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Literature and Suffering, 2002.
A review of four pieces of literature including "A Rose for Emily", "Daddy", "My Papa's Waltz" and "Hamlet".
1,732 words (approx. 6.9 pages), 4 sources, MLA, $ 55.95
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Abstract
An analysis of the works "A Rose for Emily" by William Faulkner, "Daddy" by Sylvia Plath, "My Papa's Waltz" by Theodore Roethke and "Hamlet" by William Shakespeare. This paper looks at these literary pieces and how the authors effectively depict suffering through social oppression, gender stratification, physical abuse, and emotional abuse and torment. The writer examines each work as the author's medium for expressing their views on society and the suffering of the people.
From the Paper
"The first lines of the poem establish the repression she had felt under her father's authority: "You do not do, you do not do/ Any more, black shoe/ In which I have lived like a foot... Barely daring to breathe or Achoo." These lines are symbolic of the feelings Plath has for her father, which is represented by the "black shoe." Plath expresses her freedom from her father's authority (implying the repression that she had been subjected into) by saying that she "lived like a foot" 'inside' the 'black shoe.' Contained under her father's authority, Plath's speaker reflects on her life with her father, where she cannot be herself."
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Aristotle and Hamlet, 2002.
An examination of Aristotle's guidelines for tragedy as seen in William Shakespeare's "Hamlet".
2,005 words (approx. 8.0 pages), 2 sources, MLA, $ 63.95
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Abstract
This paper discusses how according to Aristotle's "Poetics", a true tragedy can be defined by the elements including plot, diction and thought. It looks at how Shakespeare's "Hamlet, Prince of Denmark" is an excellent example of a play that contains these "spectacular elements" and looks at how Shakespeare successfully employed these elements into the story, creating one of the most tragic heroes in literary history.
From the Paper
"Another important aspect of the development of the play worth noting is that the actions of the characters in Hamlet, Prince of Denmark lead up to a conclusion that has a definite end. Aristotle believed that a work "must not only have an orderly arrangement of parts, but must also be of a certain magnitude" as well as "such an effect is best produced when the events come on us by surprise; and the effect is heightened when, at the same time, they follows as cause and effect"(Aristotle). This illustrates how Shakespeare used cause and effect effectively, which Aristotle felt was a necessary component for a true tragedy."
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Shakespeare's Women, 2002.
A discussion of the strong female characters in William Shakespeare's plays, "The Merchant of Venice" and "The Taming the Shrew."
1,408 words (approx. 5.6 pages), 8 sources, MLA, $ 46.95
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Abstract
This paper examines how both the characters of Portia and Katherine in William Shakespeare's plays, "The Merchant of Venice" and "The Taming the Shrew" are intelligent women who each goes through a character metamorphosis. It looks at how just as Portia transformed from submissiveness to a role of command, Katherine's transformation took the opposite turn. She submitted her independence and thus found her true self. It shows how both women were miserable in the beginning of the plays, Portia from obeying and Katherine from disobeying and how by swinging the pendulum, each woman found a balance and triumphed in their feminine roles.
From the Paper
"Katherine in "Taming of the Shrew" is perhaps Shakespeare most famous female character. She and Portia are opposite in initial character. Katherine is ill-tempered and scoffs at obedience. She is prone to tantrums and physical attacks on the victims of her rage. Just as Portia is miserable from obedience despite her charm, Katherine too is unhappy, despite her foul disposition. Katherine's unpleasant nature may stem from fear of her own feminine desires and feelings of inadequacy. She may also be anxious that she will never marry, thus sealing her fate and her role in society as the maiden daughter. Katherine is intelligent and her spirit surely recoils at the thought of such a fate. In fact Katherine's spirit seems out of place amid an era when women were considered nothing more than property."
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Shakespeare and Music, 2002.
A discussion of the use of music in the works of William Shakespeare.
870 words (approx. 3.5 pages), 5 sources, APA, $ 30.95
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Abstract
This paper reviews the historical background of music in the Shakespearean era and discusses how and why music was used in Shakespeare's works. It looks at how Shakespeare used music in most of his plays as a dramatic device to effectively evoke certain moods and sometimes to reflect the state of minds of some characters. The type of music used by the playwright as well as some examples of music in specific plays are also described.
Outline
Historical Background of Music in the Shakespearean Era
Music in Shakespeare's Plays
Vocal Songs
Ballads
Instrumental Music
Conclusion
From the Paper
"Instrumental music has been sparingly used in Shakespeare's plays, in part because of the lack of facilities for such music to be played in performances other than at the Court. Hence in plays performed at the court such as the Twelfth Night and The Tempest we find nearly three times the amount of music normally present in Shakespeare's plays. In these plays, Shakespeare may have had the services of court singers and instrumentalists. In public theater productions, instrumental music was normally provided by a trumpeter, a wind player who doubled on shawm, and a couple of string players who were competent at the violin, viol, and lute. (Springfels) Therefore, the use of instrumental music in most of Shakespeare's plays is sparse."
