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The Tragic Existence of Willy Loman, 2006.
An evaluation of the character Willy Loman in Arthur Miller's play "Death of a Salesman".
1,100 words (approx. 4.4 pages), 0 sources, $ 38.95
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Abstract
This paper examines Willy Loman, the main character in the play "Death of a Salesman" by playwright Arthur Miller. The paper demonstrates how "Death of a Salesman" -- and in particular its protagonist Willy Loman -- serves as a commentary on the tragedy of the lost American Dream. The focus of the paper is on how Willy suffers because of the internal and external conflicts in his life, and how he is ultimately faced with the dramatic questions that broach the nature of the disintegration of his family.
From the Paper
"The main protagonist of Death of a Salesman is Willy Loman, a traveling salesman. He represents the common American man and is a symbol for every person who has put faith into the American Dream and been betrayed by it. Willy is a ritual head of his family, though his family may or may not actually respect and love him as the husband and father. Willy is the personification of the values that are held in the utmost importance by the civilized men of the twentieth century, being dedicated to his long-standing employer despite unfair treatment, holding materialistic values to prove success to himself, and wanting good things for his football-hero son. Willy is seeking meaning for the events of his life, trying to interpret a design and pattern to life when it seems the most illogical and the most chaotically paradoxical. Willy experiences his life as a whole, not in a linear and separated form, and the way in which events of his life interact as independent entities is both an expression of his removal from logic as well as a force which disrupts reality as he understands it. Willy's ideals are unattainable, for he wants to please everyone all of the time, he wants to be successful in a way that is not possible for him, and he wants to make an impression on the world in a way that a traveling salesman simply is not destined to do. When Willy realizes that he has failed at reaching the American Dream, and that he is not capable of attaining the material things he thinks are vital to proving his personal worth, he projects his own desires onto his son, and sees Biff as a way to redeem himself despite his failings. Unable to provide for his family in the way he sees fit during life, Willy martyrs himself so that his family can receive life insurance benefits, and his son, as a replacement for himself, can reach the American Dream with the money."
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Different Heroic Ideals, 2006.
A comparison of the characters of King Gilgamesh and Odysseus in "Gilgamesh" and Homer's "The Odyssey".
1,700 words (approx. 6.8 pages), 4 sources, MLA, $ 55.95
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Abstract
This paper analyzes the heroes of King Gilgamesh from an unknown author's poem "Gilgamesh" and Odysseus from Homer's epic poem "The Odyssey". The paper examines how both of the men are heroes, but with very different ideals. Given these differences, the paper attempts to compare the characters as men, leaders and wanderers, rather than as heroes. The paper first discusses how both men take epic, life-changing journeys; but while the journey itself is similar for both men, the purposes they serve are very different. Next, the paper studies similarities between the two, such as the authors' early description of the character as heroic, their strength of character to reject women who are not right for them, their industriousness and their morality. The paper concludes with another discussion of the differences between the two characters, focusing on their maturation, in particular the fact that Odysseus is a father.
From the Paper
"First, both men complete difficult journeys throughout their stories. Odysseus takes twenty years to make it home to his wife and family, while Gilgamesh goes on a quest to seek life forever after he loses his friend Enkidu. Their journeys are similar, but they serve very different purposes. Odysseus' journey's ultimate purpose is to return home and reunite with his family, who he loves above all else. His reason for his journey is heroic but also filled with passion and deep love. Gilgamesh's journey is based on his own needs and wants, rather than those of family or loved ones. Grieving after the death of his best friend, he begins a search for everlasting life. In the end, he finds himself instead, and finds happiness in understanding himself, but his journey is far more selfish than Odysseus' journey, and has very different goals. This helps point out a major difference in the two heroic characters - their motivation. Odysseus is heroic in his journey - he saves his men, kills and defeats monsters and evil gods and goddesses, and always has his eye on his family and returning home. He is strong, but he is also motivated, and this adds to his heroism and his high ideals. Gilgamesh is motivated by his own desires, and so his heroism is self-motivated, rather than motivated by others. He is selfish and willful, and sometimes seems like a child when compared to Odysseus."
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"Man and Superman", 2005.
Examines the genre known as 'New Comedy' in this work by George Bernard Shaw.
