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Antipholus' Speech in Shakespeare's "The Comedy of Errors", 2008.
A review of Antipholus' Speech in Shakespeare's "The Comedy of Errors."
936 words (approx. 3.7 pages), 2 sources, MLA, $ 33.95
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Abstract
The paper comments that the play, "The Comedy of Errors" is much more than a simple comedy or farce as it is usually seen; it is rather a profound meditation on human life, and the way in which errors blind men and keep them from the truth. The paper concludes that Shakespeare's play is a profound meditation on the human condition as a progression from error, illusion and confusion, towards ultimate truth and enlightenment.
From the Paper
"The passage thus contains a few key elements for the interpretation of the play: first of all, the words "transformation", "error", "deceit" and the phrase "earthy-gross conceit" all hint at the main theme of the play: the plane of the human life is seen as a farcical game, in which the mortals are generally erring and confusing the truth with illusion. The play is thus much more than a simple comedy or farce as it is usually seen; it is rather a profound meditation on human life, and the way in which errors blind men and keep them from the truth. Men are generally "smothered in errors", "feeble" and "weak", in the hands of the divine will."
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Ego: Its Role in Characters of Shakespeare from Comedy to Tragedy, 2000.
A paper analyzing Shakespeare's use of Jungian-like psychology in the creation of his flawed characters.
2,035 words (approx. 8.1 pages), 6 sources, MLA, $ 64.95
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Abstract
This paper explores and compares the psychology of the Ego and masks that are worn by two of Shakespeare?s characters; Malvolio(Twelfth Night) and Angelo(Measure for Measure). Using concepts of the Ego laid down by Freud and Jung the author demonstrates how Shakespeare uses this flaw, of imagining oneself as an ideal persona, in both a comedic, and later, tragic play. The paper cites examples from Shakespeare's plays to demonstrate his points. Also, the author references known critics in the field of literary criticism to further elucidate his meaning. The author concludes that by using the Ego as a flaw, Shakespeare created characters that are easy to relate to and provides valuable insight on how to deal with ones mask.
From the Paper
"In C.G. Jung?s book, The Archetypes and the Collective Unconscious, he described what can happen to one who is ?possessed? by what Freud would call the Super-ego. This is an idea Shakespeare was well aware of. He used the concept in his writing as a means to bring about both comedy and later to develop a more sophisticated plot, with a more developed conflict. This flaw of imagining oneself as an ideal persona is supported by critiques of Shakespeare's comedies. Richmond, states that Shakespeare's comedies suggest, "that we should test higher sentiments against the implication of facts"(p.2). He argues that Shakespeare finds virtue in what might be called compromised relationships and only destructiveness in single-minded commitment to an ideal. This is not because this harsh world will not tolerate ideals, but because ideals are self-destructive. Through the characters of Malvolio, in Twelfth Night and Angelo in Measure for Measure, Shakespeare explores this character theme, and creates, not only internal conflict, but external as well ."
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Self in Shakespeare's Comedies, 2004.
A look at how the repression of self is dealt with in two of Shakespeare's comedies.
1,402 words (approx. 5.6 pages), 2 sources, MLA, $ 46.95
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Abstract
This paper analyzes the theme of identity repression in Shakespeare's comedies, specifically in regard to Kate in "Taming of the Shrew" and Rosalind in "As You Like It". It includes two sources and includes direct quotes from the text.
From the Paper
"?All the world?s a stage/ And all the men and women merely players? (AYL 2.7.139-40); this particular quotation is one of Shakespeare?s most touted, and correctly describes the running theme of disguise throughout his comedies. Of course, there are those who would translate this quote into the act of men and women taking on different roles to adapt to certain situations in life, but it goes a bit deeper than that. It is because of social tradition (or, should I say restriction) that a person will shed his/her true self in order to don a more socially acceptable guise. This idea is especially apparent in the character traits of Kate in ?Taming Of The Shrew?, and Rosalind in ?As You Like It?."
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The Comedy of Errors: Christianity in Shakespearean Era, 2002.
Shows that although it is a comedy, Shakespeare's play, "The Comedy of Errors" contains a great deal of insight into the religious state of Shakespeare's era.
1,542 words (approx. 6.2 pages), 2 sources, MLA, $ 50.95
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Abstract
This paper explains in what ways Shakespeare was quite critical of the practice of Christianity and its hypocrisies. Ephesus, the town where "The Comedy of Errors" is set, contains a great deal of religious history. It is one of the places where St. Paul preached Christianity, as told in Acts of the Apostles in the Biblical New Testament. Ephesus was the source of much witchcraft and sorcery, and subsequently much Christian reform. It shows how through scene setting, Shakespeare had many things to say about Christianity in his play. We see the way in which the characters deal with the Christian hypocrisy of their time. The church focuses power in a patriarchal way; the men abuse this power while the women and servants (Adriana, Dromio) are expected to abide by biblical ideals. The paper addresses all these themes, including detailed adverse effects of the Christian society on the female and lower-class characters. Included are an overabundance of textual quotes, as well as some direct biblical references.
