Abstract This paper is a presentation to a school board in support of Henrik Ibsen's play, "A Doll's House." The writer presents the report as an overview of the play and the opinion as to its merit, in order for students to see the play. Using excerpts from the book, the writer attempts to persuade the School Board to allow production of the play to continue. In order to support their argument, the writer refers to reviews of the play in order to give the board a better understanding of the message that is actually being conveyed in the play.
From the Paper "While some people might view this as a play about abandonment, play is actually about self-esteem and self worth. For several decades, this we has worked to heal the wounds it perpetuated on the female gender since the nation's inception. Women are finally encouraged to be equal, and not base their self worth on the level of martyrdom they are willing to attain. For students who participate in the production of this play, as well as students who see its performance, there are several important lessons to be learned. The most important lesson is that people should never be treated as objects."
Abstract The paper analyzes the play "Antigone" by ancient Greek writer and poet, Sophocles. The paper argues the position that the play emphasizes the meaning of family over the meaning of state, which are represented in the characters of Creon and Antigone.
From the Paper "With multiple perspectives on the matter, even the Chorus of the play shows partiality to the oikos as well. After Antigone speaks of her imminent death, the Chrous replies by saying, "And so you go with honor and praise below to the caverns of the dead; no sickness wasted you away, you do not pay the wages of the sword, but will go to death a law unto yourself" (795). The Chorus raises up honor and praises to Antigone for her support of the oikos, confirming that the Chorus does indeed support Antigone's decisions. Shortly after, the Chorus once again raises the idea that the legacy of Antigone's oikos may be the reason for her sorrow by saying, ?"great has been your fall. Perhaps you are paying the price of your father's sin" (825). Sophocles is employing yet another tool to associate the play with the importance of family."
Abstract The play "Hamlet" by William Shakespeare contains a rich diversity of issues and relationships, some of the greatest of which concern those between father and son. The paper discusses these relationships, most notably those between Hamlet and the late King Hamlet, Fortinbras and Old Fortinbras, and Polonius and Laertes, and shows how they demonstrate a number of significant, unique characteristics as well as several themes that are both timeless and universal.
From the Paper "Hamlet's love and loyalty to his father is such that it significantly changes his psyche and motivates his actions for the remainder of the play, or to the end of his own life. In soliloquies such as that of Act III, Scene iii, he reveals tender concern for his father's soul, noting that since King Hamlet was murdered he was unable to confess himself to God before dying, an important religious rite of the period. This, along with the ghostly manifestation of King Hamlet, underlines the spiritual dimension of the father/son relationship, suggesting that the concerns are of divine and religious importance."
Abstract One of the most significant aspects of the concept of music that is examined in this paper is the use of the flute to represent the role of the father. Another aspect of the music in the "Death of Salesman" that is discussed in this paper, is the ever conscious portrayal of present day scenes duly combined with the flashbacks into history and vice versa.
From the Paper "Finally, Willy reveals the nostalgic quality of a dreamer. This is emphasized subtly by the plaintive, light theme played on the flute as background music. Moreover, there is his delighted response to the pleasant scenery along the road, as well as his recollections of the lilac, wisteria, and peonies that used to give out a springtime fragrance before the apartment builders "massacred" the neighborhood. There is nostalgia, too, as he thinks of the smiling, popular younger Biff, who shined up the Chevrolet so beautifully that no one would believe it had gone eighty thousand miles."
Abstract This paper analyzes the lead character, Laura. It draws metaphoric comparisons between Laura and her collection of glass animals. Laura is portrayed as a relatively silent character, with the least lines in the play, however she is the only family member who is capable of keeping the family together.
From the Paper "The menagerie and Laura are symbolic of each other. Laura loves the delicate glass ornaments, and they are fragile, just like she is. The unicorn loses its horn, and is now less than perfect, just like Laura and her handicap. She is also just as odd as a unicorn, which is a mythical creature, and Laura is just as unusual and odd."
Abstract This paper compares the mind of the misguided monarch in the play "Oedipus the King", with the mind of a substance abuser. Similarities are drawn between the two issues. Among the topics discussed are victimization, paranoia and its companion, "blame-throwing", denial of responsibility and the search for sympathy.
