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Deceit and Emilia's Unwavering Trust, 2008.
An analysis of Emilia's trustworthy character in William Shakespeare's "Othello".
1,129 words (approx. 4.5 pages), 2 sources, MLA, $ 39.95
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Abstract
In Shakespeare's "Othello", deceit and jealousy combine to make one of the most disturbing tragedies of all time. This paper discusses how, at the helm of this disturbing voyage is the villainous Iago, driven by pure malice. In particular, the paper looks at how there is a great irony in this story, since Iago's plan to dismantle all virtue and trust amongst the targeted characters would never have been successful without his own wife Emilia's complete, unwavering trust and obedience.
From the Paper
"The first example of Emilia's unique and seemingly tolerant trust in her husband is shown early in the play. Upon arriving in Cyprus, Iago socially insults his wife in front of Cassio, Desdemona and others. Instead of immediately playing along, she falls silent, waiting for a cue from her husband. Her friend Desdemona notices this immediately: "Alas, she has no speech (II.1.118)." Emilia simply allows Desdemona to defend her, letting the game pass over her. This silence illustrates a great deal about the relationship between the couple. Even though Emilia eventually plays along with the game, "You shall not write my praise (II.1.132)," she clearly allows Iago to be in control of the situation. "
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"Sonnet 35", 2008.
An analysis of William Shakespeare's "Sonnet 35" .
951 words (approx. 3.8 pages), 2 sources, MLA, $ 33.95
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Abstract
This paper discusses "Sonnet 35" by William Shakespeare and examines the poem's meaning as well as the poetic techniques and devices that were used to communicate and enrich that meaning. The paper maintains that "Sonnet 35" is very personal and in it the narrator feels guilt and appears to take some the blame for the things done against him.
From the Paper
"The next line is about why the poet thinks he is at fault just as much as the youth. "For thy sensual fault I bring in sense" (9). Here the narrator is saying that he is taking the sins of the youth, which were just physical, and which stem from physical urges, and putting his mind to work on them. In other words, the youth has sinned from passion, not thinking, but following his urges or lust. The sin of the poet on the other hand is much more severe because his sin is that of the mind; it is well though out in advance, premeditated and intellectual." "
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Kinship in "Oedipus the King" and "Midsummer Night's Dream", 2008.
This paper examines the theme of kinship in Sophocles' "Oedipus the King" and Shakespeare's "Midsummer Night's Dream".
1,346 words (approx. 5.4 pages), 2 sources, MLA, $ 45.95
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Abstract
The paper analyzes the treatment of kinship in Sophocles' "Oedipus the King" and Shakespeare's "Midsummer Night's Dream" and considers why family relationships are such a frequent subject in these genres. The paper shows how kinship is treated in relationship to its role in patriarchal societies in both of these two plays. The paper explains how kinship is a powerful plot driver in both plays, due to the fact that kinship, as epitomized in the paternal bond, lies at the heart of patriarchy.
From the Paper
"It is not surprising to find family relationships to be such a frequent subject in these genres - after all, these are the deepest ties that bind, and thus offer a rich source to be mined for both comedy and tragedy. In both of these plays, kinship is crucially important because it sets up the problems that are key drivers of the plots. In Midsummer Night's Dream, the problem consists in the fact that a father is attempting to invoke paternal authority to thwart the romantic wishes of two of the principal players. Egeus, an Athenian nobleman, is pleading with Theseus, Duke of Athens, to force his (Egeus's) daughter Hermia to marry the man Egeus has picked for her: Demetrius. Hermia is insisting she would rather marry the man she loves, Lysander."
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The Mechanical's Play in a "Midsummer Night's Dream.", 2008.
A review of the sub-plot in William Shakespeare's "Midsummer Night's Dream."
1,795 words (approx. 7.2 pages), 5 sources, MLA, $ 57.95
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Abstract
This paper is based around characters that are featured in Shakespeare's play "A Midsummer Night's Dream". The paper first relates that, amid this complicated play, there is the tale of the six mechanicals or craftsmen. The paper then explains how Shakespeare differentiates between them and the other members of his play by use of different language and style.
