| Papers [436-450] of 1441 :: [Page 30 of 97] | | Go to page : <— 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 —> | |
|
|
"The Taming of the Shrew", 2005.
An analysis of William Shakespeare's "The Taming of the Shrew" - Act V, Scene 2.
1,164 words (approx. 4.7 pages), 1 source, MLA, $ 40.95
»
Click here to show/hide summary
Abstract
This paper examines how Shakespeare's "The Taming of the Shrew" is one of his earlier comedies and deals with the topic of gender roles and obedience. In particular, the paper looks at how the play reaches its climax in the last act, Act V, Scene 2, which concludes with Katherina's soliloquy on obedience.
From the Paper
"But then again, on the other hand, one can ask: Is she really only playing? May it not be that maybe Petruchio has rather humbled than empowered her by wearing her down? Taking the same scene mentioned above, it might as well be argued that after having been held away from food and sleep for days, Kate finally gave up trying to compete Petruchio and took on the subordinate role. She might finally have found her master, someone who is not intimidated by her shrewishness and who is able to lead her. In this case, the last speech has to be seen as a true speech of obedience. "
| |
|
Shakespeare's Much Ado about Nothing: The 'Low' Characters, 2005.
An explanation of the 'low' characters in "Much Ado about Nothing" by William Shakespeare.
1,693 words (approx. 6.8 pages), 2 sources, APA, $ 54.95
»
Click here to show/hide summary
Abstract
This paper introduces the 'low' characters in William Shakespeare's play, "Much Ado about Nothing" and explains and discusses their function and relationship in and throughout the play.
From the Paper
"Nearly each of Shakespere's plays has so called 'low' characters, characters of lower birth that use a minor language and have got a specific function in the play. In Much Ado about Nothing, these characters are represented by Dogberry, his neighbour Verges, and three Watches. Dogberry is the chief constable of Messina, a wealthy town in the south of Italy, where the wealthier part of the population has their resedencies, and so does Leonato, in and around whose house the action takes place. In Kenneth Branagh's Hollywood version from 1993, the setting is picturesque. A white villa in the middle of Messina, surrounded by a huge garden with a dwell, dates, wine and with the so typical red earth for the region of Tuscany. In this rich setting we find well educated, sophisticated people of high birth and virtue. There is Leonato, father to Hero, uncle to Beatrice, there is Don Pedro, the prince and leader, accompanied by Claudio, a young soldier, and Benedick, the old witty bachelor. There is also Don John, the bastard, the villain of the play, who comes with his small cortege Borachio and Conrade. Don Pedro, Benedick, Don John and Claudio come home from war and stay in Leonato's house in Messina, where Claudio falls in love with Hero and asks Don Perdo to woo for him. Further, Don Pedro sets up a matchmaking plan to make Benedick and Beatrice, a lovely semi-belligerent couple, fall in love with each other, and Don John, who hates his half brother Don Pedro tries to axe his brothers love plans by setting up an intrigue that defames Hero and anticipates her marriage. And in between this virtuous and moral bunch, apart from Don John, of course, there is Dogberry and his neighbour Verges, who are both not of high birth, who are simple men respecting the law and responsible for the adherence of the same, who appear to be a little dumb even, due to their special language use, but who, however, play a decisive role in the end as they are the ones who detect the intrigue and thus save the life of the heroin Hero and restore peace in Messina. Their function and relationship in and throughout the play will be discussed in this essay."
| |
|
Caliban, 2005.
A discussion on whether William Shakespeare intended us to feel sympathy for the character, Caliban, in his play "The Tempest".
