Abstract "Macbeth", possibly one of Shakespeare's most well-known plays, is most well-known for its striking portrayal of a decorated Scottish general and his wife and their quest for absolute power. This paper focuses on the topic of evil combined with unrestrained ambition in Shakespeare's "Macbeth". It considers possible explanations for Macbeth's murders and analyzes the text to determine why Macbeth turned to evil.
From the Paper "MacBeth, possibly one of Shakespeare's most well known plays, is most well known for its striking portrayal of a decorated Scottish general and his wife and their quest for absolute power. Shakespeare's shortest tragedy is also known for its study of human nature, namely, the conflict between the forces of good and evil in the human psyche. Like all tragic heroes, Lord MacBeth has a fatal flaw: ambition. This flaw consumes him throughout the course of the play leading to his inevitable downfall at its conclusion. However, MacBeth is not simply Shakespeare's study of ambition; its focus is much more precise. MacBeth is a study of the evil to which ambition leads when unrestrained by morals."
Abstract This paper first presents a brief overview of the life of William Shakespeare, before explaining the story of one his most famous plays, "Romeo and Juliet". The paper argues that the play and Juliet are both a comedy and a tragedy and that, although it is the ultimate love story between two young lovers and their ironic deaths, the play has comedic highlights.
From the Paper "Juliet, realizing that she may never be with Romeo, concocts a plan to separate herself from Paris by swallowing a potion to put her into a lifeless state. Romeo reacts irrationally to the news that Juliet is "dead" and plans his own death. Romeo drinks poison, killing himself all the time believing that his true love is dead. When Juliet awakens from her lifeless state to find that Romeo is dead she finds the bottle of poison that Romeo drank. Finding the bottle empty, she takes Romeo's dagger and stabs herself. Both young lovers commit the last defiance of their complicated lives, creating the ultimate tragedy."
Abstract This paper provides evidence from the Shakespearean plays, "A Midsummer Night's Dream" and "The Taming of the Shrew", that there was considerable opposition to women who wanted to express themselves or have their own way in Renaissance times. In "The Taming of the Shrew", it is Katherine who was the deviant, but eventually conformed to the norms of society by obeying her husband. This was because everyone wanted her to do so, including the women around her. Similar to this situation was Hermia?s, where she was ordered to marry a man against her wishes. Women around her and generally everyone else wanted her to obey her father's wishes. However, she revolted and eloped with her lover. From these examples in the play, this paper shows that the voices of women during the Renaissance were greatly opposed. However, it notes that, in the case of Hermia, it can be seen that women finally manage to emerge victorious.
From the Paper "The manner in which some women were in fact reinforcements to misogynistic attitudes is reflected in the Shakespearean texts, "The Taming of the Shrew" and "A Midsummer Night's Dream", as both these texts demonstrate the way that women in the Renaissance reinforced their social positions by repeatedly adhering to what was expected of them. It is clear enough that this attitude on the part of women had caused men to feel elevated and powerful (Belsey 1985, pp 12-15). Men realized that they could get women to act in accordance with what they expected of them, and they reinforced or justified these expectations through religious indoctrination. Particularly, the Christian bible was used in order to get women to conform to what men wanted."
Abstract This paper explains that, at the end of Shakespeare's "Romeo and Juliet", the Prince of the City announces that this tragedy is, in some ways, the fault of all those involved and that further investigation is warranted. The deaths of Romeo and Juliet are the immediate result of the crime of one drug-dealing apothecary. The author believes that the apothecary could have most easily and simply averted this tragedy merely by obeying the laws of his land; the apothecary had nothing personal to gain from selling this poison. Only greed or a blatant disregard for the law could have inspired him to sell such a poison. The paper concludes that, when watching or reading "Romeo and Juliet", it is important to remember that one does not need to be in the center of terrible events to have an overwhelming part to play in them.
