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"Oedipus the King", 2007.
A comparison of two translations of the play of "Oedipus the King" by Sophocles.
1,279 words (approx. 5.1 pages), 2 sources, MLA, $ 43.95
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Abstract
This paper discusses some of the significant differences that can exist between different versions of the play "Oedipus the King" by Sophocles. The paper specifically focuses on the different ways that translators interpret and represent the ancient Greek play. It compares the translations of the play by Dudley Fitts and Robert Fitzgerald, with that of Robert Fagles, focusing on one pivotal moment in the play.
From the Paper
"The influence a translator can have on the final form of a translated text, in this case Sophocles' Oedipus the King, is quite obviously very significant. At times, the differences--like stanza and line break--can seem subtle, but have important effects on the play's presentation. Other times, the language is so wildly different that it would take a reader as blind as Oedipus not to note the extreme variation in translation. The cautionary tale of Oedipus, his pride, his fate, and his downfall is evident in both translations presented above. What differences exists are simply a matter of interpretation and intention. For Fagles: "These are the griefs that burst upon them both, / coupling man and woman" (ln. 1416-1417) while for Fitts and Fitzgerald the same play illustrates that "from the unhappiness of two this evil has spring. / A curse on the man and woman alike" (ln. 1231-1232)."
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"Hamlet", 2007.
An analysis of the significance of time and its context in William Shakespeare's "Hamlet."
926 words (approx. 3.7 pages), 1 source, MLA, $ 32.95
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Abstract
This paper describes the significance of time in William Shakespeare's "Hamlet." It focuses on Hamlet's exclamation when he meets his father's ghost, that "the time is out of joint" and explains how this fits in with the concept of time throughout the rest of the play. The paper analyzes the context of this statement by Hamlet and uses quotes from the play to support its explanations.
From the Paper
"The state of things gone awry is endemic to every aspect of Danish society, from the lowliest to the highest realm, and parallels Hamlet's internal state of personal angst and grief over his father's death. The death of Hamlet's father is a personal tragedy, but because Hamlet's father was a king, his death has cosmological significance. Now, Denmark has a new king who may not be good, has a suspicious relationship with his new queen, Denmark is about to go to war, and signs from the great beyond suggest that things are only going to get worse, unless Denmark's oath diverted from its current state course. The times truly are "out of joint," even before Hamlet speaks this famous phrase."
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Hamlet, 2007.
This paper examines the play 'Hamlet' by William Shakespeare.
1,100 words (approx. 4.4 pages), 1 source, MLA, $ 38.95
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Abstract
In this article, the writer explains that normally, when reading William Shakespeare's play, 'Hamlet', the theme is the main element discussed. The writer maintains, however, that in this work of art, as in others by Shakespeare, the play's construction is just as complex and remarkable. The writer then discusses the plot, characters and themes in the play. The writer concludes that conflict, confusion and even death result because the characters purposely do not tell the truth, act on the sly for negative or positive reasons, and keep information from each other that could have somewhat resolved the situation or at least saved some unnecessary deaths.
From the Paper
"Every story needs an antagonist, and that is Claudius. Where the other character's motives may be veiled, his are very apparent. His desire for power drives him to murder his brother and marry his brother's wife. On the other hand, Gertrude's actions are left unanswered. Whether or not she conspired with Claudius depends on how the play is interpreted. However, through her words and actions, it appears that she loves her son, and cares greatly for Ophelia and Polonius."
"Although little is known about Horatio, he plays an important role as the objective observer whose comments can be believed. Hamlet also uses him as a way to express himself and help make decisions. The other characters in the play are secondary to the action, but whose deaths make the ending all the more tragic because they meant nothing but good."
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"Much Ado about Nothing", 2007.
This paper discusses the tragedies that never happened in Shakespeare's "Much Ado about Nothing."
1,298 words (approx. 5.2 pages), 2 sources, MLA, $ 43.95
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Abstract
The paper relates that there are no real events in Shakespeare's "Much Ado about Nothing", or any real action; nothing happened in the play although many tragic things might have. The paper shows how the play can be considered tragic because the characters simulate and dissimulate, manufacture plots out of "nothing" and play with reality in a dangerous way that could have serious consequences for everyone.
