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Father-Daughter Relationships in Shakespearean Plays, 2002.
The paper analyzes the use of father-daughter relationships in the plays of William Shakespeare, and focuses on the influence the daughter often possesses over her father.
1,164 words (approx. 4.7 pages), 4 sources, MLA, $ 40.95
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Abstract
The paper looks at the importance of the father-daughter relationship to the playwright and the Sixteenth Century society he wrote for. The paper highlights the Shakespearean play "King Lear" as containing the perfect example of such a relationship, in the way King Lear loved Cordelia, his third daughter. The paper also examines other heroines of Shakespeare who have also been shown in roles as daughters, where they either help their fathers or become a source of genuine comfort for them.
From the Paper
"The relationship between a father and his daughter is one of the most beautiful bonds that Nature has created and is unique in the sense that it provides both the concerned parties a kind of comfort that is missing from father-son relationship. Why this happens is probably not known. But the answer to this question is certainly grounded in psychology, which makes one authority figure deeply care about a younger dependent of opposite sex. While it was in recent times only that we came to learn and appreciate the significance of this bond, Shakespeare was a genius to have felt, detected and illustrated it in 16th century when he used his plays to highlight the beauty and worth of this important connection."
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Women in Shakespearean Plays, 2002.
Looks at the role of women in "As You Like It", "All's Well Ends Well", and "Twelfth Night" by William Shakespeare.
1,129 words (approx. 4.5 pages), 3 sources, $ 39.95
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Abstract
Women had no status in Elizabethan society; their main function was as fertile breeders, and their role in society was simply not viewed as important. This paper shows how the unimportance and taking for granted of women is clearly reflected in Shakespeare?s plays. Although their roles are not viewed as contributing to society, the dramatic function of women in Shakespeare plays is anything but not contributory. The paper shows that the female lead's role is crucial to the restoration of order that occurs in the play. As Shakespearean comedies are cyclical, the ultimate goal of a comedy is to travel from disorder to resolution. This paper examines three plays, "As You Like It", "All's Well Ends Well", and "Twelfth Night".
From the Paper
"Similarly, Viola in Twelfth Night, goes through a loss of identity by disguising herself as Cesario in order to find work with Duke Orsino. She disguises herself as a man because society believed females to be incapable of handling work. When Viola becomes Cesario, she instantly becomes one of Orsino?s favourite workers and is rewarded with the position as his page. The positioning of Viola as Orsino?s page asserts Viola?s working capabilities, and thus shows the audience that women can do a job as well, perhaps even better, than men."
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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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Magic in Three Shakespearean Plays, 2008.
An analysis of the theme of magic in William Shakespeare's "The Tempest", a "A Midsummer Night's Dream", and "Hamlet".
1,657 words (approx. 6.6 pages), 3 sources, MLA, $ 53.95
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Abstract
In a number of his plays, William Shakespeare uses magic as a driving force moving the action of the play forward. This paper discusses how this is certainly true in two of his famous comedies, "The Tempest" and "A Midsummer Night's Dream" and how, it is also true, in a somewhat different way in his greatest tragedy, "Hamlet".
From the Paper
"A Midsummer Night's Dream (MSN in following citations) is also a play filled with magic. This play involves essentially three sets of characters: the Athenian workmen, the young lovers (Hermia, Helena, Lysander, and Demetrius), and the fairies. The fairies are, of course, magical beings, and their interaction with one another and with the various humans drives the play. Interestingly, for all their more-than-natural powers, the fairies are prey to a most human emotion, jealousy. Titania has quitted her marriage bed because Oberon has become too fond of a young boy he sought as a page of honor. (MSN, II, i, 118-21) Stung by Titania's jealousy, Oberon plots a mischievous revenge. "
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Shakespearean Plays Compared, 2002.
A comparison of "Romeo and Juliet" to "Othello" by William Shakespeare.
900 words (approx. 3.6 pages), 3 sources, $ 35.95
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Abstract
This paper will compare and contrast the Shakespeare plays "Othello" and "Romeo and Juliet". By understanding these two tragedies, we can see how Shakespeare threads a tale of deceit in his characters that ultimately ends in their deaths. By understanding the similarities, we can see how, on the same note, they are very similar in their storylines.
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Gender Identity in Shakespearean Plays, 2004.
Examines William Shakespeare's depiction of the main female characters in "The Taming of the Shrew" and "Henry V".
