From the Paper "This study will compare and contrast the issues of faith in Shakespeare's portrayal of Othello and Sophocles portrayal of Oedipus in Othello and Oedipus Rex.
The first obvious difference between the two tragic characters is that Oedipus is a deeply faithful man who sets out on an exploration to find his father's murderer, not knowing that the man is his father nor that he himself is the murderer. He believes that the gods are essentially on his side in this effort, that the truth will bring relief not only to himself but to his kingdom which is suffering from the plague, and that life is essentially good and just.
Othello, on the other hand, is a man who has no faith whatsoever in his faithful wife Desdemona. It might be said that he has faith in Desdemona's accuser, Iago, but the fact behind..."
From the Paper "Akira Kurosawa's Throne of Blood is a version of Shakespeare's Macbeth, and the film follows the play in general terms until the end. An examination of the opening scenes and the last scene shows how the filmmaker has approached the material and what changes he has made to achieve a somewhat different effect from the original play while remaining true to its spirit.
The opening scenes in Macbeth set the stage with a sense of doom and foreboding as well as an overlay of the supernatural. In the first scene, the three witches appear amid thunder and lightning and cast a spell over the proceedings. In the second scene, the exposition is managed as messengers deliver the battle news to King Duncan. It is in the third scene where the character of Macbeth is introduced and where the three witches..."
From the Paper "This study will examine the purposes and effects of Dogberry, Verges, and the Watch in Shakespeare's comedy Much Ado About Nothing. It is important to keep in mind that the play is a comedy, because the purposes and effects of these bumbling characters all focus on keeping the play a comedy. At the same time, they help avoid having an evil plot happen which would be too heavy a weight for the light foundation of the play to hold up.
These characters serve two main purposes and create two main effects. First, on the level of ideas, their very stupid self-deception serves as contrast to the more subtle self-deception of the other characters. This is especially true of the two couples linked by romance and misunderstanding. Second, on the level of the structure of the play, these characters are used by..."
Abstract Traditionally the role of the ghost in Elizabethan plays was to act as the messenger. In this paper about "Hamlet", the ghost of Hamlet's father is portrayed as a messenger of his own death and represents the vengeful spirit. The ghost in this case has a much more specific role than is generally seen in Elizabethan plays. The writer presents that this ghost is a crucial part of the play and manipulates the plot to its tragic end. The paper covers the themes of Hamlets delay in seeking revenge for his fathers death, the relationship between father and son, the nature of the ghost and Hamlet's insanity. In the conclusion the writer explains that it is through the influence of the ghost that Hamlet is shown his full range of human attributes and thus a meaning is attached to his life.
From the Paper "The role of the ghost in the Elizabethan play was a familiar occurrence in this tradition. A ghost would usually act as a messenger. In Hamlet the ghost of Hamlet's father acts as a messenger of his own death and as a representative of the vengeful spirit. Thus in Hamlet the ghost has a more specific role than is generally the case in Elizabethan plays. This ghost, as will be seen, is a crucial part of the play, and manipulates the plot to its tragic end".
Tags: elizabethan, messenger, shakespeare, father, spirit, plot, manipulates, portrayed, death
Abstract This paper portray's Shakespeare's "Othello" as a tragic play wherein the revolutionary attempt to overcome the racial prejudice is defeated. Each characters' part in the story is described. The racial discrimination aimed at Othello from the different members of the cast is explained. The paper discusses the ultimate insecurities which stem from Othello's race and the prejudice against him, and which prove to lead to his undoing.
From the Paper "Othello, one of those great tragedies of Shakespeare was written in 1604. Shakespeare skillfully interleaves the bravado and the accomplishments of Othello along with racial discrimination against him. In fact the two things that run parallel in this novel are Othello's valor as a warrior and the racial prejudice that is harbored against him, albeit on the sly. Shakespeare's dexterity in creating the genre for his plays is something, which is astounding. This is a novel with clear undertones of racism in it. "Othello" is considered a revolutionary and critical work of Shakespeare which exceeds all his other plays in terms of the sheer depth of emotions that the tragedy evokes. It is a tragic play wherein the revolutionary attempt to overcome the racial prejudice is defeated. When we study the play in depth we again and again encounter verses and epithets that carry this sting of racism in a plainly obvious tone."
