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Homer's Tragedies, 2004.
Summarizes two famous Greek tragedies, "The Iliad" and "The Odyssey", and looks at the theory that Homer did not actually write them.
1,096 words (approx. 4.4 pages), 5 sources, MLA, $ 38.95
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Abstract
This paper examines the theory that the two famous Greek tragedies, "The Iliad" and "The Odyssey", were not actually written by a real person named Homer, but rather that Homer was the collective pen name of all the bards who told these renditions of "The Iliad" and "The Odyssey". The paper also summarizes both tragedies and concludes that, no matter who the author, these stories are wonderfully entertaining and greatly influenced the course of the literature, drama, and philosophy that followed.
From the Paper
"The Odyssey is a sequel to the Trojan War. Odysseus, a Greek war hero, has been lost at sea. For ten long years the gods play with his fate as he encounters powerful creatures and manages to survive many disasters at sea. He faces man-eating giants, seductive murderous sirens, Circe who turns his men into pork, and even the goddess Calypso who keeps him as a love slave for many years. When Odysseus returns home from his journey, he finds that his wife is still waiting for him. His house, however, is overrun with suitors trying to woo his wife and eat his food. Even his dog (who is now a homeless stray living on garbage and must be of a remarkably old age for a canine) dies as soon as Odysseus returns home. Together with his now adult son, Odysseus kills hundreds of his wife?s suitors and all of his corrupted servants. He is finally reunited with his loving wife and evil blind father. (Homer, The Odyssey)"
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Greek Tragedies and Their Influence on Modern Day Literature, 2002.
A discussion on the ways in which Greek tragedies and the theory of the Greek tragic hero has survived the diverse style changes of literature since its conception.
960 words (approx. 3.8 pages), 2 sources, MLA, $ 34.95
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Abstract
The following paper examines the ways in which the idea of Greek tragedies has been embellished upon by great literary geniuses. This paper examines how Shakespeare, for example, used his tragic plays to purge his audience of their own flaws, which is precisely how Aristotle had defined the ideal tragic play. The writer examines how modern playwrights such as Sophocles, Ibsen and Tennessee Williams began to interject less idealism and more realism into their tragedies, providing a more ?real life? hero than the ideal hero as defined by the dramas in ancient Greece.
From the Paper
"As literature has evolved over time, plays have become less of a staple of only aristocracy. American literature came into existence, and with that came Tennessee Williams (one of many notable playwrights) and his superb work, ?The Glass Menagerie?. Unlike the original idea of a tragic hero that was someone of great influence and stature (though not god-like), Tennessee Williams wrote about real characters, that virtually anyone could identify with. In the play, the role of the hero is shifted between Amanda, Tom and Laura ? depending on the angle of the play at the time. Williams doesn?t focus on the characters, which doesn?t allow for much development beyond their initial two-dimensional appearance. Tom is arguably our hero, but he isn?t really all that likeable. He is mean to his mother, alienates his sister, and abandons them both. Nothing remarkably heroic there. Williams is more concerned with the outcome of the play, and Tom?s resounding guilt for his actions; as a result, Williams revolves completely around the plot. Tom, who serves as the narrator for the play, is essentially the protagonist of the play ? he is not necessarily the most important figure in the play, but he is the first one to interact with the audience, which is the definition used in the time of the Greek tragedy."
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Shakespeare's Tragedies, 2002.
Examines William Shakespeare's tragedies as an illustration of the breakdown and ultimate restoration of order.
2,203 words (approx. 8.8 pages), 4 sources, APA, $ 68.95
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Abstract
This paper illustrates the specific idea that appears to be evident in a majority, if not all, of Shakespeare's works - that the works are mainly concerned with the concept of the disruption and restoration of order at various levels. Examples are provided of this "breakdown" at various different or parallel levels, including personal, intimate, political and spiritual. The paper examines several Shakespearean tragedies including "Hamlet", "King Lear" and "Macbeth".
From the Paper
"Hamlet at the very moment of killing Claudius and thus restoring both personal and political order himself dies. He then cannot take his rightful place on the throne, nor as head of his family. This has been denied him as the price for its very restoration. This also holds true for Lear. His kingdom is restored and those who sought to destroy him are no more. Yet it is Albany who now rules. In addition at the personal level, Lear finally discovers his love for Cordelia only just before her death. Having finally found her, she is now lost to him for eternity. Lear has also paid the ultimate price for restoration."
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The Tragedies of Kings and Men, 2001.
This paper studies the main works of Aristotle and Arthur Miller and their depiction of tragedy.