From the Paper "The psychologies of substance abuse and of royalty may seem on one level to be worlds apart. One is, after all, literally on top of things by law, decree, and birth?the other only gets "to the top" in an illusory world created by reliance on the drug of choice. But upon closer examination, especially in the play Oedipus the King, the mindset of the substance abuser and that of a misguided monarch turn out to be similar in an almost uncanny number of ways."
Abstract The author states that little is know of Shakespeare's life details, but it is known that he started acting in 1597 before the queen and soon became an expert playwright. He points out that one of the interesting aspects of Shakespeare's life is that he came from the farm class and grew up in a town where most of the people were illiterate. The feminist position of Shakespeare is discussed. The author states that to be a successful playwright in Shakespeare's day, a playwright had to interest many different people and that is why Shakespeare had such a wide range of play topics and styles.
From the Paper "William Shakespeare was born on 23rd April 1564 to farmer class parents. This is the reason why we find his life so amazing. He grew up in a town where the majority of the people could neither read nor write. It is known that about five years after he married he left his hometown, Stratford, and went to London where he started acting before the queen. It is known that his careers as an actor as well as a manger both were illustrious and he had a good many years of criticism and success. He lived the latter part of his life actively and died a wealthy man."
Abstract This paper presents a detailed discussion on the role of women in Richard III. The writer examines the female characters, their station in society, their role as survivors and the impact they have on the other characters in the play.
From the Paper "Throughout time women have held various roles in the large scheme of life. Different points in history have provided the women with different expectations and societal viewpoints change within those eras. In recent decades the role of a woman has changed dramatically as the women's movement came to pass and the world learned to accept their equality. It was not always the way it is today however women have held a role of importance since the beginning of time. The era of Richard III was one in which men were the kings of their castles in a literal sense as well as a figurative sense. It was a time of great acts of chivalry as well as a time in which females did not often have jobs or careers."
Abstract This paper is an in-depth analysis and examination of the contribution that William Shakespeare made to the literary world. The author details Shakespeare's mysterious life, including speculation as to who he may have really been. The paper covers the many different themes covered in his many plays including ambition, cruelty, justice, reconciliation, madness, betrayal and destiny that were found in Macbeth, King Lear, Hamlet and Julius Caesar. The author finds that Shakespeare also used his plays to comment on political events such as in Julius Caesar, Comedy of Errors and Henry VIII. Throughout the paper the author details his masterful understanding of the human character and unparalleled mastery of the English language, a rich imagination and commentary on life in the early 18th century. Shakespeare also wrote over 150 sonnets and there is some speculation that they may have been autobiographical, but once again the author finds that there is no proof.
From the Paper "How is Shakespeare viewed by great figures of the theater? Shakespeare is the greatest discernible influence in the work of Orson Wells (Gottlieb 2000). ? a theatrical and cinematic director, actor, entrepreneur, public figure, and educational and political activist. Wells describes Shakespeare as embodying the fulfillment of almost utopian personal and sociopolitical desires, a figure of considerable stature, power and popularity, a truly great one who bridges the worlds of critical and commercial success. Shakespeare, in Wells? mind, merges individual imagination and artistic independence with tradition and social responsibility, and emphasizes that he has that unparalleled capacity ?to entertain, educate, transport and ultimately unify divergent audiences, high and low.? (Gottlieb)"
Abstract Shakespeare often used "excess" to deliberately create a sense of imbalance in the play. While in tragedies excess was employed to intensify the emotions of grief and sorrow, this dramatic tool had a different role to play in comedies. This paper shows how, in most comedies, "Excess" was incorporated in order to generate spontaneous laughter but in "Twelfth Night", the playwright had a different motive for employing "excess". The writer shows how Shakespeare has made use of the element of excess in this play specifically to expose the weaknesses of Elizabethan society of 16th century. The paper closely studies the instances of "excess" in this play and discusses the playwright's purpose in this connection.
From the Paper "THE TWELFTH NIGHT: element of "excess"
"The Twelfth Night" is one of those comedies of William Shakespeare that revolves around the theme of "excess". Excess thus refers to a certain imbalance in the plot which is highlighted though various means including actions, words and emotions. In Twelfth Night, excess has been used intentionally in order to both generate spontaneous laughter and expose the imperfections of English society. Thus we can say that Shakespeare normally uses this dramatic tool to accentuate a particular emotion. In this play, the same intention is present and this time excess has been incorporated to make the play even more hilarious without losing grip on the real purpose. In the very beginning of the play, we notice that the playwright wants his readers to pay attention to the element of excess when his character Orsino says:
?If music be the food of love, play on;
Give me excess of it, that, surfeiting,
The appetite may sicken, and so die.? (Act 1 Scene 1)"
Abstract The author states that Shakespeare's plays live on with great popularity because they deal with life's basic issues intertwined with valuable moral lessons. The author points out these issues in various popular Shakespearean plays. The paper believes that Shakespeare's plays also continue to be popular because of the beauty of his words.
