Discusses the common misinterpretation of William Shakespeare's use of true-to-life character illustrations in order for him to demonstrate performance.
Abstract This paper shows that, despite Shakespeare's genius in his play, "Othello", it becomes virtually unmistakable that the author is presenting a cautionary tale of love and desire. The paper argues that, through his creations, their plight, and various techniques, Shakespeare conveys his sentiments about women, forewarning the reader about the perils of devotion, passion, and the danger of being wholly embroiled by these emotions.
From the Paper "Iago's right hand fop, Roderigo, exhibits those same embroiled emotions which bind him to that "viscous cycle" of the play, making him a prime example of the fate due to characters consumed by passion. His desires, however, are more single-minded as Othello's and easily established, for this reason his tragic star will burn the brightest and shortest. First note on Roderigo: He is no better than Iago, he is a lackey and a villain, a fool. ?Natural law for Iago, as for Edmund of King Lear, is Hobbesian ? a matter of animal appetites promoted by cleverness, with the strongest and the shrewdest winning out? (Snyder 27). This is also true with Roderigo."
Abstract A close look at the status of women in 17th century England by examining the works, "Hamlet" and "Macbeth". The paper looks at how women are portrayed in a select few of Shakespeare's works. In doing so, the writer attempts to get an overall feel for Shakespeare's thoughts on the role of women in society. It also brings to light the historical presence of women's roles in Shakespeare's society and uses evidence from this time period to discover what may have been the pattern of thought behind these works, which are so revered in today's society.
From the Paper "Throughout the Elizabethan period in England, the role of women in society teetered between the traditional and the innovative. This melting pot of female roles was strongly encouraged by Shakespeare in the only way that was allotted him for this time period. Through parody, tragedy, and subtle innuendo the Bard seems to tell of the coming of the equality of women. Or does he? Perhaps there are reasons other then a sense of woman’s equality that inspired Shakespeare to write of women in the manner that he did."
Abstract This paper is based on Hamlet's treatment of the women in his life. It discusses the roles Ophelia and his mother Gertrude play in his life and how their relationships affect him. The writer compares and contrasts Hamlet's relationships with Ophelia and Gertrude in order to display how they ultimately affect his actions and personality.
From the Paper "Shattered by his mother's repugnant decision to marry Claudius so soon after her husband's death, Hamlet becomes extremely cynical, even neurotic, about women in general, showing a particular obsession with what he perceives to be a connection between female sexuality and moral corruption. He urges Ophelia to go to a nunnery rather than experience the corruptions of sexuality and exclaims of Gertrude, "Frailty, thy name is woman" (1.2.146). At first glance, this quote seems just to be calling his mother fragile. If one looks deeper into the meaning though, he will realize that Hamlet is saying that his mother was not strong enough to resist marrying again. "A little month; or ere those shoes were old. With which she follow"d my poor father's body?. married with mine uncle.? (1.2.147-151) He scorns Gertrude because he is disgusted that she married his uncle, thinks that she married too soon after his father's death, and believes that she has ruined his chances of love with Ophelia as a result of her immediate and corrupt incestuous marriage. The swift marriage of Gertrude and Claudius suggests an ongoing affair and disloyalty to Hamlet's father. Also, because Ophelia is ignoring him and rejecting his love, Hamlet believes she could easily deceive and betray him like his mother. The swift marriage of the two suggests an ongoing affair and disloyalty to Hamlet's father. Hamlet, upon seeing how his own mother could be capable of such betrayal to her husband, now fears that all women are capable of the same thing. Ophelia, already ignoring him and rejecting his love, could as easily fool and betray him."
Abstract This paper discusses the depictions of Antony's and Cleopatra's respective conflicts, and how those depictions portray the value of romantic love. The discussion begins with Antony's conflict, which is a struggle between reason and emotion, mind and heart. This conflict is a central theme to the play and is even manifest in a geographic and political sense as the struggle between the Western world of Rome and the Eastern world of Egypt. The discussion moves to Cleopatra and shows that she is at the center of the same struggle and is motivated, just as Antony, to choose between political power and love. The paper concludes with an examination of Shakespeare's message about the value of romantic love.