From the Paper
"The mechanics have retreated to the woods outside Athens to rehearse the play that they intend to present at the wedding of Theseus and Hippolyta. The play is the classical story of Pyramus and Thisbe. These were two young lovers, living in houses that shared a common wall, whose parents had forbidden them to marry. Their only means of communication was through a crack in the wall of their adjoining houses. Eventually, they were unable to stand separation any longer, and agreed to elope, meeting in the nearby woods. On the appointed night, and taking advantage of the darkness, they slipped out of their respective houses. Thisbe arrived first at the appointed place by a mulberry tree, to find a lioness, her mouth bloody from a recent kill. Terrified, Thisbe fled, dropping her veil as she ran. The lioness then mauled the veil, leaving it torn and covered with blood. Coming on the scene and finding only the torn bloody veil, Pyramus assumed that the lioness had killed Thisbe. In his wild grief, he stabbed himself. Thisbe, emerging safe from her hiding place, and finding Pyramus dead, killed herself. In commemoration of this tragedy, the mulberry tree beside which the lovers took their lives now bears purple berries, instead of the white it had originally grown. (Rivers)"
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Emilia's Speech in "Othello", 2008.
An analysis of Emilia's speech in Act IV, Scene 3 of William Shakespeare's "Othello".
1,180 words (approx. 4.7 pages), 0 sources, $ 40.95
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Abstract
This paper examines a passage from Act IV of Shakespeare's "Othello", (scene iii, ll.89-106), which comes after the dinner that Desdemona hosts for Othello. The passage is a speech by Emilia in which she tries to get Desdemona to feel better and not to despair at the way her husband has been treating her, in essence by suggesting what she should do. The paper points out that this speech serves as a balance to an earlier speech by Iago on the false nature of wives from Act II. To conclude, the paper focuses on the way Shakespeare uses the sound of the words the way they are put together to create an impression that guides the listener through Emilia's argument and enhances aspects of that argument to make it more sensible and to show ways in which men and women are alike.
From the Paper
"This speech serves as a balance to an earlier speech by Iago on the false nature of wives from Act II. Emilia here refers to the false nature of husbands and to the consequences for those husbands, for their wives are then unfaithful in retaliation. Emilia is always the practical one in the play, sat least in terms of how she believes people should behave. She takes the practical view that if Desdemona is under suspicion and if her husband is mistreating her, then Desdemona should take care of herself and forget Othello. At the same time, she knows that Desdemona is innocent and also knows part of what Iago is doing. She certainly knows that Iago has taken the handkerchief, and she is likely also bitter about the way she is treated by her own husband, Iago. Much of this bitterness comes out in this speech."
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Imagery in Winter Poems, 2008.
A comparison of wintry images of negativity and despair in three poems: ""Stopping By Woods on a Snowy Evening" by Robert Frost, ""Absent place--An April Day" by Emily Dickinson, and "Blow, blow thou Winter Wind" by William Shakespeare.
1,112 words (approx. 4.4 pages), 3 sources, MLA, $ 38.95
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Abstract
This paper analyzes the poetic images of winter in the works of Robert Frost, Emily Dickinson, and William Shakespeare. The paper explains that by understanding the often barren and silent image of winter in the poems by these authors, one can understand how they are written within the atmosphere of negativity and despair. The paper looks at how focusing on the specific symbolic and metaphoric use of winter as a negative and despairing environment, these authors create powerful images that are physical and mental in their descriptions of various human behaviors and life events. The paper further demonstrates that the overall scope of winter does not provide an overall positive image of coldness and despair, but illuminates the various problems that human beings must endure at different points in their lives.
From the Paper
"This manner of behavior shows that Frost is yet again, seeking to portray a lone traveler that is unsure of his destination and is found wandering on another person's property. The man driving his horses clearly sees the grim silence of winter and the 'downy flakes', which represent his own sense of isolation and poor navigation off the main road. Also, this negativity is part of Frost's image of winter as a despairing haven for travelers that lose their way in life. This also occurs in a previous stanza that dictates the solace of the wintry wood as a poetic image of despair."
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"Romeo and Juliet", "M. Butterfly" and the Oppression of Men, 2007.
A discussion of the oppression of men in the plays "Romeo and Juliet" by William Shakespeare and "M. Butterfly" by David Henry Hwang.
