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Comic Characters in Shakespeare's Plays, 1996.
Classifies characters as spirit of comedy, figures of fun or verbally witty; functions in comedies, tragedies, romances.
1,800 words (approx. 7.2 pages), 10 sources, $ 63.95
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From the Paper
"The purpose of this research is to classify comic characters in certain of Shakespeare's plays. The plan of the research will be to set forth general categories under which Shakespeare's comic characters can be identified, and then to explore, with reference to the relevant plays, the basis for such classification.
There appear to be three principal categories of comic characterization in Shakespeare's plays, and these categories obtain across the comedies, tragedies, and romances. The kinds of comic characters do not serve precisely the same dramatic function from play to play, and there are variations of detail, as well as some overlapping and convergence of character types. However, the general lines of comic characterization illustrate three comic-character classifications: those who represent the very..."
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Themes in Shakespeare's Plays, 2004.
An in-depth paper discussing common themes throughout Shakespeare's plays. The themes of love, jealousy, and power are examined in "Romeo and Juliet", "Othello", "Much Ado About Nothing", and "Midsummer Night?s Dream."
5,210 words (approx. 20.8 pages), 6 sources, MLA, $ 129.95
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Abstract
This paper analyzes the writings of Shakespeare and identifies the related themes of his plays, such as love, power, and jealousy. The historical evidence and research are presented in each chapter so as to give the readers the real meaning of these themes, which are used by Shakespeare. The initial chapters of the research paper introduce the writings of Shakespeare and the era of Shakespeare. These chapters describe the topic related to Shakespeare and his plays. The entire discussion is based on the description of the plays and the description of the scenes, as well as speeches, which are illustrated in the plays of Shakespeare.
Outline
1. Statement of the Hypothesis
2. Review of Prior Works on the Subject and Related Subjects
3. Identification of the Methodology
4. Analysis of the Problem
5. Summary of Findings and Conclusions
From the Paper
"William Shakespeare and his plays are the main topic of discussion in this paper. William Shakespeare is one of the greatest names whose literary contributions and writings are considered as assets for the literary world. Shakespeare?s plays and writings are of considerable importance for the readers all around the world because his writings and power of expression are unmatchable. William Shakespeare and his plays have in fact formed the foundation of the English literature and therefore, William Shakespeare is still read by the students of English literature. The paper will be divided into five chapters, the analysis and observation of these chapters will help the reader to understand the paper?s main topic of discussion."
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Film adaptation of Shakespeare's plays, 2002.
A look at how several of Shakespeare's plays have become movies.
1,400 words (approx. 5.6 pages), 6 sources, $ 53.95
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Abstract
This six-page graduate paper is on "Film adaptation of Shakespeare's plays". It includes the film adaptation of his plays i.e. comparing two or more versions of a single play (for e.g. Hamlet, Romeo & Juliet, Macbeth). It also includes what are the implications of the plays as each relate to popular culture and giving an incorporating film criticism.
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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
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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."
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Women in Shakespeare Plays, 2002.
A discussion of the different roles of women in William Shakespeare's plays from young innocent girls to the phenomenon of cross-dressing in the comedies.
2,400 words (approx. 9.6 pages), 1 source, $ 89.95
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Abstract
This paper is about the position of women in Shakespeare's plays, specifically "As You Like It","Merchant of Venice","Coriolanus", and "Hamlet". It discusses how his female characters separate out into two different groups: young innocent girls approaching marriage, and older widows whom political ambition has gotten the better of. The phenomenon of cross-dressing in the comedies is addressed, and the conclusion states firmly that the marital status of any particular Shakespearian woman is a good indicator of her moral worth.
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Shakespeare's History Plays, 2002.
Looks at the similarities and differences in three of William Shakespeare's plays - "King Henry IV", "Richard II" and "Richard III".