2,569 words (approx. 10.3 pages), 0 sources, $ 77.95
»
Click here to show/hide summary
Abstract
This paper discusses how, by ultimately giving the character Caliban, in "The Tempest", repentant language and showing he is an intelligent creature, Shakespeare has given Caliban his approval and recognised that despite the fact he cannot be civilised, he is a creature of sensitivity deserving sympathy. The paper also argues that, by writing "The Tempest", Shakespeare wanted to make a philosophical and moral point about the taming of people who were considered to be savage and in need of civilisation. It also contends that Shakespeare had a humanitarian view towards undeveloped people and therefore created Caliban to represent an uncivilised creature being controlled and oppressed by people from society, represented by Prospero, who consider themselves to be superior.
From the Paper
"However, it is not only Caliban who has an uncontrollable and bestial side. Sebastian and Antonio, educated and civilised members of the Kings court, plot to kill the king while he is sleeping in order to take the throne. This raises Shakespeare's argument of nature versus nurture, which influences the play significantly. For example, the reader might take Shakespeare's descriptions of Caliban's instinctive behaviour and interpret him as an evil creature, but he is not as insensitive as characters such as Sebastian and Antonio. Both men are from an educated and civilised society but they still produce corruption and evil even though they know better, whereas Caliban does not have a clear concept of right and wrong and does not realise his actions are inappropriate. Fundamentally, Caliban's behaviour is horrifying in the eyes of civilized people; nevertheless, his background and the environment in which he grew up in justify his acts."
| |
|
Desdemona, Bianca and Emilia, 2008.
An analysis of the female characters of Desdemona, Bianca and Emilia from William Shakespeare's "Othello".
1,192 words (approx. 4.8 pages), 1 source, MLA, $ 40.95
»
Click here to show/hide summary
Abstract
This paper discusses how, in William Shakespeare's "Othello", Desdemona, Bianca, and Emilia, the three main female individuals, are shown in different lights through the usage of both uplifting and demeaning descriptions. It looks at how Desdemona's humble and benevolent character is contrasted greatly against the harsh words used by Othello to describe her, how Emilia's outgoing and outspoken personality is revealed when speaking to both Desdemona and Iago and how Bianca's allegiance to Cassio differs significantly from her darker hypocritical side. It also analyzes how all three female characters reflect their personas through their actions, displaying their emotional outpourings, opinions on controversial issues, as well as their strengths and weaknesses.
From the Paper
"The main object of affection is Desdemona, the one woman who is known by all men as the wife of Othello. She is called by Othello "gentle" (I.I.28) as well as "gentle mistress" (I.3.205) by Brabantio. Cassio describes her as "a most exquisite lady" who is "most fresh and delicate creature" (2.3.20, 22-23). Desdemona displays her gentleness through her actions with her father and Othello. She attempts to be diplomatic and faithful to the people she most loves, especially when she is confronted by her father about Othello (I.3.208- 218). She is "bound" to her father "for life and education," showing how loyal and grateful she is towards to her father for raising her as a notable parent. Desdemona also believes that she should take the role that her mother once took by stating that she must upkeep the "duty" by "preferring you (Brabantio) before her father.""
| |
|
The Etymology and Semantic Shift of "Humour", 2007.
An explanation of how the word humour has evolved and changed over time.
1,384 words (approx. 5.5 pages), 1 source, MLA, $ 46.95
»
Click here to show/hide summary
Abstract
This paper describes the evolution of the word humour from its early appearance as a Latin noun through the ages with several references to works by Geoffrey Chaucer and William Shakespeare.
From the Paper
""Humour," according to Adrian Room's Dictionary of Changes in Meaning, is one of the most renowned words in the English language for its radical semantic shift (143). It is a descendant of the Latin noun umor, "moisture," which is related to the verbs umere "to be wet" and uvescere "to become wet"; and adjective umidus "wet" (Shipley, 441). The addition of the letter h to the beginning of the word is the result of an incorrect folk association to the Latin humus, which means earth or soil (Klein, 750; Harper).
