Abstract This paper examines the mother-son relationship in two plays: Hamlet and his mother, Gertrude, in "Hamlet" by Shakespeare, and Amanda and Tom in "The Glass Menagerie" by Tennessee Williams. It demonstrates how the two plays and the characters of the mothers are quite different and how, in "The Glass Menagerie", Tom is able to brush off his mother's domination after too much struggle. On the other hand, Gertrude is unable to dominate Hamlet, even though she tries. It also shows how Tom's relationship with his mother is that of an irritated son who cannot stand his mother's meddling, whereas Hamlet's relationship is based on revenge and hatred.
From the Paper "Hamlet is one of Shakespeare's most popular tragedies written in around the 1600. The play is a melodrama of revenge, secrecy, madness and conspiracy. It revolves Hamlet, a prince of Denmark who's life is filled with tragedy. Initially he loses his father and while on the verge of recovering from this loss, he sees his mother Gertrude, marrying his Uncle Claudius within two months of his father's death. The shock of his mother's behavior is unbearable for Hamlet as he goes into severe depression and termed by some as complete madness. He fails to continue his studies and because of his mental state, his mother does not allow him to leave Denmark till he is completely stable."
Tags: revenge, hatred, gertrude, tom, amanda, claudius
Abstract In the work, "Hedda Gabler" by Henrik Ibsen, the main character, Hedda, commits suicide, while still pregnant with her unborn child. This paper is a character analysis of Hedda Gabler. It examines the reasons for Hedda's behavior and justifies it in her mind. Ethical issues, such as suicide, are also addressed.
From the Paper "In the last moments of Hedda's life thoughts of being mother, being trapped in a dull marriage, and the increasing threat of sexual assault and rape by Judge Brack raged through her mind. She could only see the bad things in life. She could not see the devotion to her from Tesman. She could not see the admiration the others had for her. She saw her life in a cage without control. That would not do. In her mind, suicide was the only way to escape the marriage, pregnancy, and impending affair."
Abstract Discusses the piano as a protagonist of the play and its representation of black history and transition from past to present. Examines the monetary and symbolic value of the piano and Wilson's use of music in his plays.
From the Paper "Inside this book, there is a review from the Washington Post which says, in part "The piano is no less vital a sign of a family's spiritual heritage than Chekhov's Cherry Orchard was." In a sense, the piano itself is the protagonist..."
Abstract This paper looks at the Globe Theater, where most of William Shakespeare's major works, ,including his famous four tragedies, were first staged. It shows how, although the original building was destroyed in the mid-17th century, a new "Globe Theater" has been built near the site of the old theater in London and replicates many of the original features of the original theater and still stages some of the bard's plays. It traces the history of the Globe Theater, describes the original building's main features, and covers the recent rebuilding of the new Globe.
Outline
Origins
Main Features
A "Microcosm" of the Times
Destruction
The "New" Globe
Conclusion
From the Paper "The stage of the Globe was a five feet high level platform of about 43 X 28 feet size. The stage was fitted with mechanisms such as trap doors in its floor that were creatively utilized by Shakespeare in his plays. It was surrounded on three sides by the "pit" in which the general audience (known as "groundlings" or the "one penny" audience) stood to watch the performances. The fourth side of the stage had a room for the actors where costumes changes were made. Around the pit were three galleries (balconies) one above the other that had seating for "two-penny" theatergoers. The topmost gallery was roofed with thatch and had a small turret structure, from which a trumpeter announced the day's performances. Since no artificial lighting was available, plays were usually scheduled for the afternoons."
Abstract This paper examines how Williams presents a number of characters who seem very different. However, despite the obvious differences, they are all living lives based on illusion to hide from the problems in their lives. The paper examines how the effectiveness of the play is related to three main points. First, by having Laura as the most extreme character, the tendency to hide from reality is emphasized and made clear. Second, by having a number of characters who all hide from reality in their own ways, Williams shows that the tendency is universal and shows that illusions cannot last. Finally, the glass menagerie in the play offers a clear symbol of the fragility and transparency of the manufactured illusions. These three main points that contribute to the effectiveness of the play are discussed in detail.