1,876 words (approx. 7.5 pages), 3 sources, $ 60.95
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Abstract
By analyzing "King Henry IV", "The Tragedy of King Richard III" and "The Tragedy of King Richard II", the paper shows that the underlying message in Shakespeare's history plays seems to be that kings who are extreme in their execution of power provide a representation of a weak and vulnerable monarchy, whereas kings who apply a modicum of moderation to their exercise of power provide a representation of a strong and indestructible monarchy. The paper shows that King Henry IV is the epitome of a successful ruler, in the simple fact that he manages to remain alive at the end of the play and do what is best for the country and its people by continuing to fight the rebel armies until they have lost the ongoing battle with the monarch. This in and of itself suggests that he is able to find a delicate balance between being overly powerful and yielding to others under pressure. The paper shows, on the other hand, that King Richard II is unable to exert any power whatsoever, partly due to his fear of confrontation and partly due to his overwhelmingly pathological view of himself as being a Christ figure. It shows that Richard III is, as well, equally unsuccessful as a ruler because he exerts too much power as a result of a delusional likeness with Richard II?s antithesis, Satan.
From the Paper
"Likewise, Richard III also holds himself in very delusional esteem, though it is expressed in a different manner than with Richard II. Like Richard II, Richard III believes he is worthy of the throne despite being, by definition, an illegitimate ruler. However, this misleading conviction triggers murderous ?[p]lots [he has] laid? (I.i.32), including the murder of his brother Clarence, the murder of King Edward?s sons (including the heir to the throne, the Prince of Wales), and an incestuous scheme to marry the late King?s daughter, Elizabeth, in order to seem more fitting to be king. Undoubtedly, he believes wholeheartedly that he has been rejected and/or cheated by God, and that he is deserving of the kingship. His belief system allows his mental health to shatter in such a manner that leads way to an excessive use of force and power in order to obtain the things he so desires. His own delusional belief system leads the reader to deem it likely that Richard III is as much a Satan figure as Richard II is a Christ figure. The extreme self-views held by each of these kings guide them to act in highly radical manners that are not at all conducive to governing a successful monarchy."
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Women in Shakespeare's Plays, 2002.
An analysis of women as reflected in father-daughter relationships in Shakespeare's plays.
2,065 words (approx. 8.3 pages), 0 sources, $ 65.95
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Abstract
This paper focuses on the importance of the women's roles in the plays Romeo and Juliet, Hamlet, and Othello. Particularly, the relationship between the woman and their fathers is analyzed in this paper. The father-daughter relationship that this paper focuses on is the relationship between pairs of characters in the plays mentioned above: Lord Capulet and Juliet (Romeo and Juliet), Polonius and Ophelia (Hamlet), and Brabantio and Desdemona (Othello). Each character is evaluated according to their interaction not only with other people, but most importantly their interaction with each other. An analysis on the effect of woman roles in contributing to the tragedy that happened in the play is also discussed.
From the Paper
"Women in many of Shakespeare?s plays establish their own identity in the story through a series of interaction with various characters in the play. Aside from their roles as a woman and a wife or lover to the main characters of Shakespearean plays, the author presents another side of the woman's character through a reflection of the existing father and daughter relationship in the story. If women were regarded as "goddess" by their husbands/lovers, their relationships with their fathers present another part of their persona, and each of them possesses unique characteristics that make their roles in the story memorable. "
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Ophelia and Portia in Shakespeare's Plays, 2002.
Compare the two characters of Portia in the "Merchant of Venice" and Ophelia of "Hamlet" in William Shakespeare's plays.
650 words (approx. 2.6 pages), 4 sources, $ 26.95
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Abstract
By understanding how these Portia and Ophelia women are similar, we can see the ideas of Shakespeare setting trends in the way they think and how they behave in the larger scope of feminine characterization. By understanding this, the major emphasis of both characters can give a broader scope of their meaning in the text.
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Women in Shakespeare?s Plays, 2004.
This paper discusses women in three Shakespearean plays as presented in the film versions. These include Kenneth Branagh's ?Much Ado about Nothing?, Trevor Dunn?s ?Twelfth Night?, and Baz Luhrman?s ?Romeo and Juliet?.
