Abstract This six-page paper explores the character of Iago in William Shakespeare's "Othello." In "Othello," Iago manipulates Othello in many ways, which leads to several deaths. 6 pgs. Bibliography lists 1 source.
Abstract This paper analyzes the Duke of Buckingham in Shakespeare's "Richard III".The Duke was a clever, power-hungry and ambitious opportunist who supported the most dominant people in the country. When Richard was trying to be king of England, the Duke of Buckingham supported his evil schemes to punish the innocent in order to seize power. Later, the Duke of Bucking showed intelligence, wisdom and compassion when he refused to support the killing of more innocent soul during Richard's reign.
Abstract This paper examines the mother-son relationship in two plays: Hamlet and his mother, Gertrude, in "Hamlet" by Shakespeare, and Amanda and Tom in "The Glass Menagerie" by Tennessee Williams. It demonstrates how the two plays and the characters of the mothers are quite different and how, in "The Glass Menagerie", Tom is able to brush off his mother's domination after too much struggle. On the other hand, Gertrude is unable to dominate Hamlet, even though she tries. It also shows how Tom's relationship with his mother is that of an irritated son who cannot stand his mother's meddling, whereas Hamlet's relationship is based on revenge and hatred.
From the Paper "Hamlet is one of Shakespeare's most popular tragedies written in around the 1600. The play is a melodrama of revenge, secrecy, madness and conspiracy. It revolves Hamlet, a prince of Denmark who's life is filled with tragedy. Initially he loses his father and while on the verge of recovering from this loss, he sees his mother Gertrude, marrying his Uncle Claudius within two months of his father's death. The shock of his mother's behavior is unbearable for Hamlet as he goes into severe depression and termed by some as complete madness. He fails to continue his studies and because of his mental state, his mother does not allow him to leave Denmark till he is completely stable."
Tags: revenge, hatred, gertrude, tom, amanda, claudius
Abstract This paper looks at the Globe Theater, where most of William Shakespeare's major works, ,including his famous four tragedies, were first staged. It shows how, although the original building was destroyed in the mid-17th century, a new "Globe Theater" has been built near the site of the old theater in London and replicates many of the original features of the original theater and still stages some of the bard's plays. It traces the history of the Globe Theater, describes the original building's main features, and covers the recent rebuilding of the new Globe.
Outline
Origins
Main Features
A "Microcosm" of the Times
Destruction
The "New" Globe
Conclusion
From the Paper "The stage of the Globe was a five feet high level platform of about 43 X 28 feet size. The stage was fitted with mechanisms such as trap doors in its floor that were creatively utilized by Shakespeare in his plays. It was surrounded on three sides by the "pit" in which the general audience (known as "groundlings" or the "one penny" audience) stood to watch the performances. The fourth side of the stage had a room for the actors where costumes changes were made. Around the pit were three galleries (balconies) one above the other that had seating for "two-penny" theatergoers. The topmost gallery was roofed with thatch and had a small turret structure, from which a trumpeter announced the day's performances. Since no artificial lighting was available, plays were usually scheduled for the afternoons."
Abstract This paper analyzes the plays, "Hamlet" by William Shakespeare and "Oedipus the King" by Sophocles. Specifically, it quotes passages that show the fatal mistakes of Hamlet and Oedipus and explains why you would have compassion or condemnation for it. It looks at how both plays illustrate tragic heroes at their best and how both plays illustrate how character flaws can lead to the downfall of everyday men who give in to their flaws rather than overcome them.
From the Paper "In "Oedipus," the same rule of the tragic hero applies, it is one of the most enduring tragedies of all time, and many believe it is the model for all tragedies that came after it. Oedipus suffers from a tragic flaw that is his undoing, too. Oedipus is rash and impetuous, and he often acts before he thinks, and others see this too. The prophet says, "That's your truth? Hear mine: I say honor the curse your own mouth spoke. From today, don't you speak to me, or to your people here. You are the plague. You ruin your own land" (Sophocles, ). Oedipus' tragic flaw is his rashness, such as when he kills his father on the road, but he is also immensely prideful, and this character flaw also adds to his downfall."