2,457 words (approx. 9.8 pages), 12 sources, MLA, $ 74.95
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Abstract
In English literature, George Bernard Shaw represents a manifestation of New Comedy in the British social order, and the comedy in his plays serves as a tool for criticizing the hypocrisy of British society and the direction taken by the social and political order. This paper examines how Shaw uses New Comedy in his famous play, "Man and Superman". It also touches on how Shaw uses New Comedy in several of his other plays.
From the Paper
"The older generation places obstacles in the path of the lovers, difficulties which have to be overcome before the match can take place. The lovers in these comedies represent ideas, movements, or ideologies which serve them in overcoming the obstacles, and thus it is important how they overcome the obstacles because it furthers the themes inherent in the work. The young lovers will be successful, of course--this is comedy and not tragedy--and their success is celebrated. Why this celebration takes place is important--they have proven the worth of themselves and of what they represent. Ultimately, the structure affirms a celebration of life and of the vitality of the young."
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The Globe Theatre, 2005.
A look at the history of the physical and sociological development of the modern theater, focusing on the Globe theater and the involvement of William Shakespeare.
1,850 words (approx. 7.4 pages), 7 sources, MLA, $ 59.95
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Abstract
The origins of theater in the ancient world were centered around religion and the gods and the Globe theater continued that tradition in Elizabethan England with the help of contributions from Shakespeare. The paper examines how the design of the open-air theaters in Athens may have inspired the architecture of theaters, such as the Globe, that were built in England many years later. It also discusses how William Shakespeare was one of the partners from among the actors and how his own money, as well as artistic work, went into the theater.
From the Paper
"In the 1570s, a man named James Burbage obtained for himself a theatrical license, which allowed him to actually lease a piece of land to be used exclusively by a theater. It was a long-term lease which gave him a great deal of control over the land and the freedom to construct or deconstruct buildings on it as he pleased. This was a landmark event all around, for this was the first theatrical license granted in England; The Globe Theatre was a part of many landmark events in English theater. The location was on the north shore of the Thames River, and it sat just outside of London. The location was actually a strategic move for Burbage, for within the city limits of London he would have faced far more scrutiny and protest for building a theater, which was not considered to be an upright establishment, and ranked in many people's minds right along brothels so far as morality is concerned."
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"The Magic Mountain", 2005.
Explores Thomas Mann's play, "The Magic Mountain" about the forces of thought imposed upon the people of early twentieth century Europe.
1,541 words (approx. 6.2 pages), 1 source, MLA, $ 50.95
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Abstract
In his play, "Magic Mountain", Thomas Mann expresses the intellectual squalor of the pre-World War I era, that would inevitably lead to violence and destruction. The central protagonist of the tale is a young marine engineer who, taken singularly, is of no particular importance. The paper shows that what makes him-Hans Castorp -significant is what he represents for society: he is the embodiment of humanity, caught between the forces poised to crush individual identity and reduce it to mass conformity. The paper shows that, all together, these forces of thought, to Mann, are mere derivatives of nature, which act to shape each person's mind into a particular archetype. In this way, "The Magic Mountain" is a universal warning to the course of history and of the dangerous capacity of unbound rationality.
From the Paper
"Personally, Castorp comes from a reasonably wealthy bourgeoisie family; and although his parents have both died, he remains well positioned and is "obviously on the way to important positions in his life." (Mann, 54). Largely, this is also a consequence of his association with Hamburg-an emerging port city during the early twentieth century. Symbolically, Hamburg's rising prominence comes at the expense of other, older, and better established cities. Accordingly, Castorp's path to important positions rests on the shoulders of the new age: technologies and industrial might. Additionally, Castorp's occupation makes him poised to build Germany into a naval empire, which is also a drive of the new age. Naval dominance, as seen by many of his time, was the only true way to establish Germany's rightful place within the world."
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"Look Back in Anger", 2006.
An examination of John Osborne's 1956 play "Look Back in Anger" and its impact on society.
2,090 words (approx. 8.4 pages), 11 sources, MLA, $ 65.95
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Abstract
This paper examines how John Osborne's 1956 play "Look Back in Anger" is considered one of the revolutionary plays of the time. The play deals with some painful realities of social and political structure of England in 1950s when the country was experiencing some significant shift in terms of cultural and social values. It looks at how it was considered a 'proletarian upsurge' of liberated working class writers rebelling against the establishment and how it turned the theater into an instrument of social change.
