Abstract
This paper discusses how, from the Greek "Oresteia" on, becoming an avenger in drama is a social role often distinct from the avenger's previous social role, suggesting a conflict between a public social persona and a private, familial persona motivated by revenge.The writer describes how, in Shakespeare's "Titus Andronicus," the title character assumes a mad identity to conceal his murderous intentions against Tamora, former Queen of the Goths, just as Tamora pretends to forgive Titus for killing her eldest son. Both characters cast off their previous identities and take on a secret role of avenger, even while they play more compliant false, social roles while they wait for the right time to realize vengeful purposes.The paper concludes that for an avenger like Titus or Tamora, truthfulness and moral codes mean little in a society that has failed to protect their family's safety, thus they feel justified in taking primitive revenge against those who have wronged them.

From the Paper
"Tamora, a queen, knows that she must politically assume a complacent role at first to placate the Roman populace. She will bide her time until the moment is ripe for her to take revenge on Titus and his family. The audience, as part of the structure of the play early becomes an unwitting witness to the false nature of Tamora's posture. They understand the division between public and private personas and duties--just as Titus killed Tamora's son as part of his duty as an avenger of Rome who had won a war, so Tamora will temporarily play a pleasant social role of a good prisoner of war and compliant wife to the emperor of Rome, until she is able to take her revenge. But Tamora's social and familial roles are now split--on the outside she is a queen, on the inside she is still an angry mother."

Tags:metatheatricality, soliloquy, liar, madness, Orestes, brutal, rape, Rome

Abstract
This paper shows how Hamlet's ambivalence toward avenging his father's murder in Shakespeare's tragic drama. This essay uses a quote from "Hamlet" that shows how the Prince of Denmark was both passionate about and reluctant to accept the heavy responsibility of avenging the murder of his father by killing King Claudius.

From the Paper
" After encountering the ghost of his father and learning of his untimely and foul murder, Hamlet then swears he will exact vengeance. It is at this point he exclaims 'The time is out of joint. Oh cursed spite. That ever I was born to set it right.' (Shakespeare I v) This quote shows that Hamlet as Prince is responsible for avenging the death of his father but it also shows that it is a role he is reluctant to fulfill because it is such..."

Tags:fate, Hamlet, King Claudius, Shakespeare, tragic

Abstract
This paper discusses Hamlet's inability to carry out his desire to avenge his father's murder by killing his uncle, the new King, Claudius, who had poisoned his father and married his mother too, months later.

From the Paper
"This paper discusses Hamlet's inability to carry out his desire to avenge his father's murder by killing his uncle, the new King, Claudius, who had poisoned his father and married his mother too, months later. We first see Hamlet dejected in black mourning contrast to the brightly lit court of the new King (Act I, Sc. 2). His melancholy attire mirrors the foreboding of the ghost on the ramparts and his passionate, broken hearted soliloquy contravenes the staid, artificial dialogue of the familial scene..."

Tags:hamlet, literary, essay

Abstract
This paper discusses how the narrators of "Hop Frog" and "The Cask of Amontillado" by Edgar Allan Poe lend themselves particularly well to a discussion of narrators. The paper relates that the story "Hop Frog" features a first-person narrator that is never named. Instead, he remains in the background while he relates the events of the story. He indicates that he observes the events as they occur, but he is never part of these events. The paper points out how, in addition to narrating in the first person, Poe accomplishes the rather unusual combination of narrator as both first person and omniscient. The paper then looks at, how in "The Cask of Amontillado", the narrator also tells a story of revenge and explains that the the main difference between the two stories is that, in "The Cask of Amotillado", the first-person narrator and the avenger are one.

