Abstract This paper presents an analysis of the play in terms of the theme of desire. The characters are probed and shown to demonstrate, each in their own way, the main desire of the play, lust and greed for material wealth. The desire for love in the play is also explored.
From the Paper "All the characters of the play desire to own the farm. They plot and scheme against each other for its ownership. But then love envelopes them and their desires take them to other emotional and dangerous extremes.
"Eugene O?Neil's "Desire Under The Elm" revolves around the concept of desire. There are several states of desire that are revealed by the characters of the play. The three main characters portray their desire and passion in different categories and stages of emotional expressions. The main desire in the play however is the lust and greed for material wealth. All the characters namely Eben, Abbie and Ephraim display the desire for owning the farm eminently and it is the emotional desire and want for the ownership of the property that turns them into evil-minded characters. In the backdrop of the play is the desire and passion of love which ultimately forces the two characters Eben and Abbie to realize that there is a more powerful desire in love than the desire for property, love which takes them into a totally different direction altogether."
Abstract This paper introduces and discusses "As You Like It" by William Shakespeare. Specifically, it illustrates how Jaques' speech informs the readers of the play's intent, and how the binary relationships in the play add to its meaning and performance.
From the Paper "We also learn more about Jaques, the pessimistic grumbler who is the opposite of Rosalind and Celia, two of the optimists of the play. Almost all the characters chide Jaques about his attitude at some time or other during the play. Jaques is the anchor role that keeps this romantic comedy from becoming too buoyant and unbelievable. He is sour, and keeps the action from becoming too sappy. He is the melancholy character, opposite of the witty and laughable Touchstone, the jester. Shakespeare knew that you cannot have only positive and funny characters to get the point of the play across, you need to balance them with the cynicism of a character like Jaques to really create a realistic portrayal of his themes and issues. Touchstone is a jester, but so is Jaques in his own way. His consistent pessimism is as ridiculous as Touchstone's jesting."
Abstract This paper examines the various aspects of Iago's character in Shakespeare's play, "Othello". It focuses on his seemingly conflicting emotions and feelings for Othello and describes how his latent homosexuality leads him to cause the breakdown of Othello's marriage.
From the Paper "Many readers who have enjoyed Shakepeare's literary works credit the character Iago in Othello as his most wicked villain. His most intriguing characteristic is the fact that he does not really convince the reader on his true motives for creating the havoc he inspires in the play (http://www.sparknotes.com/shakespeare/othello/canalysis.html, 2). His plethora of reasons for hating various characters in the play are too loud and muddled, one minute expressing his hatred for Othello, his irritation over his wife Emilia, his envy of Cassio, his desire for Desdemona, etc. This paper endeavours to provide another motivation that truly drives Iago to create havoc in the relationships between other characters. It is Iago's latent homosexuality, ultimately for Othello (http://www.geocities.com/corrinenefurness/othelloquestion3.htm, 3) yet also transferred to Cassio, which drives Iago to divide the marriage of Othello and Desdemona and distance any would-be rivals from Othello's confidence."
Abstract The paper shows that the story of the original sin was a vitally important one for Christians throughout history, and in the extensively Christian world for which William Shakespeare wrote, its absolute truth went unquestioned. The paper discusses how in many ways, the play "Othello" may be seen as a political, emotional, and tragic response to the same questions of knowledge, culpability and death that this creation myth inspires. It shows how the serpent, Iago, convinces the original and ideal man to rebel against god in search of knowledge that he ought not have, and which will only destroy him: Thus Othello falls from strength and purity to weakness, depravity, and death.
From the Paper "Act III, Scene III, is by far the most loaded and pivotal scene in the play. It is in this scene that Othello is truly seduced to take the forbidden fruit in his hand and to let that "green-eyed monster" of jealousy to run loose in his heart. Like a newly created creature, at the beginning of the seen he is a lighthearted 16 year old bridegroom. Certainly he has seen his share of the world, won battles and undergone dire straits, but he is still in many ways childlike and innocent. "
Abstract The paper shows that the English stage during the late 17th century was a time of rebuilding, and also a time of creation. There were many different ideas on what theatre should be and it was very common for one person to have an idea, and as soon as it was known, opposing ideas were quickly published, followed by various defenses of the original idea. The paper discusses several people who were well known for their opinions from that time period, including Jeremy Collier, John Dryden, Alexander Pope, William Congreve and William Stubbs.
