Abstract This paper describes how the character, John Proctor, in "The Crucible", ultimately valued what was right over what felt better and gave up his life because of this. The paper uses examples from the story to support this analysis.
From the Paper "Set during the Salem Witch Trials of 1692, "The Crucible" by Arthur Miller is a tale about archaic events that still hold significance today. Its tragic hero, John Proctor, is the individual that exemplifies the theme of the story. A local farmer, Proctor's wife is accused of being a witch by a 17-year-old girl, Abigail Williams. However, this was no accident. Proctor and Williams were in involved in an affair while John's wife Elizabeth was sick. But unlike her older lover, Abigail felt that their relationship could still exist. But with the strict religious values of their time, this was a pipe dream. At any rate, while attempting to defend his wife from imprisonment and execution, Proctor is accused of being a witch, and is put behind bars. While there, he is slated for execution, until a startling development occurs. If he signs a written public confession of witchery, he would be free to live his life again. Coupled with the fact that his pregnant wife would not be executed due to her baby, the Proctors would be a family again. But John cannot allow this. By confessing, John feels that he has already lost his soul, thus he wants his integrity to remain intact. When arguing his point to Judge Danforth, he proclaims, "How may I live without my name? I have given you my soul; leave me my name" (The Crucible 143). This proves that John Proctor was a man of strong ethics that valued what was right over what felt better."
Tags: massachusetts, sign, written, confession, devil, dishonest, soul, honest, religious
Abstract This paper explains that George Etherege, like other Restoration comic dramatists, makes much of the distinction between verbal and physical comedy in his play, "The Man of Mode". The author points out that Etherege gives his characters strong wit and sharp tongues as a means of conveying the humor of the play; characters constantly engage in witty repartee. The paper relates that, although the actions of the characters and the physical form aid Etherege's words in conveying the comedic aspect of the play, it is really the words and the tone in which they are spoken that bring out the humor; thus, the predominant form used by Etherege is verbal.
From the Paper "Etherege's rake-hero, Dorimant, is, by definition of the rake-hero, the wittiest character in the play. Nearly all his conversations involve a form of witty bantering. The first incidence of this comes in the beginning of the first act. Here Dorimant engages in a humorous conversation with the Orange-Woman, a person we may assume he has known for some time and has often confided in her from her line, "Lord, would the ladies had herd you speak of them as I have done" (2208). Although, throughout this conversation, Dorimant's language may come across as severe and degrading, it can be made into humorous teasing between old acquaintances through proper tone. The Orange-Woman's response to also shows that nature of the conversation is a teasing one. Thus the scene is not one of ill feeling between the characters, but one of fun and humor. The scene contains little physical action and relies on the wit of the characters and the way they deliver it to make it humorous."
Abstract This paper presents a short analysis of a sequence from Francis Ford Coppola's masterpiece, "The Godfather". The scene in question is the murder of the police chief and rival mob boss by Michael Corleone, played by Al Pacino. The paper focuses on the camera angles, motifs, etc.
From the Paper "As he enters the stall, the camera pans right to follow him. It stops directly behind him as he begins searching behind a rectangular fixture on the wall for the gun that is hidden there. As he searches, he turns so that the left side of his face appears in profile. The left (or sinister, from the Italian) side of his face is swollen and slightly bruised because the captain at the table broke his jaw in an earlier scene. The injury has caused his cheek to swell and speech to slur, which makes him look and sound more like his father, the Don of the Corleone crime family. It is appropriate that the audience can only see his "gangster" side as he prepares to commit the first act in his life of crime."
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."
Abstract This paper discusses Othello's soliloquy from William Shakespeare's "The Tragedy of Othello: The Moor of Venice". This soliloquy is critical for framing the dramatic center of the play. Using the play as the primary text and beginning with a brief summary of what has happened up to this point, the paper presents a discussion of the critical third scene soliloquy of Othello. An analysis of the characters of both Othello and Iago follows logically into an explanation of Artistotle's catharsis, the emotional roots of the play.
From the Paper "We find that Iago, who has been scheming from the first Act of the work, turns his full powers upon Othello. From line thirty-four and following, we see Iago directly attack Othello's emotions, both to suggest that Cassio is up to no good with Othello's wife, and that she herself is succumbing to his charms as seducer. "Ha! I like not that!" Iago proclaims when he and Othello come upon Desdemona and Cassio speaking together (III.iii.34). The timing of events is very important in Act III. Iago anticipates and manipulates the other characters so skillfully that they seem to be acting simultaneously of their own free will and as Iago's puppets."
