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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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"The Merchant of Venice" by Shakespeare: Fairy Tale or Problem Play?, 2001.
An in-depth look at the underlying themes of prejudice, loyalty and love, in this well known Shakespearean play.
1,790 words (approx. 7.2 pages), 3 sources, $ 57.95
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Abstract
In this paper the author discusses whether the ?Merchant of Venice? is a fairy tale, as exemplified by the romantic comedy genre, or a problem play. The author looks at the three themes he suggests run through the play: Prejudice, Loyalty and Love. He looks closely at the character of Shylock and how he has been depicted over time, from villain to someone who should be pitied and at the hypocrisy shown by the Christian characters; he examines the relationships between Antonio, Bassanio, Portia, Gratiano, Nerissa, Lorenzo, and Jessica and the resulting marriages and love is examined with respect to the platonic loyalty between friends and in the romantic exchanges between suitors and spouses.
From the paper:
?The theme of loyalty in the play comes out through the interactions of several sets of characters. First, there is Bassanio, who is close friends with Antonio --? friendship which survives many stressful situations in the play. The loyalty between Bassanio and Antonio becomes evident I the first act of the play when Antonio loans Bassanio a large sum of money and takes him on his word that he will repay it.?
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Shakespeare?s Women, 2002.
A discussion of the strong female characters in William Shakespeare?s plays, ?The Merchant of Venice? and ?The Taming the Shrew.?
1,408 words (approx. 5.6 pages), 8 sources, MLA, $ 46.95
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Abstract
This paper examines how both the characters of Portia and Katherine in William Shakespeare?s plays, ?The Merchant of Venice? and ?The Taming the Shrew" are intelligent women who each goes through a character metamorphosis. It looks at how just as Portia transformed from submissiveness to a role of command, Katherine's transformation took the opposite turn. She submitted her independence and thus found her true self. It shows how both women were miserable in the beginning of the plays, Portia from obeying and Katherine from disobeying and how by swinging the pendulum, each woman found a balance and triumphed in their feminine roles.
From the Paper
"Katherine in ?Taming of the Shrew? is perhaps Shakespeare most famous female character. She and Portia are opposite in initial character. Katherine is ill-tempered and scoffs at obedience. She is prone to tantrums and physical attacks on the victims of her rage. Just as Portia is miserable from obedience despite her charm, Katherine too is unhappy, despite her foul disposition. Katherine?s unpleasant nature may stem from fear of her own feminine desires and feelings of inadequacy. She may also be anxious that she will never marry, thus sealing her fate and her role in society as the maiden daughter. Katherine is intelligent and her spirit surely recoils at the thought of such a fate. In fact Katherine?s spirit seems out of place amid an era when women were considered nothing more than property."
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Shakespeare?s Love Affair With Gender, 2005.
Examines sexuality in the hands of powerful women and baffled men in Shakespeare's play "The Merchant of Venice".
2,254 words (approx. 9.0 pages), 2 sources, MLA, $ 69.95
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Abstract
Using the ideas and motifs of the contextual text "Il Pecorone", William Shakespeare constructs a play - "The Merchant of Venice" - with a focus on sexuality and gender, creating equal grounds to contrast the characters Antonio and Portia. This paper shows that, adding a depth to the play that was not present in the original document, Shakespeare presents a world of romantic rivalry in which the woman assumes characteristics generally associated with the masculine - such as power, authority and self-control, while the man is shown as a weak character victimized by his own emotional instability.
From the Paper
"Inspiration for the character of Portia is the Lady of Belmonte in the original text, a woman who uses her sexuality and power to lure gullible men into her trap. Highlighting the benefits of their visit, she counts on men's sexual greed and vulnerability to get them to accept the challenge and loose their ships - in a way she is the equivalent of hazardous storms that sailors face. The fact that the Lady's name is not specified strengthens her association with the supernatural, and establishes her as a strong character unaffected by human flaws. Her life experiences and maturity allow her to preserve the authority over her possessions and to make decisions about her future. As a widow, the lady defies the stereotype of a virginal maiden."
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Shakespeare's Women, 2006.
Discusses the roles of Cleopatra and Desdemona in plays by William Shakespeare.
1,245 words (approx. 5.0 pages), 10 sources, MLA, $ 42.95
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Abstract
There is a virtual myriad of essays and criticisms concerning the women characters in William Shakespeare's plays. This paper focuses mainly on the role of two of these women - Desdemona from "Othello" and Cleopatra from "Antony and Cleopatra". It also briefly discusses other characters such as Calpurnia and Portia. The paper concludes that of all his female characters, Shakespeare's Cleopatra is certainly at the top of the list in qualities of intelligence, power, seductiveness, aggression and assertiveness.