Abstract The paper shows that while the theme of appearance versus reality runs rampant throughout the play of "Othello" as perceptions become reality and imaginary thoughts take form, it is Act 3 Scene 3 of the play that captures this theme in essence. It discusses how the scene is an ideal representation of the manipulation of Iago and presents how he twists words and facts and creates a second reality for Othello that ultimately results in tragedy.
From the Paper "These words create a bond of trust towards Iago and reveal that Othello is unaware of Iagos deceit. Othello is honest himself and thus considers most people around him to be the same. His naivety and inability to perceive deceit when he sees it shows his lack of understanding of human nature and thus, makes him an easy person to manipulate.
It is in these words that Iago tries to show Othello the truth, as if mocking him for his nearsightedness and trust in people, ?Men should be what they seem; Or those that be not, would they might seem none!? (3.3.128)""
Abstract Throughout "Antony and Cleopatra" by William Shakespeare there is a sharp contrast between the bawdy humour and entertainment of the east and the stern morality and politics of the west. The paper shows that this is best seen in Antony's downfall; his death is caused by a romantic but illogical attempt at conquering Rome. Alsom the battle of Actium shows the decadent Egypt destroyed and the sensible Rome victorious. The paper shows that in Rome, Antony was at his best as a man, a soldier and a statesmen, whereas, as Antony says, "in the East my pleasure lies", as does his downfall.
From the Paper "Charmian: "My arm is sore. Best play with Mardian.
Cleopatra: As well a women with a Eunuch played as with a woman"?
This short exchange presents Egypt as a place of sexual innuendo and entertainment. Such conversations never take place in Rome, and this shows the more impertinent nature of Egypt. There is also a contrast in the treatment of tragic events between Egypt and Rome. In Rome, they are taken very seriously (for example the military aggression of Pompei), but in Egypt they are often given a comic undertone, for example when Cleopatra is speaking to Antony about the death of his wife, Fulvia. At a point of sadness and tragedy, Cleopatra remarks "Can Fulvia really die"?. The word die has a secondary meaning in Elizabethan English, to reach sexual climax. Shakespeare illustrates the more irreverent nature of Egyptian life by treating such a tragic issue with bawdy humour."
Abstract This paper is dedicated to proving a critique of Shakespeare's "The Tempest" from a colonial/imperial viewpoint. It details the subjugation of the savage Caliban at the hands of the mainstream European characters, primarily Prospero. It briefly examines the rape of Miranda by Caliban and discusses several points from the play that strongly suggest that Shakespeare was writing a concise social commentary on the morality of imperialistic tendencies at the time.
From the Paper ""The Tempest,? precisely because of its compact nature, has become one of the most widely criticized plays that Shakespeare ever wrote. Unlike his more grandiose tragedies, or even his longer comedies, "The Tempest" is concise, and very often leaves the reader wondering what exactly IS the thrust of the play. It can adequately be argued that the play is a precursor to future naturalist novels (i.e. Goldings "Lord of the Flies", or Conrad's "Heart of Darkness"), or it can be viewed as one of the few Shakespearean works that walks the categorical tightrope between tragedy and comedy. Indeed, "The Tempest" is not so easily categorized because it contains elements of both a tragedy and a comedy, is short, quickly resolved, and has no "real" moral or motif."
Abstract This paper details the points of a tragedy and a tragic hero, and how these points are at work in Shakespeare's "Hamlet". There is ample use of descriptions of the play to help explain these points. An outline of the paper is included at the end.
From the Paper "In drama, a tragedy recounts a series of events in the life of a person of significance or nobility. These events culminate in an unhappy catastrophe, forever altering the life of those involved. The tragedy centers on the tragic protagonist, in this case, Hamlet, Prince of Denmark, a noble character with all the marks of dignity. Hamlet, like all tragic heroes, is a noble character. He comes from royalty and with this high position comes the respect of his kingdom and friends. He is obviously a natural leader and has the ability to take charge of a situation ? we as an audience see this as he concocts his plan for revenge, immediately entangling his friend Horatio as a conspirator. From playing a madman to finding an acting troop to put on his play to catch his uncle, Hamlet shines as a leader and a quick thinker."