From the Paper "When the Stuart Dynasty returned to the throne of England in 1660, the playhouses were reopened. In August, Charles II issued patents for two companies of players, and performances immediately began. However, theatre had evolved a bit. The Royalty and the Nobility, as well as a few independent companies now owned theatrical troupes. Often the ones that had permanent theatres such as Convent Garden, Drury Lane and Dorset Garden had Noble backers to provide for the upkeep. Costumes were often second hand garments that the nobility no longer desired. Slowly the better-kept theatres became places to see and be seen. Often what was going on in the auditorium was just as much, or more interesting then what was on stage. The style of the playwriting was of a lesser form then that of the Elizabethan plays. It frequently utilized stereotypes and stock characters."
Tags: Elizabethan, Heroic, Stanzas, The, Old, Batchelor, An, Essay, on, Criticism
Abstract This paper examines the literary comments on Shakespeare's famous character Hamlet. It reflects on critiques of Hamlet through different eras, and their own influence and interests are a result of their time. The paper describes Hamlet is a universal character throughout the ages and as interpretations of future generations look inside and outside of him and express their own perceptions and their own era.
From the Paper "Willlam Hazlitt largely comments on the contemporariness and universality of Hamlet's character: that although Shakespeare wrote the play more than 500 years ago, we have come to know the character of the tragic Prince quite well. Not only because we read about him in school, but also ? and more ? because we know his thoughts as we do our own. (Hazlitt 1900) His sayings and speeches are not only real but are as real as our own thoughts when we ponder and despair over our or others? misfortunes and grief. Each of us becomes Hamlet, in Hazlitt's view, whenever we bear the weight of reflection (Hazlitt), when the sun in us is made dim by "envious mists" in our hearts, whenever the world looks nothing better than a "dull blank", when our love is despised, or when sadness sticks to us and makes our mind sink within. Hazlitt goes on and on in graphically describing the extremely painful condition of Hamlet's soul in many different but familiar ways that each of us recognizes in ourselves. He says that we think and refer to this particular play most often because it is full of ? reflections on human life? itself. His agonies and helplessness seem to transfer to ?the general account of humanity.? He views Hamlet as a "great moralizer" who rationalizes about his own feelings and experience and Hazlitt hails the play once again as the most remarkably ingenious and original and for its "unstudied" development of character."
Abstract An examination of the themes of illusion and the American Dream in "Death of a Salesman" by Arthur Miller. The play repeatedly shows the main character Willy Loman deluding himself into believing he is successfully pursuing his view of the American Dream ? financial success through business. Miller does this in two ways in particular. First, he constantly has the characters rewriting events so that when they are retold they reflect how they wish their lives really were instead of the reality of what happened. Second, as Willy Loman loses his grip on reality, he relives events from his past. By the end of the play, so many of Willy Loman's illusions about himself have been shattered, but his illusions about his son Biff are stronger, and he imagines that his suicide will guarantee his son's business success.
From the Paper "Willy has also constructed illusions around his sons, especially Biff, who truly was well liked in high school. Willy puts more emphasis on Biff's athletic talents and personal charm than is realistic, and encourages Biff to do the same. Chasing athletic fame for his son, Willy isn?t concerned when Biff steals a football from the team he plays for, and encourages him to steal sand to aid in a home renovation project. Biff's friend Bernard reminds Biff that he needs to study for exams or risk not graduating, and both Biff and his father make fun of him for this. He encourages his sons to do dishonest thing, suggesting that Willy's views about how to get ahead include setting personal values aside."
Tags: Willy, Loman, illusion, delusion, success, business
A discussion of two plays: "The Revengers Tragedies" by Middleton Thomas and Rowley Williams and "The Changeling" by Anon and the prevalence of murder and suicide within them.
Abstract This paper reviews the two plays "The Revengers Tragedies", by Middleton Thomas and Rowley Williams, and "The Changeling", by Anon and analyzes the social and psychological forces that can be said to be the reasons for the facilitation of the murder and suicide themes that are dominant to both plots.The paper gives an insight into the depths of human want and desire that is the cause of psychopathic and society hating characters.