From the Paper
"Shakespeare's play Much Ado about Nothing effectively combines the comic and tragic elements in its structure. The title is the point where the reading should begin: Shakespeare himself indicates that the play is about "nothing", that is, there are no real events in the text, no real action, only deceiving and misprision. The plot focuses on the two couples that are the main protagonists: Berenice and Benedick, Hero and Claudio. The dissembling, deceiving and misprisions in the play seem endless and are directly related to the tragic undertones of the text."
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Shakespeare's "The Tempest", 2007.
This paper analyzes the means of control used by the character of Prospero in Shakespeare's "The Tempest".
1,520 words (approx. 6.1 pages), 2 sources, MLA, $ 50.95
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Abstract
This paper points out parallels between philosopher Michael Foucault's work and "The Tempest" and relates that the topic of both works revolves around the topic of justice. The author argues that Prospero's behavior in Shakespeare's "The Tempest" represents a shift from a medieval power structure to one that is institutionalized and which takes power from the individual and gives it to society. The paper comments that Prospero's main conflict was not with his brothers but rather with the centralized power that they represented.
From the Paper
"Prospero has to design a tactic for each individual. This demonstrates great intelligence and adaptability. The first stage of the plan was to separate them and take away their power in numbers. He knew that he would be overthrown if he were not able to do this. Therefore he first isolated his "guests" and gave them a display of his power. The prison cell had much the same effect. Foucault goes to great lengths to explain and give examples of how the prison cell acts of isolate and convey the sense of power to the convict. The jailor has complete control over the prisoner."
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Britten's Midsummer's Night, 2007.
This paper discusses the opera 'Midsummer Night's Dream' by Benjamin Britten.
986 words (approx. 3.9 pages), 3 sources, MLA, $ 35.95
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Abstract
In this article, the writer notes that Benjamin Britten obtained the plot for the opera, "Midsummer Night's Dream", from Shakespeare's play by the same name. The writer relates that in 1960 Britten, along with his companion, Peter Pears, presented it as a showpiece for friends and for a wide variety of talents. The writer points out that the opera contains a largely spoken, theatrical part, a boy's soprano choir, a large fairy who sings coloratura, a simple country bumpkin named Bottom whose head is turned into an ass' head by Puck and romantic subplots. The writer maintains that the opera is humorous and lyrical and a treat for the musical ear. The writer concludes that in this opera, the audience falls in love with Puck and with the fairies, as if the love-juice had been put on their own eyes.
From the Paper
"Britten starts the opera in what was the second act of Shakespeare's play, but refers to what happened, so the audience does not feel anything is missing. The rustic folk, the fairies and the lovers are first presented in the woods around Athens and from there on the action never stops. The lead role of Oberon is sung by a countertenor, which is very rare, as leads are usually sung by tenors or basses. As the fairies appear, the well-known song, "Over hill, over dale" is heard, sung by Tytania's young boys' fairy choir. The strange relationship of Tytania and Bottom is the central romantic story that Britten chose to make the centerpiece of the opera. The dominating female fairy has a very difficult role to play, as she is attracted to Bottom, but is subject to Oberon and his accomplice, Puck, who make her life very difficult and her music hard to sing."
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Tragedy, Aristotle and "Death of a Salesman", 2007.
An analysis of how Aristotle defines tragedy and how it is portrayed by Arthur Miller in his play "Death of a Salesman".
4,224 words (approx. 16.9 pages), 9 sources, APA, $ 112.95
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Abstract
Arthur Miller's "Death of a Salesman" has several strong literary and socially disturbing dimensions, but the one that stands most is its tragic dimension. This paper contends that "Death of a Salesman" is in fact tragic, and that within that tragic dimension there are several themes that are apparent and important: financial failure, emotional inadequacy, false pride, sports promise and sports failure, sexual confusion and impropriety, career stumbling, a dysfunctional family, death and madness. Tragedy to varying and diverse degrees is presented as a dynamic that is witnessed in Willy's family, in Willy's failed careers, and of course in his failed relationship with his son and in his marriage. Additionally there are tragic circumstances within the popular American contemporary vernacular of sports. The paper also examines Aristotle's stance on tragedy and how it compares to that of Arthur Miller.
Outline:
Introduction
What Is Tragedy? Miller's Philosophy on Tragedy and His Perspective on the Play
What Is Aristotle's Philosophy Regarding Tragedy?