From the Paper "Cleopatra is portrayed to us as a woman of sublime beauty. She is seductive to such a degree that she is considered an enchantress and is referred to as a witch. Her majesty is described in vivid terms in a narration by Enobarbus; one of Antony's most trusted lieutenants (II.ii.196-210). He describes the golden decks of her barge, purple sails and silver oars. He compares her visage to Venus, and mentions her as surrounded by young servant boys and ladies. His description brings to us the enchanting quality of Cleopatra's presence, and her subsequent hold upon Antony."
Abstract Prince Henry is an excellent character study when it comes to lessons of maturity. This paper shows how Shakespeare paints the portrait of a character that grows from childhood pranks to admirable maturity in his play, "Henry IV". This paper examines this growth through quotes by the character and his interaction with other characters in the text.
From the Paper "While Prince Henry may appear to be lackadaisical, it seems as though he is fully aware that his carefree days are numbered. In addition, he is setting himself up for a glorious transformation when he finally discovers his true and noble self later in the play. However, it is important to note that while Prince Henry says these things and is apparently aware of them he must still live up to this reputation--something he is not quite ready to do at this point. This passage also provides insight into the overall world of the play in that Prince Henry, as well as everyone else, is aware that he will be king someday."
Abstract This paper analyzes the idea of kingship in Shakespeare's histories and focuses on the character of Henry V. The thesis concludes that Henry V learned from the examples of those who held the throne before him in order to keep the crown as long as possible.
From the Paper "In Shakespeare's Second Tetralogy, he poses many questions related to the temptations and consequences related to kingship. Henry V, the crescendo of the tetralogy, contains his ultimate answer to these questions. The character of Henry V has learned from the examples of those who have come before him. He avoids the traps of kingship and uses current ideas of the time to create the perfect public perception of himself. He does what is necessary in order to keep the crown while steering clear of the scandals that have tainted the English throne before."
Abstract This paper examines how Gertrude and Ophelia are the only female characters in "Hamlet" and how, although the male characters take lead in this Shakespearean play, the roles of Gertrude and Ophelia are both memorable. It demonstrates how although neither have an extreme amount of lines, both characters roles are set up a system of cause effect within the play.
From the Paper "Gertrude does seem morally frail. She never exhibits the ability to think critically about her situation, but seems merely to move instinctively toward seemingly safe choices, as she immediately runs to Claudius after her confrontation with Hamlet. When Hamlet says "... kill a king and marry with his brother", she seems to respond with surprise as she replies, "As kill a king!" Later in that scene, when Hamlet has tried to win her round, she says, "O Hamlet thou hast cleft my heart in twain", therefore we see that she's divided between the two (Claudius and Hamlet) rather than siding firmly either way, showing she lacks in moral fibre and strength. Gertrude follows Claudius and is seen to not think for herself as she mixes up the names of Guildenstern and Rosencrantz trying to follow in what the King had said when greeting them."
Abstract This paper reviews the play, "Hamlet," by William Shakespeare. The paper contends that "Hamlet" is a complex play and can support a wide variety of interpretations. The paper describes one aspect of the psychology of the main character that harks back to the ancient world and the story of Oedipus, who was ordained to kill his father and marry his mother, which he unwittingly did. This story would later serve as a source for Sigmund Freud as he developed his oedipal theory, and the paper explores a similar idea that is played out by Hamlet in terms of his mother and father. The paper explains that Hamlet does not kill his own father, but he does have to kill his step-father at the behest of the ghost of his father and plays out the idea of sexual jealousy because his mother has remarried.
From the Paper "In Hamlet as in other Elizabethan drama, the fate of kings is tied to the order of the universe, and dissension and tension in one is reflected in the other. Yet, the issue is complex, and while the usurper has no right to rule, it is not always clear who has the right to prevent him from ruling. The hesitation of Hamlet, much commented on by critics, may derive from the fact that while he knows Claudio to be a regicide, to kill Claudio would make him a regicide as well. The usurpation of the throne leads to a more dangerous and uncertain environment in the land, and nature concurs by expressing through storms and other travails visited upon the people that a great political wrong is also a great moral and religious wrong. The effects of a regicide are seen in storms and the like because such actions offend the gods, or God."
