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Tragedies By Sophocles and Shakespeare, 2001.
An essay on how tragic characters deal with death as seen by Sophocles and Shakespeare.
1,700 words (approx. 6.8 pages), 2 sources, $ 55.95
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Abstract
In this paper the author examines the tragedies of Antigone and Hamlet. The characters of Antigone and Hamlet are tragic figures who meet their fates while trying to right or avenge a wrong committed against a dead loved one. The author examines the many traits they have in common and the important differences which influence how the reader responds to them emotionally.
From the paper:
"In Greece two brothers, one a hero, the other a traitor, meet on the field of battle. Both fall. The hero receives a funeral with full honors. The traitor is left to rot where he died. When the king forbids his burial under penalty of death, the traitor?s courageous sister forfeits her life to perform the proper rites. "
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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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Women in Shakespeare's Tragedies, 2008.
A proposal for a project to study the representation of women in Shakespeare's "Romeo and Juliet" and "Othello".
940 words (approx. 3.8 pages), 34 sources, MLA, $ 33.95
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Abstract
This paper explains that the project will be a detailed analysis of two works by William Shakespeare, "Othello" and "Romeo and Juliet", focusing primarily on the feminist and philosophical elements of the two plays, as well as the significance of the historical context in which they were written. The author points out that feminists, who are preoccupied with the commentary being made in Shakespeare's plays concerning women, question whether his representations of women truly reflect reality. The paper includes an outline of the method by which the project will be completed.
Table of Contents:
Project Overview
Subject to be Studied
Intended Outcomes
Learning Objectives
Detailed Work Plan
Project Outline
Method
Literary Resources
On-Line Resources
Faculty Supervisor's Role
Proposed Timetable
From the Paper
"The project proposes to examine the genius of Shakespeare as a dramatist who possessed a deep psychological understanding of women and who usually was able to anticipate a feminist perspective on women's issues and roles. Being a male author during the Elizabethan period, Shakespeare exhibited profound insights into the psyche of his female characters. Desdemona is unafraid to confront her father and is fascinated by the violent aspect of life yet she is also incapable of taking any real action to resolve her situation."
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An Insufficient Treatment of Shakespeare's Tragedies, 2000.
An explanation of why Stanley Cavil's treatment of Shakespeare's works is incomplete and inconsequential.
2,510 words (approx. 10.0 pages), 0 sources, $ 76.95
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From the Paper
"Stanley Cavell?s reading of Shakespeare indicates that the bulk of what constitutes Shakespearean tragedy anticipates the sort of philosophy known as ?philosophical skepticism? that writers like Thoreau and Descartes would bring to fruition years later, within the clearly defined realm of philosophy. More specifically, Cavell claims that Shakespeare?s tragedies are essentially tragedies of ?acknowledgment,? when one character makes a conscious decision to disown something that he [sic] knows. While Cavell may have identified (indeed, accurately) and been able to categorize elements of Shakespeare which fit into his preconceived mold, to claim that this constitutes the bulk of Shakespeare?s tragic element completely eviscerates the more substantive components of Shakespeare?s tragedy. Cavell?s analytical methods are retroactive. Rather than reading Shakespeare and then formulating a conclusion, he has chosen instead to fit his reading of Shakespeare, sometimes bordering on absurd and nonsensical, to his already preconceived conclusion. To claim, then, that Shakespeare was consciously operating within the context of philosophical skepticism is irrational. Philosophical skepticism gives to the reader an analysis of Shakespeare that is excessively introspective, focusing on the motivations of individual characters while looking over the more significant and relevant parts of the tragedies, relationships between and among humans. While Cavell, centuries later, may have indeed identified elements of Shakespearean tragedy which fit within his mold of philosophical skepticism, this was certainly not the framework from which Shakespeare was operating. "
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Shakespeare, Aristotle, and the Idea of Tragedy, 2004.
Examines the dynamic forms of catharsis and tragic flaws in William Shakespeare?s plays and how they relate to Aristotle's definition of tragedy.