The Death of a Salesman: The Literature and the Scholarship
Other Tragic Features of the Play
From the Paper
"After going to lengths to point out that Miller sees the central tragic figure in the play as Willy, Hagopian insists that it's Biff Loman, Willy's son, is the one who "ultimately makes things happen, who responds to the great trauma in his life with an emotional and moral paralysis..." That point could be rebutted effectively, but meantime a more pertinent point that Hagopian makes is that, after Biff finds his dad in a hotel room with another woman; "You fake!" he barks. "You phony little fake! You fake!" And now dad has been fired from his job, and Willy fears his son will expose his immoral deeds to mom. But Biff does not, he just wants to rage at his dad, and say "goodbye to you Pop...let's just wrap it up, heh?" The scene that Willy provokes has definite tragic consequences, Hagopian admits on page 40. "
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Motivation in Literature, 2007.
An analysis of the motivation of Iago in William Shakespeare's "Othello" and Krogstad in Henrik Ibsen's "A Doll's House."
1,401 words (approx. 5.6 pages), 7 sources, MLA, $ 46.95
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Abstract
This paper analyzes the concept of good and evil and people's motivation for following a particular path in their lives. It focuses on this concept as it is illustrated in William Shakespeare's "Othello" and in Henrik Ibsen's "A Doll's House." The paper describes the characters of Iago, possibly the most heinous villain in Shakespeare and of Krogstad, a secondary character in Ibsen's "A Doll's House" and discusses their motivation for their actions.
From the Paper
"In terms of the motivation and the purpose of their actions Iago and Krogstad are two different characters. Indeed, Krogstad is the antagonist in "A Doll's House" but he is not necessarily a villain. Krogstad is a person who has been wronged by society as he committed the same crime Nora did, forgery of signatures. Though he did break the law, his mistake was relatively minor but the society has labeled him as a criminal and prohibited him to go beyond his past. Additionally Krogstad's claim that the cause of his immoral behavior was when Mrs. Linde abandoned him for a man with money so she could provide for her family makes it possible for us to see Krogstad as a victim of circumstances. Even if society's unfair treatment of Krogstad is not a justification for his actions, it tempers in the same time out perception of him as a despicable character. It can be said that his actions are indeed motivated because when Torvald becomes director of the bank in which Krogstad is employed and threatens him with dismissal, he naturally has to fight back: "If necessary, I am prepared to fight for my small post in the bank as if I were fighting for my life...It is not only for the sake of the money; indeed, that weighs
least with me in the matter. There is another reason...my sons are growing up; for their sake I must try and win back as much respect as I can in the town. This post in the Bank was like the first step up for me--and now your husband is going to kick me downstairs again into the mud" (act 1, "A Doll's House's Text"). As can be seen Krogstad has reasonable motives for behaving as he does: he wants to keep his job at the Bank in order to spare his children of the hardships that come with a spoiled reputation."
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Henrik Ibsen's "A Doll's House", 2007.
This paper analyzes Henrik Ibsen's "A Doll's House", one of the most frequently reviewed plays in academic studies.
3,845 words (approx. 15.4 pages), 7 sources, MLA, $ 105.95
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Abstract
This paper explains that, although much has been written about viewing Henrik Ibsen's "A Doll's House from purely a feminist perspective, the truth is that Ibsen's clever crafting of this play and careful development of his heroine Nora has allowed readers and critics over the years to apply many valid interpretations. The author points out that Ibsen's play is about the roles that people are willing or are forced to play: The role that Nora assumes at the end of the play is just another role - one that she has no idea how to play but feels she must. The paper concludes that Ibsen had to make Nora the explorer into a new world so that the audience might begin to understand his motive of revealing how the strict roles of society have stripped people of their human rights.
From the Paper
"The other female character has also become a thinking human being through her trials in life. Ironically, Mrs. Linde because of her ability to think chooses to marry Krogstad during the course of the play. She says in regard to Krogstad's letter that she does not want him to ask for it back because "a whole day's gone by and I've witnessed things in this house that I could hardly believe...This wretched secret must be brought into the open so that there's complete understanding between them". Mrs. Linde's objective is not to destroy their marriage put to force Torvald and Nora to be honest..." with themselves and each other. Mrs. Linde has realized the necessity of this kind of honesty through her life of hardship which is why she decides to marry Krogstad. She accepts that he is not perfect and not a model man of the middle-class, but he can give her what she wants to be happy.