Abstract This paper examines how Sophocles's portrayal of the character, Oedipus, in his drama, "Oedipus Rex," is an excellent example of one character's unrelenting search for the truth. It looks at how the truth as Oedipus knows it and the truth as it is differ greatly and how Oedipus's actions bring about his own demise. It explores how the reality of his situation is slowly realized as the play progresses and how we see a transformation from Oedipus as the brave and arrogant leader to Oedipus as the disheartened and disgraced man.
From the Paper "When Creon returns to Thebes with his message from Delphi he reports
that the gods have ordered Thebes to dispel the murderer of King Laios.
The murder was not freshly committed and few clues have been left behind by the perpetrator. Still, Oedipus is ambitious and quickly sets about asking questions to better understand the circumstances of Laios's death. He learns that the late king and a band of followers were killed on the highway and the only witness to the event was so badly frightened that he remembered next to nothing. Oedipus knows that he needs to do as the oracle commands, however because Thebe's problems cannot be resolved otherwise."
Abstract This essay argues that Brian Friel's play, "Translations," is about the power and importance of language in keeping a cultural identity true to itself. The play concerns efforts of the British Army to rename Gaelic place names in a small Irish village with proper English names. The true purpose of the translations, however, which is to Anglicize the map of Ireland and undercut Irish power and nationalism, is kept from the Irish citizen. The paper also examines the concept of alienation that is created when characters are forced to deal with the loss of their cultural identity. The inability to completely translate the place names so that they retain their original meaning is ultimately a symbol of instability in the effort to enclose a subculture within a larger, foreign culture.
From the Paper "Another theme explored in the play is the way in which members of a society living under a colonialist government find themselves forced into varying forms of alienation in order to deal with the gradual loss of their own system of civilization (Brown, 196). This is clearly represented in the ways in which many of the characters in the play withdraw or wish to withdraw in some way out of social interaction. For instance, there is Sarah, who has withdrawn into herself so deeply that even the simple act of saying her name out loud becomes an almost joyous occasion. One way to escape the imprisonment of colonial domination is, of course, to leave the place being dominated, and this form of alienation is dealt with in the character of Maire, who longs to emigrate from Ireland to America."
Abstract This paper shows that, despite often being used as a negative color, Shakespeare uses black in "Titus Andronicus" in a positive way. Aaron the Moor, though the villain, is actually the only good parent in the play and the only character who remains true to himself.
From the Paper "Scene Two of Act Four also shows Aaron as a parent. The birth of his son provides him a bond with another person sharing his skin color, and he feels the need to protect his son, who is now his only ally. Demetrius says that he will kill the boy: "I'll broach the tadpole on my rapier's point. / Nurse, give it to me, my sword shall soon dispatch it" (4.2.85-86). Aaron stands up for his son without missing a beat and threatens Demetrius: "Sooner this sword shall plough thy bowels up" (4.2.87). Aaron's strong love and his willingness to fight for the child's safety contrasts greatly to the other parents in Titus."
Abstract Henrik Ibsen's use of symbolism in the play, "A Doll's House," allows him to give a powerful portrayal of "humanist" rights. Symbolism is important because the elements of this play are highly symbolic. The paper includes background on the folk dance that has proven particularly effective in the play. The paper describes how Ibsen uses the Christmas tree, Nora's costume, and the Tarantella dance to symbolize Nora and Torvald's marriage.
From the Paper "The symbols used to describe Nora- the tree, dress, and dance- act as foreshadowing for Nora's ultimate revelation. Like the tree, once the pretty trimmings are removed from Nora and Torvald's marriage, there is little left of substance. The costume, purchased during a happy time, falls apart after only a few years. Finally, the dance meant to save the lives of those poisoned serves to reveal the poison that the marriage has become. Ibsen does not give the audience an answer as to the final outcome of the relationship. Perhaps Nora returns and the two build a relationship for the "right" reasons. Perhaps the marriage was so destroyed and poisoned that only ending it can save both characters."
Abstract Tennessee Williams had an arduous life, living with a dysfunctional family. This paper overviews his family life and explains how it gave birth to two of the greatest plays in American history, "The Glass Menagerie" and "A Streetcar Named Desire".
From the Paper "Tennessee Williams wrote some of America's most famous plays. His life was riddled with obscurity and pain. He had an absent father, an eccentric mother, and a mentally ill sister. Tennessee used his writing as a form of escape and reflection of his life. Two of his most famous plays, The Glass Menagerie and A Streetcar Named Desire, are perfect examples of his literary talents and use of incorporating his own life into his scripts."