2,409 words (approx. 9.6 pages), 5 sources, MLA, $ 73.95
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Abstract
William Shakespeare?s most beloved plays are his tragedies. If one were to list his best and most popular plays, "Othello", "Romeo and Juliet", "Hamlet", "King Lear" ,and so forth, one would find the list comprised almost entirely of tragedies. The paper states, therefore, that it would not be amiss to say that much of the modern literary conception of theatrical tragedy is shaped and influenced by Shakespeare. At the same time, the paper shows that the definitions of the tragic form ,as understood at the roots of theatrical history in Greco-Roman times, continue to be part and parcel of the official comprehension of tragedy. The paper shows that many critics have sought to force Shakespeare into the mold of tragedy as defined in Aristotle?s "Poetica", and many others have rightfully protested that he was not cast from that mold, and that, in fact, he owes little to it.
From the Paper
"On the other hand, there is a startling number of criteria discusses by Aristotle that Yanni never mentions, and which Shakespeare either fulfills or denies to some degree. For example, Aristotle suggests that the proper metre for drama is ?The iambic? the proof is that in talking to each other we most often use iambic lines.? (Aristotle) The majority of Shakespeare?s tragedies, of course, use iambic lines. Likewise, Aristotle claims that ?Necessarily then every tragedy has six constituent parts, and on these its quality depends. These are plot, character, diction, thought, spectacle, and song.? Shakespeare is well known for his focus on diction, spectacle, and even song. In these categories one could make any number of parallels between Aristotle?s dramatic suggestions and the original staged forms of Shakespeare?s work."
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Shakespeare's "King Lear", 2005.
This paper analyzes extensively the character of King Lear in Shakespeare's tragedy, "King Lear".
4,240 words (approx. 17.0 pages), 5 sources, $ 112.95
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Abstract
This paper argues that King Lear is driven by a desire to validate himself independently from his noble status and that his natural combativeness brings about his own downfall. The author asks why, in the first place, does King Lear give up the throne and answers that he is beginning to realize his office is a separate entity from himself and that he is having a sort of belated mid-life crisis. The paper relates that Lear changes because, throughout the play, he finds the validation for which he has been searching and can now accept the love that Cordelia offers freely, the same love that he attempts to extort from her at the beginning of the play.
From the Paper
"As early as the first scene, Lear can be seen struggling with his roles as king and father, and how his failings as one overlap with the other. As the play opens, Lear is secure, if not necessarily successful, in his position as king, but he has decided to abdicate the throne to his daughters and their husbands. He does so by staging a ?love test?, wherein he asks his daughters which one of them loves him most and awards them a portion of the kingdom in relation to their answers. Cordelia?s refusal to flatter him causes him to explode, banishing her and his trusted advisor Kent, and setting the play in motion. This scene introduces many important ideas that will recur throughout the play, and is the most important for understanding Lear?s character."
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Tragedy in "Hamlet" and "Mama Day", 2003.
A discussion of the elements of classic tragedy in Gloria Naylor?s "Mama Day" and William Shakespeare?s "Hamlet".
1,119 words (approx. 4.5 pages), 0 sources, $ 38.95
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Abstract
This paper examines how both Gloria Naylor?s "Mama Day" and William Shakespeare?s "Hamlet" exemplify the qualities of classic tragedy. It looks at how "Mama Day" is a mimicry of Shakespeare?s use of elements to completely delineate tragedy that is, however, marked with contradiction. It analyzes how the characters and plot in each work follow the general rules of tragedy in divergent ways and how George and Hamlet are proved to be the tragic heroes. It shows how their dissimilar paths through life guide them both to parallel endings and how deliberation versus action and knowledge versus acceptance are the two questions that lead each tragic hero to his death.
From the Paper
"The suffering in a tragedy is characterized as exceptional and unexpected. Before the murder of King Hamlet, Denmark was in all its glory, occupying part of Norway and Hamlet was a content student at the University of Wittenberg. The state of everything changes when Claudius?s scheme of domination is put into play as he kills Hamlet?s father and marries his mother, Gertrude. This creates a strong contrast to the prior glory the characters had. The characters of Mama Day similarly displayed a prosperity crushed by conflict. George and Ophelia, though two strong-willed adults, finally found harmony with one another. Their two opposite upbringings and philosophies balanced, and they had a successful married life. George?s long-anticipated trip to Willow Springs began their final plight."
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Shakespeare?s ?Othello?, 2004.
