Abstract This paper presents a character analysis of Henry and Hal, two of the main characters in Shakespeare's play, "King Henry IV", and shows how Shakespeare, by comparing and contrasting these two characters, was able to display the attitudes of both the nobility and the commoners and foreshadow Hal's ability to become a stable, successful ruler.
From the Paper "Hal's feelings towards his father reflect the feelings of the commoners towards the king. Hal's soliloquy, ?I know you all...? (I, ii 183-205) reveals Hal's moral awareness and scorn towards the character he has used to disguise his true frustration with the standards that the king has disgraced. A noble and virtuous young man deliberately masquerading as a dissolute prodigal, Hal is not likely to overlook the deep moral blemishes in his father nor the hypocrisy of Henry IV's assumption of rightful kingship. However, as the King's subject and heir, Hal is denied all means of expressing his contempt for the dishonorable means by which Henry IV has maintained and stolen power. By showing contempt for the king, Hal would be following the example of Henry IV's disloyal behavior towards Richard II, and siding with the rebels who now challenge Henry IV's fitness to rule."
Tags: overthrew, richard, ii, stability, nation, scorn, prodigal, son, dishonorable, stolen, maintained, power
Abstract This paper discusses how deception and manipulation are two strands in Shakespeare "King Lear" that are manifested in a variety of ways in different situations and with different characters. It looks at how when one character deliberately aims to deceive or manipulate another, it is done for different purposes throughout the play. It shows how the more unfavourable characters like Goneril, Regan and Edmund are prepared to use any method they can contrive to ensure they achieve what they desire and how their shrewd usage of these techniques consistently have disastrous effects for those whose their actions are inflicted upon. In contrast, it examines how there are however, other characters like Kent, who use deception and manipulation for the gratuity of others, and those, like Edgar, who are forced to deceive and manipulate, as they appear to have no other viable option.
From the Paper "Edmund is consistently evil throughout the play, but when in the end he becomes mortally wounded he appears to undergo a transformation, in which he attempts to redeem himself "some good I mean to do despite of mine own nature". Heeding the religious context of the play, one may think that Edmund is trying to lessen the intensities of his judgement, but this, I think is unfounded, as whenever Edmund does speaks of religion he does so only to scorn at it. The only similarity between Edmund and his brother Edgar is that they are both sons of Gloucester. While Edmund may be seen as the most evil character in the play, responsible for the deaths of the princesses, the King and the maiming of his own father, Edgar may be viewed as the most favourable."
Abstract A cuckold is a man whose wife is sleeping with another man, and the cuckold in Elizabethan drama is a staple element, suggesting not just the concerns that the Elizabethans had about the subject, but also the way they relieved tension over it by making the cuckold a figure of fun. This paper examines how William Shakespeare often used the cuckold as a character in his plays, although hints of cuckoldry are even more common in his works, with characters fearful that they may be cuckolded or with wayward wives and unmarried men making jokes about it. The paper discusses, in particular, three of Shakespeare's plays: "Troilus and Cressida", "Twelfth Night", and "As You Like It".
From the Paper "Rosalind in As You Like It states that no man has ever died for love in the six thousand years of history that passed before her time. Yet, she still mentions the fate of that famous cuckold Troilus: "Troilus had his brains dashed out with a Grecian club; yet he did what he could to die before, and he is one of the patterns of love" (IV.i.92-94). The cuckold in this passage is presented as both betrayed and yet somehow elevated by being the one to remain true, while the woman who has betrayed him is not even mentioned. The idea of the cuckold is that he is a dupe. But he could as easily be a true man who has been true to the wrong woman. The image of the man with horns as a cuckold reflects the meaning of the word itself, for it means ?furnished with horns.? Characters in Elizabethan drama often speak of horns or make the sign of horns to indicated a cuckold and to suggest in this manner an association with the beasts and perhaps with the devil."
Abstract This paper provides a character analysis of Brutus in Shakespeare's play. It argues that Brutus should be considered the main character of the play. It explains that he is a very powerful character and can be considered the tragic hero of the play.
From the Paper "My purpose was to show how Marcus Brutus was the main character found in the Shakespeare's Julius Caesar. Brutus believed in the idea of Rome and the power of the republic, which lead to his joining of the conspiracy and murdering of Caesar. Throughout the play we can see examples to see how Brutus is linked to being the main character. As a result of being the main character, we see how he is associated with being the tragic hero, as like in all of Shakespeare's plays where the hero dies in the end."