2,288 words (approx. 9.2 pages), 4 sources, MLA, $ 70.95
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Abstract
This paper looks at how both main characters in Shakespeare's "The Taming of the Shrew" and "Henry V" have either challenged or embraced traditional gender ideologies of the 15th century. Katherine, the main character in the "Taming of the Shrew", evidently challenges traditional gender ideologies, as she is deemed "shrewish". She ultimately exudes behavior unlike any other woman of that time, which leads us to believe that she is rejecting her traditional role as a female in this male-dominated society. The paper shows that, conversely, Katherine from "Henry V" embraces the traditional gender ideologies of Shakespearean time. The thesis in this paper is backed up by in-text citations.
From the Paper
"Her actions deem her to be independent, as she feels that she does not need to marry to be happy. This is illustrated when Petruchio feels that he must break her will in order to tame her, in other words, to make her more feminine. The fact that Petruchio has such a hard time doing this illustrates just how strong willed Katherine is in her pursuit to be independent. By being overbearingly masculine, Petruchio finally wins over Katherine as she becomes ?obedient to his honest will? (5.2.74). It is at this point where Katherine?s pro-feminine views seem to disappear as she states: ?I am ashamed that women are so simple/To offer ware where they should kneel for peace,/Or seek for rule, supremacy and sway,/When they are bound to serve, love and obey [?]? (5.2.161-164). Katherine is essentially ?selling out?, as she denounces her femininity along with her gender ..."
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Plays within Plays, 2004.
A discussion of the concept of a play-within-the-play in "The Spanish Tragedy" by Thomas Kyd and Shakespeare's "The Tempest".
1,728 words (approx. 6.9 pages), 5 sources, MLA, $ 55.95
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Abstract
This paper discusses the plays "The Spanish Tragedy" by Thomas Kyd and Shakespeare's "The Tempest". The paper explains that these two plays present a demonstration of the use of the play-within-the-play device as a representation of human themes and cultural messages. The paper contends that while the play-within-the-play contributes to the denouement of plot, it also draws attention to the relative power of theater in society.
From the Paper
"Themes of the human condition repeat themselves almost continually through the art of drama and through the realm of the real. Themes of human circumstances, moral and amoral influence the cultural representation of right and wrong, but strangely change very little over time. Things that are "wrong" in Shakespeare and Kyd's England similar to those which are "wrong" today. Betrayal and revenge flow together as a stream through the human soul and repeatedly show their influence upon art and humanity. Messages of revenge, a constant fascination of the Elizabethan period (1558-1603) and that of the England that followed her reign, often follow the form of the play-within-the-play dramatic technique and this is true of both the works discussed here."
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Women in Shakespeare?s Plays, 2004.
This paper discusses women in three Shakespearean plays as presented in the film versions. These include Kenneth Branagh's ?Much Ado about Nothing?, Trevor Dunn?s ?Twelfth Night?, and Baz Luhrman?s ?Romeo and Juliet?.
2,440 words (approx. 9.8 pages), 4 sources, MLA, $ 74.95
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Abstract
This paper explains that women play almost every conceivable role in Shakespeare?s plays; however, women cannot be the hero. The author points out that Shakespeare?s plays treat women as a piece of "goods", not worth having if they are not virgins, which was the attitude of the time in which the plays were written. The paper relates that Shakespeare symbolizes Juliet's youth in a display of numerological virtuosity designed to impress upon his audience and readers her unreadiness for adulthood and its attendant complexities.
From the Paper
"In "Much Ado About Nothing" the kind of love that Shakespeare chooses to display is the more realistic kind of love that is displayed more often in society around us. This is shown in the couple of Benedick and Beatrice. These two quick wits are constantly bickering and at each other?s throats, until they are tricked by their friends into each believe the other loves them. At this, all of their criticisms of love and claims to remain unmarried until death go right out the window. Suddenly, they are seized by a desire to be with each other, and their true feelings come out. It shows how love actually works in real life."
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The Fool in the Plays of William Shakespeare, 2002.
An analysis of the meaning and use of the word 'fool' in Shakespearean plays.
650 words (approx. 2.6 pages), 1 source, $ 26.95
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Abstract
This paper will discuss the word 'fool' in the plays of William Shakespeare, and seek to understand what the meanings of this are in this type of literature. By understanding the way that the word is used, we can see why Shakespeare used it, and how it pertained to the subjects it was used by, and how the historical aspects of the period influenced it usage.
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Plays of August Strindberg, 1976.
This paper compares the "dream" plays and the "reality" plays of August Strindberg.
1,350 words (approx. 5.4 pages), 4 sources, $ 47.95
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From the Paper
"The purpose of this research is to compare the "dream" plays
and the "reality" plays of August Strindberg. The paper will be specifically concerned with "A Dream Play" and "The Ghost Sonata" ("dream" plays), and "The Father" and "Miss Julie" ("reality" plays).
