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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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Shakespeare's Works, 2002.
An examination of self-knowledge in William Shakespeare's plays.
1,520 words (approx. 6.1 pages), 6 sources, APA, $ 50.95
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Abstract
Self-knowledge - the ability to understand rather than misunderstand an action, emotion, or situation - is one of the social values embedded in the works of William Shakespeare. This paper examines several examples of plays where the theme of self-knowledge was present, including "The Merchant of Venice", "Twelfth Night" and "A Midsummer Night's Dream".
From the Paper
"As to whether these reminders of "social values" are an integral part of the works, or not, is rather irrelevant for the purpose of this thesis. For our concerns the fact that they exist at all is sufficient. Throughout the plays various messages are presented dealing with ethics, love, honour, and ambition, among others. Often, more than one message may be presented in a single work through different levels of emphasis and various subplots?. One major idea expressed almost as a constant in the great majority of Shakespeare's works is the idea of "self-knowledge,? or more accurately the often lack thereof."
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The Cuckold in Shakespeare?s Works, 2004.
Discusses imagery and hints of cuckoldry in plays by William Shakespeare.
3,523 words (approx. 14.1 pages), 10 sources, MLA, $ 98.95
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Abstract
A cuckold is a man whose wife is sleeping with another man, and the cuckold in Elizabethan drama is a staple element, suggesting not just the concerns that the Elizabethans had about the subject, but also the way they relieved tension over it by making the cuckold a figure of fun. This paper examines how William Shakespeare often used the cuckold as a character in his plays, although hints of cuckoldry are even more common in his works, with characters fearful that they may be cuckolded or with wayward wives and unmarried men making jokes about it. The paper discusses, in particular, three of Shakespeare's plays: "Troilus and Cressida", "Twelfth Night", and "As You Like It".
From the Paper
"Rosalind in As You Like It states that no man has ever died for love in the six thousand years of history that passed before her time. Yet, she still mentions the fate of that famous cuckold Troilus: "Troilus had his brains dashed out with a Grecian club; yet he did what he could to die before, and he is one of the patterns of love" (IV.i.92-94). The cuckold in this passage is presented as both betrayed and yet somehow elevated by being the one to remain true, while the woman who has betrayed him is not even mentioned. The idea of the cuckold is that he is a dupe. But he could as easily be a true man who has been true to the wrong woman. The image of the man with horns as a cuckold reflects the meaning of the word itself, for it means ?furnished with horns.? Characters in Elizabethan drama often speak of horns or make the sign of horns to indicated a cuckold and to suggest in this manner an association with the beasts and perhaps with the devil."
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Machiavellian Power Principles in Shakespeare's Works, 2005.
Shows how certain Machiavellian theories on power can be viewed in plays by William Shakespeare, namely "Richard III" and "Henry IV".
1,985 words (approx. 7.9 pages), 3 sources, MLA, $ 63.95
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Abstract
In William Shakespeare's time, society adhered to the sacred view that it was God's Divine Will which selected the ruling monarch of the British nation. The playwright of "Richard II" and "Henry IV Part I", however, illustrates in these two history plays, a rather modernized concept of leadership that supports the Machiavellian view of power politics. The paper explains that Machiavelli's central argument in "The Prince" is that great politics are created and maintained by cunning men of high enterprise, who possess both virtue and prowess. The paper shows that despite their illegitimate claim and unconventional incarceration of the crown, the lead characters in Shakespeare's two plays, Henry Bolingbroke and his son Harry, showcase qualities that make them effective Machiavellian rulers who prove their worth as kings through their astute thoughts and actions.
From the Paper
"Like a superior Machiavellian leader, Harry clearly shows the intelligence and aptitude for the psychological machinations required of capable kings. By his cleverly devised plan of action, Harry is able to manipulate and deceive people into believing whatever his portrayals or intentions are required from them. He does not show his full potential and aspirations to be a great leader right away, as Harry is fully aware, there are certain rules involved in getting and keeping power. A regal king is often imprisoned within the masks he must wear successfully to retain his power and be able to change his character donning different ones to keep up with his fickle fortune. Harry illustrates that if circumstance calls for heroic and daring behaviour, such as when he battles Hotspur to protect his father's throne, he becomes the lion."