From the Paper
"The very success of the play indicated that people were willing to accept new role of theatre. They wanted change and they would accept anything that served as an instrument of social change. British theatre in 1956 became that instrument: 'for a short time at least...a mirror in which the nation could observe, stark and naked, its own image' (Edgar 1981:38). Theatre suddenly found itself at the center of major wider realignment in British society, where people especially new breed of New Wave writers actively began challenging post-war certainties. 'Retrospectively, 1956 has become an annus mirabilis...crudely; Suez and Look Back in Anger seem part of the same event' (Hewison 1981:127)."
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Arthur Miller's Play "Death of a Salesman", 2005.
This paper discusses the protagonist Willy Loman, in Arthur Miller's play "Death of a Salesman", as the epitome of the modern-day tragic hero.
1,590 words (approx. 6.4 pages), 1 source, MLA, $ 52.95
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Abstract
This paper explains that while Willy Loman, in Arthur Miller's play "Death of a Salesman", is not what Aristotle would consider to be a tragic hero; his character is a everyman's tragic hero and his experiences depict those of ordinary people in post-war America. The author points out that Willy possesses a fatal flaw that causes him to make a series of serious mistakes from which he is unwilling to learn or accept responsibility. The paper relates that, in order for a tragic hero to be truly tragic, he must evoke pity or sympathy from the audience; it is easy to feel sympathy for Willy because he does have dreams and does not intend to fail.
From the Paper
"Here we see how Willy stretches the truth for no real reason at all. Perhaps Willy acts this way because of his need to feel loved and appreciated but, whatever the cause, it certainly evokes sympathy from the audience. To compound things, Willy even lies to Happy later when he tells him that he is well liked in his profession. Willy not only lies to himself, he also lies to everyone else, with exceptional ease. Instead of hating Willy, we are moved to feel pity for him that he must behave this way. It is also pitiful when Biff attempts to tell Willy that he is nothing "but a hard-working drummer who landed in the ash can like all the rest of them!" "
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Margaret Edson's "Wit", 2006.
This brief, yet concise, paper examines the use of role reversal in Margaret Edson's textually rich stage production of "Wit", while also detailing the plot of the story as well as the main characters.
695 words (approx. 2.8 pages), 3 sources, APA, $ 24.95
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Abstract
This paper traces the ordeal of Dr. Bearing, distinguished scholar of 17th-century metaphysical poetry, from her diagnosis of ovarian cancer through her treatment under the watchful eye of Dr. Kelekian, as depicted in Margaret Edson's play "Wit." This paper analyzes Edson's stage production which is rich with word play, inter-textual gestures and most importantly, with irony. "Wit" is built primarily on the complex ironies available through the dramatic strategy of role reversal. The writer of this brief yet concise paper details the plot and main characters of the play.
From the Paper
"This clearly delineated division in Donne's corpus of work reflects Dr. Bearing's own divided self. On the one hand a scholar of renown, she is a woman who has essentially turned away from her own body, relegating social life and personal relationships to a place of minor importance in her life. Without partner, lover, or even close friend, Bearing is, despite her claims to the contrary, negligent in her scholarship, unable and unwilling to even attempt to reconcile Dr. Donne (the spiritual) with John Donne. Ironic, too, is the fact that, in the end, the scholarly lover of the intensely spiritual poems is, like all patients in the ward, a prisoner of a body ravaged by cancer, a body that suffers and fails, and a body that can and does overwhelm even the strongest mind and strongest spirit."
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"Death of a Salesman", 2006.
Examines the importance of the character, Willy Loman, in this play by Arthur Miller.
1,063 words (approx. 4.3 pages), 0 sources, $ 37.95
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Abstract
In his play, "Death of a Salesman", Miller creates Willy Loman, a character that symbolizes both the best and worst of America. He represents the consistent optimism of America's founders and greatest over achievers, as well as the fanatical day dreaming of would-be failures. The paper shows how Loman became caught up by the illusion of wealth and tried all of his life to achieve it, only to dissolve into insanity when he could not achieve his lofty expectations. The paper shows that Willy Loman's bitterness is a result of external factors that he could not easily control; it is a combination of influences that include his son, his career and the disillusionment as a result of his neighbor's wealth.
From the Paper
"Willy becomes embittered because he falls victim to the very system he respects and wants to be a part of. He sees himself as a man of ability and when his boss fires him he sees that he has been worn out and used by his job and now that he has no tangible benefits he is left out in the cold. This type of vicious business system is exactly the cold hearted reality of the American Dream and Willy becomes a casualty through his blind faith to the system."