From the Paper
"In moving the location of Plautus?s play, The Brothers Menaechmus, from Epidamium (in Ancient Greece) to the Turkish city of Ephesus, Shakespeare placed the action in a newer and more dramatic religious environment for The Comedy of Errors. The missionary St. Paul, whose travel and imprisonment in Ephesus are recorded in the Christian Bible?s ?Acts of the Apostles,? associated the city with witchcraft and evil sorcery, but also sought to refine it. There are several places in Ephesus whose names hark back to the mythology of Ancient Greece, such as the ?Centaur? (Antipholus of Syracuse?s inn) and the ?Phoenix? (Antipholus of Ephesus?s home). Yet this sets up a religious conflict within the city of Ephesus, for most of the characters indicate themselves to be Christian. Antipholus of Syracuse directly states, ?I am a Christian?? (23), while characters like Luciana and Adriana suggest it in their moral counsel, or even simple exclamations (LUCIANA: ?God for Thy mercy?!? (123)). At the beginning of Act IV, the Second Merchant reminds Angelo the goldsmith, ?You know since Pentecost the sum is due? (87), demonstrating that the Christian calendar is instituted so that it guides even business dealings. However, Shakespeare does not praise Christianity in this play; at times, the manipulation of Christianity is equally as bad (if not worse) than the paganism that St. Paul had originally set out to dispel. It serves as an oppressor to selected characters throughout the play."
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Comedy in "A Midsummer Night's Dream", 2006.
An analysis of William Shakespeare's use of comedy in his play "A Midsummer Night's Dream".
1,487 words (approx. 5.9 pages), 1 source, MLA, $ 49.95
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Abstract
This report looks at Shakespeare's play "A Midsummer Night's Dream" from the perspective of how the author uses comedy in the play to achieve plot and character development. It primarily looks at Shakespeare's ironic references but also considers more serious themes in the play. For example, when Shakespeare refers to the players as asses in the work, this highlights the ridiculousness and humorous aspects of the scene. The paper concentrates on such scenes, around the general theory that Shakespeare used comedy to further some contrast to the serious scenes in the play.
From the Paper
"In the first scene of Shakespeare's A Midsummer Night's
Dream, the character Helena, after the other characters have gone offstage, continues to speak to the audience about her conception of love. She seems to contradict herself, first saying that love is born of the mind and then stating its blindness and irrationality. This
is showing some humor already in that there is a willful contradiction for the audience. More seriously, her idea of love is one that is mixed up in power and revenge, and these themes come into play later on in the work, when Oberon and Titania have their own schemes of power and revenge in the forest."
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Comedy in ?King Lear?, 2004.
Examines elements of comedy in William Shakespeare's tragic play.
1,300 words (approx. 5.2 pages), 3 sources, MLA, $ 43.95
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Abstract
On its surface, "King Lear" by William Shakespeare, stands as an excellent example of one of his tragedies and, in certain senses, it is the most obviously ?classical? of Shakespeare's plays in terms of tragedy. This paper examines how there can be room for comedy in the play and shows how Shakespeare blends the two elements of tragedy and comedy successfully throughout the text. The paper also borrows examples from several of Shakespeare's other plays to illustrate this blending of concepts.
From the Paper
"Indeed, at this moment, King Lear comes to realize for the first time the folly of his policy and the treachery of his daughters and in this moment, we, as an audience might begin to have some sympathy for his earnest expression of grief. The Fool, however, responds to Lear?s heartfelt outpouring with a witty remark that provokes laughter rather than sympathy, creating a strange moment for the viewer who is caught between the depths of Lear?s suffering and the hysterics of The Fool?s remark:"
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William Shakespeare's "A Midsummer Night's Dream", 2006.
This paper analyzes the use of comedy in William Shakespeare's "A Midsummer Night's Dream" as presented in the play-within-a-play, 'The Most Lamentable Comedy and Most Cruel Death of Pyramus and Thisby', in Act V.