3,245 words (approx. 13.0 pages), 4 sources, MLA, $ 93.95
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Abstract
This paper studies the term "tragedy" and defines it using the thoughts of Plato and Aristotle and plays written in ancient Greece and by Arthur Miller's works. In order to do so the paper proceeds to examine each of these thinkers and writers and their works. It details Aristotle's notes that defined tragedy and his play 'Antigone' and 'Oedipus Rex', Arthur Miller's 'On Tragedy', 'The Crucible' and 'Death of a Salesman'.
From the Paper
"The simplest, most reasonable definition of tragedy is that found in dictionaries and the definitions of laymen and theater -goers everywhere: ?a story with a sad ending.? However, literary theorists and critics would quickly be out their jobs if they simply left the common law of art alone. Thus for centuries there have been disagreements as to what constituted ?true? tragedy. In ancient Greece, both the merits and ideal qualifications of tragedy were under debate. Plato suggested that tragedy might be best defined as people pretending to be villainous or sad for no good reason, and thus corrupting society. Aristotle, on the other hand, said that tragedy was a form of social good, for it allowed the rational soul to vent its emotions in a process he referred to as a ?catharsis.? He went on to define the trademarks of a tragedy it in some detail, including such plot elements as the noble birth of the protagonist, and the inevitability of the ending. Works that followed his model, such as Oedipus cycle, set the standard for centuries to come. Aristotle?s conventions became a measuring stick for literary critics, though they were not always followed by poets and playwrights. In the modern era, many of these conventions were challenged, and this was particularly noticed in the case of Arthur Miller. After his play, Death of a Salesman, was lambasted by critics for not being a ?real? tragedy, he responded with a seminal work on the modern adaptation of tragic conventions. The ideas put forth in his ?On Tragedy? were deeply important to parts of his later play The Crucible. It is fascinating to see that despite the fact that many critics saw Miller?s works as antithetical to ancient ideas of tragedy, and assumed that ancient tragedies would not be based around the ideals embraced by Miller, in many ways there are distinct parallels in thought between such works as The Crucible and older masterpieces such as Antigone. The inevitability of each play is iron-wrought, and each is driven by the inseparable division between the straight edge of power and the personal freedom of choice and self-definition. "
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The Tragedies of Oedipus Rex and Othello, 2002.
A comparative analysis of the use of tragedy in the "Oedipus" Trilogy by Sophocles and the play "Othello" by William Shakespeare.
650 words (approx. 2.6 pages), 3 sources, $ 26.95
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Abstract
This paper will discuss the two characters Oedipus Rex in the "Oedipus" Trilogy by Sophocles, and the character Othello in the play "Othello" by William Shakespeare. By understand the usage of tragedy in these plays we can learn much from the way that it is sued within this medium of playwriting. With the notion of both characters eventually meeting other doom, we can see why they did not meet on the same terms their fates.
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Familial Tragedies in "Wuthering Heights", 2003.
An exploration of the theme of tragedy in Emily Bronte's "Wuthering Heights", including narrative devices and linguistic contruction.
1,598 words (approx. 6.4 pages), 5 sources, MLA, $ 52.95
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Abstract
This paper examines how Emily Bronte's "Wuthering Heights is a remarkable work of fiction in its painful exploration of familial damage. It looks at how in its unremitting darkness and in its insistence on the pain love brings, it is both a psychological treatise on the destruction of the soul and a story wrought by a novelist who writes with an assured, confident hand. It discusses the underlying themes of the novel as well as some of the narrative devices that Bront? employs. There are several of some significance. It also shows how Bront? employs a direct, first person narrative to great effect.
From the Paper
"Word must also be made regarding the happy ending of Wuthering Heights. In short, it feels contrived, though it highly satisfying. Through the unremitting gloom of the tale, day suddenly breaks! Hareton (for whom we have been cheering through much of the story) and Catherine are suddenly together; Heathcliff has at last, it seems, found Catherine?s ghost, and is soon united with her. Mrs. Dean sits, ?sewing and singing a song,? (223) and all, it seems, is well. Even Joseph, whose presence throughout the narrative seems indicative of a certain dislike to overly-orthodox thought, seems as happy as he can be, with the rightful master restored to the house."
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Tragedies Can Be Subjective, 2002.
A look at the portrayal of tradedy in literature through a comparative analysis of Socrates' "Oedipus the King" and Arthur Miller's "Death of a Salesman".
1,150 words (approx. 4.6 pages), 3 sources, $ 44.95
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Abstract
This paper presents a discussion about tragedies in literature. The author of this paper reviews the beliefs of Aristotle regarding what a tragedy is as well as Arthur Millers tragedy and the common man and then leads the readers on a discussion about the differences and similarities in "Oedipus the King" and "Death of a Salesman".
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Tragedies By Sophocles and Shakespeare, 2001.
An essay on how tragic characters deal with death as seen by Sophocles and Shakespeare.
