| Papers [256-270] of 1440 :: [Page 18 of 96] | | Go to page : <— 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 —> | |
|
|
Hamlet and Antigone, 2004.
A comparative analysis of William Shakespeare's character, Hamlet, with Sophocles's Antigone.
1,224 words (approx. 4.9 pages), 4 sources, MLA, $ 41.95
»
Click here to show/hide summary
Abstract
This paper examines how William Shakespeare's Hamlet and Sophocles's Antigone both provide insight into the differences that exist in the canon of ancient tragedy and how both characters are perceived as heroes who find themselves in tragic circumstances that revolve around lofty themes. It also demonstrates how the characters are extraordinary in that they are the children of kings and how these elements create a sense of grandeur that is absent in most modern tragedies. While we can appreciate these plays for their tragedy, they are distinct to their era.
From the Paper
"Of course, Hamlet does experience some conflict from external forces--namely the actions of Gertrude and Claudius. It is quite clear they are responsible for Hamlet's despair, but Hamlet is always in control of his mind and actions. Ophelia's suicide also effects Hamlet in a negative way, but we must not forget that it was Hamlet who killed her father. These tangled events give Hamlet a complexity that is not generally present in modern tragedies."
| |
|
Women's Inequality in Literature, 2004.
Explores the issue of inequality for women and how this issue is reflected in three well-known pieces of literature: "Othello"; "A Doll's House"; and "Trifles".
1,406 words (approx. 5.6 pages), 1 source, MLA, $ 46.95
»
Click here to show/hide summary
Abstract
This paper takes a look at Shakespeare's "Othello", Henrik Ibsen's "A Doll's House", and Susan Glaspell's "Trifles" and shows how each focuses on the issue of inequality for women. The paper explains how each piece of literature can be seen as a dramatized argument for the equality of women in male-dominated societies.
From the Paper
"Shakespeare's play "Othello" is mainly a play about deception, where Iago deceives Othello as a means of seeking revenge. This then also becomes a play about women because Iago chooses to deceive Othello into believing that his wife Desdemona is having an affair. As Iago begins his plan of deception, Othello becomes consumed by jealousy. This continues to the point where Othello suffocates his wife. One of the interesting aspects of the play is that Othello never looks to his wife to determine what is happening. Instead, he believes what Iago is saying and looks for proof of the affair. This shows a general lack of trust toward women. This also shows that the relationship between man and woman is not an open one based on equality and honest communication. If the relationship was like this, Othello would approach his wife and ask her about the suspected affair."
| |
|
Hamlet and Easy Rawlins, 2004.
Comparison of two famous literary characters, Hamlet from Shakespeare's "Hamlet" and Easy Rawlins from Walter Mosley's "Devil in a Blue Dress".
1,295 words (approx. 5.2 pages), 2 sources, MLA, $ 43.95
»
Click here to show/hide summary
Abstract
This paper compares the literary devices used by William Shakespeare in developing the character of Hamlet with those used by Walter Mosley in developing the character of Easy Rawlins.
From the Paper
"The protagonist in Walter Mosley's Devil in a Blue Dress, Easy Rawlins, is a good man; however; he is motivated by his desires for money and sex. Shakespeare wrote Hamlet as a parody of the classical drama, heightening, and thereby questioning, the code of honor. Mosley was parodying the detective genre to encompass the Black viewpoint. Easy stumbles through the world of the detective, falling for the wrong women, backing down from confrontations and, generally, allowing the circumstance to define his movements."
| |
|
Cross-Dressing in Shakespeare's Plays, 2004.
An examination of how the issue of cross-dressing is addressed in two of Shakespeare's plays, "Twelfth Night" and "As You Like It".
1,687 words (approx. 6.7 pages), 2 sources, MLA, $ 54.95
»
Click here to show/hide summary
Abstract
This paper examines how cross-dressing is an important element that renders serious repercussions in Shakespeare's plays. Two plays that emphasize cross-dressing and its repercussions are "Twelfth Night" and "As You Like It". The writer points out that, while the characters of Viola and Rosalind have very different reasons to explain their cross-dressing, each circumstance, while causing complications, also works in their behalf. It explains how their ability to fool those around them generates interest and adds an element of complexity to each play, namely, that each woman is able to accomplish something she would not have been able to do as a woman. Rosalind teaches Orlando the ways of love, and Viola makes her way into Orsino's house and heart.
