| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "SHAKESPEARE LOVE": |
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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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Shakespeare in Love, 2002.
A look at the movie of "Shakespeare in Love".
650 words (approx. 2.6 pages), 1 source, $ 26.95
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Abstract
This three-page undergraduate paper is on the movie Shakespeare in Love directed by John Madden. It includes the review of the movie, what was the movie all about and how right was it historically.
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"Canterbury Tales" and Shakespeare's Love Sonnets, 2007.
This paper gives a comparative analysis of Geoffrey Chaucer's "Canterbury Tales" and William Shakespeare's love sonnets.
1,320 words (approx. 5.3 pages), 0 sources, $ 44.95
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Abstract
This paper discusses the theme of idealism as reflected in the works of Chaucer and Shakespeare. In particular, the paper examines Chaucer's "Canterbury Tales" and Shakespeare's Sonnets 18, 116 and 130. The discussion and analysis demonstrates how both authors' works illustrate the prevalence of their ideals: for Chaucer, his ideals on what religion and expression of faith should be, and for Shakespeare, how love is and should be.
From the Paper
"Influenced by the ideology of idealism during his time, Chaucer reflected his ideals of Christianity and its followers through The Pardoner's Tale of "The Canterbury Tales." Like the other tales in "Canterbury," the Pardoner's tale is a satire meant to criticize the society that Chaucer lived in during his period. While in some of the tales, Chaucer did not explicitly expressed his disagreement with and criticism of the rampant corruption and hypocrisy within the Church and among its elements (the clergy and the lay), in the Pardoner's tale, these issues were addressed and made explicit through the persona of the Pardoner."
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Shakespeare on Love, 2003.
An analysis of the theme of love in William Shakespeare's "Sonnet CXVI".
710 words (approx. 2.8 pages), 0 sources, $ 25.95
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Abstract
This paper examines William Shakespeare's "Sonnet CXVI" and attempts to show how he uses the sonnet form to write about love. It points out that Shakespeare's sonnets are divided into two sections. In the first octave, a concept is presented, while the subsequent sestet is responsive, in that it comments on the former. The paper holds that, on the surface, the sestet of "Sonnet CXVI" appears to merely be a change in tone to one more serious. The paper concludes, however, that a closer analysis of the sestet reveals that Shakespeare stops listing things that love is not and begins describing the one thing that love indeed is.
From the Paper
"The first line of "Sonnet CXVI", which equates love to a "marriage of true minds," conveys the idea that persons joined in love experience more a blending of the souls than mere physical interaction. It is a natural introduction to the remainder of the octave, which presents the narrator's opinion that true love is not swayed by external changes in situation or physical attributes. The narrator emphasizes, "Love is not love / Which alters when it alteration finds/Or bends with the remover to remove," meaning that romantic feelings are not true love if they fade when one's situation is altered by circumstances or when lovers experience a separation. Shakespeare goes on to say that, "it [love] is an ever-fixed mark." The word "mark" as used here means a target, not a stain. The true lover keeps his or her eyes fixed on the goal of sustaining love; the true lover does not want out of a relationship that is occasionally stormy."
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Shakespeare's Themes of Love And Revenge, 2002.
Discussion of two main themes found in repeatedly in Shakespeare's plays.
650 words (approx. 2.6 pages), 1 source, $ 26.95
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Abstract
Shakespeare wrote several plays with "Hamlet" being one of them that shows the constant themes of love and revenge. In many of the plays it is like changing names and having the plots the same.
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Romantic Love in Shakespeare's 'A Midsummer Night's Dream', 2001.
This is an exploration of how romantic love can turn lovers into fools.
1,840 words (approx. 7.4 pages), 1 source, MLA, $ 59.95
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Abstract
This paper looks at Shakespeare's play "A Midsummer Night's Dream," as an example of how Cupid's arrow can make people defy convention and reason. Through an examination of the characters and their roles, the author supports the thesis that love causes a person to become irrational and can often cause them to lose touch with reality.
From the Paper
"The fighting continues between the four. Helena gets more and more upset, particularly at Hermia, who was once her dearest, closest friend, and whom she now suspects is being cruel to her. Hermia herself is very confused, at both the fact that Lysander no longer wants anything to do with her, and the fact that Helena seems to not trust her. Once the argument ceases and the four go off into the forest, so Demetrius and Lysander can duke it out over Helena, Puck catches up to set things "right". Oberon's wish is that the original lovers Lysander and Hermia are reunited, and that Demetrius will stay in love with Helena, and she will believe his love to be true."