From the Paper
"Desdemona in "Othello," appears on the surface as a typical weak female who is totally submissive to her husband, however she is not truly typically meek. She is actually quite broad minded and assertive, and seems to have no problem in standing up to Othello's jealousy or using her feminine wiles to persuade her husband to forgive Cassio. When Othello strikes her, shouting, "Devil," Desdemona responds to him, saying, "I have not deserved this" (Othello pp)."
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Shakespeare's "Hamlet", 2005.
This paper discusses the character of Ophelia from Shakespeare's "Hamlet".
675 words (approx. 2.7 pages), 1 source, $ 26.95
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Abstract
This paper focus on three questions about the character of Ophelia from Shakespeare's "Hamlet": How is the character structured? On what basis might readers choose between different readings of a character? Is reading through character the only way to read? The author points out that the character of Ophelia is built in the beginning of the play with both the brother and father warning Ophelia about Hamlet. The paper suggests that, to improve the understanding of "Hamlet", different sections of the play should be read focusing on different characters.
From the Paper
"Who is Ophelia? Why is she important in Hamlet? How does Shakespeare construct her character? Shakespeare began creating the character of Ophelia as she talks to her brother Laertes. He continues to builds the character of Ophelia as he describes how Ophelia believes Hamlet is in love with her. The structure of Ophelia is carefully built around the Polonius and Hamlet until the very end where she commits suicide. The character of Ophelia begins with Ophelia being warned by her brother to not fall in love with Hamlet. "I shall the effect of this good lesson keep, As watchman to my heart..." (Shakespeare 1013). This warning is not heeded by Ophelia as she continues to fall in love with Hamlet. The character of Ophelia is important in the play for several reasons and all of these are based on her relationships with main players including Hamlet, Laertes, and Polonius."
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Shakespearean Studies: Understanding the Theme of Disguise in Romeo and Juliet and the Film Shakespeare in Love, 2005.
An analysis of the theme of disguise in "Romeo and Juliet" by William Shakespeare and the film "Shakespeare in Love", directed by John Madden.
675 words (approx. 2.7 pages), 2 sources, $ 26.95
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Abstract
This paper looks at how the play "Romeo and Juliet" by William Shakespeare and the film "Shakespeare in Love", directed by John Madden, utilize disguise as the key to romance and intrigue. It looks at how "Shakespeare in Love" displays the theme of disguise as an equal response to the trickery and guise found in "Romeo and Juliet" and how in "Romeo and Juliet" the theme of disguise through the masquerade ball is important in Romeo realizing his love for Juliet.
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William Shakespeare, 2003.
Examines the influence of William Shakespeare on drama and theatre.
9,454 words (approx. 37.8 pages), 28 sources, APA, $ 194.95
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Abstract
This paper discusses the influence of William Shakespeare on twenty first century theatre. Shakespeare was a great English playwright, dramatist and poet who he lived during the late sixteenth and early seventeenth centuries. He is considered to be the greatest playwright of all time. The paper shows that no other writer's plays have been produced so many times or read so widely in so many countries as his. Shakespeare had a tremendous influence on culture and literature throughout the world and he contributed greatly to the development of the English language. The paper examines how many words and phrases from Shakespeare's plays and poems have become part of our speech. It shows that Shakespeare's ideas on subjects such as romantic love, heroism, comedy and tragedy have helped shape the attitudes of millions of people. His portrayals of historical figures and events have influenced our thinking more than what has been written in history books. The world has admired and respected many great writers, but only Shakespeare has generated such enormous continuing interest. The paper discusses his different works for theatre. Costumes trends, audiences and sets are also discussed. It also discusses the formation of Globe theatre by Shakespeare.
Outline:
Abstract
Background
Life of Shakespeare
Shakespeare Career
Shakespeare's Influences on Theatre
Costumes and Sets
Audience and Plays
Globe Theatre
Structure of the Globe
Shakespeare and the End of the Globe
Development of Theatre
Conclusion
From the Paper
"Everything had to be conveyed to the audience through words and there is little doubt that the audience had better memories and perhaps higher powers of attention than people do today, so that they took in and retained the information given to them. The majority people in Shakespeare's day could not read or write so they had to rely on word of mouth and on memory; this is in evidence in Romeo and Juliet when the Servant is sent to bid Capulet's guests to dinner. He can't read the list which he has been given and he asks Romeo to read it to him; he hears it read once and then goes off to find the guests; yet, there are well over thirteen people on the list so his memory must have been extremely retentive."
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Shakespeare and the Romantic Poets, 2006.