Abstract This paper discusses the theme of madness in the major characters of the three tragedies 'Hamlet,' 'Macbeth,' and 'King Lear.' Hamlet and Ophelia are compared and contrasted, then Ophelia is compared to and contrasted against Lady Macbeth. The witches in 'Macbeth' are related to the theme of madness, then madness is explored in Lear and Edgar. Emphasis is given to speech patterns and the allusion to madness. The paper ends with an analysis of the necessity and reason for the madness of these characters and how they contribute to the tragedy as a whole.
From the Paper "The theme of madness occurs repeatedly throughout the three tragedies Hamlet, Macbeth, and King Lear. Ophelia slips into madness after her father's death while Hamlet puts on an act of madness in Hamlet. Madness takes the form of visions in Macbeth, in both the spells and predictions of the weird sisters and of Lady Macbeth's nightmares. In King Lear, madness is shown through Edgar's mockery and disguise and through the natural descent of the king."
Abstract This paper examines the presence and lack of maternal figures in William Shakespeare's "The Winter's Tale" and "King Lear." It discusses both the societal and familial implications of maternal absence and acknowledges the fact that this trend is still common in modern fiction.
From the Paper "As in many contemporary stories, the tragedy King Lear begins without a mother present. Nothing is known of her; the reader is unaware of the circumstances of her death, or if she actually is dead. What is clear is that her presence is missing, not only throughout the course of the play, but in the lives of Lear and his three daughters. Seemingly the opposite, The Winter's Tale begins with an existent maternal figure, Hermione. Not only is Hermione present, she seems to represent all that maternity should. She is a just and gentle queen, and although her royal husband, Leontes, accuses her of adultery, this accusation stems from his own maddened jealousy, and has no basis in truth. In fact, Hermione spends a good deal of the play defending her womanly honesty against her husband's unfounded jealous rage."
Abstract This paper examines how the play "Twelfth Night" by William Shakespeare, is concerned essentially with deception on various levels. It looks at how although deception is often a comic device, in this play it is often a means of deepening the ideas, allowing the audience to explore gender and sexuality, mainly through Orsino and the Viola/Cesario plot.
From the Paper "With the part of Viola, Shakespeare immediately presents the idea of gender confusion and interchangeability between the sexes. When the play was first performed, the cast would have been entirely male, so by the end of the first scene, the audience is aware that we have a boy playing a girl who is playing a boy on the stage. These levels of ambiguity suggest that gender roles will be important. Shakespeare then continues to explore this throughout the play, through the character of Cesario (Viola in disguise) and his relationships with other major characters such as Orsino and Olivia. Orsino sends Cesario to seduce Olivia on his behalf, and, unfortunately for the duke, Olivia falls in love with Cesario. The reasons for this are dramatised at the end of act one, scene five. Olivia asks Cesario to explain what he himself would do if in Orsino's position of lust towards her, so effectively asking his opinion of Orsino's technique and encouraging him to imagine that he loved her himself."
Abstract This paper claims that, at first glance, Shakespeare's "Othello" and "The Tempest" could not be more unlike. "Othello" is a tale rooted very firmly in the here-and-now, the actual city of Venice, an important and central location for the Renaissance man. "The Tempest" is a fantasy taking place on a "marvelous" island. However, the paper explains, a closer look reveals that Venice, too, is marvelous and is, moreover, the perfect link between the civilized and the savage. It is no wonder then that the story of the 'noble savage' in the character of "Othello" was placed there. Nor is it any wonder that the less noble savage, Caliban, is found on an island that, while not straddling the literal old and new world orders, nonetheless bears representatives of each. The paper contends that both "Othello" and "The Tempest" are indeed exemplary of the statement, "Europeans contact with people of other cultures during the Renaissance period had a disorienting effect, as it raised the question of who was truly 'civilized,' and who was truly 'savage'." Shakespeare seems to answer that question in both plays, often in ways that may, at first, like the true meaning of Venice, be hidden.
