Abstract This paper examines how William Shakespeare uses comic and tragic plots to explore the various means of human survival in his two plays "Cymbeline" and "The Merry Wives of Windsor". It looks at how comedy and tragedy are defined by each other and how the juxtaposition of emotions, pathos, close character work, comparisons and suffering and reconciliation are just a few of the topics covered.
From the Paper "Innogen and Posthumus only have two scenes together, the first and the last, and the time between dramatises both of their maturations. However although Posthumus undergoes harsh experience, not to the same extent as his wife, it is innogen who shifts the play towards a comic ending. Posthumus? soliloquy in Act two may arouse deep feeling and a hint of mental turmoil but does not touch on Pathos. His tone at the beginning of Giacomo's torment os of an unbelievable one: ?Render me some corporal sign about her more evident than this.? However he does not need a great deal of convincing from the deceitful Giacomo to believe his wife has been unfaithful and moreover has offered her "chaste" and "virtues" to another man."
Tags: cloten, giacomo, innogen, maturation, natural, order, pathos, posthumus, titus
Abstract "Cymbeline" is one of the lesser-known comedies of William Shakespeare. but it contains all the drama, intensity, chaos. and confusion of a typical Shakespearean work. This paper examines some instances when clothing is used by the characters in the play to carry out important tasks. The paper shows that clothing has been given different terms. such as clothes, apparel. and garments in the play. and this helps in creating the right kind of setting for different incidents.
From the Paper "From the above passage it is clear that clothing was used as a tool to transform a meek dainty woman into a strong ad courageous person. It was not exactly transformation of woman into man, but a weak person into a brave one. Clothing, it appears, could change the course of Imogen's destiny-who would have otherwise been remained imprisoned in the castle. Pisanio encourages her to stop behaving like a weak pretty woman and instead force herself to act and feel as strong as a man. To this, Imogen replies that she already feels like a man. However Pisanio is not happy with this answer and tells her to change into men's clothing:?First, make yourself but like one.
Fore-thinking this, I have already fit--
'Tis in my cloak-bag--doublet, hat, hose, all
That answer to them: would you in their serving,
And with what imitation you can borrow..? (Pisanio, Act III Scene IV)"
A discussion on how William Shakespeare's "Cymbeline" and the "Sonnets" are in many ways less satisfactory than "A Midsummer Night's Dream" and "Richard II".
Abstract This paper examines how Shakespeare's work changed substantially through his career and how change wasn't always for the best. It briefly outlines the chronology of Shakespeare's work and discuss some of the similarities and continuities as well as the changes evident in the texts of "Cymbeline" and the "Sonnets" compared with his other works such as A Midsummer Night's Dream" and "Richard II". It also considers the contemporary influences that may have informed these changes as well as critical reception and performance histories that bring us to the current state of popularity of these works.
From the Paper "Critical reception of Cymbeline has been mixed, which has inevitably affected the popularity of the play. Many early critics such as Samuel Johnson writing in the eighteenth century focussed on its lack of classical form and Hawkins and Garrick produced modified versions of Cymbeline to encompass classical ideals. Nineteenth century reception was on the whole more sympathetic, particularly to the character of Innogen who found favour with the Romantics and Victorians. One notable critic writing at the time of women's suffrage was George Bernard Shaw who condemned its "artificialities" and declared Innogen an "idiotic paragon of virtue" (quoted in Brown and Johnson, 2000, p. 10). Shaw also criticised the play's complicated denouement and entirely rewrote it for his production in 1936."
Abstract This paper explores the wider symbolism of the "manacle of love," the bracelet with which Posthumus presents Imogen when he secures her hand in marriage. The writer explains that with this act, Shakespeare opens the play outwards from the realm of romance to that of tendentious subversion of the value of female sexuality and political energy. Through the rest of the play, the real and metaphoric values of the manacle continue to resonate as it passes through the hands of three different characters.