From the Paper "While Tom is the narrator and the major character of the play, Laura is the character with the most extreme qualities. She is extremely shy and while she wants to escape her life, she has no real ability to. In the play, the reader learns that she dropped out of typing school after vomiting before the first test. Her attendance at typing school was her mother's attempt for Laura to have her career, since she does not expect her to get married. Her failure at typing school represents the end of this possibility. Even before Laura's meeting with Jim, there is a sense that she will never either marry or have a career. She is simply too fragile and scared to face either of those possibilities. The meeting with Jim only confirms that Laura's life will not be one where she is saved by marriage. At one point when the unicorn breaks Laura says "Now he will feel more at home with the other horses, the ones that don"t have horns? (Williams 303). This is a sign that Laura can imagine seeing herself as normal and just like everyone else."
Abstract This paper examines the character of Oedipus the King in the play by ancient Greek playwright, Sophocles. It shows the culture of the audience of the time and discusses the overall plot of "Oedipus The King" to show that Oedipus was driven by forces other than himself, these forces being fate and destiny.
From the Paper "So far he has been fate's toy, being tossed around in the sea of destiny and now he is washing ashore confused and yet never more enlightened. Slowly it unravels and he sees that the prophecy has come true, he has killed his own father and his wife is really his biological mother. This realization causes him to gouge out his eyes, causing him to truly go blind. For once he can see nothing, but the truth. He realizes this when he says "What good were eyes to me" Nothing I could see could bring me joy.? These events have a rhythm, that cause the audience to suspect that destiny is at the helm of this ship."
Abstract This paper analyzes the plays, "Hamlet" by William Shakespeare and "Oedipus the King" by Sophocles. Specifically, it quotes passages that show the fatal mistakes of Hamlet and Oedipus and explains why you would have compassion or condemnation for it. It looks at how both plays illustrate tragic heroes at their best and how both plays illustrate how character flaws can lead to the downfall of everyday men who give in to their flaws rather than overcome them.
From the Paper "In "Oedipus," the same rule of the tragic hero applies, it is one of the most enduring tragedies of all time, and many believe it is the model for all tragedies that came after it. Oedipus suffers from a tragic flaw that is his undoing, too. Oedipus is rash and impetuous, and he often acts before he thinks, and others see this too. The prophet says, "That's your truth? Hear mine: I say honor the curse your own mouth spoke. From today, don't you speak to me, or to your people here. You are the plague. You ruin your own land" (Sophocles, ). Oedipus' tragic flaw is his rashness, such as when he kills his father on the road, but he is also immensely prideful, and this character flaw also adds to his downfall."
Abstract This paper focuses on the tragedy of "Hamlet" as it reflects the definition of what a tragedy is. The Aristotelian model of tragedy and the tragic hero are used as a reference to what makes a play a tragedy and what qualifies the character of Hamlet as a tragic hero.
From the Paper "For centuries people of all social classes have attended plays to escape reality and to be entertained. In the Elizabethan period one form of play that most fascinated its audience was the tragedy. In a typical Elizabethan tragedy men and women were presented as confronting powers outside themselves, facing them with a dignity which shows the audience the essence of the human spirit against tremendous odds which could result in pain, suffering, downfall, or perhaps even death. Shakespeare wrote many tragic plays such as King Lear, Julius Caesar, Macbeth, Othello, and Hamlet (Bedford par.1). Many of these tragedies utilized, as the main character, the Tragic Hero. Many philosophers, writers, and critics alike have speculated the necessary characteristics needed for a character to be considered a ?tragic hero.? Aristotle, the philosopher, formulated a criteria for a tragedy and a tragic hero long before such plays as King Lear and Hamlet. Yet the character of Hamlet, Prince of Denmark, fits perfectly the rules set by the Aristotelian Model of Tragedy and the Tragic Hero. Aristotle believed, among other tings, that ?the tragic hero is of a high social and moral stature. This stature provides the "height" from which the hero falls? (Cowlin par. 3). In order for a hero to be considered a ?tragic hero,? it was necessary for the hero's fall to be the result of a flaw or error in judgment known sometimes as the ?tragic flaw.? Lastly, the hero must, at some point of the story, come to a moment of recognition wherein they come to an epiphany of the extent of his or her flaw (Cowlin par.5). The character of Shakespeare's Hamlet corresponds with the Aristotelian Model of a Tragic Hero."