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Love in Shakespeare's "Much Ado About Nothing", 2000.
An examination of the different types of love in this play, and the difference between public and private love.
1,556 words (approx. 6.2 pages), 1 source, $ 51.95
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From the Paper
"The characters in Shakespeare?s play, Much Ado About Nothing, act as stereotypes of different ways of pursuing love, deceit and deception. They show two very different ways of wooing, one of superficiality and one of true, genuine feeling. The relationship between Beatrice and Benedict starts out almost child-like and ends on a note of true love and happiness. On the opposite pole, Claudio and Hero symbolize the superficiality behind wanton love. Both couples are pillars of how lovers, past and present, handle their relationships."
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Love and Death in Works by Shakespeare, 2005.
Examines the connection between love and death in "Othello" and "Hamlet" by William Shakespeare.
916 words (approx. 3.7 pages), 1 source, MLA, $ 32.95
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Abstract
In literature, love is often the source of the greatest tragic sacrifices. Yet what is the cause of this unfortunate relationship between the majesty of love and the misery of death? This paper shows how William Shakespeare gives this theme ample treatment in "Othello" and "Hamlet". The former slays his beloved wife Desdemona, and the latter's obsessive revenge causes the downfall of the cherished Ophelia. The paper shows how Shakespeare conveys the idea that love, being great, is also greatly flawed, and that it is an individual's subservience to society which causes this vital imperfection.
From the Paper
"However, Othello still resists any open communication on the matter with Desdemona and instead deals with the matter inwardly. He questions her disloyalty, but his lamenting quickly turns to doubt. He wails about her delicate qualities - she is "so high and plenteous wit and invention." But Iago convinces him that all of these qualities actually confirm her deception, because she's trying to make Othello believe she is virtuous. Iago tells Othello: "she's the worse for all this," and Othello agrees."
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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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Love: Erasmus, de Navarre, Petrarch and Shakespeare., 2002.
An analysis of the meaning of "Love" based on four different literary expressions of love
650 words (approx. 2.6 pages), 4 sources, $ 26.95
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Abstract
The contexts of these readings are in Medieval literature, and love is briefly described from four different perspectives, (spiritual, physical, poetic, and ideal.)
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Shakespeare's Poems, 2006.
A discussion on two of Shakespeare's sonnets on love -CXXX and CXVI.
1,415 words (approx. 5.7 pages), 0 sources, $ 47.95
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Abstract
The paper explores the substance of Sonnet CXXX whereby it notes that this sonnet is not a common poem of love, but rather more truthful and honest. The paper continues to discuss Sonnet CXVI and its theme that love is deeper than a physical attraction. Finally the author discusses the themes of the two poems in conjunction.
From the Paper
"One reads and re-reads these two selections- two out of more than a hundred. And the imagination soars. What would the lady say? How would she reply? Would she just smile, as my respondent did to the first sonnet? Would there be a meeting of the minds, a holding of the hands, a joining of the lips? Are these two poems something that, put down on paper, the lady would put in her family Bible to read, and re-read during times of stress or depression?
Shakespeare wrote his love sonnets at a time when writing them was the only real proof of devotion. There was no Valentine's day candy, no Mother's day dinner, and no greeting card to express devotion. There was only an art form that has never really been equaled in the centuries since these were written. "
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Love Relationships in Shakespearean Plays, 2004.
An examination of three of William Shakespeare's love relationships in his work.
1,552 words (approx. 6.2 pages), 1 source, MLA, $ 50.95
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Abstract
This paper examines how, in the writings of Shakespeare, there are many great loves and how some of the greatest are also the greatest examples of love for a purpose. It looks at how the love between a man and a women is often the avenue by which intrigue transpires into change by examining and comparing three of his plays. The love between Ferdinand and Miranda in "The Tempest" acts as the starting point from which the other two are compared. The second couple is Queen Margaret and the Duke of Suffolk in "Henry VI", and the third Desdemona and Othello in "Othello". It shows how it is partly through these three couples that Shakespeare proves his literary prowess, as he uses love as a tool to increase the dramatic depth of the work and how, in the character development of these six individuals, is the demonstration of love as an avenue for intrigue and intrigue as an avenue for love.