1,700 words (approx. 6.8 pages), 2 sources, $ 55.95
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Abstract
In this paper the author examines the tragedies of Antigone and Hamlet. The characters of Antigone and Hamlet are tragic figures who meet their fates while trying to right or avenge a wrong committed against a dead loved one. The author examines the many traits they have in common and the important differences which influence how the reader responds to them emotionally.
From the paper:
"In Greece two brothers, one a hero, the other a traitor, meet on the field of battle. Both fall. The hero receives a funeral with full honors. The traitor is left to rot where he died. When the king forbids his burial under penalty of death, the traitor?s courageous sister forfeits her life to perform the proper rites. "
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The Greek Tragedies of Euripides, 2002.
The paper discusses the contribution made to the archives of Classical Greek literature by the author Euripides, focusing on one of his best known works, "Medea".
1,429 words (approx. 5.7 pages), 5 sources, MLA, $ 47.95
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Abstract
The paper traces Euripides' rise to fame from a little known playwright, to a master of Greek tragedy and the influence his work has had in western literature. The paper examines the literary motifs and dramatic rhetoric of his works. The paper then analyzes the contradictions found in his play "Medea" and focuses on five specific traits that can be traced throughout the text of the play.
From the Paper
"The two main characters, Medea, a sorceress, and Jason, her lover, are often viewed by classical scholars as the most purely human of all Greek tragic figures without the trappings of influence via the gods. As is the case with most Greek tragedies, Medea offers to the reader an eternal caution against the excesses of emotion and a very stern warning against bitter vengeance, for as human beings, the characters in Medea, and for that matter Euripides himself, "are susceptible to a lethal mixture of error, ignorance and violent arrogance" (Martin, 1996, p. 134)."
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The Tragedies of Macbeth, 2000.
An analysis of the character flaws of Shakespeare's Macbeth.
900 words (approx. 3.6 pages), 1 source, $ 31.95
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Abstract
This is a short essay that analyzes the character flaws of William Shakespeare?s Macbeth. The paper emphasizes the qualities of overconfidence and impulsiveness while using the play as a primary reference.
From the Paper
"In ?Macbeth,? William Shakespeare suggests that overconfidence and impulsiveness are fatal character qualities. Overconfidence leads characters to impulsiveness. When a character believes certain things about themselves or other objects and events around them that are not true, their perception and judgment become clouded; this leads the character to act impulsively. Characters end up carrying out actions rashly and without considering the consequences that they will have to face later. These consequences are often extremely severe and detrimental to the character?s ultimate goal."
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Women in Shakespeare's Tragedies, 2008.
A proposal for a project to study the representation of women in Shakespeare's "Romeo and Juliet" and "Othello".
940 words (approx. 3.8 pages), 34 sources, MLA, $ 33.95
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Abstract
This paper explains that the project will be a detailed analysis of two works by William Shakespeare, "Othello" and "Romeo and Juliet", focusing primarily on the feminist and philosophical elements of the two plays, as well as the significance of the historical context in which they were written. The author points out that feminists, who are preoccupied with the commentary being made in Shakespeare's plays concerning women, question whether his representations of women truly reflect reality. The paper includes an outline of the method by which the project will be completed.
Table of Contents:
Project Overview
Subject to be Studied
Intended Outcomes
Learning Objectives
Detailed Work Plan
Project Outline
Method
Literary Resources
On-Line Resources
Faculty Supervisor's Role
Proposed Timetable
From the Paper
"The project proposes to examine the genius of Shakespeare as a dramatist who possessed a deep psychological understanding of women and who usually was able to anticipate a feminist perspective on women's issues and roles. Being a male author during the Elizabethan period, Shakespeare exhibited profound insights into the psyche of his female characters. Desdemona is unafraid to confront her father and is fascinated by the violent aspect of life yet she is also incapable of taking any real action to resolve her situation."
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An Insufficient Treatment of Shakespeare's Tragedies, 2000.
An explanation of why Stanley Cavil's treatment of Shakespeare's works is incomplete and inconsequential.
2,510 words (approx. 10.0 pages), 0 sources, $ 76.95
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From the Paper
"Stanley Cavell?s reading of Shakespeare indicates that the bulk of what constitutes Shakespearean tragedy anticipates the sort of philosophy known as ?philosophical skepticism? that writers like Thoreau and Descartes would bring to fruition years later, within the clearly defined realm of philosophy. More specifically, Cavell claims that Shakespeare?s tragedies are essentially tragedies of ?acknowledgment,? when one character makes a conscious decision to disown something that he [sic] knows. While Cavell may have identified (indeed, accurately) and been able to categorize elements of Shakespeare which fit into his preconceived mold, to claim that this constitutes the bulk of Shakespeare?s tragic element completely eviscerates the more substantive components of Shakespeare?s tragedy. Cavell?s analytical methods are retroactive. Rather than reading Shakespeare and then formulating a conclusion, he has chosen instead to fit his reading of Shakespeare, sometimes bordering on absurd and nonsensical, to his already preconceived conclusion. To claim, then, that Shakespeare was consciously operating within the context of philosophical skepticism is irrational. Philosophical skepticism gives to the reader an analysis of Shakespeare that is excessively introspective, focusing on the motivations of individual characters while looking over the more significant and relevant parts of the tragedies, relationships between and among humans. While Cavell, centuries later, may have indeed identified elements of Shakespearean tragedy which fit within his mold of philosophical skepticism, this was certainly not the framework from which Shakespeare was operating. "
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Greek Tragedy and "Oedipus Rex", 2002.