From the Paper
"The climax provided by the "Hop Frog" narrator is more striking than that of "Amontillado". The reason for this may lie in the style of the stories. The tone of the narrator, as well as the way in which he relates events before the climax, forms a sharp contrast with the horror of the burning. The narrator's unchanging conversational tone provides the same contrast. Because "Amontillado" has more focus, the reader also focuses upon the end. Having been prepared for brutality since the start of the story, the reader expects it, and is therefore not as deeply struck by the climax. "

Tags:revenge, climax

Abstract
This paper discusses the life of Charlemagne. The paper contends that Charlemagne is not only important because of his scores of military victories or the vast empire he recreated, but because he combined the inherited with the inventive. The paper explains that Charlemagne was a Germanic warrior in the traditional sense, spending most of his life in battle and to many he was a ruthless avenger. The paper states that to the Catholic church, Charlemagne was the great protector and the emperor who "baptized with a sword".

From the Paper
"After the Aquitanian war, Charlemagne was called to face the Lombards of Italy, to have the pope's estates returned. He offered to pay for the return of the pope's estates, but King Desiderius would not relent the property. Charlemagne exiled the king of the Lombards and his son, Adalgis, from Italy and gave the conquered land to Hadrian.
The Saxons were battled numerous times, since they would relent, offering their loyalty to Charlemagne, but never kept their oath. At the end of the war with the Saxons, Charlemagne took thousands of Saxons from their homes and placed them in Gaul and Germany. Charlemagne forced the Saxons to convert to Christianity and destroyed their heathen temples and to become a Frank, so that the Saxon culture ultimately vanished. This battle and its outcome became one of the ways, Charlemagne fused the Germanic, Roman and Catholic cultures."

Tags:aquitanian, lombards, saxons

Abstract
The paper describes several acts Kernan participated in and witnessed during his years aboard carriers and Avenger aircraft during WWII. The paper looks at Kernan's discussion in his work, "Crossing the Line" of the Battle of Midway and the failed torpedo bomber attacks. The paper then describes the sinking of the USS Hornet and Kernan's spontaneous courage and commitment to a shipmate. Finally, the paper addresses how Kernan attempted to save Butch O'Hare's life just before O'Hare was shot down.

Outline:
Courage at Midway
Death of the USS Hornet
The Heroism and Loss of Butch O'Hare

From the Paper
"Kernan witnessed the death of Butch O'Hare, the Medal of Honor winner, after whom O'Hare International Airport in Chicago, is named. As a matter of fact, it was Kernan, flying as the rear gunner in the Avenger aircraft, who attempted to save O'Hare's life just before he was shot down.
"Both were patrolling along with another Hellcat to protect the U.S. carriers at sea when low-flying Japanese torpedo bombers, called Betty's, attacked at night. The Hellcats chased them off, but as they turned back toward the carriers, Kernan, in the Avenger, noticed an unknown aircraft slip in behind O'Hare's Hellcat.
"Kernan fired. But the Japanese aircraft fired first, right down into the cockpit of O'Hare's aircraft. His Hellcat descended "gently" as it was later described and Kernan saw a grayish splash in the ocean below.
"At first it was thought that perhaps Kernan had mistakenly shot this war hero down by accident. But it was later determined that he had not, and Kernan, for his efforts to save O'Hare, was awarded the Navy Cross.
""It greatly relieved the guilt that I carried about the possibility that I had hit the group commander (O'Hare) while firing at the Japanese intruder" (Kernan, 2007, p. xvi)."

Tags:Battle of Midway, USS Hornet, Butch O'Hare

Abstract
This paper reviews William Shakespeare's "Hamlet" and, in particular, examines how it is a play about an intellectual prince that ultimately demonstrates the limited value of the intellect and rationalization when there is a need to take a public action. It looks at how, by searching for the right role, Hamlet must play an avenger in order to verify the importance of intelligence in ruling a country. It discusses how it possible to contend that Hamlet's intelligence is what makes him unable to act as an effective protagonist, ruler, or son, and how, despite the sympathy his intelligence creates in the mind of a viewer, ultimately, Hamlet's reliance upon reflection reveals him as an over-educated prince, rather than a truly inspired leader.

