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Britten's Midsummer's Night, 2007.
This paper discusses the opera 'Midsummer Night's Dream' by Benjamin Britten.
986 words (approx. 3.9 pages), 3 sources, MLA, $ 35.95
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Abstract
In this article, the writer notes that Benjamin Britten obtained the plot for the opera, "Midsummer Night's Dream", from Shakespeare's play by the same name. The writer relates that in 1960 Britten, along with his companion, Peter Pears, presented it as a showpiece for friends and for a wide variety of talents. The writer points out that the opera contains a largely spoken, theatrical part, a boy's soprano choir, a large fairy who sings coloratura, a simple country bumpkin named Bottom whose head is turned into an ass' head by Puck and romantic subplots. The writer maintains that the opera is humorous and lyrical and a treat for the musical ear. The writer concludes that in this opera, the audience falls in love with Puck and with the fairies, as if the love-juice had been put on their own eyes.
From the Paper
"Britten starts the opera in what was the second act of Shakespeare's play, but refers to what happened, so the audience does not feel anything is missing. The rustic folk, the fairies and the lovers are first presented in the woods around Athens and from there on the action never stops. The lead role of Oberon is sung by a countertenor, which is very rare, as leads are usually sung by tenors or basses. As the fairies appear, the well-known song, "Over hill, over dale" is heard, sung by Tytania's young boys' fairy choir. The strange relationship of Tytania and Bottom is the central romantic story that Britten chose to make the centerpiece of the opera. The dominating female fairy has a very difficult role to play, as she is attracted to Bottom, but is subject to Oberon and his accomplice, Puck, who make her life very difficult and her music hard to sing."
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"A Thousand Acres", 2007.
This paper discusses "A Thousand Acres" by Jane Smiley, a re-vision of Shakespeare's "King Lear".
3,548 words (approx. 14.2 pages), 7 sources, MLA, $ 99.95
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Abstract
The paper examines the similarities and significant differences between Jane Smiley's novel "A Thousand Acres" and Shakespeare's original "King Lear". The paper illustrates how "A Thousand Acres" is a feminist re-vision of the Lear tragedy where the patriarchal myth is best grounded. The paper shows how, by giving voice to the women seen as vile in Shakespeare's text, Smiley manages to shed a new light on the traditional story and make it more compatible with modern consciousness.
From the Paper
"Thus, Jane Smiley's re-vision of King Lear works as a displacement of traditional patriarchy: the author demits Lear from his role as a patriarchal figure, persecuted and betrayed by his ungrateful daughters. The main characters in A Thousand Acres, as well as the main directions in the plot, are all mirroring the Shakespearian tragedy: the prosperous farmer in Iowa - Larry Cook/ Lear decides, on an impulse, to renounce the absolute rights on his property, and to divide the family land among his three daughters: Ginny/ Goneril, Rose/ Regan and Caroline/ Cordelia. The names of the characters themselves are plain allusions to the main characters in Shakespeare's text."
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The Film: "Henry V", 2007.
This paper discusses Kenneth Branagh's 1989 film interpretation of Shakespeare's "Henry V".
1,900 words (approx. 7.6 pages), 3 sources, MLA, $ 60.95
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Abstract
This paper explains that the modern, cinematic environment created by director Kenneth Branagh in his film "Henry V", juxtaposes the poetic language of Elizabethan theater with the visual language of film. The author points out that Branagh's plea for cinematic tolerance is especially apt because "Henry V" is a rather obscure film for an American or even European audience, less likely to be informed and interested in why England fought with France over a little patch of land, long ago. The paper describes the valid historicity of the film, the colors used, the techniques of warfare deployed, its Elizabethan language and modern cinematic techniques and looks at how they are all used used effectively to make this film a successful interpretation of Shakespeare's play.
From the Paper
"The camera work in the princess scene is especially quick and fleeting, as it follows the princess throughout the castle. Although the camera occasionally becomes anchored to Henry's face during a soliloquy, overall, the camera is a kind of peripatetic actor throughout most of "Henry V". The camera follows the horses as they gallop over the field of battle, wildly. The common soldiers on the ground, as when they are storming the castle walls of the city are shown from the ground up. The camera whizzes by the viewer's eye as it pans through time and from France to England and back again..."
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Renaissance Drama and Cultural Materialists' Viewpoints, 2007.
