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"Phaedra" and "Hippolytus", 2006.
This article compares the plays "Hippolytus" by Euripides and "Phaedra" by Racine.
1,342 words (approx. 5.4 pages), 2 sources, MLA, $ 45.95
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Abstract
This paper contains a comparison of two dramatic works from different places and different periods of time. The writer claims that although Racine's "Phaedra" takes the myth behind Euripides "Hippolytus" as its inspiration, the 17th century French play does not adopt the theme of the ancient Greek tragedy into its own dramatic construction or in the characters of its main protagonists. The writer focuses attention on contrasts between the two versions and looks at relationships to the gods and the presence of sexual desires in the characters in the works. In this paper, the writer studies the similarities and differences between the two plays and their characters.
From the Paper
"In contrast, Racine focuses on the sexual conflicts within the heart of the title protagonist alone. This reflects the shifting focus of modern drama. Rather than focus on the public conflicts between humanity and the gods, and how to create a more just society, now dramatists such as Racine were more interested in human introspection and how humans dealt with personal conflicts, such as a reconstructed family. Also, all of the characters in Racine are torn apart by desire. Hippolyte in Racine also feels love, although not for Phaedra, his stepmother. The thematic difference between the two versions of the ancient myth is evident, as Euripides' tragedy begins, not with the inner reflections of either Phaedra or her stepson Hippolytus, but with a monologue by Aphrodite. Aphrodite was the Olympian goddess of love. Phaedra honors Aphrodite alone, and spurned the chaste goddess Artemis. In contrast, Phaedra's stepson Hippolytus loves to worship Artemis, the virgin goddess of the hunt and unmarried."
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Ancient Greek Theater, 2006.
A paper on ancient Greek drama, the Greek theater and ancient Greek playwrights.
2,413 words (approx. 9.7 pages), 9 sources, MLA, $ 73.95
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Abstract
This paper discusses the role of ancient Greek drama in Greek society. The paper explains the stage styles, how actors performed and the main types of plays performed in ancient Greek theater. The author discusses tragedies, comedies and a special form of theater called "dithyramb," which was sung by a large chorus. The paper goes on to discuss the importance of the elements of prose, lyrics and dancing in the ancient Greek drama. The paper then goes on to discuss some of ancient Greece's foremost playwrights, as well as theories about the origins of drama.
From the Paper
"The word 'Drama' as such has originated from the Greek words that mean 'to do', or 'to act'. When a story is acted out, it becomes a 'play', and this was the medium used by the ancient Greeks to act out their stories, which were either humorous and were about funny situations in their everyday lives, or they would be great tragedies, which would act out some important episode or period of their lives at the time. The speech and actions of the play would therefore, recreate human lives and its flow. It can be stated that ancient Greece was in fact the real birthplace of the future 'drama' of the Western world. In Greece, these plays or dramas were presented on stage twice a year, in honor of the God Dionysius, and there would be choruses made up of men who would be dressed up in goatskins, and who were meant to represent 'satyrs' or those mythical creatures who were partly goat, and partly man."
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Henrik Ibsen's "A Doll's House", 2005.
This paper discusses that, in Henrik Ibsen's "A Doll's House", patriarchal femininity is shown to be an inaccurate reflection of humanity.
1,630 words (approx. 6.5 pages), 1 source, MLA, $ 53.95
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Abstract
This paper explains that the first theme of Henrik Ibsen's "A Doll's House" is the significance of money within the patriarchal family system, which reinforces the notion of the male being the member of the household in charge of earning and doling out money. The author points out that Nora eventually realizes that she has the same role, which she played in her father's home; she remains an interesting figure-piece to be put on display without receiving true love. The paper relates that Nora's abandonment of her children can be perceived as a sacrifice for their benefit because Nora believes that her false role could rub-off on her children, which will lead them to the same hollow life she has.
From the Paper
"This is what prompts Nora to begin to divulge her secret dealings: she is affronted that another woman would look at her and be fooled by her role as Torvald's "little featherhead." The fact that she tells Mrs. Linde about the loan after this, reveals that she believes her experience in the real, troubling world to be more valuable than the sheltered scope of her life's apparent accomplishments--husband, children, and money. This is how the feminine role begins to crack for Nora: she encounters a woman whom, according to the patriarchal rule of society, she should pity; but instead, she is somehow envious of Mrs. Linde's experience, as well as defensive of her own."
