A comparative analysis of the Jewish characters of Shylock and Barajas in William Shakespeare's "Merchant of Venice" and Christopher Marlowe's "The Jew of Malta."
Abstract This paper looks at the characters Shylock and Barabas from
Shakespeare's "Merchant of Venice" and Marlowe's "The Jew of Malta" and discusses how Shylock and Barabas are essentially the same character: Shakespeare used the template of the character Barabas in Marlowe's work to create Shylock. It addresses the question of, through character comparison and contrast between Barabas and Shylock, whether the authors' intentions were to spread racial stereotypes through the character, or to spread a more implicit and yet more redeeming message of basic humanity and equality.
From the Paper "The basic plot of Marlowe's presentation of Barabas is similar to Shakespeare's in all but one key facet: in Marlowe, the societal pressures cause Barabas to go on a significantly successful killing spree, sealing his villainy. In Shakespeare with the Shylock character, everything is the same in terms of the setting, the obsessive love for
the daughter, and the rage that the character feels when the corrupt Christian government takes all of their lands and money just because they are Jewish. And in Shakespeare, as well as in Marlowe, this drives the character into being a villain, due to their rage at this situation. But in Shakespeare, the result is not a successful killing spree, but instead one failed attempt at violence, which, instead of sealing the character's villainy, makes the result more ambiguous and tragic."
Abstract The paper analyzes Shakespeare's "Hamlet" and explains whether Hamlet was right to avenge his father's death and why he is so indecisive before he chooses to do so. The theme of revenge is present in this paper.
From the Paper "The theme of revenge is the overriding concern of the titular character of Shakespeare's tragedy, Hamlet. Hamlet returns home from university to discover his mother has married his uncle Claudius, the man who has murdered the former King Hamlet of Denmark, Hamlet's father. In the course of the play Hamlet is wracked by deliberation and conscience as he curses that he was the one born to set things right in Denmark."
Tags: murder, guilt, conscience, vengeance, action, justice, Shakespeare Hamlet
Abstract This paper contends that Hamlet, in Shakespeare's tragedy "Hamlet," feigned madness although he was sane. The paper cites evidence from the play to prove this contention.
From the Paper "According to Harold Bloom, William Shakespeare's "The Tragedy of Hamlet Prince of Denmark" is said to be his first great tragedy. Bloom Hamlet was written sometime between and ? and Bloom asserts that the death of Shakespeare's father and only son around this time and before the final draft of Hamlet was finished, deepened his understanding and sense of tragedy and loss. He weaved this experience into his retelling of the revenge play about Hamlet the Prince of Denmark."
Abstract This paper describes the evidence for Hamlet's and Lady Macbeth's insanity in the plays "Hamlet" and "Macbeth." Definitions of insanity from a psychological perspective are provided in this essay. Both plays are summarized with extensive quotes and examples of each character's behavior that would lead to the diagnosis of some form of psychosis, including murder and suicide.
From the Paper "William Shakespeare used the theme of insanity in many of his plays, and two of the most famous are 'Hamlet' and 'Macbeth'. The theme of insanity in both of these plays is illustrated through several characters. Through the course of this paper it will be shown that in these plays, the characters Lady Macbeth and Prince Hamlet are insane. This paper will discuss the nature of insanity, the role of insanity in both Hamlet and Macbeth, and controversy over the questions of insanity raised by both of these plays. While Hamlet and Lady Macbeth's complimentary characters Ophelia and Macbeth exhibit obvious signs of increasing insanity, it can be argued that both Hamlet and Lady Macbeth are mentally unstable from the beginning of their respective plays."
Abstract This drama study historically critiques the theme of political corruption as it evolves in the play, "The Tempest", by William Shakespeare. The paper analyzes the various characters of this play to illustrate how the struggle for power is complex and that power and greed are the basis of corruption. The paper also points out that ,although Prospero dissolves the aggression set against him in the play, Shakespeare
uses "The Tempest" to reveal a commentary on political intrigue and corruption that reflects the historical Elizabethan monarchal class system and the politics of Shakespeare's times.
Abstract Comparable to many of Shakespeare's works, "Othello" tells the story of a villain, a love, and a tragically flawed main character. This paper follows the development of Othello, from a revered hero to a tragically flawed human being. It explores his character throughout the progression of the scenes and looks at how through direct quotations and interaction with other characters, Othello is portrayed and understood as the tragic hero. It focuses on his major flaw - jealousy as well as his vulnerability, gullibility and trusting nature.