Abstract This paper examines how insanity is a predominant element in William Shakespeare's play, "Macbeth". It discusses how insanity, or madness, is represented on three different levels through Macbeth, Lady Macbeth, and Macduff, and how each character illustrates varying degrees of insanity and the possible solutions for dealing with it. It looks at how Shakespeare uses insanity in the play to heighten tension, as well as to convey a dark and sinister mood, and how, by gradually leading up to the insanity of Macbeth and Lady Macbeth, we are able to witness its devastating effects. It examines how insanity develops in the play and serves as a dramatic function to reinforce the theme of "evil begets evil".
From the Paper "Lady Macbeth begins to exhibit signs of madness with her strange trances. Her insanity is more significant than Macbeth's insanity because of her state of mind in the beginning of the play. By making Lady Macbeth's character despicable, her madness seems more fitting. In other words, she gets what she deserves. This is not to make light of Macbeth's actions, for he certainly deserves what he has coming to him as well. However, with Lady Macbeth, Shakespeare is more able to reinforce the theme that evil begets evil. Shakespeare delivers this message with unforgettable irony."
Abstract This paper uses Shakespeare's play, "Julius Caesar", to highlight the similarities in politics found in 21st century America and those of Julius Caesar. The paper emphasizes the importance that people of both eras place, rightly or wrongly, on the physical health and prowess of a leader.
From the Paper "In contemporary America it has become more and more common for celebrities to expose their foibles and inadequacies. Hollywood starts regularly discuss their trips to the Betty Ford Clinic, or their bouts with depression, cancer, and other potential terminal illnesses. Still, some "imperfections" remain off limits. This is true even more so for politicians. Back in 1992, presidential candidate Paul Tsongas, claimed that he was in perfect health, and cancer-free. He visited his regular doctor for a check-up, and was pronounced to be in perfect health; fit for anything."
Explains how Shakespeare enforces the discourse of otherness by demonizing his characters Aaron the Moor and Shylock the Jew in the plays,"Titus Andronicus" and "The Merchant of Venice", respectively.
Abstract This paper examines William Shakespeare s plays, Titus Andronicus and The Merchant of Venice, and the author's enforcement of the discourse of otherness through the demonization of Aaron and Shylock. Through the rhetoric of the plays, both Aaron and Shylock are explicitly demonized. The paper explains how the discourse of otherness is enforced in three stages: by stripping the antagonists of their names, reducing them to subhuman levels, and, finally, equating the antagonists with the devil.
From the Paper "In Titus Andronicus, Shakespeare presents the discourse of otherness in the praxis. In this scene, Titus Andronicus is returning from war with captives. The Goths, and their queen s lover/slave, Aaron, a Blackamoor. Throughout the play, Aaron is presented outside of the main action of revenge, but has an underhanded, covert role in manipulating the remaining characters. This separateness of physical action perpetuates the discourse of otherness because his character is disregarded by other characters. His lack of physical action in the play is compensated by his movement mentally. From the beginning he is constantly devising a plan to overcome his otherness and servile status. To elevate himself to a position of power."
Abstract In Sophocles's "Antigone" and William Shakespeare's "The Tempest", two very different, yet similar, displays of power on the parts of Creon and Prospero are the basis of the plots of their respective stories. This paper explains how both Creon and Prospero use their power relations to impose their own ideals on the societies in which they live. Creon uses his power on the throne to impose his own laws and beliefs on the people, while Prospero uses his supernatural powers, ultimately, for the good of his community, as well as personal gain. It explains that these examples of power relations, as shown by Sophocles and Shakespeare, serve the purpose of demonstrating to the readers that authority figures and government are capable of imposing whatever they wish on the people, in some cases causing unnecessary grief for many.