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Shakespeare's Women, 2006.
Discusses the roles of Cleopatra and Desdemona in plays by William Shakespeare.
1,245 words (approx. 5.0 pages), 10 sources, MLA, $ 42.95
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Abstract
There is a virtual myriad of essays and criticisms concerning the women characters in William Shakespeare's plays. This paper focuses mainly on the role of two of these women - Desdemona from "Othello" and Cleopatra from "Antony and Cleopatra". It also briefly discusses other characters such as Calpurnia and Portia. The paper concludes that of all his female characters, Shakespeare's Cleopatra is certainly at the top of the list in qualities of intelligence, power, seductiveness, aggression and assertiveness.
From the Paper
"Desdemona in "Othello," appears on the surface as a typical weak female who is totally submissive to her husband, however she is not truly typically meek. She is actually quite broad minded and assertive, and seems to have no problem in standing up to Othello's jealousy or using her feminine wiles to persuade her husband to forgive Cassio. When Othello strikes her, shouting, "Devil," Desdemona responds to him, saying, "I have not deserved this" (Othello pp)."
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"The Lion King", 2006.
This paper discusses the much acclaimed "The Lion King", which originated from an original script as an animated Disney film followed by a Broadway play based on the movie.
2,235 words (approx. 8.9 pages), 12 sources, MLA, $ 69.95
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Abstract
This paper explains that the story of "The Lion King" is a serious drama with comic moments containing "real issues" of guilt, despair, alienation, and the need to take responsibility, which is similar to "Hamlet" by William Shakespeare, both of which are based on archetypal myth. The author points out that, whereas the animated film was tremendously popular and profitable, "The Lion King" stage play forever changed children's theater, stretching the boundaries of children's theater so that children's plays are now often very rich in content and in stage-craft and a little scary in places. The paper concludes that the success of "The Lion King" is that it not only entertains children but also leaves them with a moral template of loyalty, social responsibility and spirituality, which are pro-social values precious to society.
From the Paper
"Myths contain archetypal characters who speak to human beings at a deep level of consciousness. Simba and Hamlet are archetypes of the mythical child in exile. An archetype is an image that appears over and over in literature and myths and so is familiar to us all. The stories of Jesus, Moses, Buddha and Perseus (as well as Simba and Hamlet) all are about the mythical child in exile. Myths may not be literally true, but they contain essential truths, which resonate in the hearts of human beings. Myths always involve the "world of mystery and imagination, of feeling, participation and transformation...in the creation of order and of a secure reality out of darkness of the unknown.""
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"A Raisin in the Sun", 2006.
This paper reviews and analyzes Lorraine Hansberry's play "A Raisin in the Sun" while focusing on the symbolism of light and its significance on both the plot and the characters.
1,412 words (approx. 5.6 pages), 3 sources, MLA, $ 47.95
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Abstract
This paper details the plot and main characters in Hansberry's "A Raisin in the Sun" which focuses on an African-American family residing in Chicago. The writer analyzes the significance of light in Hansberry's work which makes its first appearance in the opening of the play when the sun shines in on the Younger's cramped apartment. The writer contends and explains the manner in which the light provides emotional nourishment to the protagonists as well as heartache and despair. This paper also looks at the symbolism of Mama's plant which although she knows will never fully grow and reach its ultimate potential she continues to care and nurture it, much in the same manner as she cares for her own family.
From the Paper
"The plant does not simply symbolize Ruth and Walter's inability to fully grow and flourish as a couple and a mother and a father in the apartment. It also has more personal symbolism. It symbolizes the dream of Mama to own her own home, a place of her own rather than the rented territory of others, with a cramped and small bathroom for five (and perhaps six, given Ruth's impending pregnancy) other people, all dreaming and yearning to break free. The plant is a more specific and powerful symbol, too, because it is a green and living thing. It underlines Mama's desire to have a garden and a yard. Clearly, Mama could make many things grow. If she made a plant grow in a terrible apartment, with little help, just as she and her husband helped her children Beneatha and Walter flourish with little help from society, think of what Mama could do with her own yard, full of sunshine and space."
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"A Midsummer Night's Dream", 2006.