From the Paper "Shakespeare does a fabulous job of building Othello's character into the typical tragic hero. The reason that Othello's tragic flaw is so easy to spot is that, throughout the story, he is built up as the typical good guy. We see him as a man who is well liked, respected, revered and honored by others. As a governor-general, he is presented as a character of strength, confidence and high regard. In act one, scene two (1.2), several characters speak to Othello and refer to him with reverence. Even Iago, the villain who despises Othello, refers to him as "your honour" in the presence of others. Cassio calls Othello "General," and "Captain." We also know that Othello's lover, Desdemona, loves and respects him as well. "
Abstract This paper discusses how the character of Ophelia in Shakespeare's famous play, "Hamlet", is defined by the men in her life and when the men in her life disappear so does her character. She is used and abused by the men she relies on and trusts. The paper looks at how Ophelia is one of the most dynamic characters in the play and how, throughout the play, the audience views her transformation from an innocent childlike girl to a crazy confused woman.
From the Paper "Ophelia's best friend in the play is her brother Laertes. In act one scene three Laertes and Ophelia joke with each other and it is apparent that they are fond of each other. "'Tis in my memory lock'd, and you yourself shall keep the key of it." (I.iii.90) This line shows that Ophelia respects her brother's opinions and admires and loves him. Laertes then leaves his sister; this makes him the first man to disappear in her life. After her brother leaves her the audience never sees Ophelia joke or kid around with male figures in the play. "
Abstract Written in 1603, "Othello" by William Shakespeare, is a tragedy that was transformed into an opera by Giuseppe Verdi. "Otello" is considered to be Verdi's greatest opera and was performed in Milan on February 5, 1887. This paper discusses how throughout the opera, Otello and Desdemona's relationship changes dramatically and how their relationship change is most evident when contrasting the end of Act I with scene two of Act III. The paper also looks at how Verdi uses many unique musical techniques to match the dramatic needs of the libretto in these two scenes.
From the Paper "At the end of Act I Otello, the protagonist of the opera, walks into the bedroom where Desdemona is lying clearly enjoying the solace and quietness of his bedroom with his new wife. This scene contrasts directly with the scene before it. With all of the uproar outside now broken up, Otello is now enjoying the peace and quiet with his adored wife. While Otello is walking toward Desdemona, the focus is placed on Desdemona while violins are playing very softly. The soft violins playing in the background give Desdemona even more of a romantic quality to her. As Otello sits down on the bed he reaches to touch her face and once again soft violins are playing without any drums or horns in the orchestra. "
Abstract This paper discusses how in Act 4, Scene 3 of Shakespeare's, "Henry V", we see Henry give a rousing speech to the few English soldiers who are about to partake in battle. It looks at how this speech is a centerpiece of the play and gives great insight into Henry as both a political and military leader, and as a leader of men. The paper also examines how, through his St. Crispin's Day speech, Henry shows us not only what he wants to get out of being a strong king and military leader, but also his keen ability to rouse the troops and prepare their minds and hearts for battle.
From the Paper "To understand this speech we must first understand its context. The lines that come directly before the speech given by Henry give us great insight into what Henry is trying to convey in his speech. Before Henry gets begins speech Westmoreland says, "O, that we had here but one ten thousand of those men in England that do not have to work today." (Act 4, scene 3 ll. 18-20) These words spoken by Westmoreland are what encourage Henry to erupt into his spectacular oration. Westmoreland remarks to Henry that the English army would be better off if they had thousands more troops to go into France with. This however, is not how Henry feels, and in his ensuing speech, he tells his troops why he would rather have a few courageous troops than thousands of men forced to fight in the name of England."
Abstract This paper shows God and the Devil to be driving forces in Shakespeare's "Macbeth" and gives examples from the text of the play.
From the Paper "God and the devil have a strong presence in "Macbeth". The characters look to heaven and hell as places they have to try and strive towards or steer away from. God and the devil seem to be the driving and obvious force behind the happenings of the tragedy. They mold the characters into what they are. Even when things do not end up in their favor.