From the Paper
"Miranda?s first sight, of Ferdinand sets in stone her love and admiration for him, as does his of her. Prospero hopes that through the trickery of the storm and the union of these two young people he will be able to regain his rightful place as the Duke of Milan. Ferdinand is so equally bewitched by Miranda that he is blinded of even the grief he should now be feeling for his father and his shipmates. He asks the Goddess if Miranda is real: ?Most sure, the goddess / On whom these airs attend! Vouchsafe my prayer May know if you remain upon this island;/And that you will some good instruction give/ How I may bear me here: my prime request,/ Which I do last pronounce, is, O you wonder!/ If you be maid or no?? (Tempest Act 1 Scene II) He wishes even with his last wish, and when he should be wishing for the safety of his father, to know if Miranda is truly a maid or if she is simply a spirit come to trick him."
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The Course of True Love Never Should Run Smooth, 1997.
An analysis of Shakespeare's "Much Ado about Nothing" using love relationships expressed in "Sonnet 116".
1,425 words (approx. 5.7 pages), 1 source, $ 47.95
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Abstract
Using Shakespeare?s thoughts and feelings regarding love expressed in the 116 Sonnet, this paper analyzes the love relationships in "Much Ado About Nothing". The play paints a clear picture of the thoughts and opinions Shakespeare expresses in the sonnet. When a reader compares the foil love relationships of Benedick and Beatrice to that of Hero and Claudio, Shakespeare?s meaning of a love that doesn?t ?alter when it alteration finds? can be truly appreciated. This paper is filled with many textual examples of ways that Claudio and Hero both fail to build the kind of love that Shakespeare admonishes lovers to have. It also examines the inconvenience and pain of Benedick and Beatrice?s love, which at times seems to be ?against their will?.
From the Paper
"Here [quote from Sonnet 116] Shakespeare express his feelings about true love and the elements that need to be included in a loving relationship. Love should not be a mere infatuation that is easy to overcome, but rather a long-lasting relationship that can never be broken. This was not a conventional idea in Shakespeare?s time, where the woman?s dowry, not her love, was the prize most sought by suitors. Shakespeare gives a wonderful example of what he thinks true love should be in Much Ado About Nothing in Benedick and Beatrice?s relationship. In the play, he also offers a relationship foil to Benedick and Beatrice, that of Claudio and Hero. This foil compares the traits Shakespeare feels need to be included in true love with the conventional ideas about love of his day."
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Women As Portrayed by Shakespeare and Spenser, 2004.
Compares the different ways in which Shakespeare and Spenser expressed themselves regarding women and love.
1,346 words (approx. 5.4 pages), 3 sources, MLA, $ 45.95
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Abstract
By examining several of Shakespeare's sonnets and Spenser's "Epithalamion", this paper compares how both poets discuss their feelings about women and love. The paper contends that, while Shakespeare loved women openly and honestly, Spenser idolized his love. Examples from the writings of both poets are used to support this contention.
From the Paper
"Poetry is what captures the emotions of people like William Shakespeare and Edmond Spencer. These two men express themselves through their poetry. In several poems they discuss their feelings about women and love. While both men are very capable of loving a woman, they love them in entirely different ways. "
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Shakespeare's "Othello", 2005.
Discusses the themes of doubt versus trust, monster imagery, and human love in William Shakespeare's play, "Othello".
888 words (approx. 3.6 pages), 1 source, MLA, $ 31.95
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Abstract
The paper discusses Othello's and the other characters' misplaced trust due to their need for empirical evidence in Shakespeare's work, "Othello". It also analyzes Shakespeare's use of monster imagery to describe the darkness in the human heart. Finally, the paper contains an exploration of the liberal use of supposed love by the characters, which is eventually proven not to be love at all.
From the Paper
"Shakespeare's exploration of the concept of jealousy leads to the theme of the human mind?s predisposition to favor the "monstrous." Monsters of the human psyche are self-generating, even without the prodding of an evil manipulator such as Iago. He feeds this compulsion by encouraging Othello to "behold," in his mind's eye, his wife being "topped" by Cassio (3. 3. 412). When jealousy is labeled as a monster in the play, it is used to suggest how one can be overtaken by a passion. Iago defines jealousy as "the green-eyed monster, which doth mock the meat it feeds on" (3. 3. 179-80), a foul parasite that torments its host. When Emilia explains jealousy to be a "monster begot upon itself, born on itself" (3. 4. 157), she underscores its self-generating nature. "Jealous souls" do not need real events to fuel their suspicions because, Emilia explains, they are "not ever jealous for the cause" (3. 4. 154-55)."
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