Abstract This paper focuses on the tragedy of "Hamlet" as it reflects the definition of what a tragedy is. The Aristotelian model of tragedy and the tragic hero are used as a reference to what makes a play a tragedy and what qualifies the character of Hamlet as a tragic hero.
From the Paper "For centuries people of all social classes have attended plays to escape reality and to be entertained. In the Elizabethan period one form of play that most fascinated its audience was the tragedy. In a typical Elizabethan tragedy men and women were presented as confronting powers outside themselves, facing them with a dignity which shows the audience the essence of the human spirit against tremendous odds which could result in pain, suffering, downfall, or perhaps even death. Shakespeare wrote many tragic plays such as King Lear, Julius Caesar, Macbeth, Othello, and Hamlet (Bedford par.1). Many of these tragedies utilized, as the main character, the Tragic Hero. Many philosophers, writers, and critics alike have speculated the necessary characteristics needed for a character to be considered a ?tragic hero.? Aristotle, the philosopher, formulated a criteria for a tragedy and a tragic hero long before such plays as King Lear and Hamlet. Yet the character of Hamlet, Prince of Denmark, fits perfectly the rules set by the Aristotelian Model of Tragedy and the Tragic Hero. Aristotle believed, among other tings, that ?the tragic hero is of a high social and moral stature. This stature provides the "height" from which the hero falls? (Cowlin par. 3). In order for a hero to be considered a ?tragic hero,? it was necessary for the hero's fall to be the result of a flaw or error in judgment known sometimes as the ?tragic flaw.? Lastly, the hero must, at some point of the story, come to a moment of recognition wherein they come to an epiphany of the extent of his or her flaw (Cowlin par.5). The character of Shakespeare's Hamlet corresponds with the Aristotelian Model of a Tragic Hero."
Abstract Through his comedies, William Shakespeare was able to address many taboo subjects in the name of entertainment. His comedies provided him an avenue to express marginalized voices that were sometimes muffled in Renaissance society. This cannot be truer for the voice of women. This paper shows how, in his plays, "The Taming of the Shrew" and "A Midsummer Night's Dream", Shakespeare gives voice to strong women who refuse to become victims of society. Kate is what we would call a strong-willed child with a mind of her own, with no fear of expressing her opinions. Despite the mistreatment she endures in the play, she emerges a winner for many reasons. The paper shows how, similarly, Hippolyta and Hermia demonstrate independence uncommon to their female counterparts. These women illustrate that true love is its own reward in any age.
From the Paper "Both sisters are playing a game of sorts. Kate is a shrew and cannot be manhandled while Bianca pretends to be the image of feminine sweetness. Bianca is revealed to be the true manipulator because she does not follow the demands of her husband. In the end, we come to appreciate Kate for her genuine character as opposed to Bianca's fraud. Margaret Ranald believes that "Katharina's liberated spirit remains unbroken, but that she has learned the value of realpolitik not only in marriage, but also in the even wider world of sociopolitics" (Ranald 1994). However, when we observe the entire action of the play, we can only surmise that Shakespeare is supporting the role and voice of the independent woman of his age."
Abstract This paper examines how Lady Macbeth and the witches play a vital role in pushing Macbeth to choose the evil path to the crown in William Shakespeare's "Macbeth". It looks at how Lady Macbeth plays the masculine role during the opening scenes of the play and forces her ambitious ways upon Macbeth and how, throughout the play, her famous speeches and soliloquies show the extent of her influence on Macbeth. It also explores how the witches use Macbeth's character flaw to their advantage and entice Macbeth to act on his ambition of obtaining the crown.