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Hamlet and the Gravediggers, 2005.
This paper discusses the final act of Shakespeare's "Hamlet" about gravediggers and views on death.
1,180 words (approx. 4.7 pages), 0 sources, $ 40.95
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Abstract
This paper explains that, at the beginning of the final act of "Hamlet", William Shakespeare foreshadows the bloody and carnage-filled conclusion to this tragedy by introducing views concerning the inevitability and finality of death through the dialogue between Hamlet and the two gravediggers. The author points out that, as Hamlet ponders the past profession of a skull, which has been carelessly tossed out of its grave, he is forced to realize that in death there is no social distinction. The paper concludes that, through Hamlet's reversal of opinion about the desirability of death and the discussion with the gravediggers, Shakespeare, who is readying the audience for the slaughter that is soon to commence, uses the scene as a means of commenting on his perception of death, the only lasting condition and the oldest profession.
From the Paper
"With the new light shed upon the dark subject of death, Hamlet forces himself to reevaluate his death wishes. Through out the play, Hamlet sees death as a desirable end, worrying only about where his soul would go if he were to commit self-slaughter. At the height of his misery, he makes known his yearnings, exclaiming "O, that this too too sullied flesh would melt..." (1-2-129). It is clear that his coveted will is for a quick demise. Hamlet explains this further when he reveals his belief that his life is useless. After promising to bend his eye away from Wittneberg and towards Elsinore, Hamlet states "How weary, stale, flat, and unprofitable/Seem to me all the uses of the world!" (1.2.133-134)."
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Creon's Transformation: From "Oedipus" to "Antigone", 2006.
This paper analyzes the transformation of Creon from innocent spectator to corrupt ruler in Sophocles' "Oedipus the King" and "Antigone."
890 words (approx. 3.6 pages), 2 sources, MLA, $ 31.95
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Abstract
This paper follows the transformation of Creon in two of Sophocles' plays "Oedipus the King" and "Antigone." Throughout the course of the two plays, Creon transforms from an innocent spectator in "Oedipus the King," to a corrupt ruler and tragic figure in "Antigone." Creon's character in "Oedipus the King" depicts a kind, selfless and forgiving person. His good nature allows him to value the opinion of the people of Thebes. Yet in "Antigone," Creon uses his power as a king to punish and dictate laws without the consent of the people of Thebes. The writer contends that Creon's transformation which leads to his own suffering manages to invoke pity from those who dislike his character. A perfect ending for a tragic play.
From the Paper
"Creon's character in Oedipus the King shows a kind, selfless, and forgiving person. His good nature allows him to value the opinion of the people of Thebes. As he expresses in a speech to Oedipus and the citizens of Thebes, "I stand / In all men's favor, I am all men's friend." Creon is loved by the Thebans and they manifest this in their loyalty towards him. In the midst of Oedipus' troubles he accuses Creon of being a traitor. To devise the proper punishment, Oedipus asks the Thebans to decide on Creon's fate: death or banishment. The Thebans respond in Creon's favor."
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"A Streetcar Named Desire", 2005.
This paper discusses Tennessee Williams' "A Streetcar Named Desire"-- especially scene three, The Poker Night.
1,750 words (approx. 7.0 pages), 1 source, MLA, $ 56.95
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Abstract
This paper explains that, in Tennessee Williams' "A Streetcar Named Desire", one of the most recurring images is the overpowering masculinity of the protagonist Stanley and how it pervades the atmosphere in Stella and Stanley's home, which is shown through dialogue, stage direction and description of the surroundings. The author points out that this masculinity serves to highlight the striking difference between Stanley and Blanche, a delicate remnant of the old ways of gentility and femininity and emphasizes not only the contrast between the primitive and the civilized, which is present throughout the play, but also the difference between the Old South and the New South, a difference that Blanche cannot accept. The paper relates that, in scene three, Stella and Stanley's relationship is without tenderness, only a raw feeling that manifests itself in anger or sex; their relationship is contrasted with Blanche and Mitch who calmly sit down to smoke on the steps, looking up at the night sky.