From the Paper
"This can be seen in two of Hamlet's most famous speeches. "O, what a Rouge and Peasant Slave am I," he muses, after the departure of the Player-King, during the first half of the play. At this juncture of the play, Hamlet is "buying time" by pretending to be insane, and a troop of players has visited the Danish kingdom. After greeting the players and viewing a selection of their performance, Hamlet lambastes himself that he is not able to revenge his dead father. The actor pretending at grief is a more active participant in the drama, at that moment, than Hamlet, the "real person" next to him. However, after experiencing this revelation, Hamlet decides, not to take revenge but to engage in more intellectual activity in other words, to become involved in the setting and production of a play about a murder."

Tags:denmark, prince, king, murder, leader

Abstract
The hero of the revenge tragedy is known for having certain characteristics. These include that the hero is compelled to act by certain forces, that the existing authorities are unwilling or incapable of satisfying the hero's craving for justice, that the hero has a detailed and devious plan they are determined to carry out and that there is a moment of declaration where the avenger tells the victim why they are going to be killed. "Hamlet" (William Shakespeare) and "The Libation Bearers" (Aeschylus) are two revenge tragedies, with the heroes of each Hamlet and Orestes. Since Hamlet and Orestes are both revenge heroes, it would be suggested that they are similar characters and they would each meet the criteria of the revenge hero. However, a close look at the two plays in this paper show that Hamlet and Orestes are very different characters. Orestes meets the fours criteria of the classic revenge hero, while Hamlet pushes all the boundaries of what would be expected and either only partially meets, or does not meet, the four criteria at all. To illustrate the differences, Hamlet and Orestes are compared, based on the four characteristics identified.

From the Paper
"The second characteristic of the classic revenge tragedy hero is that the existing authorities are unwilling or incapable of satisfying the hero's craving for justice. In both plays, the authorities are unwilling to right the situation, meaning that it is left to the hero to right it. Hamlet's and Orestes's circumstances are the same on this point. However, the two heroes differ in that Orestes has a craving to right the situation and Hamlet does not. The circumstances in both plays are very similar. In Hamlet, Claudius has killed the king and assumed the role of king. This puts Claudius in the role of power and since Claudius is at the highest level, the authorities cannot right the situation. This creates a need for someone to right the situation and Hamlet is assigned to this task. Seeking revenge is then a way to avenge Claudius's murder, as well as to restore harmony. In The Libation Bearers Orestes's mother Clytaemnestra has murdered her husband and Orestes's father, King Agamemnon. Clytaemnestra has obtained the highest seat of power, just as Claudius did. With Clytaemnestra at the highest level, the authorities cannot right the situation. The task of righting the situations falls to Orestes, with this necessary both to revenge his father's murder and to restore harmony."

Tags:Electra, Claudius, King, Agamemnon

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."

Tags:death, brother, claudius, father, lie, cheat, mother, gertrude, king, queen, polonius, madness

Abstract
This paper discusses how William Shakespeare?s version of "Hamlet" is one of the most well known revenge tragedies ever written and how it is still widely admired today. It considers how Shakespeare represents the pyschomacia an avenger must undertake when contemplating murder. It also examines how he manages to represent the god fearing opinion of the Elizabethan audience with Hamlet?s vacillation and his fright of God?s condemnation as well as the modern audience of today with Claudius?s eventual murder.

From the Paper
"The main exploration of Hamlet's revenge is in the soliloquies in the play. Here the audience gets to see past Hamlet's "antic disposition" and into the bewildered mind of a confused avenger. Hamlet's cerebration causes him to turn his raging emotional turmoil into unequivocal action "Yet I like a John a dreams". Hamlet asks an actor to deliver a Pyrrhus speech to summon up his courage but all he can do is "like a whore unpack my heart with words." Hamlet's vacillation between the classical and Christian attitudes to revenge display how complex the action is. He wishes to live vicariously through a hero like Pyrrhus but fears God's condemnation if he commits the act. The Elizabethan audience would frown upon the act of revenge and the modern audience would have a more mixed reaction."

Tags:tragedy, claudius, god, elizabethan