Abstract Through his comedies, William Shakespeare was able to address many taboo subjects in the name of entertainment. His comedies provided him an avenue to express marginalized voices that were sometimes muffled in Renaissance society. This cannot be truer for the voice of women. This paper shows how, in his plays, "The Taming of the Shrew" and "A Midsummer Night's Dream", Shakespeare gives voice to strong women who refuse to become victims of society. Kate is what we would call a strong-willed child with a mind of her own, with no fear of expressing her opinions. Despite the mistreatment she endures in the play, she emerges a winner for many reasons. The paper shows how, similarly, Hippolyta and Hermia demonstrate independence uncommon to their female counterparts. These women illustrate that true love is its own reward in any age.
From the Paper "Both sisters are playing a game of sorts. Kate is a shrew and cannot be manhandled while Bianca pretends to be the image of feminine sweetness. Bianca is revealed to be the true manipulator because she does not follow the demands of her husband. In the end, we come to appreciate Kate for her genuine character as opposed to Bianca's fraud. Margaret Ranald believes that "Katharina's liberated spirit remains unbroken, but that she has learned the value of realpolitik not only in marriage, but also in the even wider world of sociopolitics" (Ranald 1994). However, when we observe the entire action of the play, we can only surmise that Shakespeare is supporting the role and voice of the independent woman of his age."
Abstract This essay is an exploration of the morality play, "Everyman". It focuses on how the author uses symbolism in characters to prove the theological beliefs of the time.
From the Paper "Morality plays are those that teach us how to live through one artist's interpretation. One of the most well-known and notable morality plays is Everyman. Written in the Middle Ages, this particular piece of literature uses symbolism and abstractions to relay it's religious message. Perhaps the best example of these abstractions is the contrast between "Goods" and "Good Deeds". This is done so that the reader or audience will perceive the emphasis on the fact that worldly pleasures and "goods" are not on the path to God. In the following essay we will examine this topic more."
Abstract This paper looks at the Chorus in Sophocles' "King Oedipus", which is a timeless force that serves many fundamental dramatic purposes in the tragedy. It explores how their interjections into the dialogue are directed at clarifying the significance of events and affirming the outlook of a conventional society, to which an audience can relate. It also examines how they effectively separate the different episodes in the theatrical sequence, imitating the overriding public mood in their verse and how most importantly, is the Chorus? contribution to the dramatic irony of the play through their boundless praise of the King, who causes his Kingdom's affliction.
From the Paper "Aristotle maintained that the Chorus should be handled "as one of the actors" and ?contribute to the performance.? The Chorus of "Theban elders" in Oedipus Rex are functional because they point out the significance of the dramatic events as they occur, and Aristotle asserts that "tragedy is an imitation of an action" which takes priority over character. The Chorus are the nucleus from which the tragedy evolves, heightening the dramatic irony of Oedipus? hamartia. The first section of the play ends with the unassuming Oedipus? resolution to expose and punish the polluter of Thebes, presenting the appropriate motivation for the first appearance of the Chorus."
Abstract This paper discusses Friel's presentation of Irish culture, and particularly the loss of the Irish language, in "Translations". It critically analyses both the language of the play and the stage directions to make an argument about the unusual way "Translations" addresses time and history.
