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 differences in the two characters can be seen in their roles as avengers in the play, how they deal with this role, their personal characteristics, their ability to react spontaneously and their relationships with Ophelia.

From the Paper
"One of the major similarities between Laertes and Hamlet is in their role as avengers in the play. Laertes takes revenge against his father Polonius' death, where he immediately assumes Claudius is responsible and returns from France immediately to revenge the death. Hamlet also has a role as an avenger, where his father's ghost speaks to him, telling him Claudius is responsible for his death and asking him to "revenge his foul and most unnatural murder" (I,iv).
The major difference between Laertes and Hamlet is how they deal with their role as avengers. Laertes on learning of his father's death reacts immediately, by speaking of revenge, "I dare damnation: to this point I stand, that both worlds I give to negligence, let come what comes; only I'll be revenged most thoroughly for my father" (IV,v). In contrast, Hamlet, on learning of his father's murder is asked by the ghost of his father to revenge the death. He hesitates and procrastinates, wishing he had not been asked to complete such a task, "the time is out of joint. O cursed spite, that ever I was born to set it right!" (I,iv). It is ultimately this indecision and hesitation of Hamlet's that leads to the tragedy of the play."

Tags:second, difference, characters, responses, avengers, will, vowing, revenge, ghost, murder, action

Abstract
This paper examines English propriety in the story of "Dracula" by Bram Stoker. The writer suggests that if restrictions are merely barriers to temptation, then it seems that no other author is more familiar with this idea than Bram Stoker. The writer further discusses how, by using "Dracula" as a cautionary tale, Stoker creates his story with the supreme antagonist restricted from a direct voice or expression. The writer also explains how Stoker allows his readers to watch events unfold according to the perceptions of the narrators. The writer describes Dracula as the uninhibited alpha male, untouched by the most confining restraint of English society--the suppression of sexual desire. The writer concludes that Stoker uses the character Dracula as a manifestation of the hidden desires of Van Helsing and his Englishmen avengers to illustrate the fatality of straying from English propriety.

From the Paper
"Stoker first generates a group of unreliable narrators to establish their vulnerabilities as humans to temptation and fallibility. He chooses a style of narration that is undependable in itself to stress the skewed nature of the story. Told through a series of journals, newspaper articles, diaries, and letters, the reports of events are subjective and affected by unique perspectives and individualistic observation, the latter having a heavy reliance on a sharp memory. For a story with events as spectacular as in Dracula, it seems implausible then, particularly when they recall dialogue, for each narrator's recollection to be flawless and perfect retainers of events."

Tags:vampire, English, propriety, public, scrutiny, sexuality, victimization, of, women

From the Paper
"It is true that Hamlet at the end of Act I vows "reluctantly" to revenge his father's murder, but this reluctance is so dominant that we can hardly be surprised to find that by the end of Act II he has not advanced an inch in fulfilling his vow, and, in fact, has fallen further away from that fulfillment.

After being told by the ghost that his uncle is the murderer of his father, Hamlet is impassioned with rage and the desire for revenge (I, 5, 92-111), but even in those lines it is difficult to find Hamlet specifically making the vow to avenge his father's murder. We hear Hamlet cursing his mother and his uncle ["O most pernicious woman!/ O villain, villain, smiling, damned villain!" (I, 5, 105-106)], but he does not actually come out and declare that he is indeed going to take his oft-flashed sword and do the bloody deed of vengeance."

Abstract
A look at the character of Hamlet and how Shakespeare uses the literary tool of a soliloquy to help the reader better understand this character. A comparison of a narrator and the use of soliloquies in getting an insider's view into the mind and background of the play.

From the Paper
"Hamlet, in the play of the same name by William Shakespeare, uses soliloquies to talk through his problems in an attempt to ultimately avenge his father's death and avoid ruin. There is a general pattern his soliloquies follow. When experiencing periods of self-doubt and depression, he contends with his difficulties by rationalizing his thoughts aloud, which as a result, arouse his emotions. This leads to a resurgence of self-confidence and self-motivation to complete his plan, and often a vow to take action follows. By contrasting with his outward behavior, Hamlet's soliloquies reassure the reader that he his not truly mad by offering a window to his inner workings."

Tags:hamlet, shakespeare, soliloquies, soliloquy, talk, play, character, drama

From the Paper
"This paper is concerned with William Shakespeare's Hamlet; and more specifically, deals with the question: Why was Hamlet so slow to act with regard to avenging his father's death?
Some literary critics believe that if Hamlet had substituted immediate action for the prolixity with which he continually berates himself for procrastination, Gertrude, Polonius, Ophelia, Rosencrantz, Guildenstern, Laertes, and even Hamlet himself would have survived. However, Shakespeare would not have had a play if such were the situation.
Hamlet's indecisiveness provides a conflict that is more internal than external. Hamlet's state of mind keeps him from real action; and as a consequence, the tragedy has a beginning, a..."

From the Paper
"In the 1970s, nurses in films tended to be either sex objects or harridans engendering fear, in both cases rather than caring professionals. This division also generally reflected an age difference as well, with the sex-object nurses being young and beautiful, and with older nurses presented as overbearing and unattractive. This division was and continues to be most evident in comedies, though it also seeps into more serious dramas which include nurses as well. Certainly, there are exceptions, but the fact that this has been a more apparent choice is shown in complaints by professionals that "negative stereotypes of shallow or seductive female nurses continue to be reinforced in movies and on television" (Forgacs, 1996). This sex-object nurse has a long history, appearing in the late 1950s in comedies like Operation Petticoat (1959) and emerging in even.."

Abstract
This three-page paper addresses and answers the following questions. When another person injures us or treats us unjustly, we are often tempted to personally avenge the wrong that we have suffered. In modern societies, however, a legal system acts on behalf of victims of injustice, avenging the wrongs that individuals at one time avenged for themselves. Are we better off as a result of this change? Or would we be happier and more content if society allowed us to pursue vengeance on our own behalf?