"Its Indo-European root is ugw- and wegw- for "wet, moist, to sprinkle" (Klein, 750; Claiborne). The Old Norse wegw led to the expression "in its wake" from the Germanic *wakw- , "wet spot," referring to a crack in the ice. It has been suggested that its suffixed zero-grade form *ugw-sm is the base of the Latin humere. The suffixed zero-grade form *ugw-no led to the Greek hygros, "wet, liquid" (Watkins). Other words coming from the same root include the Armenian oyc, "fresh," and the Old Norse vokr, "moist, damp" (Klein, 750)."
| |
|
"Measure for Measure", 2006.
An analysis of the theme of moral hierarchies in William Shakespeare's "Measure for Measure".
2,040 words (approx. 8.2 pages), 4 sources, MLA, $ 64.95
»
Click here to show/hide summary
Abstract
This paper discusses how the four main characters in William Shakespeare's "Measure for Measure", the Duke, Angelo, and the two siblings, each draw moral standards from different sources. The paper also attempts to show how these characters subsequently shape or even abandon those standards to suit themselves.
From the Paper
"In the Duke's personal moral hierarchy, it is by mercy that he seems to rule Vienna. And yet, where is his mercy and sense of justice in his treatment of Isabella? He could have saved Claudio and punished Angelo without withholding the news of Claudio's safety from Isabella. "I will keep her ignorant of her good,/ To make her heavenly comforts of despair/ When it is least expected," he explains (4.3.110-112). He then theatricalizes the situation to the point of emotionally torturing Isabella so that he may "sentence" her to marry him when all is revealed (Magedanz, 328). The Duke's mercy disappears when he sees an opportunity to attempt to woo Isabella, even if it means that he must cruelly manipulate her. "
| |
|
William Shakespeare's "A Midsummer Night's Dream", 2006.
This paper analyzes the use of comedy in William Shakespeare's "A Midsummer Night's Dream" as presented in the play-within-a-play, 'The Most Lamentable Comedy and Most Cruel Death of Pyramus and Thisby', in Act V.
1,495 words (approx. 6.0 pages), 3 sources, MLA, $ 49.95
»
Click here to show/hide summary
Abstract
This paper describes William Shakespeare's "A Midsummer Night's Dream as preposterous, and arsy-versy. The author points out that, by using the rude mechanicals, Shakespeare seems to be arguing that arsy-versy can turn even the most lamentable tragedy into a roaring comedy. The paper relates that an example of arsy-versy of one of the rude mechanicals is called Snug the Joiner, whose rhetoric is so slow and disjointed that he asks for his lines written in advance. The author also then discusses Titania as an example of preposterousnous, explaining that she is the fairy goddess who falls deeply in love with Bottom despite his having an ass for a head of which he is unaware. The paper concludes that the backwards reaction to the events of the play-within-the-play points to Shakespeare's message that people are insensitive to their own follies and yet are very perceptive of the same follies found in others.
From the Paper
"As the play begins, the preposterousness of the presentation is immediately shown in the prologue, which the rude mechanicals took great care to write so as not to offend the court. Peter Quince's delivery of the prologue presents a message opposite from the intended one. "If we offend, it is with our good will," he says, unfortunately telling the court that his intent is to offend. "All for your delight," he later says, "we are not here". The players then continue to present their play in a rather backwards manner; by making it crystal clear to the court that what they see in front of them isn't real."
| |
|
The Follies of Falstaff, 2008.
An analysis of William Shakespeare's character Sir John Falstaff.
1,694 words (approx. 6.8 pages), 4 sources, MLA, $ 54.95
»
Click here to show/hide summary
Abstract
This paper examines how Falstaff is surely one of literature's most intriguing and comical characters and how he is quite the likable character in spite of all his weaknesses. More specifically, the paper looks at how, although Falstaff is often drunk, a notorious liar, a thief, and a braggart, we still find him standing in a positive light and as such an appealing addition to the plays "Henry IV" and "The Merry Wives of Windsor".