This paper discusses the reception of William Shakespeare by the Romantic poets as referenced in several text of both Shakespeare and these poets.
2,930 words (approx. 11.7 pages), 14 sources, APA, $ 86.95
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Abstract
This paper examines the way in which Shakespeare was viewed by the poetic exponents of Romanticism, and how some of the characters of Shakespeare's plays may exemplify the Romantic ideal. This author explains that two hundred years separates the time of William Shakespeare in the Elizabethan era and the Romantic poets and their vision of a society, which put the concerns of the individual to the forefront of political issues. The paper points out that, while direct reference to Shakespeare's works by the romantic poets is less than abundant, John Keats, Samuel Taylor and Percy Bysse Shelley suggest a clear aesthetic link between Romanticism and Shakespeare's texts. The paper examines characters of Shakespeare's plays and how they exemplify the Romantic vision of individual liberty, the freedom of expression and mans' relationship with nature, which feature prominently in "King Lear", "Hamlet", "Romeo and Juliet"."
From the Paper
"If then, life is to be lived according to one's ideals, as opposed to the rules of society, then the examination of cerebral conflict is a relevant concern. It would be a simple matter to make one's point by filling an essay such as this with quotations from "Hamlet", whose central character, it appears, is in a state of permanent confusion, or from Corialanus, who, it could be argued is the most egocentric character ever created by Shakespeare, and whose vanity, ultimately, proves to be his undoing. The Romantic hero referred to in my question however, is, for this critic, personified in the character of the eponymous protagonist of "Romeo and Juliet"."
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The Modern William Shakespeare, 2001.
This essay covers a vast amount of information on William Shakespeare and his plays. This paper explores the ways that Shakespeare's drama has evolved and transformed over time.
3,870 words (approx. 15.5 pages), 15 sources, MLA, $ 105.95
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Abstract
This essay is about William Shakespeare and the ways in which his art has changed and evolved with time. This essay covers many of Shakespeare's plays and many modern film adaptations of his plays. The paper discusses much of the history behind Shakespeare's works and the many sources from which his drama was derived. The essay also deals with Shakespeare's language and the aspects of his invented language that have become a part of our everyday vocabulary. It covers the many characters, plots and genres of Shakespeare's works. The main theme of the paper is centered around the ways modern history has invented a Shakespeare of its very own.
From the Paper
"Who is Shakespeare? What is Shakespeare? Nearly four hundred years following his death, the Shakespearean debate trudges on. In his lifetime, William Shakespeare wrote a phenomenal cannon of dramatic literature. He managed to create an astounding thirty-seven plays in scarcely the span of twenty-five years. Individually, these plays constitute some of the best art ever written. Collectively, these works secure Shakespeare as the principle literary draftsman of the Elizabethan Age. In his dedication to William Shakespeare in 1623, Ben Johnson wrote: ?He was not of an age, but for all time.? To this day, Shakespeare?s creative genius has yet to be exceeded. No writer in any language can rival the eminence and immortal perpetuity that Shakespeare has relished. And no man, in any creative enterprise, has ever impelled a cultural influence as ample or as profound. Shakespeare?s language and extensive lexicon of coined phrases are more ubiquitous in trite conversation today than the myriad of cliched aphorisms present in the King James Bible. His hundreds of characters-the very mirrors of human nature-are equally as recognizable. From small amusements like Bottom the Weaver, to such unparalleled manifestations as Falstaff, Shakespeare has enriched civilization by mimicking it."
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Shakespeare's "Hamlet", 2005.
This paper discusses that in Shakespeare's "Hamlet", the character Ophelia is the most innocent victim of Hamlet's revenge.
935 words (approx. 3.7 pages), 0 sources, $ 33.95
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Abstract
This paper explains that, in Shakespeare's "Hamlet", Hamlet and Ophelia's relationship is a complex one, forming and developing as results of death, love, obedience and an Oedipus complex. The author points out that there are many similarities between Ophelia and Gertrude; Hamlet's love and sudden dependence on Ophelia may be an attempt to get closer to his mother as a result of the Oedipus complex. The paper concludes that, even in death, Ophelia has a large part in Hamlet's life because Hamlet's death was ultimately caused by Ophelia's death when the graveyard scene, in which Hamlet proclamation, "I loved Ophelia", leads to his fatal duel with Laertes.
From the Paper
""One fair daughter and no more,/The which he loved passing well," Hamlet sings at Polonius, mocking his supposed love for his daughter. Hamlet also calls him "Jephthah, judge of Israel." As told in Judges 11, Jephthah promises God that if he wins in battle he will sacrifice whatever comes out of the doors of his house when he returns. After he wins the battle, his only daughter hears of his victory and comes out to meet him. He keeps his promise to God. Hamlet's implication is that Polonius, like Jephthah, will sacrifice Ophelia for his own advantage."