This paper provides an analysis of the difference between the new historicist viewpoints on Renaissance drama and the cultural materialist viewpoints.
2,408 words (approx. 9.6 pages), 19 sources, MLA, $ 73.95
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Abstract
In this article, the writer notes that in recent years, two related and overlapping schools of literary theory have emerged that have offered competing responses to the relationship between Renaissance drama and the political power of Tudor and Stuart Britain. To determine the differences in these perspectives, this paper provides an analysis of Shakespeare's "The Comedy of Errors," Ben Jonson's "The Alchemist," Thomas Kyd's "The Spanish Tragedy" and Heywood's "A Woman Killed with Kindness". The writer looks at these works from the perspective of two modes of criticism or theory, with various criticisms from the new historicist camp and cultural materialist camp being reviewed. An assessment of the complexities of these modes is also provided, taking into account the social, theoretical, and critical movements that informed them. A summary of the research and salient findings are presented in the conclusion.
Outline:
Introduction
Review and Discussion
Shakespeare's "The Comedy of Errors."
Ben Jonson's "The Alchemist."
Thomas Kyd's "The Spanish Tragedy."
Thomas Heywood's "A Woman Killed with Kindness"
Analysis
Conclusion
From the Paper
"This relationship between social contract and means of production becomes even clearer when its importance in the community was taken into account, with marriage representing both a socially acceptable framework in which people could live together and have children, it was inextricably related to how people earned their livings and what roles they played in this society. In this regard, Orlin emphasizes that although marriage ceremonies feature prominently in the opening and conclusion of the play, there is a difference between the celebratory nature of the occasion today and the implications the institution had during this period in history. There is no romantic comedy involved in the marriage of John and Anne Frankford, for example, and the opening scene ... "
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Society's Moral Decline, 2007.
An analysis of the moral decline in Shakespeare's "Hamlet" and Oscar Wilde's "The Importance of Being Earnest."
2,082 words (approx. 8.3 pages), 2 sources, MLA, $ 65.95
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Abstract
The paper examines "Hamlet" and "The Importance of Being Earnest" and explains that both of these plays analyze the moral state of the 'modern' society. The paper notes that these plays are at two very different moments in time, the Renaissance and the end of the Victorian Age, but they both show the moral decline of society. The paper discusses how the plays reach a similar conclusion about humanity: the trivial side of human nature usually prevails over the spiritual, ethical one.
From the Paper
"In Shakespeare's Hamlet, the state of moral decline of the society at the Court of Denmark is the main focus. Denmark is meant to figure, of course, the larger, universal context of man. The plot is somewhat simple: Hamlet is called upon to revenge (morally) the death of his father. The appearance of the ghost of the murdered king in the first act is already a sign of the moral direction in which the play goes: a dead spirit comes back to claim justice. Thus, Hamlet's own ideas about the world and about man, which are essentially idealist, meet with an obvious obstacle in the material world, where he sees the baseness of character of both his uncle and his mother who are capable of murder, adultery and duplicity. All of Hamlet's famous soliloquies oppose the idealist and the actual, real view of man as an immoral and trivial creature."
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Motivation in Literature, 2007.
An analysis of the motivation of Iago in William Shakespeare's "Othello" and Krogstad in Henrik Ibsen's "A Doll's House."
1,401 words (approx. 5.6 pages), 7 sources, MLA, $ 46.95
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Abstract
This paper analyzes the concept of good and evil and people's motivation for following a particular path in their lives. It focuses on this concept as it is illustrated in William Shakespeare's "Othello" and in Henrik Ibsen's "A Doll's House." The paper describes the characters of Iago, possibly the most heinous villain in Shakespeare and of Krogstad, a secondary character in Ibsen's "A Doll's House" and discusses their motivation for their actions.