From the Paper "Lady Macbeth is part of the instigation behind the unleashing of Macbeth's evil side. Lady Macbeth's words to her husband as well as her many influential soliloquies show her longing for power and therefore she urges Macbeth to murder Duncan. Macbeth and his wife have a very strong relationship in which they greatly influence one another's actions. In the first two acts it becomes apparent that Lady Macbeth's words mean a great deal to her husband, which gives the impression that she is the dominant figure in the relationship. In Act 1, Scene 5 we find out that as soon as she receives her husband's letter she instantly begins to plot and scheme. We immediately become aware of the fact that she wants Macbeth to become king, so she can become the Queen of Scotland."
Abstract This paper examines how Shakespeare's "Hamlet" is a play about revenge and indecision and how, 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. It explores Hamlet's quest for vengeance by looking at the text directly, taking cues from 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 "Throughout the play, Hamlet makes his own choices regarding his plan for avenging his father, and these choices are affected by his own personal ideas about fate and what he sees himself as being chosen for (vengeance). Hamlet represents reluctance to carry out what he sees as his destined goal of getting rid of his father's murderer and
his mother's seducer: ?O cursed spite/ That ever I was born to set it right!? (Shakespeare, I,v, 188-9), he cries upon making Horatio and Marcellus swear to help him in his plans to oust Claudius. Hamlet is not just following the orders of his father's ghost; he is struggling with his own goals and ideas about what is right and wrong; his conscience is
at war with his need for vengeance. He passes up many opportunities to either escape his fate of having to avenge his father and quiet his ghost or assure it. He chooses to make his vendetta intensely personal."
Abstract This paper discusses two of Shakespeare's plays that portray evil female characters, "King Lear" and "Macbeth". The paper describes the daughters in "King Lear", Goneril and Regan, as ungracious and self-centered and capable of great evil. The paper contends that this notion of the independent, aspiring woman is further emphasized in the calculating, power-hungry character of Lady Macbeth in "Macbeth". The paper claims that, with these strong characters, Shakespeare is expanding the role of women by recognizing them as capable of the same desires and motivations that inspire men. These images of women not only contrast the traditional image of the medieval damsel in distress, but they mortify and embarrass their male counterparts.
From the Paper "That King Lear could have two daughters so dissimilar from Cordelia is an issue that Shakespeare explores within this family dynamic. The contrast between their affection for their father only intensifies King Lear's awful mistake. It is important to note that all of his daughters violate traditional expectations in one way or another. Clearly, Cordelia's recalcitrant answer is the least offensive of these violations--but it is the action that moves the entire plot of the play. We know that she loves her father, which makes Goneril and Regan's speeches so hard to swallow. The most despicable aspect of Goneril and Regan's evil is the fact that they seem to have no love or respect for King Lear as a father, a man, or a king. Clearly, they have no interest in him as soon as they acquire their inheritance."
Abstract This paper questions the reasons for King Richard II's demise, whether he was to blame, whether he was irresponsible and whether it was a sin to kill him. It reflects upon these issues and also discusses if whether despite his downfall brought about by his own actions, Richard grows as a character in the end.
From the Paper "King Richard is not a man of action and as the play advances and he gets into more and more trouble, his end approaches and he becomes most poetic of all. He shows himself to be a poet and a dreamer. At Flint castle he asks Aumerle ??.Shall we call back Northumberland, and send Defiance to the traitor, and so die?? And Aumerle replies? No, good my lord; let's fight with gentle words?? This is also an example of another cause of King Richard's downfall. He surrounded himself with flatterers and poor advisors. Richard ignores the only sound advice he gets from Gaunt's death bed and even wishes that the doctor would quicken his death so that he can seize Gaunt's land."
Abstract This paper examines how Shakespeare's views on women clearly define his plays and how, by using the women as some of the most powerful and stage dominating characters his plays possess, he shows a remarkable gift for breaking down the barriers that held women captive. To many, Shakespeare was a man living in a man's world, but scratch the surface of those who understood his plays and the man himself, and we can see that Shakespeare was a feminist, and those ideas came out in his plays.