1,708 words (approx. 6.8 pages), 1 source, MLA, $ 55.95
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Abstract
This paper analyzes the oppression of men through the study of characters and their experiences in two literary works, "Romeo and Juliet" by William Shakespeare and "M. Butterfly" by David Henry Hwang. The paper explains that masculinity is fragile because it is socially constructed and men have to struggle everyday against anything within themselves that many be perceived as not masculine: anything passive, any attraction to the same sex, and even displays of vulnerability are all suppressed. The paper argues that Romeo stepped out of the 'masculinity' assigned to him socially, and because of this, suffered. The paper also looks at how Gallimard, is insecure in his masculinity and uses it, along with his racism and prejudice to destroy himself. In conclusion the paper shows that the male protagonists in both plays are in a way a victim of patriarchy because they do not conform to the 'masculine' ideal.
From the Paper
"Looking at the text closer, it is clear that Romeo does not exhibit typical masculine characteristics, and that Juliet often acts as the more aggressive, less 'feminine' one of the pair. This is evident from the beginning of the play all the way through to the end, where each chooses a different way to die. In the first scene of the play we are introduced to Romeo, both his parents are worried about him, as he seems melancholic. He is sad, in love, and because of this he suffers. All of these are not very masculine characteristics. He loves to read, is keen on poetry, and loves to be in love. All these characteristics could be considered 'feminine'."
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The Meaning of Comedy, 2007.
A review of the films "Sherlock, Jr." directed by Buster Keaton and "Bringing up Baby" directed by Howard Hawks.
966 words (approx. 3.9 pages), 6 sources, MLA, $ 34.95
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Abstract
This paper examines Aristotle's definition of comedy using two classical cinema comedies - "Sherlock, Jr." and "Bringing up Baby" - to illustrate this definition. The paper explains that Aristotle believed that comedy shows people engaged in ridiculous activities, but this ridiculousness is not painful or destructive and the comic action must be without bad intent. The paper looks at how in each movie the lead character is ridiculous, but always portrayed without malice. The paper points out that in "Bringing up Baby", a longer film than "Sherlock Jr.", and one in which sound allows for the speedy development of more characters, the subordinate characters draw heavily on classical models such as Shakespearean figures like Dogberry and Verges in "Much Ado About Nothing". The paper notes that these characters too are ridiculous although not malicious, and clearly inferior in the nonsense they act out, but saved in the end through the resolution of the plot. In conclusion that paper shows that Aristotle's definition is general, even imprecise, but it is clearly a definition which is well illustrated in these two films.
From the Paper
"These people act without malice. Keaton wants to be a detective, but is outdone by the "sheik," who gets him blamed for the theft of a gold watch, and by his girlfriend, who shows his innocence. In his dream, he is a great, if bumbling detective. Grant tries mainly to avoid Hepburn, but cannot extricate himself from her. Hepburn means well, repeatedly offering to help him get the funding for his museum which is his main hope. Sherlock Jr. begins with scenes of Keaton sweeping the theatre, beset by people who claim to have lost money in his trash pile. The scenes are funny: they show an inferior person, an inept sweeper, being ridiculous. They do little, however, to advance the main plot."
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Love in "Twelfth Night", 2008.
An analysis of the relationships and love portrayed in William Shakespeare's play, "Twelfth Night."
700 words (approx. 2.8 pages), 1 source, MLA, $ 24.95
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Abstract
This paper discusses the theme of true love, as it is depicted in William Shakespeare's play, "Twelfth Night." It explores the idea of true love and its possibilities and then looks at how much of love is, in fact, an illusion. The paper discusses the plot of the play and the various relationships that exist and also briefly looks at the implications of that love.
From the Paper
"One of the ways this theme is often depicted is in terms of lovers who seem mismatched so that their faithlessness is almost expected. Duke Orsino in this play is a man who has a wandering eye when it comes to women, so it would seem that he is not likely to remain faithful, though he would become apoplectic if his wife were to stray as he does. He proposes to Viola in a less than convincing manner and claims that all women are unfaithful. At this stage, Orsino is doing no more than projecting his own character onto the women he meets, and he does learn a lesson in the course of the play."
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Lodovico as Moral Commentator, 2008.
This paper analyzes the character Lodovico's dramatic role of moral commentator in William Shakespeare's "Othello".
778 words (approx. 3.1 pages), 5 sources, MLA, $ 27.95
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Abstract
The paper illustrates how Lodovico defines the immorality and cruelty in Othello's behaviors that will eventually end in his tragic death. The paper explains that Lodovico as a marginal character is written into the play by Shakespeare to help the reader realize the gravity of Othello's actions and the inevitable tragedy that surrounds the deceptions of Iago.