1,495 words (approx. 6.0 pages), 3 sources, MLA, $ 49.95
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Abstract
This paper describes William Shakespeare's "A Midsummer Night's Dream as preposterous, and arsy-versy. The author points out that, by using the rude mechanicals, Shakespeare seems to be arguing that arsy-versy can turn even the most lamentable tragedy into a roaring comedy. The paper relates that an example of arsy-versy of one of the rude mechanicals is called Snug the Joiner, whose rhetoric is so slow and disjointed that he asks for his lines written in advance. The author also then discusses Titania as an example of preposterousnous, explaining that she is the fairy goddess who falls deeply in love with Bottom despite his having an ass for a head of which he is unaware. The paper concludes that the backwards reaction to the events of the play-within-the-play points to Shakespeare's message that people are insensitive to their own follies and yet are very perceptive of the same follies found in others.
From the Paper
"As the play begins, the preposterousness of the presentation is immediately shown in the prologue, which the rude mechanicals took great care to write so as not to offend the court. Peter Quince's delivery of the prologue presents a message opposite from the intended one. "If we offend, it is with our good will," he says, unfortunately telling the court that his intent is to offend. "All for your delight," he later says, "we are not here". The players then continue to present their play in a rather backwards manner; by making it crystal clear to the court that what they see in front of them isn't real."
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Comedy, 2005.
Shakespeare's conception and theory of comedy.
675 words (approx. 2.7 pages), 4 sources, MLA, $ 23.95
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Abstract
This paper examines William Shakespeare's conception and theory of comedy. It looks at sources of Shakespeare's theory of comedy and uses the plays "A Midsummer Night's Dream" and "The Taming of the Shrew" as examples.
From the Paper
"A review of selected comedies and romances of Shakespeare strongly suggests that Shakespeare's theory of comedy comes from two sources - characterization and the turning of serious situations upside down to make them complicated and funny only to resolve them and create an ordered life for all concerned. The comedies differ in many respects but what they share are lines of action that however confused are put back together again. In that regard Langer says Destiny in the guise of Fortune is the fabric of comedy or philosophical acceptance ..."
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"Divine Comedy" and "King Lear", 2004.
A look at the theme of dark humor and satirical comedy in ?Divine Comedy? by Dante and ?King Lear? by William Shakespeare.
887 words (approx. 3.5 pages), 0 sources, $ 31.95
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Abstract
This paper discusses how, in these literary works, a notable characteristic is the authors? ability to weave in the aspect of dark humor, aptly using satirical comedy in order to criticize the rulers and leaders of their societies during their time. It explains how, in ?King Lear,? Shakespeare uses character profiles that fit the description of the antagonists and protagonists in political conflicts that were happening in Shakespeare?s society. It also describes how Dante?s work served as revelation to the people to witness the anomalies going on in their society.
From the Paper
"In Inferno/Hell, Dante is accompanied by Virgil as they go through the inner circles, called bolgia, where different offenders of the sins of humankind are suffering and are being punished for their sins. There are nine bolgias inside, where the first circle is the limbo, described as a place where people experience ?gentle sadness.? Inside the bolgias are people suffering from the sins of humankind: lust, gluttony, the avaricious and prodigal, sullen, heretics, violent people against the tyrants, gods, or goods, fraudulent people in love, flatterers, simonists, diviners, barrators, hypocrites, thieves, fraudulent counselors, sowers of scandals and schism, falsifiers, rebels, and traitors against kin, homeland, guests, and benefactors."
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Shakespeare's ?Measure for Measure? and Shaw's ?Major Barbara?, 2002.
This paper compares the many parallel images in the comedies William Shakespeare's ?Measure for Measure? and George Bernard Shaw's ?Major Barbara".
2,405 words (approx. 9.6 pages), 10 sources, MLA, $ 73.95
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Abstract
The author believes that Shaw quite consciously modeled some portions of ?Major Barbara? on Shakespeare's ?Measure for Measure?. The paper discusses the many similarities such as the religious overtones in both plays and the characterization of the female main characters Isabella and Barbara. The author points out that both plays make the same philosophical point: The need to let something go in order to achieve or gain something else, perhaps of greater value.
From the Paper
""Measure for Measure" is gloomy in the beginning; but Shakespeare, as does Shaw, is able to work out the transition from potential tragedy to comedy. Unfortunately, in the transition, Shakespeare, unlike Shaw, does not always make his characters behave consistently. Like Shaw, however, he does order everything that happens in "Measure for Measure" on the principle that the play must be kept a comedy. That was his given reason for making his heroine Isabella a novice nun and for bringing Lucio into her first scene with Angelo (II. ii.); every detail must play its part in intensifying the effect of comic irony. Once used though, such a detail may later be ignored by Shakespeare. Isabella is found to be not too nun-like after all. She is not squeamish or sanctimonious and can be intensely practical, as her "0, let him marry her!" (I. iv. 49) reveals. During the play she develops into a vociferous, ironical nun?almost a Major Barbara."