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Hamlet and Ophelia, 2007.
An analysis of Hamlet's love for Ophelia in the play "Hamlet" by William Shakespeare.
764 words (approx. 3.1 pages), 1 source, MLA, $ 27.95
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Abstract
The paper discusses how Hamlet loves Ophelia in his own tortured and odd way. The paper illustrates how, as the play continues, it is clear Hamlet loses touch with reality and with it, his love for Ophelia. The paper describes how Ophelia cannot deal with his rejection and rather than go on with her life, she ends it, without fulfillment, without love and with no future. The paper demonstrates how both lovers cared for each other and might have had a life together, but they were both too tragically flawed to ever really become a couple or maintain their love.
From the Paper
"Those surrounding Ophelia believe Hamlet loves her - even that he has gone mad with love for her. Her father, Polonius tells her Hamlet's rash behavior is based on his unrequited love for her. He says, "That [denial of love] hath made him mad" (II. i. 109). Thus, those surrounding Ophelia misinterpret Hamlet's actions, and Ophelia might have as well, although it does seem Hamlet loves her in his own tortured and odd way. He does leave her a note that seems to confirm his feelings for her. It reads, "O dear Ophelia, I am ill at these numbers; I have not art to reckon / my groans: but that I love thee best, O most best, believe it. Adieu" (II. ii. 120-121). Thus, he has confessed his love to her, and no matter how it deteriorates from this point on in the play, he has held love for her in his heart."
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Greek Artifacts, 2007.
This paper looks at the civilization of ancient Greece and its artifacts.
1,820 words (approx. 7.3 pages), 2 sources, MLA, $ 58.95
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Abstract
In this article, the writer notes that until about 1870, historians and scholars who specialized in the history and archeology of ancient Greece were, for the most part, quite ignorant about Greek culture and society and considered this area of study as being filled with myth. The writer points out that from excavations conducted in the early years of the 20th century, the history of ancient Greece is now well-known and understood, especially through the magnificent artifacts that have been uncovered. Thus, the writer maintains that these artifacts illustrate that the cultural and social heritage of ancient Greece was one of the most important Western civilizations of all time. The writer concludes that they also prove that the ancient Greeks were superb artisans who always attempted to reveal the intricacies of Greek culture through their work.
From the Paper
"In essence, many of these artifacts will enable us to reconstruct the development of the Greek style in art and to appreciate their uses and place in ancient Greek society. Imagine for a moment living in ancient Greece, perhaps somewhere amid the long and winding coastline of the Aegean Sea, or perhaps high up in the great mountain chains of the Peloponnesos or Thessaly, the home of Mount Olympus and the pantheon of Greek gods and goddesses, such as all-powerful Zeus and his wife Hera, Aphrodite, the goddess of love, Apollo and Hermes, the messenger of the gods."
"In this environment, common men and women worked in the cities as laborers, merchants and slaves and toiled in the fields in order to feed the hungry masses in places like Argos, Sparta, Thebes and especially mighty Athens, the home of Pericles and Greek democracy. Thus, in these and many other environments, the ancient Greeks fashioned a very wide spectrum of items, ranging from ordinary clay pots to outstanding examples of Greek art in the form of amphora, drinking vessels, armor, weapons, jewelry, bowls and statues."
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Andrew Lloyd Webber, 2007.
This paper looks at Andrew Lloyd Webber as an original showman and provides a personal and professional biography.
1,190 words (approx. 4.8 pages), 4 sources, MLA, $ 40.95
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Abstract
In this article, the writer looks at Andrew Lloyd Webber's beginnings and discusses how he began his successful career in musicals. Love him or hate him, the writer points out that no critic can deny that he has composed some of the most memorable music of the latter half of the 20th century. The writer notes that his influence continues to be felt today. Further, the writer points out that Lloyd Webber continues to write, compose, and run the Really Useful Theater Company, and his songs and productions are still heard and seen around the world. The writer concludes that for Webber, star quality and staying power mean staying true to your initial vision and Webber's prime motivations have always been populism and the unabashed pursuit of profits.
