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Plot in Shakespearean Comedy, 2007.
A discussion of the typical elements of plot in Shakespearean comedy, with a focus on how "Much Ado About Nothing" deviates from these elements.
1,928 words (approx. 7.7 pages), 6 sources, MLA, $ 61.95
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Abstract
This paper discusses the way in which Shakespearean Comedy has been formulated by elements of plot that are viewed as typical. It provides a brief outline of Shakespearean Comedy and explores the plot elements of the green world, multiple intertwined plots, disguise, mistaken identity and the conventional young lovers. It shows how many plot sequences, seen as typical to comedy, are demonstrated through Shakespeare's various stock characters. The paper then demonstrates how Shakespeare's "Much Ado About Nothing" is one of his plays that presents slight deviations from this typical structure.
From the Paper
"Since its origin, Shakespearian Comedy has developed having specific and identifiable elements viewed as typical, in regards to plot. Much Ado About Nothing contrasts the other comedies. The setting is not in the magical green world and there are two plots. The young lovers do not demand and obtain the role most interesting to the reader and the 'placing of the comic initiative in the hands of its vivacious heroine Beatrice' not a servant. Beatrice and Benedick appear to captivate the comic progression of the play and other than Dogberry present most of the absurd, wit and humour. The basic foundations of Much Ado About Nothing centre on the typical progression from of conflict to a happy resolution that ends with two marriages not just one. Don Pedro, the disturbingly sinister character for a comedy, is expelled, all is forgiven and society is restored to its festive note. 'Strike up, pipers.'"
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The Shakespearean Comedies, 2004.
This paper discusses the problems of classifying Shakespearean comedies, using "Much Ado about Nothing," "The Tempest," and "Measure for Measure" as examples.
850 words (approx. 3.4 pages), 0 sources, $ 30.95
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Abstract
This paper explains that, in Shakespearean comedies, a specific play can have, at the same time, both a happy ending and a cruel ending, as well as a character being both good and evil. The author contends that "Measure for Measure" can be interpreted as one of the happiest and the scariest endings written by Shakespeare, and yet it is classified as a comedy. The paper concludes that, because there is little solid documentation about many of Shakespeare's ideas, it is nearly impossible to comment on how Shakespeare feels about anything in his plays and to determine if a play, which is listed as a "comedy", is really a comedy.
From the Paper
""Much Ado About Nothing" is an extremely humorous play, mostly about lovers and the obstacles it took to get two couples together. In the end of the play, there is not only one proposal for marriage, but two! All begin to dance and the 'happy' ending is reached, however, the villain of the play that caused these great obstacles has not been punished. He is here, at the 'happy' ending brought to the attention of the characters, so merry in their dancing and their future weddings."
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Connubial Bliss in the Shakespearean Comedy, 2001.
This paper is about marriage and relationships in the Shakespearean comedy.
5,970 words (approx. 23.9 pages), 16 sources, MLA, $ 142.95
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Abstract
This paper compares and contrasts Shakespeare's portrayal of connubial bliss in his comedies "Much Ado About Nothing," "Measure for Measure," and "Twelfth Night." The institution of marriage during Shakespeare's time is examined in detail, including how one decided when one should marry, and to whom, and contrasted to today's notion of marriage. Some of the topics examined include finances, a person's reputation, family involvement, love and honor.
From the Paper
"However, despite the fact that in early modern England, ?Most people got married, and most people had children,? (McDonald 265), Beatrice and Benedick seem hell-bent against marriage. It is therefore probable that, while it wouldn?t strike modern audiences as particularly odd, Elizabethan theatergoers found both Beatrice and Benedick?s adamancy against marriage a source of humor and eccentricity in social behavior. When Claudio makes light of his intention to marry Hero, Benedick?s immediate reaction is, ?Is?t come to this? In faith, hath not the world one man but he will wear his cap with suspicion? Shall I never see a bachelor of threescore again? Go to, I? faith, and thou wilt needs thrust thy neck into a yoke, wear print of it, and sigh away Sundays,? (Sundays were the day a man was expected to be with his wife), (Shakespeare, MAAN, I, i, 197-202). Likewise, the Prince, Don Pedro, says of Beatrice, ?She cannot endure to hear tell of a husband,? (Shakespeare, MAAN, II, i, 347-8)."