The first important point to be developed in such research is that the dividing line between the two "types" of plays becomes less clear the more deeply one examines the plays themselves. Indeed the very application of the terms "dream" and "reality" must be questioned.
In writings on Strindberg and his dramatic work, the word "naturalistic" is as often used as "realistic" in describing such plays as "The Father" and "Miss Julie." And, in this regard, more critical energy is spent on separating such plays from the ... "
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Clowns in Shakespeare's Plays, 2002.
Compares the role and appearance of clowns in three plays by William Shakespeare - "Hamlet", "Macbeth" and "As You Like It".
1,650 words (approx. 6.6 pages), 5 sources, $ 62.95
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Abstract
By comparing the clowns that appear in the plays "Hamlet", "Macbeth", and "As You Like It", the role of the clown is elaborated as something greater than comedic relief. In all instances, the clowns play a double role that works to appeal to a particular audience of Elizabethan England, a wider social and cultural group of theatre-goers than typically present at play performances. In doing so, the clowns work to participate within the play itself, and within the audience as well. This is achieved through humour that speaks outside the context of the play and towards immediate cultural knowledge of the audience. The clown also uses this same kind of humour within the play, as a way to clarify what is happening within the story itself. The clown acts as a mediator between characters and as a mediator between the play itself and the audience. The clowns of the dramatic plays, such as "King Lear", "Hamlet", or Macbeth, the clowns' role serves to provide the audience a break from the tension and violence of the narratives as well as to address the audiences own cultural understandings of these plays. In the comedies and the dramas, the clown is always more knowledgeable about what is happening and so acts as the interpreter for the characters, and for the audience.
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Plays Compared, 2005.
A comparison of two plays, Racine's version of "Phaedra" and Lillian Hellman's play, "The Children's Hour".
1,421 words (approx. 5.7 pages), 2 sources, MLA, $ 47.95
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Abstract
Two plays written far apart in time and place are Racine's version of "Phaedra" and Lillian Hellman's play "The Children's Hour," which show certain similarities in terms of moral themes. It discusses how both plays reflect on issues of good and evil, guilt and innocence, atonement and forgiveness, and, in both cases, center on a case of what society deems to be a "perverted" love that leads to tragedy.
From the Paper
"The myth of Phaedra, which serves as the starting point for Racine, tells of how Phaedra, the wife of King Theseus, fell in love with Hippolytus, her stepson. She makes her passion known to the young man, and he rejects her. She then revenges herself on him by accusing him of dishonoring her, and this leads to the death of both the young man and Phaedra. Racine uses most of the story from the myth, though he gives that story a somewhat different emphasis as he explores the tragedy of Phaedra and her personality and her obsession."
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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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Plays about Community, 2006.
This paper discusses ethnic community within a different society, making use of the plays 'Mom, Dad, I'm Living with a White Girl' by Marty Chan and 'House of Sacred Cows' by Padma Viswanathan.
675 words (approx. 2.7 pages), 2 sources, $ 26.95
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Abstract
In this article the writer examines two plays and looks at what they have to say about community. The plays discussed are 'Mom, Dad, I'm Living with a White Girl' by Marty Chan and 'House of Sacred Cows' by Padma Viswanathan. The writer points out that each of the plays deals with a family in an ethnic community and in both cases a family that is part of an ethnic community embedded in a majority white society in a different country. The writer shows the tensions created in the family that are caused by the culture differences.
From the Paper
"Community is a central issue in many stories told in the theater, and it is a central issue in the two plays 'Mom, Dad, I'm Living with a White Girl' by Marty Chan and 'House of Sacred Cows' by Padma Viswanathan. Each deals with a family in an ethnic community, in both cases a family that is part of an ethnic community embedded in a majority white society in a different country. The younger generation is more part of the majority culture than is the older generation, which creates tensions within the family and between members of the family and the majority culture. This latter element is strong in the Chan play in which a recurring fantasy involves scenes from an imaginary movie called the Yellow Claw, a satire on racist interpretations of Chinese culture by Hollywood."
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Form and Dramatic Structure in August Wilson's Plays, 2006.
A discussion regarding the lack of dramatic form and structure in August Wilson's plays.
1,125 words (approx. 4.5 pages), 2 sources, $ 44.95
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Abstract
According to this paper, August Wilson wrote his plays in a non-sequential manner that set about depicting the lives of African Americans over the course of the twentieth and twenty-first centuries by decade. Yet, the paper shows how as Wilson wrote the plays, the ideas for the work became vivid in his imagination instead of through a planned and organized presentational manner. Like his manner of writing the ten cycles of plays, his work was often composed through a series of multiple changes that he made while the plays were in production.
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