From the Paper
"In As You Like It, Rosalind is forced to assume to role of a man as a result of fleeing the Duke's Court and seeking refuge in the forest of Arden. Her logic stems from the fact that "beauty provoketh thieves sooner than gold" (I.iii.107). She also believes that because she is "more common than tall" (I.iii.113), she could easily pass for a man. Rosalind also realizes that she must do more than dress for the occasion--she must also act the past. She declares that she will leave her fear in her heart and "have a swashing and a martial outside,/As many other mannish cowards have" (I.iii.117-8). Rosalind is forced to dress as a man but she also assumes the role with confidence and excitement."
| |
|
The Role of Women in "Richard III", 2004.
A discussion of the role women play in Shakespeare's "Richard III".
2,628 words (approx. 10.5 pages), 0 sources, $ 79.95
»
Click here to show/hide summary
Abstract
To consider the role of women in Shakespeare's plays and Shakespeare's attitude toward women, the play, "Richard III", is discussed. This includes an analysis of the three major female characters in the play, showing the roles of women in the society of the time and suggesting Shakespeare's own view of women.
From the Paper
"Queen Margaret shows herself to be one of the strongest women of the play in some ways. This is mainly by being the only woman that Richard is not able to fool. Her continuing anger over her dead husband and son is also a sign of her loyalty to them. This can be compared to Lady Anne who is initially angry about the death of her husband, but then quickly agrees to marry Richard. This action by Lady Anne suggests that women are fickle. In contrast, Queen Margaret never gives up being loyal to her husband and son, despite circumstances. This shows a strength that many women of the play do not have. At the same time though, this loyalty by Queen Margaret does not do her any good and only results in her constant unhappiness. The point that seems to be made is that a strong woman actually suffers, and that it is better to be fickle. While Lady Anne is fickle, she actually does achieve happiness. At the same time, she does not gain the respect of the audience."
| |
|
Shakespeare's "Othello", 2004.
This paper analyzes Shakespeare's "Othello" as an Aristotelian tragedy.
2,115 words (approx. 8.5 pages), 7 sources, MLA, $ 66.95
»
Click here to show/hide summary
Abstract
This paper explains that Shakespeare's "Othello" follows Aristotle's principles for creating the perfect tragedy. It has a plot that is easily remembered and structured to arouse pity and fear within the audience, with importance placed on the action, and events turning upon surprises. The author points out that the suffering of Othello meets the essential requirements to be considered a tragic hero. The paper stresses that, in "Othello", the reader witnesses the genius of Shakespeare; Othello changes from a loving husband and great warrior to a jealous, murdering husband. The reader loves him, hates him, and then feels sorry for him.
From the Paper
"Additionally, Iago also tells Roderigo that Othello "Is of a constant, loving, noble nature,/And, I dare think, he'll prove to Desdemona/A most dear husband" (II.i.280-3). In reaction to Othello's character, A. C. Bradley states, "Othello's mind, for all its poetry, is very simple. He is not observant. His nature tends outward. He is quite free from introspection, and is not given to reflection. Emotion excites his imagination, but it confuses and dulls his intellect . . . he has little experience of the corrupt products of civilised life, and is ignorant of European women" (Bradley). Our first impression of Othello is a positive one. This fact will help us to feel pity for Othello later in the play."
| |
|
Shakespeare's "Sonnet XXV", 2004.
This paper discusses Shakespeare's "Sonnet XXV", a personal poem, which examines the transient nature of nobility and love.
1,140 words (approx. 4.6 pages), 5 sources, APA, $ 39.95
»
Click here to show/hide summary
Abstract
This paper that "Sonnet XXV" illustrates the poet's recognition of what provides meaning in his life and indicates that Shakespeare finds meaning in love and poetry. The author points out that the poet does not hold in high esteem these warriors who risk their lives for a moment of fleeting honor; instead, he realizes the security he has in loving and being loved. The paper relates that the poet does not place much emphasis in the belief that the stars were responsible for shaping human destiny.
