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."
Abstract This paper discusses how, in the first three acts of William Shakespeare's "King Lear", the evil trinity of Edmund, Goneril, and Regan rises to power and how we have an abundance of horror and pessimism as human decency gradually shrinks. It examines how it is to Shakespeare's credit that, despite making his principal villains partners in their quest for power, he endows them with their own peculiar shades of evil. It looks at how, even though all three have their own idiosyncrasies to deal with, somehow they are never crude, stereotypical villains; each, in his own capacity, has a distinctive quality, which enhances the luster of the evil.
From the Paper "These sycophantic words, which are repeated by Regan, are drenched in hypocrisy yet their purpose is to attain for themselves a portion of the kingdom. Who would not use a bit of flattery for such a reward? Thus, the two daughters are not exactly evil to begin with but more appropriately "hard-hearted" realists who will employ any and all means to get their share of the cake. They are very near to a modern go-getter. Even while arguing their case with Lear, their points are apparently more valid than his. It is true that he is old and choleric, his rages and temper are unpredictable and a source of problem. His retinue, especially if it follows the example Lear sets by assaulting Oswald, is likely to be a riotous lot. We almost find her common sense arguments plausible."
Abstract In Shakespeare's "Othello", Iago is identified with evil and is typically seen as the villain of the play, while Othello is identified with good and is widely viewed as the tragic hero. This paper explains that, although Iago does commit evil acts throughout the play, he is merely a victim of circumstance and is not entirely at fault for the tragedy that occurs.
From the Paper "The first mentioned, and most obvious motive that Iago has for committing his crimes is the fact that Othello passes Iago over for promotion to lieutenant in favor of the less experienced soldier, Michael Cassio. This fact is learned in the very beginning of the play, as Iago speaks to Roderigo about the choice that Othello has made. Iago tells of Cassio's inexperience when he describes him as "a great arithmetician" (1.1. 19). Iago then goes on to say that Cassio "never set a squadron in the field, / Nor the division of a battle knows / More than a spinster; unless the bookish theori" (1. 1. 22-24). These phrases tell the reader that Cassio's military knowledge comes merely from books, and not from experience in battle, like that of Iago."
Abstract This is a literary essay that discusses William Shakespeare's "Hamlet" and how the character of Hamlet would have been perceived by an Elizabethan audience. The paper contends that, in the eyes of an Elizabethan audience, Hamlet is a failure, both as an avenger and as a human being.
From the Paper "In William Shakespeare's play Hamlet the central character, Prince Hamlet of Denmark and heir to the throne has a personality that is often considered flawed. He possesses several negative attributes that would have given the Elizabethan audience of the time good reason to find him failing as a human being and as an avenger. However, there is evidence throughout the text that suggests Hamlet is not a total failure as a human being and avenger. To draw a conclusion, one must explore Hamlet's character and analyze his actions throughout the course of the play."
A comparative analysis of the theme of love and false love in William Shakespeare's "King Lear", F. Scott Fitzgerald's "Great Gatsby" and "Fifth Business" by Robertson Davies.
769 words (approx. 3.1 pages), 0 sources, 2004, $ 27.95
Abstract This paper examines how although "King Lear" by William Shakespeare, "The Great Gatsby" by F. Scott Fitzgerald and "Fifth Business" by Robertson Davies, are all very different works from different times and places, the main characters all possess a similar downfall or fatal flaw: They cannot distinguish true love from false love. It attempts to show how as a result, King Lear loses his kingdom and his life and how Nick Carraway, the narrator of "The Great Gatsby", gets involved with a dangerous, immoral crowd and undergoes a personal struggle with his own morals and lifestyle. It also looks at how Dunstan Ramsay, the narrator of "Fifth Business, tells the tale of his life, throughout which he suffers because of his inability to let go of a woman from his past.
From the Paper "In the Great Gatsby, Nick Carraway goes through his own hardships and makes his own mistakes. Most of these, like those of Lear, stem from his inability to distinguish between true and false love. He has an infatuation for Daisy Buchanan (one shared by many characters in the novel), and begins an affair with Jordan Baker, a cynical golfer. The problem, of course, is that he mistakes the infatuation or lust he has in the presence of these two women for real emotion, for real love. Because of this, he believes that they care for him, in some way at least, and that they are good people. As he finds out later, however, this is not the case."
Abstract This paper examines "Romeo and Juliet", written by William Shakespeare, which is set in Verona Italy, where two feuding families, the Montagues and the Capulets, produce a pair of "star-crossed lovers". It looks at how within the play there are five events that drastically change the course of Romeo and Juliet's love: Romeo and Juliet's meeting; their marriage; the death of Tybalt and Romeo's banishment; Friar John being detained with the letter allowing Balthasar to inform Romeo of Juliet's death; and Romeo killing himself before Juliet awakens. It attempts to show how these events could be classified as the direct results of a character's action, an act of fate, or a combination of both.
From the Paper "Romeo and Juliet's first meeting is completely due to fate. Their families? hate for one another would have made it impossible for them ever to meet unless there was another force at work. Romeo was originally infatuated with Rosaline, a woman who did not belong to either the Capulet or Montague family, and who would have nothing to do with Romeo. If the Serving Man of the Capulets had not approached Romeo to read the list of guests he was to ask to the party, Romeo would never have been aware that Rosaline was invited, which is the reason that induced him to enter the home of his enemy. This string of events and coincidences could not occur in a situation without fate, which sets up the rest of the play around the delicate relationship of Romeo and Juliet that under normal circumstances would not exist."