This paper discusses and analyzes the play "A Midsummer Night's Dream" by William Shakespeare.
1,050 words (approx. 4.2 pages), 2 sources, MLA, $ 36.95
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Abstract
The writer of this article studies various acts of Shakespeare's play "A Midsummer Night's Dream". The paper provides a view of one of Shakespeare's most famous and most loved works. In particular, the paper looks at how an all-male cast affects three pivotal scenes and explains how this staging tactic demands that audiences respond in a particular way. The writer explains that using only men in all the roles would have been common in Shakespeare's time, but today, it seems to take away from the impact and humor of the play.
From the Paper
"Clearly, the implications and consequences of the play are different when all the cast members are one gender. Some of the passion goes out of the play, and some of the scenes may even seem ridiculous or far-fetched. Personally, the play is funny and emotional, and some of that might just seem like farce to the audience when the cast was all male. It might seem more like "The Bird Cage" or other gay films. Giving hints of femaleness may work with some of the cast, but in other scenes, giving hints may simply take away the dramatic effect and lessen the impact of the play. The femaleness of the female characters is very important to the play, but it can be overcome with actors who believe in what they are doing and deliver their lines with conviction. Tongue-in-cheek lines will ruin the entire meaning and impact of the play."
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"A Doll's House", 2006.
An analysis of gender and Marxist criticisms of "A Doll's House" by Henrik Ibsen.
1,021 words (approx. 4.1 pages), 1 source, MLA, $ 36.95
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Abstract
In the play "A Doll's House," writer Henrik Ibsen centered on the development of protagonist Nora Helmer's character, as she shifted from being a materialistic, self-centered and submissive wife to being a willful and independent woman. This paper examines how both gender and Marxist analyses can be applied as literary theories in discussing Ibsen's play because both centers on two important themes in the literary work: power play between the male and female sexes, not to mention the socio-economic control that males seemed to have over females, particularly in Nora's case.
From the Paper
"Nora's submissiveness and evident dominance of Torvald, Dr Rank, and Krogstad was shown in Acts I and II. In the first act, Torvald showed his low regard for his wife Nora when he referred to her as his "my little skylark" and "my little squirrel" when they were discussing issues about money. The playful manner he regarded his wife while questioning her about money matters made Nora look like a child who had committed offense against Torvald, giving the reader the impression that their marital relationship was not based on mutualism and equality, but was rather dependent upon Torvald's implicit dominance and Nora's willingness to become submissive for the sake of being given the money that she needed."
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Henrik Ibsen's "A Doll's House", 2005.
This paper explains that, although exaggerated for theatrical purpose, Henrik Ibsen's "A Doll's House" presents an accurate portrayal of women's status in marriage at that time.
2,075 words (approx. 8.3 pages), 3 sources, MLA, $ 65.95
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Abstract
This paper explains that, at the time Henrik Ibsen wrote his play "A Doll's House", the popular culture of the day encouraged women to focus obsessively on their home and families. The author relates that Torvald's attitude towards Nora is reflected throughout the play in his use of amusing names for her, which emphasize his superior position; the only time he calls her by her real name Nora is when he is lecturing her about her careless spending, scolds her for speaking to Krogstad and essentially orders her to never lie to him. The paper relates that, while clearly Torvald sees Nora as an entertaining child who must be guided, Nora's conversations with her friend Mrs. Linde show that, to some extent, he is right.
Table of Contents
Thesis
Introduction
Women at the End of the 19th Century and the "Cult of Domesticity"
How Torvald Relates to Nora
Examples from Act I
Examples from Act II
Examples from Act III
How Nora Relates to Torvald
Manipulation
Lies
Nora's Solution
From the Paper
"Finally, she lies and says that one of the children tampered with the mailbox. Nora is distressed by her lying, believing as Torvald does that her lies may somehow result in the ruination of her children. Nora's life as a wife is defined by the "cult of domesticity." Her action to get a loan to save her husband's life was a strong and independent thing to do, and in conflict with beliefs at that time regarding women. She had to hide her actions or risk looking like a woman who did not know how to behave properly."
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Medea, 2006.
A summary and analysis of Euripides' work "Medea".