From the Paper "Traditionally, authority figures tend to flaunt their power in search of personal gain and intimidation. In The Tempest, Prospero uses his magical powers to employ the use of a servant and a spirit to assist him in his personal chores and to keep the island running smoothly. In Antigone, Creon uses his royal power, more or less, to his personal advantage, with no obvious benefit to society. Prospero's supernatural abilities are made evident when Miranda accuses him, ?by your art thy dearest father, you have / put the wild waters in this roar.?(Shakespeare, I. ii. 1-2). In light of this, one may be led to believe that Prospero is trying to hurt those on the ship who have hurt him in the past but, in fact, Prospero only creates this storm out of love for his daughter who is in search of a mate, and Ferdinand, who is on board the ship seems to be a logical candidate. Prospero ensures that no one is harmed by the storm by sending his spirit, Aerial, to keep watch over the ship."
Tags: authoritative, ferdinand, grief, law, moral, power
Abstract The poems "Venus and Adonis", by William Shakespeare, and "Hero and Leander", by Christopher Marlowe, are more than erotic poems with an added mythological element. Both poems explore unorthodox attitudes and personalities, as well as put a humorous spin on mythological tales. The paper shows that the poems have different messages about love; however, despite their outcomes, both poems end in tragedy. The paper examines the similarities and differences between the poems.
From the Paper "Another similarity between the two poems is the amount of lust that each author has intentionally embedded. For instance, Shakespeare has added the scene of the two horses that scamper off into the woods to mate in Venus and Adonis. This scene serves as a mirror in relation to Venus? pursuing Adonis. While Venus is tempting Adonis is every way she can imagine, Adonis? stallion "leaps" and "bounds" (Shakespeare 107) for a jennet. Shakespeare even says that the horse excelled a "common one" (293), insinuating that Venus is quite unlike any mortal. The horse is very aggressive in his approach, as is Venus in her pursue of Adonis. However, as the horses romp off into the woods, Venus was ?red and hot as coals of glowing fire,/Adonis is "red for shame, but frosty in desire" (35-6)."
Abstract This paper explains that religion and spirituality are the factors that influenced Hamlet's irresoluteness at the start of the play. Three elements that depict religion and spirituality in Hamlet are the presence of Old Hamlet's ghost, belief in repentance, and the existence of Purgatory. This paper discusses how these three elements contribute to irresolution in the character of Hamlet.
From the Paper "The presence of the ghost in Hamlet illustrates the presence of the metaphysical being in the play. Old Hamlet's ghost serves as an intermediary between the temporal and eternal life, delineating the division between life on Earth and Heaven. The ghost's symbolic presence in the play also mirrors Shakespeare's belief in Christianity, suggesting that Old Hamlet has not received a peaceful death. The presence of the ghost represents injustice with the sudden death of the King of Denmark. This is revealed in Act 1, Scene 5, where the ghost narrates the events surrounding his death. He also identifies the culprit who committed his murder: Claudius, Old Hamlet's brother, now King of Denmark. Expressing his grievances to his son, Old Hamlet is like Christ, who became a metaphysical being in order to achieve justice and closure in the unsolved mystery of his death. The presence of the ghost in the play also mirrors the presence and belief in Purgatory, which is manifested in Old Hamlet's metaphysical presence in the temporal world. Inevitably, repentance and the Purgatory are linked with each other, since repentance before an individual's death leads to everlasting life in heaven. However, because Old Hamlet died without repentance, he is now suffering in Purgatory. His suffering during life and death is perpetuated through the Purgatory."
Abstract This paper explains that Iago is the villain in "Othello"; he is presented as the epitome of deceit and malice. It shows that Iago is a true Machiavellian figure, who does everything that Machiavelli thought a ruler should do to overcome his enemies and achieve his goals.
From the Paper "However this has been done while keeping the character wrapped in thick clouds of honesty and truthfulness. This is a strange paradox as the on the surface we are repeatedly told that Iago is an honest man and he also considers himself to be so, while beneath all this fake honesty, he is always trying to stab someone in the back.
Because of his crafty nature, this character can also be considered a true Machiavellian figure. Close reading of Machiavelli's work reveals certain link between Iago and Machiavellian prince. Yet despite all his slyness, the character repeatedly claims to be an honest person (Cassal, 2003). This fa?ade of honesty allows him to perform his essential tasks of manipulation and revenge."
Abstract This paper discusses that Hamlet's delay in acting questions whether Hamlet was a coward or a man worthy of admiration despite his flaws. The author points out that some critics believe that the complexity of Hamlet's character indicates that he is aware of his own indecision resulting from his inner turmoil. The paper concludes that Hamlet was suffering from "information overload"; his delay is not a crime, and Hamlet should still be viewed as the tragic hero of Denmark.