From the Paper
"In terms of the motivation and the purpose of their actions Iago and Krogstad are two different characters. Indeed, Krogstad is the antagonist in "A Doll's House" but he is not necessarily a villain. Krogstad is a person who has been wronged by society as he committed the same crime Nora did, forgery of signatures. Though he did break the law, his mistake was relatively minor but the society has labeled him as a criminal and prohibited him to go beyond his past. Additionally Krogstad's claim that the cause of his immoral behavior was when Mrs. Linde abandoned him for a man with money so she could provide for her family makes it possible for us to see Krogstad as a victim of circumstances. Even if society's unfair treatment of Krogstad is not a justification for his actions, it tempers in the same time out perception of him as a despicable character. It can be said that his actions are indeed motivated because when Torvald becomes director of the bank in which Krogstad is employed and threatens him with dismissal, he naturally has to fight back: "If necessary, I am prepared to fight for my small post in the bank as if I were fighting for my life...It is not only for the sake of the money; indeed, that weighs
least with me in the matter. There is another reason...my sons are growing up; for their sake I must try and win back as much respect as I can in the town. This post in the Bank was like the first step up for me--and now your husband is going to kick me downstairs again into the mud" (act 1, "A Doll's House's Text"). As can be seen Krogstad has reasonable motives for behaving as he does: he wants to keep his job at the Bank in order to spare his children of the hardships that come with a spoiled reputation."
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Hamlet and Ophelia, 2007.
An analysis of Hamlet's love for Ophelia in the play "Hamlet" by William Shakespeare.
764 words (approx. 3.1 pages), 1 source, MLA, $ 27.95
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Abstract
The paper discusses how Hamlet loves Ophelia in his own tortured and odd way. The paper illustrates how, as the play continues, it is clear Hamlet loses touch with reality and with it, his love for Ophelia. The paper describes how Ophelia cannot deal with his rejection and rather than go on with her life, she ends it, without fulfillment, without love and with no future. The paper demonstrates how both lovers cared for each other and might have had a life together, but they were both too tragically flawed to ever really become a couple or maintain their love.
From the Paper
"Those surrounding Ophelia believe Hamlet loves her - even that he has gone mad with love for her. Her father, Polonius tells her Hamlet's rash behavior is based on his unrequited love for her. He says, "That [denial of love] hath made him mad" (II. i. 109). Thus, those surrounding Ophelia misinterpret Hamlet's actions, and Ophelia might have as well, although it does seem Hamlet loves her in his own tortured and odd way. He does leave her a note that seems to confirm his feelings for her. It reads, "O dear Ophelia, I am ill at these numbers; I have not art to reckon / my groans: but that I love thee best, O most best, believe it. Adieu" (II. ii. 120-121). Thus, he has confessed his love to her, and no matter how it deteriorates from this point on in the play, he has held love for her in his heart."
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Comparing Two Love Poems, 2007.
A comparison between Robert Burns' "A Red, Red Rose" and William Shakespeare's "Sonnet 130".
1,022 words (approx. 4.1 pages), 2 sources, MLA, $ 36.95
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Abstract
This paper reviews, discusses and compares the poems "A Red, Red Rose" by Robert Burns and "Sonnet 130" by William Shakespeare. The paper reports that both these poems use hyperbole to highlight aspects of love, but do so in dramatically different ways. The paper further reports that these poems share the common goal of convincing their lovers that they love them in a unique and rare way.
From the Paper
"In sharp contrast to Burns' poem, Shakespeare's poem makes it clear that he does not believe his love is supernatural. While many love poems, like Burns' "A Red, Red Rose," describe love as something greater than nature, Shakespeare celebrates the earthly nature of his love. Instead of using commonplace metaphors to exault his lover's beauty, Shakespeare uses these metaphors to demonstrate that his lover is not an exceptional beauty. Her eyes are "nothing like the sun;...her breasts are dun,...black wires grow on her head," and her breath reeks. (Shakespeare). In other words, Shakespeare acknowledges that his lover is simply a woman, not something greater than this earth. In fact, he specifically states that his lover is not a goddess. Compared with the over-the-top love sonnets of the day, it seems that Shakespeare has little affection for his lover."
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Reversal of Nature in "Macbeth", 2007.
An analysis of the theme of malignant deeds and their affect on nature, as seen in "Macbeth" by William Shakespeare.
1,344 words (approx. 5.4 pages), 5 sources, MLA, $ 45.95
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Abstract
This paper discusses the main theme of William Shakespeare's play, "Macbeth" as the reversal of values and of nature itself, triggered by the evil actions and murders of Macbeth and his wife. The paper presents quotes from scenes in the play in order to illustrate this theme. It suggests that Shakespeare's play advocates that any kind of evil is a crime against nature itself, against human nature and against the divine order of the universe.