From the Paper "The patriarchal system was alive and well in Shakespeare's time, one need only look at some of his female characters like Desdemona and Ophelia to see the system at work. Ophelia, was completely at the mercy of the male figures within her life, is certainly a victim figure. In Hamlet's treatment of Ophelia, Hamlet waffles and spins between protests of undying love and cruelty, not entirely sure of where his own intentions lay while he is attempting to cope with the news of his father's murder. Hamlet uses Ophelia as a tool in his revenge plan throughout the play, thus adding more to her role of victim."
Abstract In this paper, a character analysis of both Prince Hamlet and Oedipus is conducted, arguing that both characters have exhibited tragic flaws that ultimately determined their downfall in life.
From the Paper "In Aristotle's literary discourse, ?Poetics,? he discusses his theory of tragedy, wherein he introduces the concepts of tragic flaw or ?hamartia,? which serves as the catalyst for the protagonist's downfall or the tragedy of the story to happen. He determines a tragedy as a "drama" that brings about a "sorrowful conclusion, arousing fear and pity in the audience" (Roberts and Jacobs, 1998:1189). Tragic stories are identified through three (3) characteristics or elements: first, the protagonist, usually a male, must be of noble stature; second, the protagonist or tragic hero must possess a tragic flaw or "hamartia" that shall become his downfall at the end of the story; and third, the hero's downfall must come with a self-realization on his part, making him a "reformed" individual even if a tragic outcome happens to him."
An analysis of the relationship between Prospero, Ariel and Caliban in William Shakespeare's "The Tempest" in the light of competing critical interpretations of the play.
Abstract This paper examines how "The Tempest" has attracted a vast array of critical attention, possibly because of its intriguingly ambiguous message which naturally invites conjecture. It looks at how it is a text loaded with nuances and ambiguities which make it impossible to pin down Shakespeare's original motivation or world view. By contemplating the relationship between Prospero, Ariel and Caliban it considers the author's views of their relationship in comparison with those of major critics.
From the Paper "Caliban's attitude to Prospero is one of absolute terror of his power rather than mere subservience. Mannnoni's argument of a "predisposition to dependency ", supported by Caliban's quick acceptance of Trinculo as "... a new master whose 'footlicker' he can become..." (quoted in Reader, p. 284) is hard to accept. Shakespeare's text is surely more light-hearted than this. Caliban's comic simplicity leads him to believe that Stephano and Trinculo are gods to be worshipped, not just men to be obeyed. In the magical surrounding of the island where the fantastic often happens, the naive Caliban can surely be forgiven for believing that Stephano and Trinculo are "...dropped from heaven" (2.2.134) or "Out o'th'moon" (2.2.135)."
Abstract This paper discusses Shakespeare's use of symbolism in his play "Hamlet" and cites literary critics to support its thesis. While the play is rich with symbolism, the paper explains that the most important symbol is the ghost of Hamlet's father, who makes his appearance near the beginning of the play. The paper details the symbolic significance of the appearance of the ghost and analyzes how it serves as a call to action for the confused young prince, which fuels the action of the rest of the play.
From the Paper "As T.S. Eliot once stated, "Hamlet the character has had an especial temptation for that most dangerous type of critic: the critic with a mind which is naturally of the creative order, but which through some weakness in creative power exercises itself in criticism instead" (Sacred Wood, p 83). As that observation implies, it is not so much that Hamlet cannot make up his mind about the symbolic significance of the ghost and what exactly he should do to avenge his father's death; it is just that he continually second-guesses himself. As Eric Levy suggests, "As a rational animal, a man is one who thinks. But the play problematizes [sic] the proper exercise of thought by which man sustains this identity. In one of the earliest scenes, Bernardo, Francisco, and Marcellus tell Horatio, who at first doubts their word, that they believe they have seen Hamlet's father's ghost. Horatio waits with them for the ghost to reappear. When it does, Horatio asks it "What art thou, that usurps't this time of night" (Act1.1.46). He also tells the ghost, who does look like King Hamlet, to identify himself: "b heaven, I charge thee, speak!" (Act1.1.49)."
Tags: ghost, father, symbolism, horatio, bernardo, francisco