From the Paper
"For all of his extravagant visions for the theater, Andrew Lloyd Webber was born to humble beginnings on March 22, 1948. His parents lived in South Kensington, England. His father, William Southcombe Lloyd Webber, was a professor of music theory at Royal College of Music in England. His mother, Jean, was a singer and violinist. Unsurprisingly, with these beginnings, young Andrew showed an early love and aptitude for music. Andrew was an undoubted musical prodigy. At only three years old, he played violin and at six he composed his first songs."
"These were not simply the jottings of an amateur, however. At the tender age of nine he had his first piece of music published. But it was Andrew's aunt who first ignited the young boy's interest in stage musicals."
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The Provincetown Players, 2007.
This paper discusses the performances and ideology of "The Provincetown Players" theater group.
1,225 words (approx. 4.9 pages), 6 sources, MLA, $ 41.95
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Abstract
This paper explains that, at the beginning of the 20th century, new forms of art, literature and theater became popular in the United States that were not as constrained as earlier forms. The paper looks at the group of avant-garde actors and producers called "The Provincetown Players" who developed a theater form that would have an impact for many decades to come. The paper shows how, although they may have been a strange group, the Provincetown Players provided an excellent outlet for their separate needs: political fervor, artistic zeal, trial of new works, Greek theater production, friendship and feminism.
From the Paper
"George Cram Cook (Jig), one of the originators of Provincetown Players stated in a book about the theater in 1920, "Groups like ours are about to inherit the whole duty of dramatic man." This was an entirely new concept, because America had not been considered the center for literary leadership. When Cook's theatrical experiment began, cultivated Europeans were still sneering at the concept of American theatre and drama. It was not that theatre buildings, dramatic publications, and theatrical productions were nonexistent in the U.S., but rather that American playwrights and actors, designers and directors were still virtually unheard of in Europe (Sarlaos 1)."
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The Female Characters, 2007.
This paper compares Henrik Ibsen's Hedda Gabler to Tennessee Williams' Stella Kowalski in "A Streetcar Named Desire."
1,285 words (approx. 5.1 pages), 2 sources, MLA, $ 43.95
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Abstract
The paper portrays how Henrik Ibsen's character, Hedda Gabler, shares some similarities with the oppressed housewife, Stella Kowalski in Tennessee Williams' play, "A Streetcar Named Desire." The paper shows how in spite of the vast differences between the two plays, Stella in 1947 is no more evolved as an individual than Hedda in 1891 in terms of her autonomy, her honesty, or her ability to handle her own life. The paper demonstrates how both plays identify the inferior position held by women in society for hundreds of years.
From the Paper
"Stella Kowalski has made a major concession in marrying Stanley Kowalski, a working-class, brutish sort who is far beneath the aristocratic social class of people with whom Stella was raised. Stanley has none of the manners, social skills or money that someone of Stella's station would customarily have married. However, from the beginning of the play, Stella seems to exhibit an underlying lack of confidence, and settling for her less-than-perfect marriage to Stanley is one more indicator of that. As the play progresses, we see that perhaps Stella has always felt inadequate as compared to her more glamorous sister, Blanche. Stella asks Blanche to try not to compare Stanley to men "that we went out with at home" (Sc. 1, pg. 17)."
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"Pippa Passes", 2007.
An analysis of Robert Browning's lengthy poem and drama; "Pippa Passes."
1,109 words (approx. 4.4 pages), 0 sources, $ 38.95
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Abstract
The paper discusses how Robert Browning considers his poem "Pippa Passes" as both a play and poem. The paper explains that as a play, "Pippa Passes" consists of a series of rather disjointed dramatic scenes held together largely by being part of the same work. The paper shows how as a poem, "Pippa Passes" involves a number of poetic experiments and different poetic forms, using elements that would be characteristic of the dramatic monologue style Browning would further develop in later works.
From the Paper
"As a drama, "Pippe Passes" has a setting in which the characters interact and to which they react. That setting is a small Italian mill town. The situation is expressed at the beginning of the opening section, entitled "Day!" Specifically, it is New Year's day at Asolo in the Trevisan. The main character is Pippa, the first person introduced in the piece, a girl who works in the silk mills of the town. She is cheerful and philosophical and speaks directly to the reader in the manner that will become traditional in Browning's dramatic monologues."
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