From the Paper
"Fat and lazy Falstaff irritates Poins (another companion of Sir John's) to no end. It even leads to a mask of his laziness with Poins untying Falstaff's horse and allowing it to wander to the top of the hill. And as Falstaff whines and threatens the absent Poins, Prince Hal unleashes at Sir John saying, "Peace, ye fat-kidneyed rascal!" (Henry 2.2 5). An elaboration of Falstaff's portly appearance overcasts his rage and laziness. Falstaff would rather go hang Poins than to go fetch his horse. His anger overtakes his laziness and yet both are masked well by Prince Hal's blunt remark at his weight. Shakespeare uses comedic timing and a blunt and probably true remark to cast a humorous light upon the play blocking us from making too harsh a judgment on poor, fat Falstaff. Even today we use portly characters to make light of situations, although with today's political correctness and everyone is a winner attitude it has diminished slightly."
| |
|
Psychoanalysis and Literature, 2005.
This paper discusses the importance of psychoanalysis for effective reading as Peter Barry suggests in referencing Edgar Allan Poe's detective story "The Purloined Letter" and William Shakespeare's "Sonnet 73".
1,000 words (approx. 4.0 pages), 1 source, MLA, $ 35.95
»
Click here to show/hide summary
Abstract
This paper explains that, in Chapter 7 of "English in Practice", Peter Barry alludes to how much psychoanalysis is employed in literary analysis and especially the way detective work involves psychoanalysis, as exemplified in Edgar Allan Poe's detective story "The Purloined Letter". The author points out that psychoanalysis bridges the gap between fiction-reading and comprehension, which involves a kind of detective work, especially in the reading of detective fiction. The paper relates that Barry's allusion to "The Purloined Letter" in his interpretation of "Sonnet 73" shows that the connection between literary analysis and detective work is strong and important. The paper contends that Barry uses the prefect's methods of detection in "The Purloined Letter" in his analysis of "Sonnet 73" to say that the poem is about climate, nature and death.
From the Paper
"The Prefect and his associate, the failed detectors, also appear as failed readers in their inability to "read" (analyze) the Minister D-- and his intellectual nature. Conversely, the Minister D-- appears as an astute reader and detector of the Queen's unusual behavior and literally an instant reader and interpreter of her lette. D-- also figures as a writer of the disguised letter. Dupin, the successful detective, is a successful reader of the disguised letter, and then figures as an equivalent author of a forgery or substitute signed by way of a literary allusion."
| |
|
Iago's Role in the Tragedy of "Othello", 2008.
An analysis of Iago's role in the tragedy of William Shakespeare's play, "Othello."
832 words (approx. 3.3 pages), 1 source, MLA, $ 29.95
»
Click here to show/hide summary
Abstract
This paper discusses jealousy as one of the central motives in William Shakespeare's play, "Othello." It discusses the jealousy between Iago and Cassio, the Moor and Cassio, as well as between Iago and the Moor. The paper shows how through Iago's deceitfulness, hatred and disloyalty, the tragedy of the play occurred. The paper suggests that if it had not been for Iago's unsympathetic sentiments and the jealousy, the play might have had a different ending.
From the Paper
"Even though many blame the tragedy on Othello's gullibility, it is Iago's tricky and devious behavior that launched and triggered it. Since Othello profoundly trusted Iago, he hardly ever suspected any infidelity from him and that is proven throughout the whole script, in statements such as, "Honest Iago,/ My Desdemona must I leave to thee"(Act I, Scene III, 295). As a consequence, Iago took advantage of Othello's trust and kept revealing more of his forged love, which is proved in the play when Iago alleged that, " Though I do hate him as I do hell-pains,/Yet, for necessity of present life,/I must show out a flag and sign of love" (Act I, scene I, 154-156). It is the "flag and sign of love" which Iago revealed, that instigated Othello's gullibility, and if it wasn't for that advantage, Othello would've not fallen in Iago's trap. Unfortunately, the one closest to the heart is the greatest enemy; because it is him that knows the weakness of one's heart and mind. Iago was indeed very disloyal to his Moor, and deceitful by his behavior toward him."
| |
|
Othello and 'O', 2006.