From the Paper "In fact, it would appear that Shakespeare's keen sense of human nature and the repetitive nature of life caused by the same basic issues led to his being quite a philosopher and a visionary. Issues such as jealousy and racism (Othello), the futility and destructiveness of senseless feuds (Romeo and Juliet), the dispersal and reunion of a family (A Comedy of Errors), foolish young love (A Midsummer Night's Dream), and the consequences of power, greed and lust (King Lear and King John) are pretty much at the centre stage of modern life. "
Abstract This paper states that, aside from the theme of waiting, the central theme of the play "Waiting for Godot" is religious beliefs, especially penance and redemption. The author continues that all four major characters in the play represent a part of these themes. The play is reviewed in detail from this perspective. The paper concludes with the idea that in the last act, there is a turn of events wherein their roles are further reinforced and widened through a display of religious representations and implications.
From the Paper "Perhaps one of the first instance of the play's religious theme is Vladimir's reference to the story of the thieves in the Bible. In the first act of the play, Vladimir tells Estragon the story of the thief who repented, and was saved because of his repentance. This part of the play illustrates the first sign of hopelessness of the two protagonists in the story. Both Vladimir and Estargon are men who seem to have nothing at all, save for the boots of Estragon, and the hat of Vladimir, which were constantly referred to and discussed in the play. Their nothingness was further worsened when the fact that they were actually humans who were born to suffer was brought up in the first act. In this scene, Vladimir asks Estragon the need to repent so that they will also be saved from their sins."
Abstract This paper examines the play "A Midsummer Night's Dream" by William Shakespeare. It describes the playful pursuit of romance and the hilarious farce that is totally reasonless. The author writes that "A Midsummer Night's Dream" illustrates the farcical nature of love and celebrates its unquestionable irrationality."
From the Paper "'A Midsummer Night's Dream' is the quintessential romantic parody. Involving the use of magic potions and mythical creatures, Shakespeare portrays love as a potentially ridiculous pursuit and one totally devoid of reason. When Bottom states to Titania in Act 3, Scene 1, ?reason and love keep little company together nowadays,? he sums up one of the main themes of the play. Reason and love usually do not coexist, for emotions take on a life of their own."
Abstract The paper discusses Bertolt Brecht's political opera, "The Threepenny Opera" which was first performed in 1928. The paper shows that during this period of time, three distinct and separate political and economical philosophies were on a collision course in Germany: fascism, socialism and communism. It shows that while Brecht was struggling to write this opera, Hitler's first attempt attempt to grab control of the government occurred in 1923 and communism was becoming popular. The paper discusses how communism is reflected in two ways: Brecht mocks both class differences and belief in God.
From the Paper "Brecht reflects elements of both socialism and communism in some points in the play, such as when Peachum is giving out licenses to beg. That the needs of the poor could be so easily corrupted seems to be a condemnation of a government that would allow people to survive by begging. Peachum uses Filch's need to be allowed to bed as a platform to criticize society's apathy toward the poor. He describes five types of human misery. Each example is a beggar harmed by something the middle and upper classes view as progress in one way or another: one is in an auto accident while another is wounded in war."
Abstract Using two plays, Christopher Marlowe's "Doctor Faustus" and John Webster's "The Duchess of Malfi", the paper explores the theater genres of the Elizabethan and Jacobean periods. Through Marlowe's play, the paper explores Elizabethan theater and through Webster's play it studies Jacobean theater. The genres are looked at in the context of being considered the beginnings of the Renaissance and a shift from the Medieval period to a more human-centered view of the universe.
From the Paper "The plays Doctor Faustus by Christopher Marlowe and The Duchess of Malfi John Webster are both from one of the most productive eras in British drama, the period covering the Elizabethan theater and the Jacobean theater that followed. This period can also be considered the beginnings of the Renaissance and so a shift from the Medieval period to a more human-centered view of the universe."