Abstract This research paper compares the character of Iago in William Shakespeare's tragedy "Othello" and in Ann-Marie MacDonald's 1988 comedy "Goodnight Desdemona (Good Morning Juliet)." To better understand the similarities and differences in both plays, a brief description of each character is given first. The writer claims that there is no doubt that "Othello" is a tragedy of intrigue in spite of the fact that it contains many of the elements of Shakespearean comedies -- the central theme of love, the conflicts between men and women, and the handkerchief, of course, may be seen as a comedic prop. In MacDonald's work, the author uses Shakespeare's work to reflect on her own relationships.
From the Paper "In MacDonald's play the central character is Constance Ledbelly, an associate professor whose research involves trying to decipher an arcane text that she believes may have been the source for Shakespeare's "Othello" and "Romeo and Juliet." Constance's passion for her literary theory is only surpassed by the crush she has on Professor Claude Night, for whom she has become a factotum, ghostwriting his speeches and papers and doing his research."
Abstract The characters of Sophocles? Oedipus and William Shakespeare's Hamlet present two of the most enduring examples of the tragic hero. The paper shows that both characters are victims of fate and both characters are in control of their destinies, yet each character, turning different ways, end up with very different lives. The paper shows that Oedipus was lead by what he believed to be the truth and Hamlet, knowing the truth, is paralyzed by it. In exploring the similarities and differences between these two characters, the paper shows how we are able to understand fate and destiny and how they relate to the truth.
From the Paper "Hamlet and Oedipus conform to the same classic formula. Hamlet is a member of a royal family and next in line to sit at the throne. Claudias has determined that Hamlet will inherit the throne. This makes Hamlet the second most popular man in Denmark and to anger him is to invoke a king's anger in the years to come. Oedipus is already a king and he clearly asserts his position by announcing that he is king, the world-famous Oedipus. It is safe to assume that Oedipus is already in high standing in both the political and social hierarchy of the times because he is a king and he is world famous. To follow the model of the classic tragic formula, the story not only needs a hero who is in a position of status, but it also needs a hero to also fall from that position."
Abstract The hero of the revenge tragedy is known for having certain characteristics. These include that the hero is compelled to act by certain forces, that the existing authorities are unwilling or incapable of satisfying the hero's craving for justice, that the hero has a detailed and devious plan they are determined to carry out and that there is a moment of declaration where the avenger tells the victim why they are going to be killed. "Hamlet" (William Shakespeare) and "The Libation Bearers" (Aeschylus) are two revenge tragedies, with the heroes of each Hamlet and Orestes. Since Hamlet and Orestes are both revenge heroes, it would be suggested that they are similar characters and they would each meet the criteria of the revenge hero. However, a close look at the two plays in this paper show that Hamlet and Orestes are very different characters. Orestes meets the fours criteria of the classic revenge hero, while Hamlet pushes all the boundaries of what would be expected and either only partially meets, or does not meet, the four criteria at all. To illustrate the differences, Hamlet and Orestes are compared, based on the four characteristics identified.
From the Paper "The second characteristic of the classic revenge tragedy hero is that the existing authorities are unwilling or incapable of satisfying the hero's craving for justice. In both plays, the authorities are unwilling to right the situation, meaning that it is left to the hero to right it. Hamlet's and Orestes's circumstances are the same on this point. However, the two heroes differ in that Orestes has a craving to right the situation and Hamlet does not. The circumstances in both plays are very similar. In Hamlet, Claudius has killed the king and assumed the role of king. This puts Claudius in the role of power and since Claudius is at the highest level, the authorities cannot right the situation. This creates a need for someone to right the situation and Hamlet is assigned to this task. Seeking revenge is then a way to avenge Claudius's murder, as well as to restore harmony. In The Libation Bearers Orestes's mother Clytaemnestra has murdered her husband and Orestes's father, King Agamemnon. Clytaemnestra has obtained the highest seat of power, just as Claudius did. With Clytaemnestra at the highest level, the authorities cannot right the situation. The task of righting the situations falls to Orestes, with this necessary both to revenge his father's murder and to restore harmony."