This paper compares William Shakespeare's play "Othello" to the motion picture "O" directed by Tim Blake Nelson.
1,573 words (approx. 6.3 pages), 6 sources, MLA, $ 51.95
»
Click here to show/hide summary
Abstract
In this paper, the writer discusses that William Shakespeare's 'Othello' emits a vision of evil that is altered in Tim Blake Nelson's cinematic interpretation, 'O', due to several changes in sociological settings. Such changes occur in the portrayal of Iago's social life, in particular family, friends and drugs, which in turn leads to a difference in mental states between 'Othello''s Iago and 'O''s Hugo. The writer points out that the shifting of what is to blame for their evilness results in different sources of evil between the movie and the play. The writer maintains that it can be said that the source of evil in the film 'O' is society, in other words nurture. The writer concludes that the fact that William Shakespeare doesn't give any explanation for why Iago is the evil person he has come to be, means that Shakespeare believes evil is a force of nature.
From the Paper
"This is the only real contact they had with each other throughout the movie. Iago is also friends with other characters such as Gratiano and Lodovico while Hugo's relationship with his fellow teammates isn't evident in the movie. Another significant difference is that Cassio, while Othello's lieutenant and most trusted comrade, is not his best friend off the battlefield. Iago is and he knows it. Conversely, Hugo thinks O is better friends with Mike, since O is always more enthusiastic and excited around Mike than Hugo, probably because of the basketball bond. This lack of friendship causes Hugo to be isolated and feel like no one likes him or even acknowledges him. Moreover, this pushes Hugo to begrudge those around him, especially O and Desie.
"Hugo takes drugs for a couple reasons. He takes steroids to keep up with O and to be noticed on the basketball court and does cocaine to help him deal with school, sports and the people around him."
| |
|
The Centrality of Mamillius to "The Winter's Tale", 2008.
An analysis of the character of Mamillius in "The Winter Tale" by William Shakespeare.
2,686 words (approx. 10.7 pages), 10 sources, MLA, $ 80.95
»
Click here to show/hide summary
Abstract
This paper discusses the centrality of the character of Mamillius, the young prince in William Shakespeare's "The Winter's Tale." It shows how Mamillius figures prominently in the play before meeting his premature death early in the third act. The paper discusses how Shakespeare make his character the focal point for the underlying discourses at work in the play.
From the Paper
"Though critics have often conceived of Mamillius as either insignificant or significant only insofar as he functions as a solution to the problems posed by Leontes, here Mamillius proves as problematic as his father. In one account, Mamillius is a source of idealized nostalgia for Leontes, but only as a kind of defense mechanism, so that the boy is at once a fantasy into which the father escapes and a reality from which he recoils--a security blanket as much as he is a threat. In the other, Mamillius is merely a mirror or lens through which to see his father, a simulacrum of Leontes provided to underline by resemblance and contrast the father's character traits. In the former reading Mamillius is a source of Leontes' rage; in the latter he points to Leontes himself as the source. The interpretations seem incompatible, but the language and structure of The Winter's Tale provide a framework in which to hold them both."
| |
|
The Common Man's Perspective in Shakespeare's "Henry V", 2006.
An analysis of the character of Pistol in William Shakespeare's play, "Henry V".
1,390 words (approx. 5.6 pages), 0 sources, MLA, $ 46.95
»
Click here to show/hide summary
Abstract
This paper examines the perspective of the common man in William Shakespeare's "Henry V" through the character of Pistol. The paper compares the character of Henry - a shining example of the courageous, just, wise, Christian king - with Pistol, a common soldier. The paper maintains the King's virtues are highlighted when set beside the lowly attributes of Pistol. Also highlighted, however, is the separate war experienced by the King versus the common soldier. The paper asserts that Pistol also serves to undermine the ideal of war as King Henry presents it. The paper concludes that Pistol's function is to portray the common man's perspective and plight in the war, in contrast with the aloof and noble perspective of Henry V.