From the Paper
"Lodovico's role as moral commentator on Othello's behaviors brings insights into the tragedy of the play, which many of the other characters are too self-involved to perceive. In latter parts of the play, Othello's increasingly violent behaviors are clearly noticed when he strikes Desdemona: "Is this the noble Moor whom our full Senate/Call all in all sufficient?" (IV, i., ll.2712-2713). This increasingly potent sense of volatility on the part of Othello is clearly defined by Lodovico, who can see the immorality of this action against a woman. Shakespeare portrays Lodovico as a moral gauge that allows the audience to realize the effects of Othello's behavior through an external source (Bloom 45)."
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Women as Objects, 2008.
This paper examines the social orders in Henrik Ibsen's "A Doll's House" and Shakespeare's "Romeo and Juliet".
1,636 words (approx. 6.5 pages), 4 sources, MLA, $ 53.95
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Abstract
The paper analyzes how in Henrik Ibsen's 20th century work, "A Doll's House" and in the Shakespearean play, "Romeo and Juliet" conflict and tragedy occur when women deviate from social expectations. The paper highlights the prices paid by the women who did not conform to what social rules dictated. The paper discusses the social orders where men are leading subjects and women are accompanying or supporting objects. The paper points out that even today women face what are new conventions in terms of how they are expected to participate in the waged economy and perform domestic duties. The paper concludes that "A Doll's House" and "Romeo and Juliet" remain stimulating in the present as they address human scenarios that can prove eternal.
Outline:
Introduction
A Doll's House (1879)
Romeo and Juliet
Reflection - Female Objects and Subjects
Last Remarks
From the Paper
"Western civilization has ascribed traits and virtues differently to men and women, as one would expect, however much in the 21st century we assume that reform has been achieved and men and women have absolute personal choice. The plays discussed in this paper refer to very different centuries but perhaps owe their longevity to themes that are quite timeless. Examining Henrik Ibsen's 20th century work, A Doll's House, and the very familiar Shakespearean play, Romeo and Juliet, one finds that conflict and tragedy occur when women deviate from social expectations. The idea of gender freedom or female individuality seem very threatening to those who witness deviation. In fact, women who depart from convention are prone to tragedy, or create tragedy for others. These phenomena are usually discussed in relation to women's unsatisfactory status under patriarchy. They are interesting in the light of ordinary social conventions and the prices paid by people who do not conform to what social rules dictate."
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Iago's Clever Words, 2008.
An analysis of Iago's persuasion in William Shakespeare's "Othello".
864 words (approx. 3.5 pages), 1 source, MLA, $ 30.95
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Abstract
The paper describes how Iago uses selective honesty as his persuasive tactic to dupe Roderigo into his trust and sway him to his own ends. The paper demonstrates how he pretends to be loyal to Othello while causing Roderigo and Brabantio to turn against Othello. The paper highlights Iago's clever words and deceitful persuasions.
From the Paper
"At the beginning of "Othello," (Act I, Scene I), on a Venice street, Iago is introduced as a friend and trusted ally of Roderigo, and one who has his "purse" (financial trust.) Roderigo reminds Iago that Iago told him previously that he was antagonistic to Othello, and Iago assures him this is so: "Despise me, if I do not" - even giving what sounds like a plausible reason, i.e., Iago is bitter at Othello for selecting another man, Michael Cassio, over himself to serve as Othello's lieutenant, and he admits his jealousy of Cassio and his wish for vengeance against Othello. Of course, it seems that he is telling all this to Roderigo in order better to win him over and gain his trust more."
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Marxist Interpretations of Hamlet, 2008.
A Marxist interpretation of William Shakespeare's "Hamlet".
1,808 words (approx. 7.2 pages), 4 sources, MLA, $ 58.95
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Abstract
In this essay the writer examines Hamlet from a Marxist perspective. It is shown how the class structure associated with a feudal society drives the action in Hamlet. Particular attention is placed on the relationships between the royal family and their courtiers. The writer notes that these relationships show how the class system associated with a feudal society results in an aloof upper class that exploits a subservient lower class. The writer concludes that a Marxist criticism looks at how class, material production and the history of material production can influence a work. The writer maintains that Hamlet can be successfully analysed using a Marxist perspective.