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The Supernatural in the Works of Shakespeare, 2008.
A discussion on the role of the supernatural in "Hamlet" and "Macbeth" by William Shakespeare.
1,320 words (approx. 5.3 pages), 2 sources, APA, $ 44.95
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Abstract
The paper states that the role of the supernatural in Elizabethan drama cannot be underestimated or overlooked. It was a critical part of the plot as we see in Shakespeare's work, as in those days the supernatural was an acceptable phenomenon. The paper comments that for this reason, it would be wrong to assume that Shakespeare made an effort to incorporate supernatural forces in his plays. They just had to be part of his writings because they were so widely believed in. The paper highlights that the role of supernatural forces in "Hamlet" and "Macbeth" is to exploit the weaknesses of the main characters. They serve as catalysts to the plot and carry the story forward but on the whole they are neither immensely powerful nor dangerous. The paper concludes that their impact is evil as their presence spells doom and destruction. They simply play with character's weaknesses and that leads to destruction by default.
From the Paper
"Macbeth's supernatural friends have an equally devastating effect on the main character's life. The three witches, though limited in their powers, caused major crisis when they foretell Macbeth's future. Here it must be made clear that just like Hamlet's father, the three witches did not want anything evil. They foretold the future because they saw something good for Macbeth. It was Macbeth who destroyed everything in his haste to see the future sooner than it was meant to unfold. Everything has a time at which it unfolds and Macbeth failed to exhibit the required amount of patience. Instead he simply allowed himself to be led astray in his ambition to become the next king."
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The Changing Work of Shakespeare, 2004.
A discussion on how William Shakespeare's "Cymbeline" and the "Sonnets" are in many ways less satisfactory than "A Midsummer Night's Dream" and "Richard II".
4,078 words (approx. 16.3 pages), 3 sources, MLA, $ 109.95
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Abstract
This paper examines how Shakespeare's work changed substantially through his career and how change wasn't always for the best. It briefly outlines the chronology of Shakespeare's work and discuss some of the similarities and continuities as well as the changes evident in the texts of "Cymbeline" and the "Sonnets" compared with his other works such as A Midsummer Night's Dream" and "Richard II". It also considers the contemporary influences that may have informed these changes as well as critical reception and performance histories that bring us to the current state of popularity of these works.
From the Paper
"Critical reception of Cymbeline has been mixed, which has inevitably affected the popularity of the play. Many early critics such as Samuel Johnson writing in the eighteenth century focussed on its lack of classical form and Hawkins and Garrick produced modified versions of Cymbeline to encompass classical ideals. Nineteenth century reception was on the whole more sympathetic, particularly to the character of Innogen who found favour with the Romantics and Victorians. One notable critic writing at the time of women's suffrage was George Bernard Shaw who condemned its "artificialities" and declared Innogen an "idiotic paragon of virtue" (quoted in Brown and Johnson, 2000, p. 10). Shaw also criticised the play's complicated denouement and entirely rewrote it for his production in 1936."
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Shakespeare's Life and a Critical Analysis of Three Works, 2000.
1,950 words (approx. 7.8 pages), 8 sources, $ 62.95
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Abstract
The paper gives a comparative analysis of three of Shakespeare?s works. "Romeo and Juliet", "Sonnet 73", and "Sonnet 130" are analyzed and summarized in terms of theme and mood. Also, Shakespeare's life is detailed to better understand his plays and sonnets.
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Marlowe And Shakespeare, 2002.
Examines the theory that Christopher Marlowe was actually the writer of all William Shakespeare's works.
1,650 words (approx. 6.6 pages), 2 sources, $ 62.95
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Abstract
Could Shakespeare's works actually be Christopher Marlowe's? This is discussed with a comparison of Marlowe's works with Shakespeare's. Many have argued that Shakespeare's works have been fakes and believe that Marlowe could be the possible writer. How do they compare is a question that will be addressed in this paper.
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Gender and Shakespeare, 2007.
A discussion on the balance of the genders in William Shakespeare's works.