Abstract This paper examines how both the characters of Portia and Katherine in William Shakespeare's plays, "The Merchant of Venice" and ?The Taming the Shrew" are intelligent women who each goes through a character metamorphosis. It looks at how just as Portia transformed from submissiveness to a role of command, Katherine's transformation took the opposite turn. She submitted her independence and thus found her true self. It shows how both women were miserable in the beginning of the plays, Portia from obeying and Katherine from disobeying and how by swinging the pendulum, each woman found a balance and triumphed in their feminine roles.
From the Paper "Katherine in "Taming of the Shrew" is perhaps Shakespeare most famous female character. She and Portia are opposite in initial character. Katherine is ill-tempered and scoffs at obedience. She is prone to tantrums and physical attacks on the victims of her rage. Just as Portia is miserable from obedience despite her charm, Katherine too is unhappy, despite her foul disposition. Katherine's unpleasant nature may stem from fear of her own feminine desires and feelings of inadequacy. She may also be anxious that she will never marry, thus sealing her fate and her role in society as the maiden daughter. Katherine is intelligent and her spirit surely recoils at the thought of such a fate. In fact Katherine's spirit seems out of place amid an era when women were considered nothing more than property."
Abstract An analysis of the works "A Rose for Emily" by William Faulkner, "Daddy" by Sylvia Plath, "My Papa's Waltz" by Theodore Roethke and "Hamlet" by William Shakespeare. This paper looks at these literary pieces and how the authors effectively depict suffering through social oppression, gender stratification, physical abuse, and emotional abuse and torment. The writer examines each work as the author's medium for expressing their views on society and the suffering of the people.
From the Paper "The first lines of the poem establish the repression she had felt under her father's authority: "You do not do, you do not do/ Any more, black shoe/ In which I have lived like a foot" Barely daring to breathe or Achoo.? These lines are symbolic of the feelings Plath has for her father, which is represented by the ?black shoe.? Plath expresses her freedom from her father's authority (implying the repression that she had been subjected into) by saying that she "lived like a foot" "inside" the ?black shoe.? Contained under her father's authority, Plath's speaker reflects on her life with her father, where she cannot be herself."
This essay covers a vast amount of information on William Shakespeare and his plays. This paper explores the ways that Shakespeare's drama has evolved and transformed over time.
Abstract This essay is about William Shakespeare and the ways in which his art has changed and evolved with time. This essay covers many of Shakespeare's plays and many modern film adaptations of his plays. The paper discusses much of the history behind Shakespeare's works and the many sources from which his drama was derived. The essay also deals with Shakespeare's language and the aspects of his invented language that have become a part of our everyday vocabulary. It covers the many characters, plots and genres of Shakespeare's works. The main theme of the paper is centered around the ways modern history has invented a Shakespeare of its very own.
From the Paper "Who is Shakespeare? What is Shakespeare? Nearly four hundred years following his death, the Shakespearean debate trudges on. In his lifetime, William Shakespeare wrote a phenomenal cannon of dramatic literature. He managed to create an astounding thirty-seven plays in scarcely the span of twenty-five years. Individually, these plays constitute some of the best art ever written. Collectively, these works secure Shakespeare as the principle literary draftsman of the Elizabethan Age. In his dedication to William Shakespeare in 1623, Ben Johnson wrote: ?He was not of an age, but for all time.? To this day, Shakespeare's creative genius has yet to be exceeded. No writer in any language can rival the eminence and immortal perpetuity that Shakespeare has relished. And no man, in any creative enterprise, has ever impelled a cultural influence as ample or as profound. Shakespeare's language and extensive lexicon of coined phrases are more ubiquitous in trite conversation today than the myriad of cliched aphorisms present in the King James Bible. His hundreds of characters-the very mirrors of human nature-are equally as recognizable. From small amusements like Bottom the Weaver, to such unparalleled manifestations as Falstaff, Shakespeare has enriched civilization by mimicking it."