From the Paper "For some characters, the even more distant past seems to live on and continue to have a part in their lives. References are made to "the day the Bastille fell" (p.47), and "the night before Waterloo" (p.47). Historical events are mentioned as casually as far away places like "Boston"(p.78), as though the past is as accessible as simply travelling to another country. This is ironic when we consider that the audience actually is looking back into the past when watching the play. Correspondingly, there is a very clear link to ancient Greece and Rome particularly given through Hugh and Jimmy, and this link to cultures already lost leads the audience to the idea that the events in Ireland are pre-determined by history, or 'doomed' as the title suggests. The concept of fate certainly adds pathos to the plight of the Irish culture."
The paper describes the role of the chorus in ancient Greek theater. It talks about the origin of the chorus and theater and how the chorus worked in the Euripides's "Hippolytus". The paper also focuses on the effect Greek theater had on modern theater.
Abstract This paper tells what the chorus brought to Greek theater and how theater was shaped because of it. The paper discusses this topic while examining one of the most famous Greek play, "Hippolytus," by Euripides. The chorus was a crucial part of theater during that time and was used to narrate the story, give their opinion of the plot, and keep a rhythm for the play. The chorus did this in various ways, such as through costumes, stage presence, music, and singing. The Greek chorus was a precursor to operas and musicals as we know them today, and the paper discusses this evolution of the chorus.
From the Paper "The chorus is essential to ancient Greek drama, and the plays at that time were greatly dependent on song and dance which the chorus performed (Ley 28). It accompanied the actors with sounds, gestures, postures, costumes, masks etc, and these flowing actions and stage elements brought the play to life. The various roles of the chorus are to narrate, give their opinions and keep the rhythm of the play. They do this through singing, movement, and stage presence. The ancient Greek theater is also important because it was the precursor to operas and musicals as we know them today. This paper will discuss the importance of the chorus' roles on the Greek stage by examining Euripides' Hippolytus and also how it influenced modern theater. To fully understand the reason for the chorus it is necessary to know the history."
Abstract This paper examines the play, "A Raisin in the Sun," by Lorraine Hansberry and, in particular, looks at how the characters of Walter Lee, Lena Younger, and Beneatha provide a good representation of the trials and tribulations that the majority of the black population was facing during the 1950s and even the 1960s. It shows how each of them either persevered and reached his or her ultimate goal in the face of adversity or at least maintained hope in the eventual actualization of that goal.
From the Paper "From the onset of the play it is made known that Walter Lee, the man or father of the household is underpaid and unappreciated as the chauffeur for a white man. Walter has begun the planning phases of a joint opportunity for investment into and the opening of a liquor store. His goals include the ability to provide a better life for his family and to be able to attain their residence, currently they are living with his mother and sister in an apartment. "I got a boy who sleeps in the living room and all I got to give him is stories about how rich white people live..." (1777). Walter also wants to show his son that a black man or woman can be successful and work for themselves and not have to work for the white man."
Abstract Musical theater is almost as old as America itself. From the 1700s to the present day, the stages across the United States have come alive with the voices and instruments of dramatic, romantic and comedic musicals that have delighted audiences of all ages. This paper shows that the United States is known for its mixture of cultures, beliefs and traditions and where freedom of expression is not only allowed but encouraged. American musical theater is a prime example of this ethnic and cultural eclectic creativity and presentation. The paper traces the history of musical theater in the United States from the 1700s to the present day.
From the Paper "Rodgers and Hammerstein started their run of hits with "Oklahoma." The seemingly impossible mixture of murder, suspense and music worked because the characters were characterized in depth. The creative team took other risks as well: Instead of opening with the usual stirring ensemble number, the curtain rose on a farm woman churning butter as a cowboy enters singing a solo about the beauty of the morning. Further, Hammerstein wrote lyrics for all the songs in a conversational style, each fitting specific characters and storytelling needs. In addition, since the characters would be dealing with emotions that might sound awkward if verbalized by cowboys and farm girls, Rodgers and Hammerstein decided to use dance as an integral element."