From the Paper "Margreta Grazia notes the importance of this struggle. She also points out that in modern drama, "character is destiny" noting, "Action thus issues from character and is expressive of the agent's subjectivity". She believes that "Hamlet is held back by reservations bears witness to his compulsion to move forward". This conflict leads to Hamlet's glory and doom, according to Grazia. The doom is present from the beginning of the play when Hamlet realizes the world is "weary, stale, flat, and unprofitable". Grazia claims that Hamlet's infinite spirit is mired in materiality through the entire play. He becomes the victim of his own "spirit's war with itself", which prevents him from making a step in any direction. This point cannot be argued. We begin to question Hamlet's character and it appears obvious that his struggle begins within his mind."
This paper discusses women in three Shakespearean plays as presented in the film versions. These include Kenneth Branagh's "Much Ado about Nothing", Trevor Dunn's "Twelfth Night", and Baz Luhrman's "Romeo and Juliet".
Abstract This paper explains that women play almost every conceivable role in Shakespeare's plays; however, women cannot be the hero. The author points out that Shakespeare's plays treat women as a piece of "goods", not worth having if they are not virgins, which was the attitude of the time in which the plays were written. The paper relates that Shakespeare symbolizes Juliet's youth in a display of numerological virtuosity designed to impress upon his audience and readers her unreadiness for adulthood and its attendant complexities.
From the Paper "In "Much Ado About Nothing" the kind of love that Shakespeare chooses to display is the more realistic kind of love that is displayed more often in society around us. This is shown in the couple of Benedick and Beatrice. These two quick wits are constantly bickering and at each other's throats, until they are tricked by their friends into each believe the other loves them. At this, all of their criticisms of love and claims to remain unmarried until death go right out the window. Suddenly, they are seized by a desire to be with each other, and their true feelings come out. It shows how love actually works in real life."
Abstract In both William Shakespeare's play, "The Tempest", and Christopher Marlowe's play, "Doctor Faustus", the principal characters, being Prospero and Doctor Faustus, respectively, equally employ elements of magic, conjuring, and the black arts to achieve the ends that they desire. This paper shows that, while Prospero is clearly reclaimed and ennobled at the end of Shakespeare's work, Faustus, on the other hand, is seemingly damned to hell and certainly does not experience the esteemed return to power that Prospero enjoys. The paper explains that the difference has much to do with the genres of the plays and the positions of the characters. "The Tempest" is, by nature, a romance, which means that it is a fantastical work with a basically comedic ending, whereas Marlowe's 'Doctor Faustus" is more properly considered a tragedy.
From the Paper "Also, at the end of The Tempest, Prospero ultimately lays his use of the black arts aside, for they have already served his purpose, saying "Now my charms are all o'erthrown,/And what strength I have's mine own" (Shakespeare V, I). Indeed, part of the thing that makes Prospero a redemptive character is that he ultimately seeks to end his use of his objectionable powers, because he doesn?t need them now that the wrong that was done to him has been righted. Unlike Faustus, he does not cling to his powers for the purposes of status and exploitation once his goal of just vengeance has been achieved."
Abstract This paper discusses how an underlying theme in much of the literature of the Renaissance is the destructive power that was prevalent in the time of which it was written and how this destructive power aspect to literature is particularly prominent in Shakespeare's sonnets. It examines how, on the surface, the sonnets may simply seem like the lyrical masterpieces, which they are, and shows how an analysis of the individual sonnets and lines can bring to the surface the deeper meaning, which Shakespeare had intended for the audience to notice. It also looks at how his metaphors and ideas in the sonnets are still as relevant in today's society as they were in the Renaissance.
From the Paper "The theme of man versus himself is also brought into play when Shakespeare writes "Thyself thy foe, to thy sweet self too cruel" (8). The young man is an enemy to himself because by refusing to have children. In a sense, he is being cruel to himself for bringing an extinction to his own beauty and that of his offspring. This theme is prevalent throughout literature. People in society sometimes become too concerned with their own actions and lives to think about others. Shakespeare addresses the potential that this young man has to harm his own existence and that of the world, bringing to life the theme that one man can make a difference and leave an impact on the world."