From the Paper
"The Tragedy of Macbeth is definitely Shakespeare's most violent play. The main theme of the play is the reversal of values and of nature itself, triggered by the evil actions and murders of Macbeth and his wife. The reversal of the natural order is announced from the introductory lines of the play, in the discourse of the three witches: "Fair is foul, and foul is fair"(1.1.12) The main plot of the play, the killing of Duncan, the king of Scotland, is a common subject for tragedy during the Renaissance age, and a recurrent one in Shakespeare's plays. The belief that royalty was foreordained by divinity explains why the act of murdering a king was considered as a reversal of order and of values. When the murder is done, the old man significantly proclaims it as "unnatural", comparing it to the killing of a falconer by an owl. Thus, throughout the play, there are direct hints to the reversal of nature caused by the dreadful murders, as well as descriptions that reveal absolute natural disorder, like the sun's refusal to shine for example. The murderous acts are seen thus as a menace against the basic order of the universe itself."
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"Band of Brothers", 2007.
A brief review of Stephen Ambrose's book, "Band of Brothers" and the mini-series that is based on it.
837 words (approx. 3.3 pages), 0 sources, MLA, $ 29.95
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Abstract
This paper briefly examines Stephen Ambrose's book, "Band of Brothers," which was supposedly taken from Act IV, Scene 3 of William Shakespeare's "Henry V." It also discusses the mini-series, based on the book and lists the ten episodes, with a brief description, in the series. The paper suggests the lessons that should be learned regarding war, from this book.
From the Paper
"The title of Stephen Ambrose's book Band of Brothers was supposedly taken from Act IV, Scene 3 of William Shakespeare's Henry V. It is part of the speech delivered by Henry V before the Battle of Agincourt and indeed the lines We few, we happy few, we band of brothers; / For he to-day that sheds his blood with me / Shall be my brother; be he ne'er so vile, capture the essence of brotherhood of war where men (and women nowadays!) with varied backgrounds became brethrens in the face of the horrors of war and battle. The HBO mini-series adaptation of Ambrose's book gave the visual and auditory narrative of the accounts presented in the book. The series portrays the evolution of Easy Company of the 506th Parachute Infantry Regiment of U.S. 101st Airborne Division from their training days in Camp Toccoa, Georgia during the summer of 1942 to their "baptism of fire" in various battles in the European Theater of Operations up until the fall of the Nazi Regime and their capture of Berchtesgaden prior to the conclusion of World War II."
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"Othello", 2007.
An analysis of the theme of poor communication between members of the opposite gender in William Shakespeare's play, "Othello."
1,249 words (approx. 5.0 pages), 1 source, MLA, $ 42.95
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Abstract
This paper discusses William Shakespeare's play, "Othello." It particularly focuses on the theme of the breakdown of communication between men and women. The paper suggests that the play is about this breakdown in gender relations, more than it is a play about race. The paper presents many examples from the play to demonstrate lack of trust and communication between members of the opposite gender, in order to illustrate this theme.
From the Paper
"This equation of the female body with male honor is seen early on in the play, as well as the difficulty for men and women to communicate effectively. Desdemona's own father cannot see that his daughter is falling in love with Othello, even though he saw it happen before his very eyes, in his own house. Brabatino says his daughter must be seduced by Othello's witchcraft because she was: "A maiden never bold;/Of spirit so still and quiet, that her motion/Blush'd at herself; and she, in spite of nature,/Of years, of country, credit, every thing,/To fall in love with what she fear'd to look on!" (1.3) When Brabatino learns that there was no witchcraft afoot, it is he, rather than Iago, who places the first seeds of doubt in Othello's mind about Desdemona's potential future transgressions: "Look to her, Moor, if thou hast eyes to see:/She has deceived her father, and may thee" (1.3)."
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"Richard III" and "Henry IV", 2007.
An analysis of the lying and cheating of the main characters in William Shakespeare's historical plays, "Richard III" and "Henry IV."
1,356 words (approx. 5.4 pages), 2 sources, MLA, $ 45.95
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Abstract
This paper discusses and analyzes William Shakespeare's historical plays, "Richard III" and "Henry IV." It discusses the characters of Richard III, formerly the Duke of Gloucester, and Falstaff, prince Hal's friend. The paper specifically focuses on their negative characteristics, such as lying and how they used lying to achieve their goals. The paper presents examples from both plays to illustrate the extent of each character's lying.