From the Paper
"Scene three opens with a description of the surroundings during a poker night. The kitchen is bathed in a "lurid nocturnal brilliance, the raw colors of childhood's spectrum," (p. 2301). It is not an innocent child's scene, though; the amount of bright color in the room makes it look crude and garish. However, the mention of the colors as "childhood" colors could indicate the immaturity of the men, their childish way of acting during the night to come. The poker players are introduced, and they are described as wearing vividly colored shirts. These men are "at the peak of their physical manhood, as coarse and direct and powerful as the primary colors." These men are strong and powerful, and yet they have a childish aspect to them, in the ways they use this physical strength they possess. The hard alcohol, namely whisky, on the table also underlines the masculinity of these men."
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"Oedipus the King", 2006.
An evaluation of tragedy in Sophocles' "Oedipus the King".
1,300 words (approx. 5.2 pages), 4 sources, MLA, $ 43.95
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Abstract
This paper studies the Greek play "Oedipus the King" by Sophocles. The paper attempts to understand the play within the framework of the traditional tragedy. The paper shows how the main characteristics experience a sense of moral dilemmas associated with Oedipus and his mother's tragic demise within the play. Specifically, the paper demonstrates Sophocles' use of tragedy in classical form with his portrayal of deviant family relations and violent instances of madness. The paper also underscores the stylistic elements, in order to elucidate the play's subtext.
Outline:
I. Introduction
A. Traditional Text Analysis
B. Summary of Text
C. Presentation of Text
D. Thesis: Tragedy in Classical Form, Deviant Family Relations, and Violent Instances in Tragedy
II. Critique
A. Tragedy in Classical Form
B. Deviant Family Relations
C. Violent Instances in Tragedy
III. Conclusion
IV. Works Cited
From the Paper
"The first stylistic theme of using the tragedy as a format is the structure of the characters in the play is easy to be seen. They all seem ignorant of what the other is doing, and this eventually causes the tragic scenes in the play. This forms "the criterion for the tragedy in the textual format of character relations within the plays of Sophocles." (Bloom p.133) By understanding this element of the text, we can see why Sophocles sets a tragic tone by the utter ignorance the characters have of each other. A second point in the stylistic aspects of the text are the pride that causes the characters to act unreasonably. They tend "to refuse the offers of the Oracle of Tiresius," (Jebb p.67) and think they are exempt from this. By adding this sense to the play, we can learn by accepting the destiny handed to Oedipus and his mother, a tragedy will eventually bring them to death and misery."
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"Hamlet", 2006.
Examines the revenge play within William Shakespeare's "Hamlet".
1,220 words (approx. 4.9 pages), 0 sources, $ 41.95
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Abstract
Perhaps the most significant scene in William Shakespeare's "Hamlet "is the revenge play, portraying the death of King Gonzago that is acted out inside the actual play itself. The paper shows that the importance of this play entitled 'The Murder of Gonzago', lies in the alterations imposed upon by Hamlet. Hamlet changes the framework of this play in a ruse that he hopes will tell him of the true cause of his father's death
From the Paper
"Hamlet makes clear the importance of the intensity of the dramatic scenes when parleying with the players, as well as in his single dialogue. He fears that if the play were carried out like a typical revenge play, then his uncle will not be affected enough to show his guilt with his own eyes."
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Shakespeare's "Hamlet", 2005.
This paper discusses the character Horatio in Shakespeare's "Hamlet".
1,570 words (approx. 6.3 pages), 0 sources, $ 51.95
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Abstract
This paper explains that the character Horatio in Shakespeare's "Hamlet"
is the one person whom the main character Hamlet trusts and is the only prominent character that finds himself alive at the end. The author points out that Horatio is the antithesis of two other characters Rosencrantz and Guildenstern, Hamlet's old friends upon whom he feels he can no longer rely. The paper relates that Horatio is the pure soul of the play, the herald of Hamlet's story whose behavior parallels Christian tenets because his honesty and goodness rise above the shadowy dealings of many other characters; they are punished and the good Horatio is rewarded. Several quotations.
From the Paper
"The reader senses that Horatio has never given Hamlet any reason to doubt his love and devotion towards him. The service of a true friend is something that is never forgotten and rarely questioned. Hamlet certainly seems sure of the worth of this true friend. Some may see Horatio as a simple "yes-man," which may be a valid argument. Surely, Horatio was never said to have brought grand insight to Hamlet's plan, nor an amazingly original idea. His worth comes from another source. His agreements with his friend are based on true sincerity. Certainly, Claudius recognized that sincerity and found Horatio not to be a worthy candidate for the recognizance work required."
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