2,440 words (approx. 9.8 pages), 4 sources, MLA, $ 74.95
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Abstract
This paper explains that women play almost every conceivable role in Shakespeare?s plays; however, women cannot be the hero. The author points out that Shakespeare?s plays treat women as a piece of "goods", not worth having if they are not virgins, which was the attitude of the time in which the plays were written. The paper relates that Shakespeare symbolizes Juliet's youth in a display of numerological virtuosity designed to impress upon his audience and readers her unreadiness for adulthood and its attendant complexities.
From the Paper
"In "Much Ado About Nothing" the kind of love that Shakespeare chooses to display is the more realistic kind of love that is displayed more often in society around us. This is shown in the couple of Benedick and Beatrice. These two quick wits are constantly bickering and at each other?s throats, until they are tricked by their friends into each believe the other loves them. At this, all of their criticisms of love and claims to remain unmarried until death go right out the window. Suddenly, they are seized by a desire to be with each other, and their true feelings come out. It shows how love actually works in real life."
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Clowns in Shakespeare's Plays, 2002.
Compares the role and appearance of clowns in three plays by William Shakespeare - "Hamlet", "Macbeth" and "As You Like It".
1,650 words (approx. 6.6 pages), 5 sources, $ 62.95
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Abstract
By comparing the clowns that appear in the plays "Hamlet", "Macbeth", and "As You Like It", the role of the clown is elaborated as something greater than comedic relief. In all instances, the clowns play a double role that works to appeal to a particular audience of Elizabethan England, a wider social and cultural group of theatre-goers than typically present at play performances. In doing so, the clowns work to participate within the play itself, and within the audience as well. This is achieved through humour that speaks outside the context of the play and towards immediate cultural knowledge of the audience. The clown also uses this same kind of humour within the play, as a way to clarify what is happening within the story itself. The clown acts as a mediator between characters and as a mediator between the play itself and the audience. The clowns of the dramatic plays, such as "King Lear", "Hamlet", or Macbeth, the clowns' role serves to provide the audience a break from the tension and violence of the narratives as well as to address the audiences own cultural understandings of these plays. In the comedies and the dramas, the clown is always more knowledgeable about what is happening and so acts as the interpreter for the characters, and for the audience.
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The Supernatural in Shakespeare's Plays, 2007.
Examines how the supernatural is presented in plays by William Shakespeare.
1,375 words (approx. 5.5 pages), 4 sources, MLA, $ 45.95
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Abstract
William Shakespeare was in many ways a man of his time regarding his own beliefs in regards to religion, magic, and the supernatural. This paper examines how Shakespeare's family and historical environment clearly influenced the way that the supernatural was deployed in his later plays.
From the Paper
"All of these conflicting ideas about the supernatural and religion Shakespeare infused into his plays. For example, in Shakespeare's plays, the supernatural often appears during times of great national torment. In "Hamlet," after the murder of the king, the ghost of Hamlet's father comes back from purgatory to demand that his son avenge his death. Even before anything evil happens in "Macbeth," the witches prophesize doom for Scotland. In Julius Caesar, supernatural occurrences occur before Caesar's assassination."
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Duality Throughout Shakespeare's Elizabethan Plays, 2001.
Explores the theme of duality in Shakespeare's early comedies, histories, and tragedies.
1,360 words (approx. 5.4 pages), 1 source, $ 45.95
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Abstract
This paper looks the theme of duality that is present in most of Shakespeare's early plays. The paper explains how, whether the play is a comedy, a tragedy or even a history, the theme worms its way into the plot of the play either as a dramatic device or a source of comic relief. To help illustrate the duality theme, the paper looks at plays such as "As You Like It", "A Midsummer?s Night Dream", "The Merchant of Venice", and "Romeo and Juliet".