From the Paper "At first glance, the tragedy does not seem to be the fault of the apothecary. It seems more convenient to blame it on people who were more immediately involved in the tragedy, such as the parents or the priest. However, all those involved immediately were blinded by emotion and social pressure. It was almost impossible for either side of the feud to end the warfare by themselves -- this was evidenced by Romeo's attempt at pacifism which ended so tragically in Mercutio's death. The feud was bigger than any individual within either family, so one cannot blame any single character on either side of the feud for their deaths, though one can blame their collective families. Blaming the priest or the prince would also be convenient, but on the other hand they were the only people to be actively struggling to end the bloody feud."
A look at the theme of moral responsibility in William Shakespeare's "Hamlet", "MacBeth" and "King Lear", focusing on the characters of Malcolm, Cordelia and Hamlet.
Abstract The paper examines the similarities between the three characters Malcolm, Cordelia and Hamlet. It looks at how all are the children of kings and all have been usurped and attempts to determine what moral responsibility each holds towards their kingdoms and how this is manifested in the plays. It discusses the idea of legitimacy and how only the righful heir can truly rule a kingdom and how any subversion of this "rule" leads to chaos and discord. It also goes on to examine the ways in which the responsibilties of the three characters in question differ from each other, asking whether it is possible to arrive at a definitive conclusion of how Shakespeare presents the theme of moral responsibility in his work.
From the Paper "The whole tragedy of MacBeth seems designed to illustrate that this is the only possible outcome if the natural heir is usurped: we could conclude from this that Malcolm's moral responsibility, and indeed the responsibility of any such "natural" heir, is to reassert his own right to the throne in such circumstances. But can this view of moral responsibility be extended to the other two characters in question: Hamlet and Cordelia?"
Abstract This paper explains that Shakespeare's "Othello" follows Aristotle's principles for creating the perfect tragedy. It has a plot that is easily remembered and structured to arouse pity and fear within the audience, with importance placed on the action, and events turning upon surprises. The author points out that the suffering of Othello meets the essential requirements to be considered a tragic hero. The paper stresses that, in "Othello", the reader witnesses the genius of Shakespeare; Othello changes from a loving husband and great warrior to a jealous, murdering husband. The reader loves him, hates him, and then feels sorry for him.
From the Paper "Additionally, Iago also tells Roderigo that Othello "Is of a constant, loving, noble nature,/And, I dare think, he"ll prove to Desdemona/A most dear husband? (II.i.280-3). In reaction to Othello's character, A. C. Bradley states, "Othello's mind, for all its poetry, is very simple. He is not observant. His nature tends outward. He is quite free from introspection, and is not given to reflection. Emotion excites his imagination, but it confuses and dulls his intellect . . . he has little experience of the corrupt products of civilised life, and is ignorant of European women" (Bradley). Our first impression of Othello is a positive one. This fact will help us to feel pity for Othello later in the play."
Abstract Shakespeare's "Hamlet" is a play about revenge and indecision. Because Hamlet's father is wronged, Hamlet himself spends most of the play deliberating on the subject of his revenge against his uncle Claudius, who has killed his father, married his mother, and assumed the throne. This paper examines Hamlet's quest for vengeance by examining the text itself, as well as secondary sources, and concludes that Hamlet's delay in taking vengeance is primarily based on his indecision, his self-interest, and his desire to protect Gertrude.
From the Paper "In putting on the play to mock Claudius, Hamlet takes a step towards making his vengeance complete, but he loses something of his own nature in the process. ?Forced to master his opponent's craft of smiling villainy, he becomes not merely an actor but also a dramatist, ingeniously using a troupe of traveling players, with their ?murder in jest,? to unmask the king's own hypocritical show?? (Neill, p. 314). This is just playing at real revenge, though. Hamlet does eventually kill Claudius and rid the throne of this usurper, and it is tragic that he dies in the process of doing this. Vengeance could have been carried out with less of a tragic risk to his own personal safety if it had been less personalized and brooded over for a lesser period of time."
Abstract This paper examines Hamlet's quest for vengeance by looking at the text directly and taking cues from secondary sources. It concludes that Hamlet's delay in taking vengeance is primarily based on his indecision, his self-interest, and his desire to protect Gertrude.