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Shakespearean Comedies: Defining Gender Limitations, 2005.
The paper discusses the feminist dimension of Shakespearean comedies, focusing on "As You Like It" and "Taming of the Shrew."
3,127 words (approx. 12.5 pages), 9 sources, MLA, $ 91.95
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Abstract
The paper argues that Shakespeare's heroines were vital and constructive protagonists; they were fully realized, independent, and capable beings. Through the presentation of such examples of females within the framework of the comic, Shakespeare was able to argue for a re-evaluation of gender norms and stereotypes at a safe distance. The writer explains that the comic framework served as a type of buffer, allowing him to castigate his society without coming under attack for doing so because, in the end, he was writing comedy.
From the Paper
"Shakespeare's comedies, possibly due to the unfailing tendency to unfairly contrast them to his tragedies and historical dramas, have never received the critical attention they deserve. His body of comedies, according to Milton Crane, contain some of Shakespeare's most insightful comments regarding human nature and society in addition to some of his most quotable and profound lines (68-69). Nevertheless, and in comparison to the attention given the other Shakespearian works/genres, his comedies have received comparatively scant attention. While Crane forwards explanatory theories, two in particular stand out. According to the first theory, Shakespeare's comedies are underappreciated because they do not subscribe to any set ad established definition of comedy. They rarely elicit laughter and, as Crane contends, are "sensible and serious" even as they are lighthearted (68). What this means is that according to the predominant critical view, as explained by Crane, critics have been unable to truly accept Shakespeare's comedies as comedies because they are not the thoroughly humorous, farcical or satirical works that they tend to categorize comedies as being. Instead, they are, at one and the same time, lighthearted and sensible and, tragic and comic, thereby defying any categorization (68). Consequently, the failure of Shakespearian comedies to fit neatly into predefined conceptions of comedy have enforced their comparison to his other works, with the result being that his comedies end up being dismissed as lightweights within the totality of his works (68-69). It is because of this that Shakespeare's comedies have not received the attention awarded to his other works."
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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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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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Villains and Criminals in Shakespearean Drama, 2004.
Analysis of the importance of and attraction to villains throughout Shakespeare's various plays.
1,489 words (approx. 6.0 pages), 5 sources, MLA, $ 49.95
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Abstract
This paper shows that, in Shakespearean drama, the villains are traditionally extreme rationalists. It looks at examples, such as Shylock and Iago, who manipulate people by knowing the way they think, while criminals, like Falstaff, are generally good-natured, but have no use for morals or law.
From the Paper
"Shylock is an outsider not only because he is Jewish and the rest of the town is Christian, but also because he has a different value system. He makes it clear that he enjoys his role as an outsider when he tells Bassanio "I will buy with you, sell with you, talk with you, walk with you and so following; but I will not eat with you, drink with you, nor pray with you" (I.3.33-35). In the play Shylock is both the victim and the villain. He is betrayed by his only daughter when she elopes with a Christian and loots his house of all the gold and jewels. Although he is angry about the loss of his possessions, he is devastated when he learns that she sold a memento which was very important to him. This shows us that Shylock is not motivated merely by financial gain."
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Shakespearean and Modern English, 2005.
A comparative study between Shakesperean and Modern English through an act of Shakespeare's "Romeo and Juliet"
970 words (approx. 3.9 pages), 11 sources, MLA, $ 34.95
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Abstract
This paper examines how the Shakespearean works dominate the final decades of the Renaissance not only literally but also linguistically. In particular, it looks closer at the linguistic nature of Act 2 Scene 2 from "Romeo and Juliet" (written between 1597 - 1599) as a variety of English. It shows how language variety is an important concept in sociolinguistics and looks at different languages which differ systematically.
From the Paper
"During Shakespeare's (1564 - 1616) years, England was a place of growth and change under the rule of Queen Elizabeth. Shakespeare was a man of the stage, working for the theatre company 'Lord Strange's Men' (page ix), which was the most popular company in London. He also worked at Queen Elizabeth's court during this time. His plays were written to be performed and to give an audience what they wanted: entertainment. Shakespeare drew his inspiration from a society which was in love with life and with man, and Romeo and Juliet was his first tragedy."