This paper analyzes Shakespeare?s ?Othello? as an Aristotelian tragedy.
2,115 words (approx. 8.5 pages), 7 sources, MLA, $ 66.95
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Abstract
This paper explains that Shakespeare?s ?Othello? follows Aristotle?s principles for creating the perfect tragedy. It has a plot that is easily remembered and structured to arouse pity and fear within the audience, with importance placed on the action, and events turning upon surprises. The author points out that the suffering of Othello meets the essential requirements to be considered a tragic hero. The paper stresses that, in ?Othello?, the reader witnesses the genius of Shakespeare; Othello changes from a loving husband and great warrior to a jealous, murdering husband. The reader loves him, hates him, and then feels sorry for him.
From the Paper
"Additionally, Iago also tells Roderigo that Othello ?Is of a constant, loving, noble nature,/And, I dare think, he?ll prove to Desdemona/A most dear husband? (II.i.280-3). In reaction to Othello?s character, A. C. Bradley states, ?Othello's mind, for all its poetry, is very simple. He is not observant. His nature tends outward. He is quite free from introspection, and is not given to reflection. Emotion excites his imagination, but it confuses and dulls his intellect . . . he has little experience of the corrupt products of civilised life, and is ignorant of European women? (Bradley). Our first impression of Othello is a positive one. This fact will help us to feel pity for Othello later in the play."
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Tragedy, Comedy and Human Nature, 2008.
This paper analyzes how human nature is reflected in the three theater genres of comedy, tragedy and drama.
1,401 words (approx. 5.6 pages), 3 sources, MLA, $ 46.95
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Abstract
This paper discusses the three theater genres that reconstruct human experience: comedy, tragedy and drama. The paper first discusses the theater genre of tragedy using Shakespeare's "Hamlet" as an example and then describes the genre of comedy using Shakespeare's "A Midsummer Night's Dream" as an illustration. The paper also discusses the origins of drama genre and points out how it differs from the tragedy genre. Furthermore, the paper then points out that despite notable difference in characters, plot, outcome and tone, these three genres all reflect human nature. The paper concludes that whether comical or tragic, the main function of the theater is to stir emotions by portraying the frailties of the human condition.
From the Paper
"The theater can be considered as a reproduction of the fundamental conditions of human existence. The theater can be seen as a set of symbols reconstructing the conditio humana as a basic theater representation contains all the trials and tribulations of life. Acting can be deciphered as the attempt to assume a different identity. In this sense, the theater is a continuous creation and changing of identities. Irrespective of cultural and epochal differences, this has remained a constant as far as theatrical performance. There are three theater genres each reconstructing human experience: comedy, tragedy and drama. Nonetheless, despite notable difference in characters, plot, outcome, tone etc. these three genres have one thing in common, i.e. they reflect human nature."
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The Appeal of Tragedy, 2004.
This paper analyzes the continuous appeal of tragedy, with particular focus on Sophocles' "Oedipus Rex" and Shakespeare's "Othello."
675 words (approx. 2.7 pages), 2 sources, MLA, $ 23.95
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Abstract
This paper explores the popular appeal of tragedy, focusing on Sophocles' "Oedipus Rex" and Shakespeare's "Othello." The paper discusses how audiences equate suffering with a certain heroic quality in man.
From the Paper
"Throughout history tragedies have fascinated audiences despite the persistent pain and suffering of their protagonists. Indeed the appeal of tragedy seems to spring from the very misery and self-destruction to which its characters are subjected, as audiences understand that such suffering corresponds to a certain heroic quality in man. This attitude was held in ancient Greece when Sophocles wrote "Oedipus Rex" and sustained itself through the Elizabethan period when Shakespeare produced "Othello." It is still present today as both Greek and Shakespearean tragedies remain immensely popular with audiences."
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Tragedy Compared, 2002.
A look at the similarities between two great tragedies, "Macbeth" by William Shakespeare and "Oedipus Rex" by Sophocles.