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."
Abstract This paper examines love as the central theme in "A Midsummer Night's Dream" by William Shakespeare. The paper contends that love is seen in several relationships throughout the play and, therefore, can be seen as the overall theme throughout the play. The paper examines each of those relationships and instances where love is prevalent.
From the Paper "The theme of A Midsummer Nights Dream by William Shakespeare can be found in the true statement of Lysander in Act I Scene I Line 134, "the course of true love never did run smooth." (A Midsummer Nights Dream) During the course of this play four young lovers enter the woods each battling their own rocky course of love. They each experience several different things before finally emerging from the woods two happy couples. Two other couples also experience a difficult path to love during the course of the play, the duke and his new wife, and the mystical beings Titania and Oberon. At times these couples' paths cross and desires are swapped, making this tale a true story of difficult love and uneasy paths."
This paper looks at how the American Dream is represented in the opening scenes of Tennessee William's "A Streetcar Named Desire" through the content and initial impressions of the key characters.
953 words (approx. 3.8 pages), 0 sources, 2005, $ 33.95
Abstract This paper examines how in "A Streetcar Named Desire", the American Dream is contrastingly represented in two key characters: Blanche DuBois and Stanley Kowalski, the latter holding Southern ideals and hoping for a life of privilege, comfort and protection; the former believing in a life characterised by toil, an impulsive and reckless sense of spontaneity, and eventual reward and success. It looks at how by adopting an intriguing setting in New Orleans, a series of crucial and symbolic minor characters, and a plot which slowly but meaningfully unravels itself, Tennessee Williams creates content for a screenplay which provides a fascinating interpretation of the American Dream.
From the Paper "Firstly, the characters of Blanche DuBois and Stanley Kowalski provide a differing interpretation of the American Dream. Blanche was born and raised in the deep American South, into a world where her every need, wish and desire would be catered for. She would dwell in a lavish mansion with her family, receive a quality education, be waited upon by coloured servants, and, furthermore, would eventually marry an equally privileged young man who could provide for her the protection which she was accustomed to. This is not so much protection in a physical sense, but rather, the guardianship of her honour. This would involve preventing her from being exposed to cursing, abuse cruelty, and anything else that would seem improper in an upper class Southern society. "
Abstract This paper presents a contrast between the plays, "Death of a Salesman" by Arthur Miller and "A Raisin in the Sun" by Lorraine Hansberry. The paper explains how Willy in "Death of a Salesman" and Walter in "A Raisin in the Sun" share some similarities and major differences. The paper contends that the two men both have a dream that is burning within them and they both try to succeed and fail miserably. The paper concludes that Willy and Walter not only represent the American Dream, they also illustrate that how we face failure and mistakes has a significant impact upon our lives.
From the Paper "Arthur Miller's play, Death of a Salesman and Lorraine Hansberry's play, A Raisin in the Sun are plays that focus on individuals that fail to achieve their dream. Willy Loman dreams that one day he will be recognized for his exceptional sales ability. Walter Younger hopes to invest money in a liquor store and find his way out of poverty. While both characters share this experience, each man is effected differently by what he gains from his loss. Willy and Walter teach us that dreams are not always easy to reach and if we are so lucky to reach them, they seldom arrive without painful lessons. These men show us that there are two paths in life when it comes to failure--one is fatal and the other is fruitful and it is ultimately up to us to decide which way to go."
Examines the characters of Desdemona and Emilia in "Othello" by William Shakespeare and argues how the violence imposed upon them by their husbands is a social statement of the women's restrained state in society.
1,723 words (approx. 6.9 pages), 0 sources, 2005, $ 55.95
Abstract This essay looks at marriage as a patriarchal institution, and shows how the violence that occurs against Desdemona and Emilia in "Othello" by William Shakespeare infers the dominance that men hold over women. The essay also looks at the dominant views about femininity, as expressed by Iago, and shows how these stereotypes dictate the fate of Desdemona and Emilia.
From the Paper "Othello uses words like "greedy" and "devour" to illustrate how Desdemona hungered for him and chased after him. Othello does fear Desdemona will leave him once her curiosity is quenched, as he expresses through lines "She loved me for the dangers I had passed. And I loved her that she did pity them" (I.iii 165-167). In these lines, Othello shows through the use of the past tense and suggestive language that he knows Desdemona loves him for his exoticness, but that the thrill of it may soon wear off as the dangers dwindle."