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"Hamlet", 2002.
An analysis of the main character in William Shakespeare's play.
1,169 words (approx. 4.7 pages), 4 sources, MLA, $ 40.95
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Abstract
William Shakespeare's "Hamlet" (1600-01) is regarded by many scholars and critics as his finest play. The main protagonist, being Hamlet, the so-called "Dark Prince" of Shakespearean tragedy, is an extremely complex man with a great depth of personality who "suffers from insecurity and a sense of the absurd. . . and as a man and a revenger, shifts from an external struggle for vengeance to an internal one". This paper analyzes Hamlet's character and discusses whether his madness was real or feigned.
From the Paper
"Another incident closely related to a form of mental torture occurs when Hamlet finds himself alone with Claudius and slyly decides against instituting his revenge towards the new king until he is in a position of utter debauchery. "When he is drunk asleep, or in his rage, or in the incestuous bed" (III.iii. 92), Hamlet will then kill him and send his soul to eternal damnation. This may seem like an act of pure brutality, but in fact it is quite fair, due to Hamlet's father being murdered before given the chance to confess his sins to God."
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Shakespeare and Marriage, 2002.
Looks at the marriage theme found in "The Taming of the Shrew" and "A Midsummer Night's Dream".
1,585 words (approx. 6.3 pages), 2 sources, MLA, $ 51.95
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Abstract
This paper looks at the economic role marriage had in Shakespearean times and the importance of women in that role. The paper then goes on to analyze the relevance of marriage as an economic institution to Shakespeare's plays "The Taming of the Shrew" and "A Midsummer Night's Dream".
From the Paper
"Both Shakespeare's The Taming of the Shrew and A Midsummer Night's Dream deal significantly with the theme of marriage. In both plays, a daughter causes difficulties for the father who is attempting to marry her off. In The Taming of the Shrew, Kate's shrewish behavior makes it almost impossible for her father to discover a willing suitor, whereas in A Midsummer Night's Dream, Hermia refuses Egeus attempts to marry her because she is in love with another man. In the case of the former, Kate is eventually "broken" and convinced to become a loving and subservient wife. This play upholds much of the Shakespearean social order of what it was to be a wife. A Midsummer Night's Dream, on the other hand, ultimately allows the daughter's forbidden love to prevail. Why the difference in the two plays?"
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Hamlet and Ophelia, 2002.
An analysis of the similarties in the characters of Hamlet and Ophelia in Shakespeare's play "Hamlet".
1,802 words (approx. 7.2 pages), 1 source, MLA, $ 57.95
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Abstract
This paper examines there the several distinct characteristics of misery and madness that abound in both Hamlet and Ophelia. It explains how their lunacy each stems from similar sources of grief, but the true evolution of their madness is methodically different due to their gender and their status in Elizabethan society.
From the Paper
"Throughout Hamlet, Ophelia appears in a mere five scenes and is only one of two females present in the play and therefore stands not to pose as a prominent member of the play. Ophelia's father, Polonius, whom is the chief advisor to the new King Claudius, and a highly respected man, demands that his daughter tell Hamlet that she can no longer be with him even though she desperately is in love with him."
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Tragic Figures in Literature, 2002.
Uses two famous literary characters to demonstrate how authors of literature have historically used their works to make their characters evoke emotion in the hearts of their readers.
1,892 words (approx. 7.6 pages), 8 sources, MLA, $ 60.95
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Abstract
This paper presents an examination of tragic figures. The writer compares and contrasts Macbeth and Arthur Dimmesdale as "tragic figures". Their lives, their ideas and the things that happen to them all contribute to the tragic figure persona
From the Paper
"Throughout history authors of literature have used their works to make their characters evoke emotion in the readers hearts. One of the most emotion evoking characters in works of literature is the tragic hero. The tragic hero is a hero in actions and tragic in the flaw that makes him or her human after all. The tragic hero is the character that struggles with human flaws or emotions while at the same time acting in heroic ways. The ways of a tragic hero are often about warriors and the ability to fight but this is not always the case."
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Shakespeare's "Macbeth", 2002.
This paper discusses Shakespeare's "Macbeth" for the perspective of the marriage relationship between Lady Macbeth and Macbeth.