From the Paper "The Renaissance was about discovery, artistic, scientific and geographic. The geographic discoveries led to European's 'finding' new lands-although the lands had clearly been there long before any Europeans sailed to them-and thus to European culture bumping into cultures far different. The Europeans, since they had 'discovered' those other people, found it easy to set themselves up as superior to the discovered populations; that being the case, they then began to colonize the natives of those places, to civilize them (or, as one might say in a more politically sensitive age, Europeanize them, although that sounds even more paternalistic than colonizing). Cefalu argues that hierarchy was central to the European concept of civilization; any culture that lacked masters and subordinates was, therefore, uncivilized. Such as the culture found in "The Tempest"; it paralleled, Cefalu argues, the lack of stratification in the American colonies at the outset (Cefalu 2000)."
Abstract This paper points out that ,although Macbeth and Lucifer seem extremely different, they demonstrate very similar things and are motivated by the same things. It talks about how neither of the two characters seek redemption, yet points out how Satan is redeemable. Many significant differences and similarities are pointed out throughout the paper.
From the Paper "Macbeth and Lucifer are the protagonists of Macbeth, by Shakespeare and Paradise Lost, by John Milton, respectively. Superficially, these two characters appear to have nothing in common, as there are many inherent differences between men and angels. They may have virtually no similarities in the physical sense, but their thought processes are in most cases almost identical. After careful examination, many connections appear between the tragic hero of Shakespeare and the one of Milton. The two aforementioned characters ruin their existence with one evil deed; after their first evil has been committed, an unstoppable chain of events occurs. Both the man and angel experience an extreme transformation to darkness and evil, making them much worse than they had ever been before."
Abstract This paper presents a comparison of William Shakespeare's "Richard II" and "Macbeth". The paper assesses to what extent these two plays endorse notions of divine right and royal absolutism. These terms are defined in order to facilitate an understanding of the thesis. The different motifs of the plays are examined in the paper.
From the Paper "Richard's eloquence and lack of propensity to enter into battle forms a strong contrast to Bolingbroke who is portrayed as a man of action. Shakespeare perhaps though viewed the latter as a bully as he wrestles the crown from an eloquently verbose Richard, 'With mine own hands I give away my crown, With mine own tongue deny my sacred state,'(4.1.199-200,Norton). Richard's words here abrogating his kingly, God-given status, but his actions on stage perhaps contradicting them. The semiotics of the crown are pivotal, the crown itself the symbol of a king. The crown though is a hollow void, and the mere possession of it does not confer the rightful status of a king. Bolingbroke himself is never completely at ease in his usurpation, as he acknowledges at the play's end, 'I'll make a voyage to the holy land, To wash this blood off from my guilty hand.'(5.6.47-48,IBID) The repeated Christ-like motif reiterates the injustice of Richard's fate."
Abstract Using the ideas and motifs of the contextual text "Il Pecorone", William Shakespeare constructs a play - "The Merchant of Venice" - with a focus on sexuality and gender, creating equal grounds to contrast the characters Antonio and Portia. This paper shows that, adding a depth to the play that was not present in the original document, Shakespeare presents a world of romantic rivalry in which the woman assumes characteristics generally associated with the masculine - such as power, authority and self-control, while the man is shown as a weak character victimized by his own emotional instability.
From the Paper "Inspiration for the character of Portia is the Lady of Belmonte in the original text, a woman who uses her sexuality and power to lure gullible men into her trap. Highlighting the benefits of their visit, she counts on men's sexual greed and vulnerability to get them to accept the challenge and loose their ships - in a way she is the equivalent of hazardous storms that sailors face. The fact that the Lady's name is not specified strengthens her association with the supernatural, and establishes her as a strong character unaffected by human flaws. Her life experiences and maturity allow her to preserve the authority over her possessions and to make decisions about her future. As a widow, the lady defies the stereotype of a virginal maiden."