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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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Power and Control in Shakespearean Literature, 2004.
A review of Shakespeare's "The Taming of the Shrew? and ?The Merchant of Venice" to illustrate issues of power and control.
2,550 words (approx. 10.2 pages), 0 sources, $ 77.95
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Abstract
This paper examines Shakespeare's "The Taming of the Shrew? and ?The Merchant of Venice" to show how issues of power in 16th century Europe are played out. The paper shows the details of some of these struggles through a small portion of each of the texts. The paper describes how Shakespeare uses his masterful skill to portray these battles and how they are similar as well as different from one another. The paper explains what those differences and similarities mean for us and the characters in those struggles.
From the Paper
"A tantalizing version of this power relationship occurs between the characters of Shylock and Antonio in ?The Merchant of Venice.? This relationship brings with it actually three separate conflicts that manifest themselves throughout the play and culminate with Shylock?s unrealistic demand of a pound of flesh from Antonio. These conflicts include Shylock?s clash with Antonio, a struggle with laws of Venice, as well as a type of war of religions, between the traditional Catholic state of Venice and his Jewish heritage. Of all these, the best place to look is his power struggle with Antonio."
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Shakespearean Conjuring, 2002.
A discussion of Elizabethan theatre and the magic that takes center stage in many of Shakespeare's works.
11,873 words (approx. 47.5 pages), 33 sources, MLA, $ 230.95
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Abstract
This paper explores the society of the period by examining the impact the Renaissance had on England, and the fact that its diverse trends had been elaborated into divergent and sometimes extreme forms.
The paper describes of the origin of the period?s obsession with the occult and the mystical, and explains the plethora of fantastic and mythic creatures running throughout the gamut of Elizabethan theatre.
- T A B L E - O F - C O N T E N T S -
INTRODUCTION
CHAPTER I ? The Magus in Society, The Life of John Dee
CHAPTER II ? Knowledge as Power, Representation of Magic as Knowledge
CHAPTER III ? Marlowe and the Magic of Faustus
CHAPTER IV ? Societal Instability and the Power of the Unknown
CHAPTER V ? The Connotations of Magic Use as Related to the Goals
CHAPTER VI ? Prospero?s Relation to the Magus in Renaissance Society
CHAPTER VII ? The Debate over the Morality of Prospero
CHAPTER IIX ? The Ambiguity of Prospero?s Morality
CHAPTER IX ? The Failure of Prospero
CHAPTER X ? The Meaning of the Magus
CONCLUSION
BIBLIOGRAPHY
From the Paper
The presence of mystical themes is prevalent throughout the theatrical works of the Elizabethan era, almost every play had a ghost, monster, witch, alchemist, etc. of some sort contained within it. What was the origin of the period?s obsession with the occult and the mystical, why is there such a plethora of fantastic and mythic creatures running throughout the gamut of Elizabethan theatre?
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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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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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Shakespearean Love, 2000.
Explores the different types of love Shakespeare wrote about in Sonnets 116, 130, and 138.
1,280 words (approx. 5.1 pages), 3 sources, MLA, $ 43.95
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Abstract
The essay explains the different aspects of romantic love through an explication of Sonnets 116, 130 and 138. According to the author, the three types of love are, respectively, real love, ideal love, and lying love. The poems emphasize different aspects of love, but all three kinds are required for love to stand the test of time.
From the Paper
"In Sonnet 116, Shakespeare makes several claims about ideal love. As described in this poem, ideal love is permanent. If someone is truly in love with another, his love will never end. "Love alters not with his brief hours and weeks,/ But bears it out even to the edge of doom" (ln. 10-11). This love, according to Shakespeare will never wither away or be broken down by any obstacle (ln. 6). Nothing can stand in the way of this feeling, true and strong. Ideal love will also never change, even as the possessors do. As they change, they will still love each other just as strongly, or even more so (ln. 2-3). This is the most important and most difficult aspect of reaching ideal love. Though many believe they have achieved it, they fall short as they come to realize that as they learn more about each other, they drift apart."
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