1,540 words (approx. 6.2 pages), 1 source, $ 50.95
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Abstract
This paper explains that the marriage relationship between Lady Macbeth and Macbeth is ironically close, given their overwhelming personal ambitions. The author feels that their relationship disintegrates not because they lack love or respect for one another, but because they succumb, by the end of the play, to guilt and other personal psychological demons. The author relates that the porter's joking about his drunkenness is an analogy for Lady Macbeth and Macbeth's being drunk on power, as well as the clouding of their moral judgment.
From the Paper
"Macbeth's soliloquy at the time of his wife's passing is as full of sorrow as Macduff's, but Macbeth also lapses into self-absorption and bravado. At first, he mourns his loss, saying "She should have died hereafter," (V, v, 19). Macbeth then begins the "Tomorrow, tomorrow, and tomorrow" soliloquy, which reeks of hopelessness, despair, and nihilism. He feels that life is meaningless, and in so doing may be attempting to extricate himself from his own guilt. Lady Macbeth committed suicide because of her immense psychological trauma. Her husband transforms his guilt into self-righteousness and even after Lady Macbeth's suicide he still feels invincible because of the witches' prophesy. Whereas Macduff incorporated his loss and pain into a healthy psychological makeup, Macbeth transforms his grief into denial."
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William Shakespeare's "King Lear", 2002.
Analyzes the characters' use of disguises in the play "King Lear".
1,237 words (approx. 4.9 pages), 0 sources, MLA, $ 42.95
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Abstract
This paper attempts to answer why the characters in "King Lear" use disguises and what this need for disguises says about the world in which they live. The paper discusses the disguise of each of the main characters in the play and then explains the purpose each of those disguises.
From the Paper
"William Shakespeare, in his tragedy "King Lear" describes the story of King Lear who intends to divide his kingdom among his three daughters in accordance with the love that they could profess for him. It was also his intent to retain all the powers of the king while absolving himself of the duties and functions, which has to be performed by a ruling king. But as the fate had decided King Lear divides the whole kingdom into almost two equal portions and gives them to his two cunning elder daughters. The youngest innocent and gentle daughter, whom he loved most and about whom it was expected that she would get the biggest share from the kingdom, is denied her legal rights and nothing is given to her. As soon as the two elder daughters take full command of the situation, they start mistreating their father and the King takes refuge in a jungle."
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"Titus Andronicus", 2002.
A look at the motif of revenge in Shakespeare's "Titus Andronicus".
1,785 words (approx. 7.1 pages), 2 sources, MLA, $ 57.95
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Abstract
This paper discusses how this first tragedy written by William Shakespeare ca. 1590, is full of recognizable themes and motifs which were later incorporated in his more mature works. It shows how "Titus Andronicus" differs greatly from its successors, mainly due to the overt application of revenge perpetrated by its numerous and dangerous characters.
From the Paper
"Shakespeare accomplishes this movement towards disaster through the idiosyncrasies, actions and reactions of many characters bent on revenge via a long list of reasons. For instance, when Titus Andronicus, known for his victories over the barbarian Goths and candidate for the emperor of Rome, decides to sacrifice Alarbus, Tamora's eldest son, to appease the spirits of the Roman gods, the plot immediately commences on a full throttle movement towards revenge via Tamora, queen of the Goths and her two surviving sons, Demetrius and Chiron. This action then prompts Bassianus, the son of the late emperor of Rome, to kidnap Lavinia, the only daughter to Titus Andronicus, which sets into motion additional vengeance."
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Sexual Jealousy in Shakespeare, 2002.
This paper introduces, discusses and analyzes the plays "Othello" and "The Winter's Tale" by William Shakespeare.
700 words (approx. 2.8 pages), 2 sources, MLA, $ 24.95
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Abstract
This paper discusses how sexual jealousy drives the plots of "Othello" and "The Winter's Tale". It shows how one play is a tragedy, the other a romance, or tragic-comedy, and how different genres imply different audience expectations. The paper explains how Shakespeare modifies the two jealousy plots to produce the effects aimed at in the two different kinds of plays.
From the Paper
"Sexual jealousy prevails in the romantic and yet sometimes tragic "The Winter's Tale" from beginning to end. Leontes believes his wife, Hermione has been unfaithful to him, and has her jailed. While in jail, she has a child, who he disowns and abandons in the wilderness. However, Leontes soon learns that his jealousy is not only misplaced, it is extremely costly to his family. His only son dies from grief at his mother's imprisonment, and soon Hermione is also reported dead. Leontes is so distraught, he secludes himself for sixteen years before he discovers his lost child and that Hermione is still alive. The romance ends happily, with everything right in the world again. "
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"The Prince", 2002.
Discusses how William Shakespeare's character, Iago from his play, "Othello" fits the characteristics of a true Machiavellian figure from "The Prince".