1,335 words (approx. 5.3 pages), 4 sources, MLA, $ 44.95
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Abstract
This paper explains William Shakespeare advocates a balance between feminine and masculine elements within every human being for the purpose of creating a more ideal society. It claims that when an imbalance between masculine and feminine impulses occurs within either a society or a powerful individual, dangerous elements are released and the world becomes potentially chaotic. The paper reviews this phenomenon in a few of Shakespeare's works.
From the Paper
"Full masculinity and murder are conjoined in the play's ideology, but not in a positive way. Lady Macbeth states that for Macbeth to be fully masculine, he must be a murderer: "When you durst do it, then you were a man." (I.7) His embodiment of strength and masculinity also means that Macbeth is marginalized by his society after the world shifts to peacetime. King Duncan appoints his own son Malcolm to be king of Scotland, ignoring the fact that without Macbeth, Duncan would have never been able to hold onto his crown. "We will establish our estate upon/Our eldest, Malcolm." (I.6) Duncan's establishment of the royal bloodline honors the feminine virtue of familial loyalty--in contrast Lady Macbeth says she would kill her own child for her husband, demonstrating that she believes in the need for valor and heroism, rather than loyalty to children."
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Dysfunctional Families in Shakespeare, 2004.
A look at the theme of dysfunctional families in William Shakespeare's "Hamlet" and some of his other plays.
905 words (approx. 3.6 pages), 0 sources, $ 32.95
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Abstract
This paper discusses how broken and dysfunctional families are a common thread in many of Shakespeare's works and how "Hamlet," one of Shakespeare's finest works, revolves around the broken family of Hamlet, the central character of the play. It looks at how the motive of broken and dysfunctional families also appears in numerous other Shakespeare works, including "The Comedy of Errors," "Romeo and Juliet," "A Midsummer Night's Dream," "Henry IV," "Henry V", and "Much Ado About Nothing" and how the theme itself causes grief, despair, death, and laughter. It analyzes how Shakespeare uses it quite effectively and how his work shows how a common theme can be woven into many different fabrics, making each of them a unique and lasting work of art.
From the Paper
"This theme continues in "Romeo and Juliet," the Montagues and Capulets are broken and dysfunctional in their unreasonable hatred for one another, which ultimately leads to the death of their children, and the reconciliation of the families. The Montagues and Capulets have feuded for years, and hate each other with an unreasonable passion, and this passion carries down to their children, who fall in love despite their families' feuding. Unlike the comedies, where love heals all, and the families come together because of true love, in this tragedy, the broken families can only be healed by true tragedy, and as they both lose their children, the tragedy is complete, and the families recognize what they have lost because of their unreasonable hatred."
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Planning for Shakespeare, 2005.
A high school lesson plan for teaching the works of William Shakespeare.
675 words (approx. 2.7 pages), 1 source, $ 26.95
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Abstract
This paper produces a lesson plan for work in the introduction of Shakespeare and his works to 11th grade students at a public high school. It further discusses which of three learning theories would best be applied to this type of lesson. The learning theories considered include constructivism, cognitivism, and behaviorism.
From the Paper
"In preparing a learning design for teaching Shakespeare it is evident that many students enter beginning lessons with apprehensions regarding the language, understanding, and situations of the major works. Furthermore, it is also clear that determining one theory which best applies to the learning objective is dependent upon the approach taken to the learning event, and the students that are involved in the educational process. Learning Environment The learning will take place in an 11th grade classroom at a public high school. There are 15 students in the class, all of which have had little to no exposure to the works of William Shakespeare. These students have, however, had experience with performance, reading plays, and various elements of theatre. The objective of the lesson is to provide an introduction to Shakespeare that modernizes the author's work, and provides a better understanding of Shakespeare's intentions."
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Shakespeare's Turning Japanese, 2000.
A comparison of Japanese kabuki and Shakespeare's plays, addressing the similarities of the works as well as Japanese adaptation of Shakespearean works.
2,500 words (approx. 10.0 pages), 12 sources, $ 75.95
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Abstract
This paper presents an overview of kabuki, including its origins, role in Asian culture, and aspects of performance. Discussion of how Shakespeare's works have been adapted to a kabuki form dominate the paper. Special attention is paid to the woman's role in kabuki theatre.