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Women in Shakespeare and the Terrible Price of Love, 2006.
A comparison between Ophelia and Hermione's death scenes in works by William Shakespeare.
1,454 words (approx. 5.8 pages), 2 sources, MLA, $ 48.95
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Abstract
This paper presents a comparison of female victimization in two of Shakespeare's most renowned plays, "Hamlet" and "The Winter's Tale". By presenting a detailed description of Ophelia and Hermione's dying scenes, a thorough analysis of their characters is obtained, and the role of women in general in Shakespeare's plays is given extensive thought.
From the Paper
"The main difference between Hermione's death scene and Ophelia's is the sheer publicity of Hermione's situation, as opposed to the total seclusion and privacy with which Ophelia's death occurred. If in the first scene we find Ophelia alone, singing, reveling in the silence (also portrayed by the still water) and slowly fading out of life, Hermione's scene communicates the exact opposite. A queen unrightfully reduced to a prisoner, Hermione finds herself amidst officers, guards and lords, all of whom will be exposed to a private issue between her and her husband."
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Shakespeare: Life And Works, 2002.
Discusses the life and works of William Shakespeare and the controversy regarding the suspicion that some works attributed to Shakespeare were not really his.
1,150 words (approx. 4.6 pages), 5 sources, $ 44.95
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Abstract
This paper discusses the life and works of William Shakespeare. Shakespeare was undeniably the best playwright in English literature but his life has always been a mystery and his works have often been eyed with suspicion as quarters are of the view that Shakespeare was not the author of some of the plays.
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Film: "William Shakespeare's A Midsummer Night's Dream", 2007.
This paper compares Michael Hoffman's 1999 film, "William Shakespeare's A Midsummer Night's Dream" with Shakespeare's original play.
2,350 words (approx. 9.4 pages), 9 sources, MLA, $ 72.95
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Abstract
This paper explains that, for his 1999 film, "William Shakespeare's A Midsummer Night's Dream", Michael Hoffman rewrote the original Shakespeare play, put it into a more modern context and emphasized artistic visual expression over Shakespeare's expression through the poetry of language. The author points out that Hoffman modernized the gender roles by creating a dialogue for Bottom's wife, thus increasing her importance; wherein, in the original play, her role consisted of a stare. The paper relates that, to appeal to modern cultural standards, the movie has been made more aesthetically pleasing by the fantasy theatrics of the costumes and makeup.
From the Paper
"The first and most evident difference between the 1999 film adaptation and the original play by Shakespeare is the setting. Shakespeare's work is set in Greece, while Hoffman's is set in the turn of the 20th century Tuscany. It was also filmed in Tuscany. "Hoffman moves the action forward in time and sets it in late 19th-Century Tuscany" writes Welsh, but it is questioned whether this "new setting makes sense". Thus Hoffman's version has an immediate difference between that of Shakespeare's which took place in the traditional classical setting."
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Shakespeare's "The Merchant of Venice?, 2005.
This paper compares the three suitors in Shakespeare's "The Merchant of Venice" and explores how Shakespeare influences the audience's attitudes towards the three men.
1,380 words (approx. 5.5 pages), 3 sources, MLA, $ 46.95
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Abstract
This paper explains that, in Shakespeare's "The Merchant of Venice", Portia's three suitors--the Prince of Morocco, the Prince of Arragon and Bassanio-- reveal the contents of the three caskets and, by exposing their attitudes towards the caskets, indicate their true character, which heightens the dramatic tension. The author points out that, at the time the play was written England was at war with Spain so Arragon, a rather unflattering stereotype of a typical Spaniard, would have been funny to an Elizabethan audience and his name "Arragon" and "Arrogant" amusing. The paper relates that Morocco is jeered at for his skin color but Bassanio is portrayed more favorably as a Christian and Venetian, who is not proud or arrogant. Many illustrations.
From the Paper
"The second suitor is the Prince of Arragon whose entrance unlike Morocco's is not pre-empted by any comments from Portia. His arrogance and pride are shown through his choice of casket and his reaction to choosing the wrong casket. He comments on the inscription of gold casket, "...I will not jump with common spirits/And rank me with barbarous multitudes" (Act II Scene ix). Thinking gold was too common for him he arrogantly discards it. He does not even stop to contemplate the lead casket saying only that it would have to look more attractive for him to hazard anything for it. The silver casket is the one that appeals to him the most because he feels that no one deserving should go unmerited. His arrogance leads him to assume that he is worthy of Portia."
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