From the Paper "Shakespeare's Hamlet is a play about revenge and indecision. Because Hamlet's father is wronged, Hamlet himself spends most of the play deliberating on the subject of his revenge against his uncle Claudius, who has killed his father, married his mother, and assumed the throne. Hamlet's adherence to the patriarchal ideals is supported throughout the play by the appearance of his father's ghost, which appears as a sort of dream-like interruption of the quotidian reality in which Hamlet might deny the filial duty to avenge his father. This ghost spurs the prince on to seek revenge, even when Hamlet seemingly wants to get on with his life and save his soul in the process."
Abstract To consider the role of women in Shakespeare's plays and Shakespeare's attitude toward women, the play, "Richard III", is discussed. This includes an analysis of the three major female characters in the play, showing the roles of women in the society of the time and suggesting Shakespeare's own view of women.
From the Paper "Queen Margaret shows herself to be one of the strongest women of the play in some ways. This is mainly by being the only woman that Richard is not able to fool. Her continuing anger over her dead husband and son is also a sign of her loyalty to them. This can be compared to Lady Anne who is initially angry about the death of her husband, but then quickly agrees to marry Richard. This action by Lady Anne suggests that women are fickle. In contrast, Queen Margaret never gives up being loyal to her husband and son, despite circumstances. This shows a strength that many women of the play do not have. At the same time though, this loyalty by Queen Margaret does not do her any good and only results in her constant unhappiness. The point that seems to be made is that a strong woman actually suffers, and that it is better to be fickle. While Lady Anne is fickle, she actually does achieve happiness. At the same time, she does not gain the respect of the audience."
Tags: society, queen, margaret, elizabeth, lady, anne
A discussion on whether Malcolm's words "this dead butcher and his fiend-like queen" are an adequate obituary for Macbeth and his wife in William Shakespeare's "Macbeth".
1,116 words (approx. 4.5 pages), 0 sources, 2002, $ 38.95
Abstract This paper examines how at the end of William Shakespeare's "Macbeth", once Malcolm has gained his rightful place on the throne, he describes the fall of Macbeth and his dead wife as "this dead butcher" and "his fiend-like queen" respectively. It debates whether this is too harsh a description or whether is it suitable enough considering the atrocities they had committed.
From the Paper "From the start, we are witness to the violent nature of Macbeth in the Captain's account of the battle: ?[Macbeth] unseemed him from the nave to the chaps.? He is also praised as a brave soldier and a valiant nobleman. From then on, events occur which only help to bring out the evil nature of Macbeth, and we see his ambition and evil thoughts build up in the play. The first of such events is his meeting with the witches, where they inform him of the honours and kingship he will obtain. Although he is slightly sceptical at first, he becomes noticeably excited when Rosse brings news that he is now Thane of Cawdor: he becomes "rapt" as Banquo observes, ignoring his companions in his deep and evil thoughts that have almost instantly taken over his mind: "why do I yield to that suggestion/ Whose horrid image doth unfix my hair"? "
Abstract This paper emphasizes specific passages in the story where the lawyer is given the opportunity to create positive action, but instead chooses the passive aggressive route. The author finds that the lawyer is like Hamlet in that his melancholy temperament leads him to over-think the situation instead of taking action.
From the Paper "Herman Melville's short story, Bartleby the Scrivener, has many complex themes that are interwoven into the tale of a lawyer and his odd employees. The oddest employee is one by the name of Bartleby. The story is told from the perspective of a lawyer on Wall Street. The Lawyer, who is never named, is a very complex and interesting character, perhaps even more interesting than the character of Bartleby. Though the Lawyer is the voice for the story, he is not a highly reliable narrator. The Lawyer's view of himself, as well as the other characters, is often skewed and contradictory. The story could be said to be a tragedy due to the pathetic death of Bartleby at the end of the story. Though Bartleby does die and the scene is of a tragic nature, the true tragic figure is not Bartleby, but instead is the Lawyer. The Lawyer, much like the tragic hero of Hamlet, suffers from fits of melancholy, which cause him to hesitate instead of taking action where action is necessary. The story is riddled with examples of his inaction, hesitation, and passiveness, due to his melancholy temperament."