The witches have an impact on the whole theme of the play. They are the ones who start to label Macbeth with titles, which he does not yet posses. The witches predict the future, which is to Macbeth's liking. ?All hail Macbeth! Hail to thee, Thane of Glamis. All hail Macbeth! Hail to thee, Thane of Cawdor. All hail Macbeth, that's shalt be king hereafter!?(1.3.46-48)"
Abstract This essay takes a look at how a Structuralist would view the main characters weaving through the plot of "King Lear". Structuralists believe that there is a structure (that can be located) in every piece of literature that makes the plot happen; without structure there would be no story. The first line of this paper is: ?The continuous reiteration of references, both explicit and implicit, to vision and blindness in King Lear renders its resultant symbolism an obviously necessary part of the play's construction.? The paper goes on to prove that if Lear hadn?t lost his physical eyesight and gained a spiritual kind of sight, there would be no story. That is the structure of the play.
From the Paper "The continuous reiteration of references, both explicit and implicit, to vision and blindness in King Lear renders its resultant symbolism an obviously necessary part of the play's construction. This language pattern plays a structural role in defining Lear's fall from self-assumed grace to what he belatedly recognizes as an enlightened perspective; he fails to "see" truth until he has lost his visions of grandeur along with his eyesight. Therefore, without King Lear's intellectual and spiritual blindness, there would be no meaning assigned to his eventual clarity concerning morality. His lack of vision in the beginning is what allocates meaning to his eventual clarity. Each recurring allusion to eyesight in the play is like a verbal organ that composes the framework for a whole body of paradoxical meanings relating to a larger picture of the human condition. "To have eyes, and to see not, is to be at the mercy of evil"? (Heilman 51)."
From the Paper "Shakespeare's last tragedy, Coriolanus, is both very similar to his earlier tragedies, but also highly individualistic. The central character, Coriolanus, is not the central villain of the play, unlike Macbeth. Neither is Coriolanus the central hero of the play, unlike Hamlet. Rather, Coriolanus is a perplexingly pitiable character that has both positive and negative characteristics. He is honorable in his personal, but not particularly loyal in his civic affairs. He is an elitist and violent, but he is also modest and worships his mother. Tullus Aufidius is the character that is counter-poised to Coriolanus throughout most of the play. He is Coriolanus's nemesis and competitor."
From the Paper "The characters in Shakespeare's play, Much Ado About Nothing, act as stereotypes of different ways of pursuing love, deceit and deception. They show two very different ways of wooing, one of superficiality and one of true, genuine feeling. The relationship between Beatrice and Benedict starts out almost child-like and ends on a note of true love and happiness. On the opposite pole, Claudio and Hero symbolize the superficiality behind wanton love. Both couples are pillars of how lovers, past and present, handle their relationships."
Abstract This paper discusses the unrealistic expectation of parents re: filial duty, love, obligation of parents and children to each other in Shakespeare's play, "King Lear".
From the Paper "It can be argued that the parents King Lear and the Earl of Gloucester damage their children's lives because of their unrealistic and confused expectations about filial love, duty, and the obligations of parents and children to each other. An examination of the characters in "The Tragedy of King Lear" supports this thesis. "
Abstract This paper looks at the effect of nature and the healing power of the woods in "A Midsummer Night's Dream." It shows how forest has the ability to repair social evils and restore the natural order of man, and how the universal themes of jealousy and true love depict how quarreling lovers can be brought to peace with each other by the healing properties of nature.
From the Paper "Shakespeare uses the universal themes of jealousy and true love to depict how quarreling lovers can be brought to peace with each other by the healing properties of nature. Originally, Demetrius and Lysander are in love with the fair Hermia. Hermia, however, only has eyes for Lysander, but her father insists that she marries Demetrius. To make matters more complicated, Helena, a friend to Hermia and Lysander, is deeply in love with Demetrius. Hermia and Lysander, planning to elope, leave the city and meet secretly in the woods. Following closely behind is Demetrius, pursued by Helena. They are met by the raw power of nature, embodied in a magical being called Puck. A servant to Oberon, King of the Fairies, Puck is the essence of the woods. Using magical flowers and confused about the identities of the nobles, he acts as Cupid and enchants the lovers, making Demetrius and Lysander fall in love with Helena. Puck, acting as symbol of nature, works, knowingly or not, to heal the troubled lovers. Oberon wants Demetrius to love Helena. When Puck mistakes Lysander for Demetrius, the couples are temporarily misaligned, and when he enchants Demetrius, Hermia is left without a love. But in the woods, all error can be remedied."