From the Paper
"Many critics place this sonnet in a grouping of sonnets that are addressed to a "young man, or men". In fact, Schmidt states that Shakespeare added a "singularly complicated libido" to the advantages of a new world. While many may consider Shakespeare's sexuality a complicated issue, it should not be an issue that stands in the way of appreciating his sonnets. Elizabeth Stockard chooses to place this sonnet into a category that concern themselves with the "mutability of love" replacing the "concern with the mutability of beauty". She also demonstrates how this sonnet represents an image of neoplatonic love. The matter of privacy should also be considered when reading this sonnet. It should also be noted that the sonnets were written, "as one writes a diary, for himself alone, with no thought of a public"."
| |
|
Shakespeare's "Romeo and Juliet".
This paper is a personal essay blaming the apothecary for the death of Romeo in Shakespeare's "Romeo and Juliet".
925 words (approx. 3.7 pages), 0 sources, $ 32.95
»
Click here to show/hide summary
Abstract
This paper explains that, at the end of Shakespeare's "Romeo and Juliet", the Prince of the City announces that this tragedy is, in some ways, the fault of all those involved and that further investigation is warranted. The deaths of Romeo and Juliet are the immediate result of the crime of one drug-dealing apothecary. The author believes that the apothecary could have most easily and simply averted this tragedy merely by obeying the laws of his land; the apothecary had nothing personal to gain from selling this poison. Only greed or a blatant disregard for the law could have inspired him to sell such a poison. The paper concludes that, when watching or reading "Romeo and Juliet", it is important to remember that one does not need to be in the center of terrible events to have an overwhelming part to play in them.
From the Paper
"At first glance, the tragedy does not seem to be the fault of the apothecary. It seems more convenient to blame it on people who were more immediately involved in the tragedy, such as the parents or the priest. However, all those involved immediately were blinded by emotion and social pressure. It was almost impossible for either side of the feud to end the warfare by themselves -- this was evidenced by Romeo's attempt at pacifism which ended so tragically in Mercutio's death. The feud was bigger than any individual within either family, so one cannot blame any single character on either side of the feud for their deaths, though one can blame their collective families. Blaming the priest or the prince would also be convenient, but on the other hand they were the only people to be actively struggling to end the bloody feud."
| |
|
Renaissance Women and Literature, 2004.
Examines Renaissance voices and counter-voices of women in early modern literature through works by William Shakespeare.
2,563 words (approx. 10.3 pages), 12 sources, APA, $ 77.95
»
Click here to show/hide summary
Abstract
This paper provides evidence from the Shakespearean plays, "A Midsummer Night's Dream" and "The Taming of the Shrew", that there was considerable opposition to women who wanted to express themselves or have their own way in Renaissance times. In "The Taming of the Shrew", it is Katherine who was the deviant, but eventually conformed to the norms of society by obeying her husband. This was because everyone wanted her to do so, including the women around her. Similar to this situation was Hermia's, where she was ordered to marry a man against her wishes. Women around her and generally everyone else wanted her to obey her father's wishes. However, she revolted and eloped with her lover. From these examples in the play, this paper shows that the voices of women during the Renaissance were greatly opposed. However, it notes that, in the case of Hermia, it can be seen that women finally manage to emerge victorious.
From the Paper
"The manner in which some women were in fact reinforcements to misogynistic attitudes is reflected in the Shakespearean texts, 'The Taming of the Shrew' and 'A Midsummer Night's Dream', as both these texts demonstrate the way that women in the Renaissance reinforced their social positions by repeatedly adhering to what was expected of them. It is clear enough that this attitude on the part of women had caused men to feel elevated and powerful (Belsey 1985, pp 12-15). Men realized that they could get women to act in accordance with what they expected of them, and they reinforced or justified these expectations through religious indoctrination. Particularly, the Christian bible was used in order to get women to conform to what men wanted."
| |
|
Female Independence in Shakespeare's Works, 2004.
Examines the strong characters of Kate, Hippolyta, and Hermia in "A Midsummer Night's Dream" and "The Taming of the Shrew".