1,706 words (approx. 6.8 pages), 5 sources, MLA, $ 55.95
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Abstract
This paper discusses, summarizes and analyzes one of the more famous works by Greek playwright Euripides, "Medea". The paper explains why some see the character of Medea as the villainess while others see her as a victim as much as a victimizer and that this later perspective suggests that the lesson to be learned from "Medea" is to stand up for what one believes in, and overthrow those who oppress and suppress.
From the Paper
"Euripides, one of the great Greek playwrights of yesteryears, even today, remains a constant favorite among readers, more so than Sophocles or Aeschylus could ever become. The reason for this phenomenon is that Euripides more often than not, believed in sacrificing or sidelining propriety and correctness in favor of metaphorical and rhetorical displays of verse, and this may be what made him better known than most of his contemporaries of the middle Ages, when the Classical Greek tragedies came into their own. Euripides's treatment of the genre referred to as the 'tragi-comedy', therefore, is well known for being tame at times, and completely rhetorical at others and the reader often gets a feeling that he is reading the speeches of a great orator than the work of a poet. Euripides was a trained athlete, and was also a famed painter; however, it was his poetry that won him great acclaim and wealth during his lifetime. (Euripides and his Tragedies)"
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"Brodie the Broadsword", 2005.
This paper reviews and analyzes the comedic play "Brodie the Broadsword" written by Scottish playwright Alan Richardson.
1,888 words (approx. 7.6 pages), 5 sources, MLA, $ 60.95
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Abstract
This paper opens with a brief biographical profile of author and playwright Alan Richardson who is well known for his numerous publications on a wide variety of topics including: Gender issues and issues of race, colonialism as well as topics related to children. This paper examines the plot and characters in "Brodie the Broadsword" while discussing the author's unique style of writing. Richardson's play is set in an average Scottish community during the 16th century amid old castles and forts. This paper details the personality of the title character Brodie who, for the most part, has been wasting his life engaging in the trivial pursuits of looting and robbery. This paper cites the various scenes in the play which pay homage to Richardson's creative writing and comedic sense.
From the Paper
"The characters in 'Brodie the Broadsword' are all interesting and full of beans. Some of them are: Sir Archibald Brodie, who has been nicknamed 'the Broadsword', Sir Henry Milburn, the illustrious neighbor of Brodie Broadsword, Lady Kate, or rather, lady Catherine, the wife of Brodie, Ina, Lady Catherine's servant, Clarty Sim, the an-of arms of Brodie, Young Effie, another servant, Alison, the daughter of Brodie and Lady Catherine, Stephen Milburn, Sir Henry Milburn's son, and Kirsty Boyd, who is from the nearest village. As the play is set during the early sixteenth century, and close to the English border, which is where Brodie's castle is located, the language and the dress of the characters would be suited to the setting and the period. When Lady Kate starts off with making a very insightful comment about Brodie's deeds and misdeeds, by saying, "A fine mess Brodie's in this time", the audience gets a glimpse of the comedy that is yet to come during the course of the play."
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Brian Friel's "Translations", 2005.
This paper discusses cultural effects of translations upon the central protagonist Owen in Brian Friel's play "Translations" (1980).
1,385 words (approx. 5.5 pages), 0 sources, $ 46.95
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Abstract
This paper explains that the notion of change, both of the Irish nation through colonizing British politics and the character of the central protagonist Owen of Brian Friel's play "Translations" (1980) is continually debated throughout the play, which is set in Baile Beag during the 19th century, then an Irish-speaking community in County Donegal. The author points out that, between Act II and Act III, Owen's attitude towards the Irish begins its most fundamental change as he realizes that the true purpose of the English solicitation of translation is not to modernize or improve Ireland but to make taxation of Irish provinces easier for the Mother Country and to make sites of potential military unrest more easily identifiable in the case of military turmoil. The paper relates that the play "Translations" is presented as a series of conflicts between the Irish and English military as well as between ancient and modern attitudes to the world beyond Ireland.