From the Paper "The Revengers Tragedies begins with the protagonist, Vendice, railing the duke, who he holds responsible for the death of his fianc"e. His brother joins him, bringing to his knowledge the lustful and unacceptable nature of the Dukes younger son, further strengthening. In the immediately following act we learn that the Dukes son, the younger son as he is referred to, is tried for the rape of a certain Lord Antonio's wife. His mother and Ambitioso defend him, the younger son. Subsequently, as the play proceeds and the plot thickens, we find Vendice scouting around Lussurioso for information under the pretext of being his servant. While in disguise, Vendice discovers that it is actually Lussurioso who is the guilty one; he also further discovers that he, Lussurioso, is now planning to try for Castiza, who is Vendice's sister. Vendice also learns of Lussurioso's plans of proceeding to target Gratiana, Vendice's mother, in the case of not having any luck with Castiza. Vendice even goes so far as to go to his sister, without disclosing his true identity, with Lussurioso's offer, which is coldly turned down, to the pleasure of Vendice. Her morality and righteousness are clearly illustrated at this point. His mother, however, appears to have more tendencies to sway, suggesting her character to be rather fickle and she is later berated for this by both of her sons. The play builds up with Vendice dressing up the skeleton of his dead fianc"e, and, proceeding to apply poison to the mouth of the skull, he brings the duke into its presence. The Duke kisses the skull and while he is in his dying throes, Vendice discloses to him the entire scheme, including the fat that Antonio's wife poisoned herself after being raped by the Duke's son. At this point, it becomes rather apparent that Vendice and his brother are a vindictive pair and will stop at nothing in order to attain revenge."
This paper is a critical analysis of Webster's "The Duchess of Malfi" and "The White Devil", focusing on the theme: "Sense of an elite woman's place in the world".
Abstract This paper first presents in detail Webster's view on morality and social relevance in the two plays especially in his use of imagery and characterization. The author then compares the strong central female characters in both plays. The paper argues that the plays force the re-evaluation of traditional social conventions, almost presenting a case for allowing women more freedom in deciding their own futures.
From the Paper "Perhaps the most powerful argument in favor of the presence of a social and moral comment in The Duchess of Malfi and The White Devil is to disprove the view that Webster was nothing more than a tawdry showman who resorted to grisly horror to entertain and amuse his audience. One cannot deny that both The Duchess of Malfi and The White Devil cause a great deal of emotional discomfort in their unabashed use of bloody murders, including the killing of innocent children in The Duchess of Malfi. But a counterpoint to this argument could well be that the very effectiveness of Webster's plays lies in his use of baser human instincts to illustrate on the one hand, human resilience and fortitude even in the face of the greatest of horrors, and on the other the dire consequences of giving into negative emotions such as greed, lust and the desire for revenge and power."
Abstract This paper reviews Arthur Miller's play, "The Crucible". It presents an in-depth character study of the characters in the play, attempting to ascertain the guilt or innocence of each one. A synopsis of the plot is given, through which the character study is achieved.
From the Paper "Danforth is the Deputy Governor of Massachusetts. Could he be a suspect? Could he possibly be a witch? The play certainly shows that he is evil in continuing the proceedings rather than admit he was ever wrong. He is, after all, the judge, who presides at the witch trials. He believes he is an honest man. He is relentless in his pursuit of the Witches of Salem. He has convinced himself and others that he is doing the right thing to clean out the den of Witches and purify the town of Salem once again. Even when Reverend John Hale backs away from his belief that John Proctor is a witch, Danforth refuses to listen. He and the theocracy of the town have no desire to stop the trials because to do so would be to expose himself as a sham. The theocracy is the ruling body of the town, a combination of politics and religion."
Abstract The purpose of this paper is to discuss Absurdist (Existential) theatre and four works by "Theatre of the Absurd" playwrights. The works used are "Victoria Station" by Harold Pinter, "The Zoo Story" by Edward Albee, "The Philadelphia" by David Ives and "Sure Thing," by David Ives. Specifically, it discusses hopelessness and meaningless as a base plot for the "Theatre of the Absurd" and how these two concepts reveal themselves in the works.
From the Paper "All four of these plays are by authors considered to write for the "Theatre of the Absurd" movement, which began in the late 50s. It is a movement concerned with the absurdity and absolute pointlessness of life. Many playwrights participated, including Samuel Beckett, Harold Pinter, Eugene Ionesco, Jean Genet, and Edward Albee. "The 20th century's most popular non-realistic genre is absurdism. The root 'absurd,' connotes something that does not follow the roots of logic. In the Absurdist school of drama, this holds true. Existence is fragmented, pointless. There is no truth so the search for truth is abandoned in Absurdist works. Language is reduced to a bantering game where words obfuscate rather elucidate the truth. Action moves outside of the realm of causality to chaos. Absurdists minimalize the sense of place. Characters are forced to move in an incomprehensible, void-like realm" (Sosnowski)."