From the Paper
"There is a theme of duality that runs throughout Shakespeare?s repertoire. From his comedies to his tragedies to the histories, Shakespeare exposes the dual nature of human beings at every available opportunity. Whether the character is an attention-starved daughter or a prospective king, having them pretend to be something that they are not is one of Shakespeare?s most common plot devices. It is an easy way to manipulate other characters, create dramatic irony, or to set-up a comic situation. "
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Dreams in Shakespeare's Plays, 2007.
An analysis of the significance of dreams in William Shakespeare's "Richard III", "Macbeth", and "A Midsummer Night's Dream."
1,593 words (approx. 6.4 pages), 4 sources, MLA, $ 52.95
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Abstract
This paper briefly explores the significance of dreams in William Shakespeare's plays, "Richard III", "Macbeth", and "A Midsummer Night's Dream". It examines and explains how dreams serve chiefly to add depth and complexity to the main characters, reflect the belief systems of the audience Shakespeare was trying to enthrall and underscore the subjective nature of human "reality." The paper suggests that Shakespeare successfully uses dream sequences for commercial and dramaturgical purposes.
From the Paper
"By emphasizing the angst and suffering of the killers and conspirators, dreams also bolster the moral lesson that appears to lie at the heart of the drama. Just as in Richard III, those who ignore dreams in Macbeth do so at their own peril. For example, in Act II, Scene 1 of the play, Banquo announces to Macbeth that he has dreamt of the strange apparitions he and his untrustworthy friend encountered only a short while earlier. But although Banquo admits that the three strange sisters "have showed some truth" (Garber 113) as it pertains to Macbeth's elevated station, he fails to appreciate that the dream might also offer some insight into his own future. Banquo allows Macbeth to simply and disingenuously dismiss the prior encounter with the witches as meaningless even though their cryptic message is now impelling Macbeth to view his long-time friend as a rival who needs to be terminated (Garber, 114). As with Clarence and Hastings in Richard III, Banquo's inability to recognize the portents coming to him in dream prepares him for his tragic end."
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Shakespeare's Plays Illustrated by Blake and Fuseli, 2007.
An analysis of the connection between William Shakespeare's works and the illustrations of William Blake and Henry Fuseli.
4,923 words (approx. 19.7 pages), 14 sources, MLA, $ 125.95
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Abstract
This paper discusses the ways in which drama and painting can serve as interpretations or explanations of one another. The paper begins by introducing William Blake (1757 - 1827) and Henry Fuseli (1741 - 1825) as two chief illustrators of William Shakespeare's plays. It then describes some of the scenes from which the artists drew their inspiration using three major themes - the supernatural and the nightmare, the world of dreams and fantasy and the human condition and history.
Table of Contents:
Introduction
The Supernatural and the World of Nightmare
The Fairy World of Dreams and Fantasy
The Human Condition and History
Conclusion
From the Paper
"The painting encapsulates all the drama we can expect from a work by Fuseli. As a matter of fact, the artist did several versions of the scene, including book illustrations and a painting that was exhibited at the Royal Academy in 1808. It is worth mentioning that the Cardinal's death was a popular subject for painters: Sir Joshua Reynolds, for instance, illustrated the same scene for the Boydell Shakespeare Gallery, and even Nicolas Poussin was inspired by that very passage. Fuseli introduces agitated figures in a very fluid composition, but there is a clear allusion to an earlier work, especially the way of gathering the figures around a central character, along with the arm pointed upward, paying homage to a drawing by Poussin, whom Fuseli admired a lot. The painting is a good example of the human condition, because it encapsulates various philosophical themes, such as life and death, guilt, suffering, and so forth."
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How Aristotle's Poetics Applies to Shakespeare's Plays, 2000.
A look at how Aristotle's influential pamphlet, which talks a great deal about tragedy, finds expression in Shakespeare.
1,000 words (approx. 4.0 pages), 1 source, $ 35.95
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From the Paper
"Aristotle?s Poetics1 is considered to be the guide to a well written tragedy; his methods have been used for centuries. In Aristotle?s opinion, plot is the most important aspect of the tragedy, all other parts such as character, diction, and thought stem from the plot. "
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