Outline:
Introduction
Thesis
Historical Context/Material Context
General relationship
Upper Class Exploitation of Lower class
Lower Class Encouraging their Exploitation
Conclusion
From the Paper
"Denmark in the twelfth century was a feudal society. This meant that the economy was based primarily on agriculture and wealth was determined by how much land a person controlled. Feudal societies have a very strong class hierarchy with clearly defined upper classes and lower classes. In this type of society the upper classes essentially lived pampered lives of luxury by controlling the land and exploiting the lower classes. Essentially the upper classes control the means of production (land) and the lower classes sell their labour in order to survive. As a result of these material relationships the upper class is clearly dominant and the lower classes are subservient to them."
"This type of relationship is clearly apparent in Hamlet. The upper class lives in absolute luxury and is mostly preoccupied with their personal issues."
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The Women of "Othello", 2008.
An analysis of Desdemona, Emilia and Bianca's relationships with the men that they love in William Shakespeare's "Othello."
786 words (approx. 3.1 pages), 2 sources, MLA, $ 28.95
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Abstract
This paper discusses three women in William Shakespeare's "Othello" and their different relationships with the men they love. It looks at Desdemona and her adoration of Othello, at Emilia and her loyalty to the abominable Iago and finally at Bianca as the sensual mistress of Cassio. The paper describes the characters' love throughout the play and looks at the various outcomes of that love.
From the Paper
"Cassio, Othello's lieutenant, is a young blade, the dashing, handsome man whom Iago admits has virtues that Iago cannot match. (V:i:18-20) In Bianca, he has a mistress rather than a wife, apparently a prostitute (IV:i:95-96), and while his actions suggest that he is reasonably fond of her (III:iv:167-78), he apparently does not intend to marry her (IV:i:116-117, 120-22, 124-26, 128-30), and while he will try to attend to her when he can (III:iv:176-77), he offers her no assurance that he will give her anything more than a handkerchief he has happened upon. (III:iv:186) When he gives this to her, she is jealous, that this is something from another woman, but there is a youthful innocence and exuberance in her remarks, not the burning rage of Othello's jealousy. (III,iv:178-81; IV:i:147-161) She becomes a tool in Iago's scheming, as he speaks of her to Cassio, while Othello believes that the conversation is about Desdemona. (IV:i:94-144) Although she ordinarily treats love as a mere commodity (Kernan), when she finds Cassio wounded, she seems genuinely concerned for him. (V:i:115-20) Iago turns his malice on her, suggesting she had a role in the attack, which is all Iago's doing. (V:i:85-86, 100-01, 104-10, 116) She recoils at the accusation, but can do little about it. (V:i:122-23)"
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Literary Themes: Invisibility and Keeping the Dead Living, 2007.
This paper examines the literary themes of invisibility and keeping the dead living as observed from William Shakespeare's "Hamlet" to the modern literature of Robert Browning, William Faulkner, Gwendolyn Brooks and Ralph Ellison.
1,960 words (approx. 7.8 pages), 5 sources, MLA, $ 62.95
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Abstract
This paper explains that, in "Hamlet", Shakespeare uses literal invisibility only once; however, there are several instances in which he uses a motif of figurative invisibility, when characters are present but unseen. The author points out that Gwendolyn Brooks' brief poem 'We Real Cool' reflects a modern understanding of invisibility as people about whom no one cares rather than in the classic motif of a character whom some can see while others cannot. The paper relates that, in Shakespeare's "Hamlet", Robert Browning's poem "My Last Duchess" and William Faulkner's "A Rose for Emily" the living characters try to deal with the dead. The author points out that Prince Hamlet is driven by the ghost of his father, Browning's Duke Alphonso has reduced his late wife to a curtained off, collectible art object and Faulkner's Miss Emily has clung for thirty years to the hidden body of the lover she felt she could not keep were he alive.
Table of Contents:
The Theme of Invisibility
Shakespeare's "Hamlet"
Gwendolyn Brooks' Poem 'We Real Cool'
Ralph Ellison' "Invisible Man"
The Theme of Keeping the Dead Living
Robert Browning's "My Last Duchess"
William Faulkner's "A Rose for Emily"
From the Paper
"The "Invisible Man" is a black youth in the segregated deep South. His invisibility stems from the fact that the whites around him are determined to maintain a racial caste. To do this, they have made those who were slaves "invisible." When the ten youths are summoned to the hotel ballroom and shoved blindfolded into the boxing ring, the white crowd does not see then as human beings. They are the countless racial slurs that are yelled out at them. They are the animalistic violence that drives the crowd to a frenzy."
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