From the Paper
"Henry's cloaked journey through his ranks seems to be an act of inspiration and leadership. He attempts to comfort men and to get to know them as 'just another soldier' on the eve of battle. The result, however, is quite different. His encounter with Pistol is humorous, but again forces the viewer to appreciate the gap between nobility and Pistol's class. Henry styles himself as "Harry le roi" (4.1.ll.50) knowing that Pistol would be unable to translate the latter two thirds. He is having fun at Pistol's expense; it is terribly unlikely anyone beneath nobility in England would have learned French. Henry's following argument with Williams is lame as well, for he refuses responsibility a king has for the men he commits to battle."
| |
|
Shakespeare's Villains, 2003.
A study of two of William Shakespeare's villains, Iago in "Othello" and Claudius in "Hamlet".
1,770 words (approx. 7.1 pages), 6 sources, MLA, $ 57.95
»
Click here to show/hide summary
Abstract
This paper examines two of the most infamous villains in all of Shakespearian literature, Iago in "Othello" and Claudius in "Hamlet". The paper points out that both Claudius and Iago are driven by immoral ambitions. It adds, however, that unlike many "evil villains" in literature, these two characters are far more complex than may be seen at first. The paper praises Shakespeare as a master at providing an audience with keen insight into the human psyche through the actions and words of his heroes, and even more so, his villains. To conclude, the paper maintains that Iago and Claudius, although driven by different ambitions, are both villains in the sense that they have a specific target in mind and will stop at nothing until that aim is reached.
From the Paper
"Another common aspect of Iago's and Claudius's villainous character is their use of women to further their own goals. It is unclear how much Claudius is driven by lust for Gertrude, but marrying her was definitely a strategic move, and part of his master plan to keep the thrown away from Hamlet. By doing this, he is using Gertrude to advance his scheme, convincing her that her son is insane and must be sent away. Iago, a character who does not seem to plan out his every move, also makes women mere pawns in his game. The woman whose innocence and naivety he exploits the most is Desdemona. Claiming to be driven by lust, as perhaps was Claudius, Iago says he lusts after Desdemona to get revenge for Othello's infidelity with Emilia. As he says, it is "wife for wife." This is not the main reason he harms Desdemona, although he enjoys the pain he causes to all those around him. Rather, he uses Desdemona's sweetness to convince Othello that she is cheating on him with Cassio, whom Iago sent to speak to her. This meticulous orchestration of events proves that he is clearly aware of his villainous behavior and feels no regret for any of the losses suffered by the other characters under his influence."
| |
|
Ophelia in "Hamlet", 2008.
An analysis of the speech and actions of Ophelia in Shakespeare's "Hamlet."
1,183 words (approx. 4.7 pages), 3 sources, MLA, $ 40.95
»
Click here to show/hide summary
Abstract
The paper portrays how Ophelia, through her father's death, becomes shrewd, sharp-witted and motivated by her own ideals, rather than those of others. The paper shows how Ophelia could not have lost her sanity, since her thoughts were so well-organized and so cunningly hurtful. The paper concludes that if there ever were a tragedy in Hamlet, it would be the demise of Ophelia.
From the Paper
""I perchance hereafter," Hamlet says, Horatio listening intently, "Shall think meet to put an antic disposition on" (1630). Hamlet continues to warn Horatio not to inform any person of his intended scheme. There are several ways that the director can play this, and the choices are crucial.
"Eventually, though, Hamlet's scheme does fall through. He ends up killing Polonius, failing to kill the King, and fleeing the country. Hamlet's now ex-lover, who also happens to be Polonius's daughter, is very distraught. But it must be made very clear that she retains an element of sanity. As Polonius himself said, "Though this be madness, there be method in't" (1640). Ophelia, through her father's death, Ophelia becomes shrewd, sharp-witted, and most importantly, she becomes motivated by her own ideals, rather than those of others."
|
|
|