From the Paper
"During this conflict, Henry shows his bitterness at not having his eldest son, prince Hal to help him in the military matters. Hal is, at this time, with a group of rogues and villains who accompany him in his unlawful actions. Falstaff is the most famous of these, and seems to be Shakespeare's best known personification of falseness (a word from which his name is undoubtedly derived) lying and deceit. Falstaff uses dissembling as a means to achieve both fortune and fame, pretending even to have killed Hotspur in the battle. But even more so, he achieves through permanent lying to create almost a myth about himself, arguing through such skilled rhetoric that he even overtake Richard III, that honor and morality are of no use whatsoever and that they lose their value as soon as they are opposed to the only true thing there is: life."
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Invisibility in Literature, 2007.
An analysis of the implications of character and/or subject invisibility in Gwendolyn Brooks' "We Real Cool", Ralph Ellison's novel excerpt "Battle Royal" and William Shakespeare's "Hamlet".
930 words (approx. 3.7 pages), 3 sources, MLA, $ 33.95
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Abstract
This paper examines how within three well-known works of literature, Gwendolyn Brooks' poem "We Real Cool"; Ralph Ellison's novel excerpt (from "Invisible Man") "Battle Royal", and Shakespeare's "Hamlet", the authors all imply character or subject invisibility, albeit differently from one another, in terms not just of genre itself, but also in terms of author viewpoint and artistic and personal intent.
From the Paper
"In Ellison's "Battle Royal", though, the unnamed narrator is "invisible", and describes himself that way, because he is black and white people therefore treat him as if he were invisible, that is, unimportant, not even a person. The major problem with this, for him personally, is that he has to an extent internalized this view of himself as "invisible", and now must fight hard (within the whole novel, not just "Battle Royal" to negate his "invisibility in his own mind. He is in search of his true self, in a social milieu that makes self-discovery of that kind especially difficult for young black males. "
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"Hamlet", 2007.
An analysis of the theme of the fate of the world and the fate of kings being tied together, as seen in "Hamlet" by William Shakespeare.
937 words (approx. 3.7 pages), 4 sources, MLA, $ 33.95
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Abstract
This paper discusses the play "Hamlet," by William Shakespeare with a focus on the concept that the role and plight of Hamlet in his family mirrors the state of the kingdom and then becomes a means of restoring order to a world in turmoil. It also contrasts Hamlet's character and family situation with the family of Polonius, his father's adviser.
From the Paper
"The fact that the kingdom is in turmoil is reflected not just in the tensions in the court and the storm that may be brewing outside but even more in the fact that Hamlet's father's ghost appears. Hamlet is told what to do by the ghost of his father, whom he meets on the ramparts at night, a portent to all of things to come. Hamlet is called upon to kill Claudius and so to revenge his father's death. This act will also restore order to the kingdom. Some see the ghost as a demonic influence who should not be trusted, and Hamlet himself hesitates as if unsure that the ghost is telling the truth. Hamlet may want revenge, but his actions are not simply attempts to get revenge."
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Falstaff in "Henry IV", 2007.
A discussion of the figure Falstaff in Shakespeare's "Henry IV".
1,297 words (approx. 5.2 pages), 4 sources, MLA, $ 43.95
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Abstract
This paper explores the role and character of Falstaff in Shakespeare's play "Henry IV". The paper acknowledges Falstaff's role as comic relief and his part in Prince Harry's life. This friendship is considered in the paper as well. Several opinions of Falstaff from noted Shakespeare experts are presented along with the writer's view of this character. The paper concludes by stating Falstaff was a necessary figure in the play because he was the only character with whom Prince Harry spoke candidly and often truthfully.
From the Paper
"Falstaff made life exciting for Prince Harry, and he was fun to be around. His character is in sharp contrast with the nobility which will be Harry's companions at court when he becomes King, and seems to be quite dishonest by comparison. However, in some ways, he is truer than any of the noblemen, because he is quite candid concerning his own self interest. It is not that he does not lie. He does, in the last scene of Act II, when he tells about how he and his companions were robbed by other highwaymen after capturing their prize, "All! I know not what you call all; but if I fought not with fifty of them, I am a bunch of radish: if there were not two or three and fifty upon poor old Jack, then am I no two-legged creature." Harry and Poins were, of course, the robbers who fell on them as a practical joke, and they all fled immediately. As Falstaff tells the tale and answers questions the lies become more and more exaggerated."
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