Abstract This paper reports that, in Tennessee Williams's "The Glass Menagerie", Amanda is the perfect example of a loving mother who ,at the same time, suffocates her son with her constant nagging and meddling. The author points out that one of the most interesting aspects of Shakespeare's "Hamlet" is the extremely uncomfortable relationship between Hamlet and his mother Gertrude, who throughout the play, appears to be dominating her son by manipulating his feelings and emotions. The paper concludes that the two plays and the characters of the mothers are in contrast. In "The Glass Menagerie", Tom is able to brush off his mother's domination after much struggling, whereas, in "Hamlet", Gertrude is unable to dominate Hamlet, even though she tries.
From the Paper "It is obvious why Hamlet despises his mother so much. Overall, her dominance over him and her betrayal to his father makes Hamlet seek revenge on her. Hamlet appears to be an emotionally charged individual who thinks more from his heart than his head. He sees her marrying his uncle soon after his father's death and realizes how little his father actually had meant to his mother. He is appalled at his mother's sexual behavior and seeks revenge because of his anger at her. His mother to him is a liar, an unfaithful liar."
Abstract Foolery comes in many shapes and many sizes as William Shakespeare reveals in his play, "Twelfth Night". Malvolio's character represents a type of self-delusional foolery that we can laugh at and learn from. Feste captures the mood of the play perfectly when he says, "Foolery, sir, does walk about the orb like the sun; it shines everywhere" (III.iii.139-40). Some foolery is positive, and some is negative and deserves to be punished. This paper examines the significance behind punishing Malvolio for his foolery through a prank.
From the Paper "It is obvious that Malvolio's nature becomes a drag for the other characters in the play. Toby responds to Malvolio's abrasive nature with biting honesty, which Malvolio is blind to, when he asks him, "Art any more than a steward" Dost thou think, because thou art virtuous, there shall be no more cakes and ale? (II.iii.110-2). Shakespeare is creating a conflict between Malvolio and the other characters in the play, which prepares us for the upcoming scene in the play."
Abstract This paper examines how "The Tempest" is, perhaps, Shakespeare's most universally appropriate play in that its multicultural and colonial themes have attracted substantial study from all over the world and its characters have been employed as models for both further literary work. In particular it discusses how Caliban is, without question, a slave and how enslavement is a theme that pervades the play as a whole. It investigates this theme, not only in relation to Caliban, but also to the spirit Ariel and, to some extent, Prospero's daughter Miranda.
From the Paper "It would not be insensible to argue that any audience of The Tempest finds itself subject to Prospero's rule. Knowledge of all action previous to the events which take place on stage is presented in the most part through Prospero. Indeed, all of the other characters, once upon the island, are only able to perform what is permitted them by Prospero. Caliban enters on his command, Ariel begins the play in creating a storm at his order, and the passengers of the King's ship are lured into neat groups around the island in preparation for his plan for the recovery of his Dukedom. Most significantly, however, is the position of Prospero's daughter, Miranda. She has lived on the island for nearly all of her cognizant life, taking all of her knowledge of human society from her father."
Abstract This paper discusses Shakespeare's portrayal of evil in the character of Iago. The paper describes the evil actions and deeds of Iago and looks at what different critics consider to be the reason for Iago's evil behavior. The paper also points out that Iago's evil is of a type that transcends time.
From the Paper "Perhaps what makes Iago truly evil is the fact that he is not provoked. While it is true that he has been passed over for the position of lieutenant, this is hardly enough reason to destroy the lives that he does. Many critics maintain that Iago feels jealousy toward Othello, which is the motivating factor for his actions. Others believe he is a man that was born evil and finds delight in destroying the lives of others."
Abstract William Shakespeare's play, "Othello", should be renamed "Iago" because, throughout the play, we witness the rise and fall of Iago's character. When we consider this perspective, we will assume that Iago's rise occurs from his success in turning Othello into a jealous monster. Iago is able to achieve this because he is very cunning and smart. It is also important to note that he understands jealousy because he is a jealous man as well. This paper explores the how Iago was able to rise and fall in "Othello".
From the Paper "He advises Othello to "Look to your wife; observe her will with Cassio./Wear your eye thus: not jealous, nor secure" (III.iii.195-6). Because Othello is first to mention his suspicions, Iago has successfully isolated himself from any of the blame. Kenneth Muir states that Iago "exploits the virtues as well as the weaknesses of Othello and of Desdemona, weaknesses both of character and situation" (Muir 35). Paul Cantor agrees with this notion, adding that "Iago turns everything that makes the love of Othello and Desdemona so extraordinary into an objection against it. The fact that they have overcome such differences in order to love each other becomes in Iago's view evidence for the improbability of their remaining loyal to each other" (Cantor). Iago's actions regarding these statements illustrate his cunning nature."
Abstract This paper focuses specifically on the soliloquies in Shakespeare's "Hamlet" and contains a detailed discussion on the tragic flaw, indecisiveness, that leads to Hamlet's doom.
From the Paper "Although they play an important role in nearly all of Shakespeare's plays, the literary device of the soliloquy plays an especially important role in Hamlet. The reason for this is that fact that each soliloquy better helps us to understand the psychological motivation behind Hamlet's indecisiveness in action. Hamlet is certainly a play about revenge, but like most Shakespearean tragedies it involves a main character with a specific flaw inevitably leading to his downfall and death. For Hamlet, this trait is his indecisiveness. This trait of indecisiveness is displayed to a certain extent in each one of Hamlet's soliloquies, and reveals Hamlet as a man of inaction who is unable to do anything more than think about his problems."