From the Paper
"Towards the end of the play, as Owen's views begin to change, he also begins to rediscover his Irish roots through his new immersion in Irish culture. The town has changed-it has grown more radically opposed to Britain. At first, Owen is purely frustrated with individuals such as Manus, who can speak English, yet chooses not to, to demonstrate his local rather than national pride and says, "What's 'incorrect' about the place-names we have here?" Magnus rages against the enforced renaming. Manus is far from uneducated-as a student from a local hedge school he can speak Irish, Latin, and Greek. Magnus prefers, however, to dwell in the Classical rather than the present day, something that Owen first believes is simply ludicrous, even while he gradually begins to appreciate the difficulties of translation more fully, as he attempts to give County Donegal English names."
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"Oedipus Rex", 2005.
This paper discusses the use of irony in Sophocles' "Oedipus Rex".
1,045 words (approx. 4.2 pages), 1 source, MLA, $ 36.95
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Abstract
This paper explains that the most tragic destiny is a man having to murder his father and husband of his mother as was prophesied for Oedipus. The author points out that Sophocles artfully sprinkles ironies throughout the tale of Oedipus, which compounds this tragedy that is Oedipus' fate; moreover, Oedipus not knowing until much later in the play causes the reader to have an emotional response to the story as it progresses and the tensions build dramatically. The paper relates that the most bitter of ironies comes when Jocasta scoffs at the art of prophecy, beginning her speech, meaning only to comfort Oedipus, by showing him that the prediction that her son would kill Laius did not come true.
Table of Contents
Introduction
Overview
The Ironies
Conclusion
From the Paper
"Desperate for any clues, Oedipus asks for details of Laius' death. He is told that robbers killed King Laius, but further inquest into the matter was halted. When pressed to why no one would investigate the murder of royalty, it is ironically the Sphinx that compelled them to "let slide the dim past and attend instant needs" (Sophocles). These needs were the establishment of Oedipus as King and consort of the Queen, his mother. If not for this intervention by the Sphinx, who placed Oedipus on the throne, perhaps it would've been discovered that he was Laius' murderer, prior to him becoming the new King of Thebes, and bedding his mother."
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Fantasy in Arthur Miller's Plays, 2006.
A look at the theme of fantasy in the plays "The Glass Menagerie" by Tennessee Williams and "Death of a Salesman" by Arthur Miller.
2,462 words (approx. 9.8 pages), 4 sources, MLA, $ 75.95
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Abstract
This paper examines how the plays "The Glass Menagerie" by Tennessee Williams and "Death of a Salesman" by Arthur Miller share a similar theme in that they both explore themes related to living in reality versus living in a fantasy or a dream life. Both plays feature a main character that is living in a fantasy. In "Death of a Salesman, the main character is Willy Loman, an unsuccessful salesperson who lives in a fantasy world where he believes he is successful. In "The Glass Menagerie" the main character is Laura Wingfield, a young girl who escapes into a fantasy world to avoid the problems of her life. The issues of reality versus fantasy are explored by comparing and contrasting the two main characters of the two plays.
From the Paper
"The first consideration related to the two plays is why people escape into a fantasy world. For both Willy Loman and Laura Wingfield, it is a means of escaping from the real world. For Willy Loman, it is a way of escaping from his own failures, namely his failures in being able to provide for his family. This is especially related to his perception of what a man should achieve. These views are based on the American dream, which he has come to accept as truth. Loman's dream is simply to be a good husband and provide for his family. It must be noted that Loman's dream is not based on a need to achieve great success, power, or a lot of money. He simply wants to be a good provider for his family."
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Iago in "Othello", 2005.
Examines the character of Iago as the evil genius in William Shakespeare's "Othello".
781 words (approx. 3.1 pages), 1 source, MLA, $ 27.95
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Abstract
One of the most popular characters to illustrate the theme of evil is Iago from William Shakespeare's play, "Othello". Iago is the definition of true evil genius. By observing his character and actions, this paper shows that we can understand his philosophy of life, which includes no regard for others. In fact, the more pain and destruction he can cause, the happier he seems to be. The paper shows that, through Iago, Shakespeare has painted the portrait of evil in human flesh.
From the Paper
"Iago also demonstrates his capacity for evil when he tricks Othello. He uses what he knows about Othello against him. In fact, he can manipulate him so easily because he knows him so well. For example, he convinces Othello that he actually cares for him and that he is concerned about his future. He cautions him that being jealous might lead to ruin by telling him, "O, beware, my lord of jealousy!/It is the green-eyed monster, which doth mock/The meat it feeds on" (III.iii.166-9)."
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