2,196 words (approx. 8.8 pages), 5 sources, APA, $ 68.95
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Abstract
The paper shows that although "Macbeth" (Shakespeare) and "Oedipus Rex" (Sophocles) are great tragedies from two very different time periods, the similarities that exist between the two are remarkable. It discusses how Shakespeare and Sophocles both understood exactly what it took to write great tragedy. By comparing how fate plays a part in each play, the paper examines whether perhaps Sophocles and Shakespeare were on similar wavelengths. It also examines whether the tragic heroes of each play are doomed to live out their fate or whether there is an element of free will that causes each of their downfalls.
From the Paper
"Oedipus believed that the prophesies of Apollo may full well come true and in an effort to outfox fate, he fled his home and vowed to never let the prophecy come to pass. In doing so, he played right into the hands of Apollo and set off a chain of events that would eventually lead to the prophecy being fulfilled. But was it fate that led Oedipus to commit these horrid acts or was it Oedipus? own strong will and determination to prove it wrong that caused his downfall? Could it be Oedipus? own bullishness that led to his imminent demise? Could it have been Oedipus? ego that forced him to kill his father, then a stranger, on the road?"
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?Tragedy and the Mind of the Infant?, 2003.
An analysis of the article, "Tragedy and the Mind of the Infant? by Ernest Jones, an analysis of Shakespeare's "Hamlet".
1,785 words (approx. 7.1 pages), 0 sources, $ 57.95
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Abstract
This paper discusses how Ernest Jones analyzes Shakespeare?s "Hamlet" from a Freudian perspective, focusing on the latent sexual impulses that plague the Prince of Denmark. It shows that according to Jones, the sexual nature of the underlying turmoil in the play?s protagonist leads to his mental illness and his desire for death.
From the Paper
"Because his repressed feelings of incestuous love are met with equally powerful feelings of guilt, Hamlet?s main struggle is between his conscience and his subconscious desires and impulses. Throughout the play, Hamlet teeters between taking decisive action and exacting revenge on Claudius and hesitating due to conflicted emotions. The resulting paralysis Hamlet exhibits is a direct result of the interplay between his unconscious motives and his conscious ones. Hamlet can be read as a Freudian play more than just for the theme of incest, therefore. The role of the unconscious in Shakespeare?s Hamlet extends to Freud?s concept of the death wish as well. Several key symbols and scenes in the play point to this theme. First, the ghost of the King is but a manifestation of the collective unconscious of Denmark. Most are unaware of what the precise cause of that which is ?rotten in the state of Denmark,? (I, iv., 67). Moreover, the King?s ghost provides Hamlet with the impetus to seek death; it is the manifested voice of his death wish. Second, Hamlet?s profound hostility toward women is borne of his repressed incestuous feelings and his guilt surrounding those feelings."
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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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How Aristotle's Poetics Applies to Shakespeare's Plays, 2000.
A look at how Aristotle's influential pamphlet, which talks a great deal about tragedy, finds expression in Shakespeare.
1,000 words (approx. 4.0 pages), 1 source, $ 35.95
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From the Paper
"Aristotle?s Poetics1 is considered to be the guide to a well written tragedy; his methods have been used for centuries. In Aristotle?s opinion, plot is the most important aspect of the tragedy, all other parts such as character, diction, and thought stem from the plot. "
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Shakespeare's "Hamlet", 2005.
This paper analyzes the representation of revenge in Shakespeare's "Hamlet"
3,150 words (approx. 12.6 pages), 6 sources, $ 124.95
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Abstract
This paper explains that the concept of revenge in Shakespeare's tragedy "Hamlet" is significant. The author points out that revenge serves as a point of convergence for both the contributing literary traditions, which influenced Shakespeare's work, and the multiple modes through which audiences in his time and in later centuries interpreted the action of the drama. The author reviews some of the critical literature on the tradition of revenge tragedy. The paper relates that the question of revenge is integral to the play "Hamlet" in resolving such otherwise puzzling elements as Hamlet's apparent delay and reluctance to take action.
From the Paper
"The concept of "revenge" in Shakespeare's tragedy Hamlet is significant as it serves as a point of convergence for not only the contributing literary traditions that influenced Shakespeare's work, but also of the multiple modes through which audiences in his time and in later centuries interpreted the action of the drama. Indeed, as even a brief review of the critical literature on the tradition of "revenge tragedy" and Hamlet reveal, the question of revenge is integral not only in resolving such otherwise puzzling elements such as Hamlet's apparent "delay" and reluctance to take action."
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