Examines the history of Greek tragedy and describes "Oedipus Rex" as the greatest of all Greek tragedies.
2,015 words (approx. 8.1 pages), 4 sources, $ 63.95
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Abstract
This paper examines the historical evolution and maturation of tragedy in ancient Greece, and the characteristics of a tragic hero. The author focuses on one of the most famous Greek tragedies, Oedipus Rex, and greatly details the story of Oedipus and his tragic flaws. The paper also discusses all elements in an ancient Greek production, such as the prologue, chorus, and exodus.
From the Paper
"Oedipus Rex is a story of one man?s pursuit for truth. Although Oedipus falls victim to obstacles he is unable to overcome, he encounters these obstacles along his journey to find the truth. In the view of Sophocles, the tragic hero must accept the responsibility for his actions, as does Oedipus in the final scene, regardless of his original motives and inability to control or understand the forces in which rule his life. The plot, Oedipus? search for truth, and the chorus are all contributing factors that make Oedipus Rex the greatest in the history of all Greek tragedies."
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Tragedy Compared, 2002.
A look at the similarities between two great tragedies, "Macbeth" by William Shakespeare and "Oedipus Rex" by Sophocles.
2,196 words (approx. 8.8 pages), 5 sources, APA, $ 68.95
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Abstract
The paper shows that although "Macbeth" (Shakespeare) and "Oedipus Rex" (Sophocles) are great tragedies from two very different time periods, the similarities that exist between the two are remarkable. It discusses how Shakespeare and Sophocles both understood exactly what it took to write great tragedy. By comparing how fate plays a part in each play, the paper examines whether perhaps Sophocles and Shakespeare were on similar wavelengths. It also examines whether the tragic heroes of each play are doomed to live out their fate or whether there is an element of free will that causes each of their downfalls.
From the Paper
"Oedipus believed that the prophesies of Apollo may full well come true and in an effort to outfox fate, he fled his home and vowed to never let the prophecy come to pass. In doing so, he played right into the hands of Apollo and set off a chain of events that would eventually lead to the prophecy being fulfilled. But was it fate that led Oedipus to commit these horrid acts or was it Oedipus? own strong will and determination to prove it wrong that caused his downfall? Could it be Oedipus? own bullishness that led to his imminent demise? Could it have been Oedipus? ego that forced him to kill his father, then a stranger, on the road?"
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Shakespeare, Aristotle, and the Idea of Tragedy, 2004.
Examines the dynamic forms of catharsis and tragic flaws in William Shakespeare?s plays and how they relate to Aristotle's definition of tragedy.
2,409 words (approx. 9.6 pages), 5 sources, MLA, $ 73.95
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Abstract
William Shakespeare?s most beloved plays are his tragedies. If one were to list his best and most popular plays, "Othello", "Romeo and Juliet", "Hamlet", "King Lear" ,and so forth, one would find the list comprised almost entirely of tragedies. The paper states, therefore, that it would not be amiss to say that much of the modern literary conception of theatrical tragedy is shaped and influenced by Shakespeare. At the same time, the paper shows that the definitions of the tragic form ,as understood at the roots of theatrical history in Greco-Roman times, continue to be part and parcel of the official comprehension of tragedy. The paper shows that many critics have sought to force Shakespeare into the mold of tragedy as defined in Aristotle?s "Poetica", and many others have rightfully protested that he was not cast from that mold, and that, in fact, he owes little to it.
From the Paper
"On the other hand, there is a startling number of criteria discusses by Aristotle that Yanni never mentions, and which Shakespeare either fulfills or denies to some degree. For example, Aristotle suggests that the proper metre for drama is ?The iambic? the proof is that in talking to each other we most often use iambic lines.? (Aristotle) The majority of Shakespeare?s tragedies, of course, use iambic lines. Likewise, Aristotle claims that ?Necessarily then every tragedy has six constituent parts, and on these its quality depends. These are plot, character, diction, thought, spectacle, and song.? Shakespeare is well known for his focus on diction, spectacle, and even song. In these categories one could make any number of parallels between Aristotle?s dramatic suggestions and the original staged forms of Shakespeare?s work."
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