From the Paper "As a foundational myth, Cymbeline is a family romance that embodies the desire of being freed from one's historically-defined origins through a "right marriage," the execution of which is related directly in many of Shakespeare's later plays to a discourse that is misogynistic in its open attacks on women as the originating forces within the emerging culture. Focusing on the machinations associated with "marrying" of Cymbeline's daughter Imogen, who eventually takes the ill-fated Posthumus as her mate of choice, the play traces most obviously the trajectory of the husband's treatment of his young wife."
Abstract This paper provides a brief introduction to the stream of consciousness and its history in literature. It looks at Woolf's narrative technique and her employment of the stream of consciousness and in particular, how external objects encourage shifts in the narrative and convey that all minds are joined to one another. It also analyzes the character of
Clarissa.
From the Paper "The image of "icy claws" fixing in Clarissa could be the cold shiver of a sneaking suspicion crawling up her spine and sinking its jagged claws into the base of her skull. It is realisation gripping her. This image could also relate to Peter's perception of Clarissa, describing her as "cold" and unfeeling. "There was something cold in Clarissa, he thought." Woolf compares time metaphorically to water droplets, each second trickling away "as if to catch the falling drop..." The motif of water recurs as Woolf describes Clarissa "plunging" into the depth of the moment. The description of Clarissa's appearance as "delicate pink" is symbolic of her interior. Despite the contradiction of her sharp, "pointed", front she is a delicate, reflective character. "
Abstract This paper focuses on William Shakespeare's use of women in his plays. It shows how Shakespeare chose to include women such as Lady Macbeth, Desdemona and Imogen as counterparts to the male protagonists often guiding the play. It describes the roles played by Lady Macbeth, Desdemona and Imogen and how they are necessary to not only maintain the flow of the play, but often to coerce their male counterparts into extreme behavior. The paper focuses on the strength and abilities of these women, deriving a logical conclusion as to why Shakespeare may have given them such great importance.
From the Paper "English poet, playwright and actor, William Shakespeare, bestowed upon the world a canon of literature that has earned him recognition as the greatest playwright of all time. Through his literary genius, Shakespeare created some of the most famous literary works studied across the globe. His methodical and artistic nature provided an enhanced view of our world through imitation and a means by which issues such as race, class and gender could be transcended. Shakespeare's creative efforts encouraged cultural influence allowing him to attain this profound appreciation that no other author has rivaled. His ability to captivate audiences in numerous languages has allowed him to remain the "greatest playwright of all time." Time after time, William Shakespeare proved himself to be the "soul of the age"(Jonson), providing works that imitated real life, while incorporating lyrical images that transcended this Elizabethan Era literature and become contemporary in "all time"(Jonson). His writing often combines an efficient use of symbolic messages, facets of British and Roman history, romance, revenge tragedy, comedy and myth. The versatility of Shakespeare's prose from one literary piece to the next seems to be central to his success. The brilliance of William Shakespeare is exposed in his dynamic ability to write and perform the greatest theatrical works the world has ever experienced."
Abstract The paper discusses how, in William Shakespeare's "The Winter's Tale", the idea of time and time passing are key elements in the drama. The paper analyzes how time is constantly expressed in the play through direct methods such as the use of Time as the chorus at the beginning of Act IV and, more indirectly, in the development and situation of characters. The paper examines how the two characters most controlled by time are Leontes, King of Sicilia, and his beautiful and devoted queen, Hermione.
From the Paper "It seems that late in his career, Shakespeare chose to play with new forms of drama. However, like his earlier works, The Winter's Tale is based on a story that already existed. In this case, a prose romance called Pandosto by Robert Greene inspired Shakespeare's play (Biemen 67). It is the changes that Shakespeare made to the existing story that make this such an interesting play for the famous playwright. Greene's version ended in complete tragedy. However, Shakespeare's play finds its way out of the tragic mode to end much like many of his comedies. Shakespeare's reason for this change is unknown, but it has raised many questions about his intentions."