2,266 words (approx. 9.1 pages), 9 sources, APA, $ 70.95
»
Click here to show/hide summary
Abstract
Through his comedies, William Shakespeare was able to address many taboo subjects in the name of entertainment. His comedies provided him an avenue to express marginalized voices that were sometimes muffled in Renaissance society. This cannot be truer for the voice of women. This paper shows how, in his plays, "The Taming of the Shrew" and "A Midsummer Night's Dream", Shakespeare gives voice to strong women who refuse to become victims of society. Kate is what we would call a strong-willed child with a mind of her own, with no fear of expressing her opinions. Despite the mistreatment she endures in the play, she emerges a winner for many reasons. The paper shows how, similarly, Hippolyta and Hermia demonstrate independence uncommon to their female counterparts. These women illustrate that true love is its own reward in any age.
From the Paper
"Both sisters are playing a game of sorts. Kate is a shrew and cannot be manhandled while Bianca pretends to be the image of feminine sweetness. Bianca is revealed to be the true manipulator because she does not follow the demands of her husband. In the end, we come to appreciate Kate for her genuine character as opposed to Bianca's fraud. Margaret Ranald believes that "Katharina's liberated spirit remains unbroken, but that she has learned the value of realpolitik not only in marriage, but also in the even wider world of sociopolitics" (Ranald 1994). However, when we observe the entire action of the play, we can only surmise that Shakespeare is supporting the role and voice of the independent woman of his age."
| |
|
Othello as Tragic Hero, 2004.
A brief examination of whether Shakespeare's character of Othello falls into the category of a tragic hero.
1,063 words (approx. 4.3 pages), 1 source, MLA, $ 37.95
»
Click here to show/hide summary
Abstract
This paper provides three main characteristics of a tragic hero: the person must be basically good or admirable in some way; the person has a fatal flaw that leads to their demise; and the person must be responsible for the tragic ending that occurs. The paper then examines Othello's character in light of these qualities.
From the Paper
"The first quality is that the person is basically good or admirable in some way. This is true of Othello. Othello perhaps describes why he is admirable when he says, "My parts, my title and my perfect soul Shall manifest me rightly" (I,ii). It is also seen that other characters in the play have great respect for Othello. At one point the Duke of Venice says that he will take action against whoever has stolen his daughter. In an angry and determined reaction he says, "Whoe'er he be that in this foul proceeding hath thus beguil'd your daughter of herself and you of her, the bloody book of law you shall yourself read in the bitter letter" (I,iii). However, as soon as he hears that it is Othello, his attitude changes and he becomes more forgiving and understanding. This is a sign of how great his respect for Othello."
| |
|
"A Midsummer Night's Dream", 2004.
A look at the themes of dream and reality in Shakespeare's "A Midsummer Night's Dream".
1,587 words (approx. 6.3 pages), 4 sources, MLA, $ 51.95
»
Click here to show/hide summary
Abstract
William Shakespeare's play, "A Midsummer Night's Dream", creates a dream world fused with reality. Shakespeare successfully makes the world of Puck and other sprites realistic by employing powerful, vivid text in the play. The paper explains that, through his creative use of language, Shakespeare creates a world of illusion where things are not what they seem, and imagination pushes the limits of fact. The result of powerful language aided by our own imagination allows this enchanted world to appear real in the moonlit forest. It examines how the text of the play is constructed in such a way that we not only visualize the setting of the play, but we also come to know each character.
From the Paper
"The interplay between Puck, Lysander, and Demetrius demonstrates the contrast between mortals and fairies. Puck successfully misguides the two men until they become confused and lose their sense of direction. Puck has an added measure of fun when he tells Demetrius to follow his voice. While Lysander tries to follow that voice, he describes Pucks' nature almost perfectly. He states that the villain is "much lighter-heeled" Shakespeare (III.ii.416) than he is and though he followed the voice fast, "faster he did fly" (III.ii.417). Similarly, Demetrius encounters the same type of confusion with Puck."
| |
|
Marlowe vs. Shakespeare, 2004.
A comparative analysis of the work of Christopher Marlowe compared to that of William Shakespeare.