Abstract This paper presents a character analysis of Helena in the Shakespearean play "All's Well That Ends Well". Often criticized for her manipulative deeds and lack of feminine attributes, Helena's personality is explored by focusing on her feminine and masculine traits and by analyzing her motives. Shakespeare's use of literary devices such as foreshadowing is also explored.
From the Paper "In Shakespeare's plays, we often find the female characters to be more powerful and unique in their attributes than the ones that existed in actual 17th century English society. This is exactly the impression we get from the character of Helena in "All's well that ends well", as the woman refuses to be bound by moral and societal restrictions and passionately seeks fulfillment of her desires. Not only that, we also notice that Helena, though lower in social standing than her husband Bertram, doesn?t take into account the status barriers and being fully aware of her rights as a wife tries to win her husband over despite his persistent rejection. The theme of ethics and morality dominantly overshadows the entire play with readers being forced to analyze and judge every person's motives and every situation in the light of twisted sense of morality that Helena possessed. Helena's character has been a constant source of conflict among critics as Levin (1930) writes, ?Some regard her as a genuine romantic heroine--resourceful, yes, but also virtuous, feminine, charming, and modest. She never behaves cynically, and her motives are above reproach . The alternative view is that Helena mercilessly pursues Bertram. Whether she is at first motivated by love, sex or ambition she sets out to trap Bertram, succeeds, and--when he flees her--captures him again. She gets the husband she deserves, a spoiled aristocrat." (Levin, pg. 131)"
Abstract The paper is an exploration of the development of theater over the centuries. It traces the origin of theater back to Classical Greece. The features of this kind of theater are studied. The paper then turns to contemporary theater, in an investigation into the features that is has assimilated from the Greek period. It also looks at The Noh theater of Japan as an influence of contemporary theater.
From the Paper "The theater is an international institution. Broadly speaking, elements of theater are found in virtually every culture, and modern theater as practiced in America is the result of numerous borrowings and adaptations of earlier forms of ritual and spectacle from ancient Greece, Rome, and Asia. Some of the adaptations are more evident, such as the theater itself, the design of the stage, and the forms of tragedy and comedy, and most of these elements can be traced to Greek and Roman beginnings. Asian theater has had its strongest influence on individual playwrights, certain styles of acting, and certain theatrical effects."
Abstract This paper looks at the Greek poem Phaedra and the challenging role of the anti heroine Phaedra as she battles with her inner emotions of an illicit affair. The paper looks at Phaedra herself and asks whether she is wholly evil or rather just a pawn of the Gods.
From the Paper "The Greek hero is a much loved and favoured topic of many an author be they classicist, romantic or modern. Many a Greek hero has been idolized by these writers, for example Homer had his Achilles and Odysseus, and Virgil had his Aeneas. However, there is another aspect of the Greek hero or rather in the following case the heroine."
Abstract "Oedipus the King" (Greek: "Oidipous Tyrannos") is a Greek tragedy written by Sophocles in the 5th Century BC. This paper examines the underlying theme of violence and inevitable tragedy brought about, in part, by the uncontrolled temper, arrogance and stubbornness of its central character, as well as the irony of fate. These aspects of the play are analyzed in this essay.
From the Paper "The start of the play depicts its main character, Oedipus as a wise, happy, and beloved ruler of Thebes, though hot-tempered, and somewhat impatient, and arrogant. Oedipus flees Corinth because of a prophecy by a Delphic oracle that he would murder his father and wed his mother. While journeying to Thebes from Corinth, the young Oedipus angrily attacks and kills a small band of travelers who refuse to make way for him at a crossroads, a ?place where three roads meet.? (Therese). The scene depicts the terrible and self-destructive temper of Oedipus as well as the irony of fate with the tragic hero taking the road leading to ultimate tragedy. His fiery temper is further exhibited in the argument between Teiresias and himself, where Teiresias states the truth and Oedipus replies, "Do you think you can say such things with impunity"? and later calls Teiresias a ?Shameless and brainless, sightless, senseless sot!? (Tragedy in Oedipus the King)."