From the Paper
"Drama is an ancient art form, steeped in various world traditions that have many precepts and edicts of rehearsal, production, and performance. The following is a presentation of two viewpoints, and the repercussions of the fusion of the traditions in performance and translation. The Asian world views performance as an attainment of character through repetition and form-study, to learn not just the dialogue and songs of a samurai or handmaiden, but to become that character using extra-ordinary body position (termed ?extra-daily technique?), elaborate costumes and makeup, as well as traditional music. There are several styles of performance, but the most flamboyant is kabuki. Presently, there are four hundred plays in the conventional canon, but approximately thirty are performed each year in a seasonal cycle within Japan."
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Role of Women in Shakespeare, 2002.
This paper examines how women were portrayed in the many different works by William Shakespeare.
1,305 words (approx. 5.2 pages), 8 sources, MLA, $ 44.95
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Abstract
This paper is a discussion of Shakespeare's portrayal of women in his many different works. The author discusses how the female characters are portrayed in several of Shakespeares plays. In "Henry VI," the woman's placed is portrayed as being in the home, while in "Macbeth," Lady Macbeth's influence declines to the point where she becomes a nervous wreck. In "The Tempest," the heroine Miranda takes all of her cues from the male character, in "Hamlet" a women's involvement in political matters is suggested to be dangerous and in "The Taming of the Shrew," women who were beaten or treated badly by their husband were powerless to speak out against this abuse. The author uses many different sources to support their thesis that Shakespeare did not intentionally portray women in a negative light, but his works should be viewed as being a reflection of the world around him.
From the Paper
"In ?The Tempest,? Tarqfrler writes that the heroine, Miranda, again is portrayed as a ?conventional woman? (Tarqfrler pg). Although Shakespeare give her a ?bright and cheerful nature? filled with kindness and compassion, ?she is also oppressed by the male society?a woman who has none of the exaggerated affectations of social rules and timid conventions? (Tarqfrler pg). Shakespeare?s male representative, Prospero, trains her in the essential of life, such as ?speech, dress, obedience, gentleness and modesty? (Tarqfrler pg). Miranda is na?ve of the world?s social structure, the protocol of aristocracy, moreover, she had no clue as to her place in the scheme of things (Tarqfrler pg). So although, her character is praised for its naivete and beauty, ?she lacks profound intellectual and moral content? (Tarqfrler pg). Tarqfrler cites the critic Mrs. Jameson, saying, ?She says that beautified nonsense existing in a charming manner does not constitute life. And for this reason Miranda disappoints us considerably. Miranda is a puppet and she lacks the quality and capability of her father. She is guided by Prospero, especially, in her ?love affair?? (Tarqfrler pg)."
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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 Fathers and Daughters, 2006.
This paper discusses Shakespeare's portrayal of the relationship between fathers and daughters.
1,969 words (approx. 7.9 pages), 8 sources, MLA, $ 62.95
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Abstract
In this essay, the writer discusses Shakespeare's work, while examining the way in which he portrays the relationship between fathers and daughters. The writer looks at the plays "King Lear" and "The Tempest," in which the daughters pursue a certain course in life due to their fathers' patriarchal actions. Further, the writer discusses the play "The Tempest," in which the character Miranda follows, although somewhat rebelliously, the eventually advantageous path set out by her father. The writer also looks at "Romeo and Juliet" in which the bonds between Juliet and her father appear to be much more loyalty bound than love oriented and patriarchy constraints are to the extreme. Using references from literature discussing Shakespeare's writings, the writer presents this view of the roles of fathers and daughters in Shakespeare's work.
From the Paper
""Romeo and Juliet" is naturally one of the first Shakespeare plays that comes to mind when considering the role of fathers and daughters, because of the work's popularity through the years with its many modern renditions. However the bonds between Juliet and her father appear to be much more loyalty and dutiful bound than love oriented, and patriarchy constraints are to the extreme. Although Cordelia does not actually say the exact words her father, Lear, wants to hear, it is because of love not fear. Likewise, Miranda and Prospero have a very loving father-daughter relationship from the very beginning of "The Tempest." Although "Romeo and Juliet" does definitely show how a daughter's actions are set in place by her father's behavior, "King Lear" and "The Tempest" are even more interesting due to the additional conflicting relationships that exist due to this strong love between father and child."
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