Abstract This paper introduces, discusses and analyzes the play, "Hamlet", by William Shakespeare. Specifically, the paper looks at whether Hamlet is truly insane and what makes him the consummate tragic hero.
From the Paper "Hamlet is a tragic hero because his actions lead to his downfall, and the downfall of many around him. He recognizes that he has character flaws that will ultimately lead him to jealousy, despair, and death, in fact, he notes, "I am very proud, revengeful, ambitious, with more offences at my beck than I have thoughts to put them in, imagination to give them shape, or time to act them in. What should such fellows as I do crawling between heaven and earth?" (Shakespeare 2049). Hamlet recognizes that he has character flaws, but he is powerless to act on them, and so, he self-destructs by the end of the play, taking many other characters with him. Tragic heroes also exhibit characteristics that endear themselves to the audience, and Hamlet has many of these characteristics."
Abstract This paper discusses four different productions of "Othello" and examines whether the costumes in each production adequately reflect the personalities of each of the characters and the era in which they lived.
From the Paper "Designing costumes for Othello, in whatever form--play, ballet or opera, presents a few problems from the outset. First, of course, is the necessity for the costume to enhance the feeling of paranoia of Othello, a Moor in a Caucasian society. Second, Iago needs to be malevolent without being evil personified; he is, perhaps, simply overly worldly and overly ambitious, as is his wife, Emily. And third, Desdemona has to be understandable in the context of her own time, and of ours. While it may have been usual then for a woman to trust even when reason would tell her not to, it isn?t so today."
Abstract This paper examines how William Shakespeare's poetic language uses certain aspects of the English language to convey the feeling of his words and how among these techniques are meter, rhyme, reference, and figurative language. At the same time, he also uses the iambic pentameter in interesting ways to stress meaning and point to key phrases, thoughts, or ideas. It discusses two of Shakespeare's sonnets and examines their qualities to see exactly how the Bard brings these things into dramatic effect. For simplicity, the sonnets used are sonnets "Twelve" and "Seventeen".
From the Paper "The first technique of note when dealing with the writings of Shakespeare writings is his use of rhyme. In the sonnets in question, meter and rhyme are used interestingly. Sonnet twelve starts out in an interesting way in that it does not rhyme in the traditional sense. The key words of note here are, "come" and "tomb", and "deserts" and "parts", in comparison, every other line ending in both sonnets ends in traditional rhyme, such as, "eyes" and "lies", or "age" and "rage". However, Shakespeare does not abandon rhyme entirely for the opening of sonnet twelve, he does something entirely different. Here he uses words that rhyme only to the human ear. In other words, on script, they do not appear to rhyme. But, when said out loud, they have the similarities of rhyming words."
Abstract This paper examines how, throughout history, enthusiasts have come up with theories about Hamlet' sanity and how, for most, the conclusion they have come to is that Hamlet was mad and just went on a killing spree. It explores whether Hamlet's actions throughout the play are those of a mad man, whether he really meant to kill Polonius or whether he thought he was killing Claudius.
From the Paper "The second issue is whether or not Hamlet actually meant to kill Polonius or if he actually thought that Claudius was behind the arras. It is said that Hamlet acted very irrationally when he stabbed his sword through the curtain. However, after looking at the situation it seems that it was anger and not irrationality that made Hamlet carry out this action. He is having an intense fight with Gertrude and she actually fears he will kill her so she cries out for someone to help her. Behind the arras a voice screams out for help and Hamlet recognizing that someone is spying on him and her, he then stabs his sword to where the voice came from. Now Hamlet was probably familiar with both his uncle's voice and with Polonius? voice and because the person behind the curtain had spoken we could assume that if Hamlet could not tell whom the voice belonged to, he could probably figure out that it was not Claudius."