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Parents and Teens in Shakespeare and Film, 2006.
Compares Shakespeare's "The Taming of the Shrew" with the film "Ten Things I Hate About You".
1,069 words (approx. 4.3 pages), 3 sources, MLA, $ 37.95
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Abstract
This paper compares and analyzes Shakespeare's famous comedy about the wooing of a shrewish, eldest daughter, "The Taming of the Shrew", with the film, "Ten Things I Hate About You", about teenage romance and adult wisdom. The paper explains that while their plots are similar, the messages delivered about love, romance and personal development are very different.
From the Paper
"The initial irony present in Shakespeare can be seen through the use of the framing device scorned by "Ten Things I Hate about You." Although the playgoer Christopher Sly of "The Taming of the Shrew" does not reappear at the end of the comedy, the fact that the viewer is always watching a play of a play makes it clear to the audience that the occasional Punch-and-Judy show type violence is, 'in quotes' or ironic, rather than a simple validation of violence against women. "Am I a lord? And have I such a lady? Or do I dream? or have I dream'd till now?" asks Sly, emphasizing the dreamed nature of "The Taming of the Shrew." (1.2) Up to the end, the play has a fantastical quality, rather than a play of real-life morality and consequence, until Katherine's final monologue."
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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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"Measure For Measure" by William Shakespeare, 1990.
An examination of the relationship between the Duke and Isabella as a commentary on the plot, theme and other characters in Shakespeare's "Measure For Measure". The play is a dark comedy about sexual morality and power.
1,350 words (approx. 5.4 pages), 1 source, $ 47.95
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From the Paper
"Measure for Measure, like a number of Shakespeare's plays, is an exploration of the use and abuse of power. Closely tied to the issue of power is morality, and in particular, sexual morality. Yet, even while issues of sexual conduct do a great deal to forward the plot, it may not be safe to say that Measure for Measure is a romantic comedy.
Throughout the play, there is always the looming specter of death, which renders it, more or less, a tragicomedy or dark comedy. Claudio must die by Angelo's decree for simply anticipating, with fornication, the legalization of his marriage to Juliet. Ostensibly, only his sister, Isabella, can save his life by committing the crime, with Angelo, that her brother is accused of. Ultimately, it is not this relationship that saves her brother, but the one she forms with the disguised Duke. It is also this relationship that best..."
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William Shakespeare's "Measure for Measure", 2006.
This paper discusses religious skepticism in William Shakespeare's "Measure for Measure".
2,275 words (approx. 9.1 pages), 0 sources, $ 70.95
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Abstract
This paper explains that, in William Shakespeare's problem comedy "Measure for Measure", there is a certain sense of Shakespeare's discomfort or downright cynicism toward the concepts of religion such as Providence, divine mercy and the afterlife. The author analyzes the way the actions of the characters of Duke Vincentio, Isabella and Claudio reflect the religious skepticism that Shakespeare so frequently insinuated into his work. The paper concludes that Claudio is the only one for whom the play ends with a truly happy ending; insinuating that perhaps for all of those, who deny their true nature and insist on living their lives to achieve the impossible standards of religion, perhaps there is no happy ending.
From the Paper
"The questionable actions of Isabella, too, can be construed as Shakespeare commenting on divine mercy. For instance, when dealing with her brother Claudio, Isabella shows little or no pity toward his eminent death when it is directly weighed against her chastity. Yet when Angelo is condemned for basically an identical crime for which he doomed Claudio, Isabella pleads to the Duke that Angelo might be spared because Angelo did not, for all intents and purposes, actually succeed in his objective. Since Isabella did not stand to lose anything in her defense of Angelo, she made it willingly. When Isabella was forced to give up something precious to herself, however, she chose her own salvation over her brother's salvation."
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Comedy In Los Angeles, 1995.
Discusses the business of comedy; specifically, comedy clubs. Focuses on three Los Angeles clubs: The Comedy Store, the Laugh Factory and the Improvisation.
3,375 words (approx. 13.5 pages), 6 sources, $ 119.95
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From the Paper
"INTRODUCTION
Comedy has become a major business over the last 20 years or so, and the proliferation of comedy clubs in major cities is a testament to this fact. Three of the seminal and more successful comedy clubs are found in Los Angeles--The Comedy Store on Sunset Boulevard, the Laugh Factory on the same street, and the Improvisation on Melrose Avenue. These clubs are known for featuring new talent, as places where established talent tests material, and as magnets for celebrities in the audience as well as on stage. Each has also been well-served by their respective owners' dedication to promotion. The venues have somewhat different approaches to the presentation of comedy acts and target somewhat different audiences. They have also been buffeted recently by a downturn in the comedy business, though they have ..."
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