1,307 words (approx. 5.2 pages), 7 sources, MLA, $ 44.95
»
Click here to show/hide summary
Abstract
This paper examines how the Elizabethan dramatists Christopher Marlowe and William Shakespeare were contemporaries and how, for the latter part of Marlowe's dramatic career, they were rivals as well. It looks at how Marlowe's career as a playwright was cruelly cut short after the author was murdered in a tavern brawl, probably the result of his political intrigues. The paper shows that regardless of the reasons for Marlowe's untimely demise, the difference between the older Marlowe and the young Shakespeare had already become manifest in the characterization of the main protagonists of the two men's plays. It explores how Marlowe clearly influenced Shakespeare's early writings and how, while Marlowe used broad character brushstrokes to create a vivid narrative and caricature of human character and morality, Shakespeare created a new way of dramatically rendering the human character in shades of gray. In particular, it examines how both men used similar themes, such as the presence of 'Jewish' values in a money-grubbing 'Christian' society.
From the Paper
"All of Marlowe's protagonists are larger than life, from Barabas to Faustus and lastly to Tamburlaine, in the scope of their desires. They are both sustained and destroyed by their respective evils. Barabas' poisoning reflects the Jewish dietary laws that Shylock merely tacitly refers to, "I will not eat with you," in Act I of "The Merchant of Venice." Faustus is destroyed by his love of knowledge and power, just as Tamburlaine is destroyed by his desire to conquer the world." All of these men stand outside of their societies, and reflect what is wrong with their societies-an over emphasis on money, scholasticism, and power respectively."
| |
|
Othello, 2004.
An analysis of the character of Othello from William Shakespeare's "Othello".
2,045 words (approx. 8.2 pages), 1 source, MLA, $ 64.95
»
Click here to show/hide summary
Abstract
This paper examines how William Shakespeare's play, "Othello", presents us with a curious combination of love and grace wedded to humanity. It looks at how Othello represents the basest emotions of humanity, while Desdemona remains graceful until the very end of the play and how, as a result, of their conflicting natures, their relationship suffers a great division that cannot be repaired. It examines how Othello and Desdemona allow themselves to become victims of other people who do not have their best intentions in mind. Othello becomes Iago's victim because his jealousy makes him blind, and Desdemona becomes a victim when she suffers the wrath of Othello's cruel behavior.
From the Paper
"Othello's actions become much worse, which is a testament to how quickly we can become victims of our own imaginations. In Othello's mind, Desdemona is already guilty. When Emilia offers evidence that Desdemona has been faithful, he refuses to accept it. Emilia swears that Desdemona is honest and tells him to remove any doubt from his mind. She emphasizes the qualities that Othello knows exist in Desdemona, noting that she is "honest, chaste, and true" (IV.ii.16). Again, Othello displays a despicable side of humanity when he responds the her statement by calling Desdemona a 'subtle whore,/A closet lock and key of villainous secrets;/And yet she'll kneel and pray--I have seen her do't." (IV.ii.19-22)."
| |
|
The Rise and Fall of Iago, 2004.
A look at the manner in which Iago manages to rise and fall in Shakespeare's play, "Othello".
1,151 words (approx. 4.6 pages), 3 sources, MLA, $ 39.95
»
Click here to show/hide summary
Abstract
William Shakespeare's play, "Othello", should be renamed "Iago" because, throughout the play, we witness the rise and fall of Iago's character. When we consider this perspective, we will assume that Iago's rise occurs from his success in turning Othello into a jealous monster. Iago is able to achieve this because he is very cunning and smart. It is also important to note that he understands jealousy because he is a jealous man as well. This paper explores the how Iago was able to rise and fall in "Othello".
From the Paper
"He advises Othello to "Look to your wife; observe her will with Cassio./Wear your eye thus: not jealous, nor secure" (III.iii.195-6). Because Othello is first to mention his suspicions, Iago has successfully isolated himself from any of the blame. Kenneth Muir states that Iago "exploits the virtues as well as the weaknesses of Othello and of Desdemona, weaknesses both of character and situation" (Muir 35). Paul Cantor agrees with this notion, adding that "Iago turns everything that makes the love of Othello and Desdemona so extraordinary into an objection against it. The fact that they have overcome such differences in order to love each other becomes in Iago's view evidence for the improbability of their remaining loyal to each other" (Cantor). Iago's actions regarding these statements illustrate his cunning nature."
|
|
|