907 words (approx. 3.6 pages), 2 sources, MLA, $ 32.95
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Abstract
The paper begins by examining how Machiavelli portrayed the characteristics of a true leader in his book, "The Prince", which was meant to offer sound advise to those in power. The paper then looks at Iago from William Shakespeare's "Othello" as an example of how selfishness can sometimes lead to success and how one might use evil powers of manipulation and ruthlessness to destroy the life of one's enemies.
From the Paper
"Iago possesses the genius of Machiavelli's prince. He is ruthless and cares about no one but his own goals and ambitions. Secondly, just like the prince, he is least concerned about morality or ethical aspects of his actions. He simply believes in winning by hook or by crook and that is exactly what Machiavelli wanted his prince to do. Iago is aware of the evilness of his intentions as he says, "To counsel Cassio to this parallel course,/Directly to his good? Divinity of hell!/When devils will the blackest sins put on,/They do suggest at first with heavenly shows,/As I do now:" (Act 2, Scene 3)"
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William Shakespeare, 2002.
Discusses the influence of the Bard's writings on literature and what influenced his own writings.
2,002 words (approx. 8.0 pages), 7 sources, MLA, $ 63.95
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Abstract
William Shakespeare was born in 1564 and spent most of his childhood in Stratford, Great Britain. It wasn't until the age of 28 that Shakespeare began to gain prominence as a playwright. This paper shows that little is known about the private life of the man who would later be recognized as "the greatest and most famous of English writers". The paper shows that by skillfully creating realistic characters and situations is his plays, Shakespeares is still considered a major influence on writers across the world. Even in poetry, Shakespeare was able to transcend the boundaries of poetry and engage the reader in such a way in which all poets seek to imitate.
From the Paper
"Up until 1594 his plays appear to be influenced from Roman and medieval dramas. From 1594-1600, Shakespeare began to develop a distinctive style. The histories of this period are Shakespeare's best, portraying the lives of kings and royalty in most human terms. He also begins the interweaving, in these histories, of comedy and tragedy that would become one of his stylistic signatures. His comedies mature in this period as well, portraying more characterization in their subjects than previously. Between 1600-1608, Shakespeare wrote his tragedies, which would be the play that brought him infamy for centuries to come. Clearly, Shakespeare was at his best when he was writing these tragedies. The writing of Shakespeare until 1608, brings into focus the romantic tragicomedy. Many claim that Shakespeare seemed to be concerned with redemption at this time because the writing is more serious. These plays were also more lyrical and demonstrate how Shakespeare successfully mastered the technique of symbolism."
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Hamlet and Orestes: Contrasting Heroes, 2002.
Examines the characteristics of the heroes in William Shakespeare's "Hamlet" and Aeschylus' "The Libation Bearers".
1,919 words (approx. 7.7 pages), 2 sources, MLA, $ 61.95
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Abstract
The hero of the revenge tragedy is known for having certain characteristics. These include that the hero is compelled to act by certain forces, that the existing authorities are unwilling or incapable of satisfying the hero's craving for justice, that the hero has a detailed and devious plan they are determined to carry out and that there is a moment of declaration where the avenger tells the victim why they are going to be killed. "Hamlet" (William Shakespeare) and "The Libation Bearers" (Aeschylus) are two revenge tragedies, with the heroes of each Hamlet and Orestes. Since Hamlet and Orestes are both revenge heroes, it would be suggested that they are similar characters and they would each meet the criteria of the revenge hero. However, a close look at the two plays in this paper show that Hamlet and Orestes are very different characters. Orestes meets the fours criteria of the classic revenge hero, while Hamlet pushes all the boundaries of what would be expected and either only partially meets, or does not meet, the four criteria at all. To illustrate the differences, Hamlet and Orestes are compared, based on the four characteristics identified.
From the Paper
"The second characteristic of the classic revenge tragedy hero is that the existing authorities are unwilling or incapable of satisfying the hero's craving for justice. In both plays, the authorities are unwilling to right the situation, meaning that it is left to the hero to right it. Hamlet's and Orestes's circumstances are the same on this point. However, the two heroes differ in that Orestes has a craving to right the situation and Hamlet does not. The circumstances in both plays are very similar. In Hamlet, Claudius has killed the king and assumed the role of king. This puts Claudius in the role of power and since Claudius is at the highest level, the authorities cannot right the situation. This creates a need for someone to right the situation and Hamlet is assigned to this task. Seeking revenge is then a way to avenge Claudius's murder, as well as to restore harmony. In The Libation Bearers Orestes's mother Clytaemnestra has murdered her husband and Orestes's father, King Agamemnon. Clytaemnestra has obtained the highest seat of power, just as Claudius did. With Clytaemnestra at the highest level, the authorities cannot right the situation. The task of righting the situations falls to Orestes, with this necessary both to revenge his father's murder and to restore harmony."
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