Abstract
In assessing William Shakespeare's play "Othello", the reader can witness that this play has the elements of thought and character that Aristotle promoted as the mark of a play that followed true tragic form. This paper demonstrates how Shakespeare's "Othello" is indeed representative of the tragic play when compared against Aristotle's definition as stated in Poetics.

Abstract
In comparing and contrasting the Laurence Olivier version of "King Lear" in 1984 with the Peter Brook version in 1971, the author notices a number of variables in the body language of the actors and their clothing. There are several similar elements that both renditions share, as might be expected and quite a few different aspects and approaches, especially regarding the respective physical portrayals of their characters by the respective actors and actresses.

Abstract
In Shakespeare's "A Midsummer Night's Dream", the characters all have an opportunity to reveal the varied and peculiar faces of love. In all of these portrayals of love, Shakespeare invariably situates a perfect contradiction. In doing this, "love" is revealed as more ridiculous than romantic and the faces of love in this play are often unrecognizable.

Abstract
In this work, "The Tempest" is subject to a New Critical analysis that yields interesting results with respect to its religious symbolism and political paradoxes. This paper will argue that the form of "The Tempest" is rather one of unresolved stresses and (quite literally) disharmony.

Abstract
One of the most engaging and entertaining comedic couples in any of the works of Shakespeare, is that of Beatrice and Benedick in "Much Ado About Nothing". Both Beatrice and Benedick are essences, they are the progenitors of the cliches of the woman-hater turned lover and the ice-queen turned golden-heart. Both of them experience a very similar sequence of events, both work with their respective tutee's in love in the same way, and both come to realize their love for each other through tricks played upon them by their own friends. In this, Benedick and Beatrice are really the true soul-mates of the story in that they truly seem to be of the same cloth and of the same heart - two halves of the same whole. Their change from enmity to love covers the course of the entire play and, in many ways, is much more engaging, funny, entertaining, and ultimately rewarding than that of Hero and Claudio. It is the purpose of this paper to explore that relationship as it changes over the course of the play, "Much Ado About Nothing".

Tags: much, ado, about

Abstract
"Othello" is tragic story whose action when viewed through the perspective of human relations can be seen as result of the racial issues that fester in the minds of the characters.

Tags: othello, racism

Abstract
From the beginning to end there is corrupting force of power in Shakespeare's play, "Hamlet". It begins with Hamlet seeing the ghost of his father who asks him to obtain vengeance for his death. It ends with all the main characters of the play dying. Each act points toward the goal of Hamlet to get vengeance for his father's death even when Hamlet pretends to be mentally ill. The character of Hamlet is one of strength and perseverance that is determined to obtain his goals regardless of whom may be hurt in the process. Each act in the play shows how the corrupting force of power leads to the final end as Claudius dies.

Tags: hamlet, claudius, corruption

Abstract
The purpose of this paper is to show whether the two lead female characters in Shakespeare's "Othello" and Melton's "Paradise Lost"-Desdemona and Eve respectively-can be considered tragic figures. To make a determination, it is first necessary to define what it means to be a tragic figure within the context of Elizabethan and 17th century literature.

Tags: othello, desdemona, paradise

Abstract
This essay discusses how the characterizations of Macbeth and Lady Macbeth are enhanced by contrast in the scenes that precede and follow the murder of Duncan in Act 11. Macbeth undergoes a frightening change in his fortune -- a change for which he himself bears at least a partial responsibility. Lady Macbeth is directly involved in this transition.

Tags: macbeth, lady, macbeth

Abstract
This essay will argue that Shakespeare's use of this device in "Twelfth Night" is much more complex and significant than in "Comedy of Errors", as it is central to the theme of blurring gender roles in the play. As will be seen, Viola's transvestite impersonation of the male Cesario creates a site of gender confusion that challenges our understanding of the major characters and, in a broader sense, subverts the audience's certainty as to the nature of love and the permeability of gender lines.

Abstract
This paper analyzes the influence of William Shakespeare's personal life in his poetry. Born in England, Shakespeare was deeply influenced by the formation and growth of the theatre, which made him write blank verse. His separation from his wife for more than twenty years affected him profoundly and he wrote sonnets, which are known for their discussion of unrequited love, impediment in love, absence of lover, etc.

Abstract
This paper examines parallels between Shakespeare's "Macbeth" and Webster's "The Duchess of Malfi" with respect to the architectural elements within each play which become symbolic of the deception and secretive schemes.

Abstract
This paper describes five examples of guilt in "Macbeth", and also describes several contemporary situations in which the theme of guilt is being acted out in the contemporary world.

Abstract
This paper examines common themes in the 1968 film, "Romeo and Juliet" and the 1961 Broadway musical "West Side Story." The author discusses how the common theme of young love transcends differences in setting and conflict in the two productions.

Abstract
This paper is a compare and contrast essay on "Othello" and "Romeo and Juliet".