called The Spanish Tragedy by Thomas Kyd. Kyd?s play holds so many similarities to Hamlet that the overlapping of their plots will show Hamlet to be nothing more than a superimposed image of the original story by the previous author(Eliot 1)."
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On Shakespeare and Artistic License, 2002.
A discussion of the historical accuracy of the plays of William Shakespeare.
3,420 words (approx. 13.7 pages), 9 sources, MLA, $ 96.95
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Abstract
This paper examines how there are many points of contention between historians and artists when it comes to the subject of artistic liberties versus historical fact. Through a review of "Macbeth" and some of his other plays, it attempts to determine some of these historical inaccuracies and analyze why they occurred. It focuses on the question of whether or not Shakespeare was even concerned with being historically accurate or whether he intentionally took ?liberties? with his plays.
From the Paper
"Many of Shakespeare?s primary sources are now available in their entirety on the Internet. Facsimiles of Holinshed?s history is available, Reginald Scot?s Discoverie of Witchcraft and King James I Daemonologie are available in their entirety. Seneca?s plays are available in their original Latin, as well as some excellent translations. Many others have written on the historical inaccuracies of Shakespeare?s plays long before it was so easily to look at his primary sources and compare them to the play. These authors only focused on whether Shakespeare?s plays were historically accurate, and the consensus of the pool of authors was a unanimous consensus that Shakespeare?s did contain historical inaccuracies. This fact has been reiterated and restated many times, by many authors. There is no reason to restate what is now considered historical fact, as it is now considered common knowledge that Shakespeare?s plays are historically inaccurate when compared to modern historical sources."
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?Oedipus? and ?Hamlet?, 2002.
Examines the characters in plays by ancient Greek playwright, Sophocles and the Bard, William Shakespeare.
1,311 words (approx. 5.2 pages), 2 sources, MLA, $ 44.95
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Abstract
The characters of Sophocles? Oedipus and William Shakespeare?s Hamlet present two of the most enduring examples of the tragic hero. The paper shows that both characters are victims of fate and both characters are in control of their destinies, yet each character, turning different ways, end up with very different lives. The paper shows that Oedipus was lead by what he believed to be the truth and Hamlet, knowing the truth, is paralyzed by it. In exploring the similarities and differences between these two characters, the paper shows how we are able to understand fate and destiny and how they relate to the truth.
From the Paper
"Hamlet and Oedipus conform to the same classic formula. Hamlet is a member of a royal family and next in line to sit at the throne. Claudias has determined that Hamlet will inherit the throne. This makes Hamlet the second most popular man in Denmark and to anger him is to invoke a king?s anger in the years to come. Oedipus is already a king and he clearly asserts his position by announcing that he is king, the world-famous Oedipus. It is safe to assume that Oedipus is already in high standing in both the political and social hierarchy of the times because he is a king and he is world famous. To follow the model of the classic tragic formula, the story not only needs a hero who is in a position of status, but it also needs a hero to also fall from that position."
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Acting in Theatre, 2002.
A comparison of "Hamlet" by William Shakespeare and its spinoff Tom Stoppard?s play "Rosencrantz and Guildenstern are Dead" with an emphasis on the theme of acting.
889 words (approx. 3.6 pages), 0 sources, $ 31.95
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Abstract
This paper discusses how in both Tom Stoppard?s play "Rosencrantz and Guildenstern are Dead" and the play it was based on, Shakespeare?s "Hamlet", acting is a major theme and motif. It examines how especially in "Rosencrantz and Guildenstern are Dead", acting signifies the falsity, absurdity and superficiality of life and therefore, acting and the staging of plays is a metaphor for living. It analyzes how both plays use acting to portray the futility and tragedy of life, but how "Rosencrantz and Guildenstern are Dead" does so in an almost slapstick way. It looks at how Stoppard?s play is a comedy that grossly exaggerates two minor characters in Shakespeare?s "Hamlet". While Shakespeare shows how acting and drama can evoke deep emotional responses in people, as with Claudius? reaction to Hamlet?s play in Act II, scene ii, Stoppard proves that plays can be purely meaningless.
From the Paper
"The Players, or Tragedians in Shakespeare?s Hamlet first appear in Act II, scene ii. Hamlet speaks to the troop of performers about staging a drama for the King so that Hamlet can entrap him. The general association of plays and emotionality is conveyed in this scene. Hamlet?s main objective in staging ?The Murder of Gonzago? is to show Claudius that he is aware of his murderous act. Hamlet hopes to evoke in Claudius an incriminating response and to inspire fear in him. The players and Hamlet speak of the efficacy of the Classical Greek tragedies. This conversation emphasizes how significant great works of drama are in providing archetypes and universal metaphors. Even the characters within a play, in this case within Shakespeare?s play Hamlet notice the importance of play-acting. Hamlet, however, is caught up in the melodrama. In his soliloquy at the end of Act II, scene ii, he wonders how actors can feign emotion so well."
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The Man Who Was Not Shakespeare, 2002.
A biography of the comedic and tragic life of the playwright Christopher Marlowe with comparisons to William Shakespeare.
1,370 words (approx. 5.5 pages), 4 sources, MLA, $ 45.95
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Abstract
This paper looks at the life of the Elizabethan playwright Christopher Marlowe. It discusses how, unlike Shakespeare ,the other main playwright of the time has plays which tend to be character-driven. The author finds that Marlowe wrote extremely rhetorical, highly poetical works with elevated language and elaborate feats of stagecraft. It analyzes how Marlowe?s concern with power and society?s elite is reflected not only in the language of his plays, but also in terms of his play?s subject matter. This is reflected in his most famous works, such as ?Dr. Faustus? and ?Tamburlaine.? It looks at how Marlowe is often studied as an example of a literary influence upon the early Shakespeare but because Marlowe?s style is so different in tone and so divergent in subject matter, he exists more as an interesting historical curiosity in his own right, as an individual playwright of note, outside of Shakespeare?s own theatrical history.
From the Paper
"The fascination with Catholicism evident in ?Dr. Faustus? should not come as much of a surprise, even despite Marlowe?s avowed atheism. Catholicism was a despised and outlawed religion in the England of his time. But Marlowe did not contemplate converting to the faith. Rather, in one parodic document he wrote, he stated that Catholicism was a good religion, ?merely because it embraces the fictions of ceremony rather than indulging in the Protestant hypocrisy which pretends to a literalism it will not see through.? In other words, Catholicism is a better religion because it pretends the ?bell, book, and candle? of exorcism and the physical rites of the mass do have supernatural powers. This is unlike Protestantism which avows itself as a more spiritual, ascetic faith, stating that humanity will not be saved by physical acts, but by a system of theology and belief alone. Marlowe thus embraced the theatrical nature of religion, while defying the central tenants of religion itself, much like his great hero."
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Macbeth - The Tragic Hero, 2002.
A review of how Shakespeare's Macbeth manages to ruin his own life due to careless actions and becomes a true tragic hero.
1,025 words (approx. 4.1 pages), 1 source, MLA, $ 36.95
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Abstract
The writer of this paper argues that through a series of bad decisions, Macbeth single-handedly ruins his own life. By allowing himself to be influenced by outside forces, Macbeth diffuses his own moral strength and good nature, which were the very things that led him to greatness. The writer shows how, step-by-step throughout the play, the reader can watch Macbeth?s character deteriorate until he has nothing left. It concludes that Macbeth might have been a tragic hero, but the tragedy was of his own making.
From the Paper
"In the beginning of the play, Macbeth demonstrates characteristics of a hero and a leader. His loyalty to the king transforms into a desire to be king. This is evident in the first scene when Macbeth encounters the witches and falls victim to their curses and predictions. Because of his false sense of security, he believes everything they say. In a rather simple move, they have successfully tempted him with the idea of becoming king. Macbeth reveals his weakness in character when he allows himself to be swayed by what the witches tell him. Shakespeare paints a picture of a man that is somehow mesmerized by them and lulled into a ?fantastical? state of mind (1. 3. 139). Because he listens to them, he opens the door to fear and doubt; by believing what they say, he welcomes ambition."
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"Courtly Love", 2002.
A look at William Shakespeare's use of the concept of "courtly love".
1,263 words (approx. 5.1 pages), 4 sources, MLA, $ 42.95
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Abstract
This paper discusses how ?courtly love? is a term that was retroactively developed to describe a medieval French concept known as ?Fin Amour.? It examines how this concept became widespread in the 12th century and referred to a code of behavior that was to formulate our modern conceptualization of chivalrous romance. This concept was reflected in Francesco Petrarch?s "Italian sonnets", which introduced the concept of lyrical poetry in the 14th century. It analyzes how by Shakespeare?s time, a renewed interest in medieval court behavior coincided with a growing interest in Italian ducal courts as depicted in "Othello", "Romeo and Juliet" and "12th Night". It also evaluates how Shakespeare?s sonnets, which differed from Petrarch?s format, invoke medieval romantic concepts of unrequited love and long periods of courtship while taking a more humanistic approach to these themes.
From the Paper
"In that jealousy ultimately destroys Desdemona and Othello, Shakespeare?s portrayal of love is ultimately a tale of how people shouldn?t behave when they are in love. The way that the ill-fated couple conduct themselves before they leave Venice is essentially anti-social: when they secretly marry and elope, they implicitly reject the values of society and the desires of Desdemona?s family. Whereas a modern audience might see Desdemona?s refusal to respect her family?s wishes as a not to what were to become the cosmopolitan values of liberal, sexually and racially emancipated Europe, a Shakespearean audience would have recognized this action as a serious breach of conventional norms that characterized European society. "
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