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Shakespeare's "Measure for Measure", 2006.
An analysis of William Shakespeare's play, "Measure for Measure".
2,605 words (approx. 10.4 pages), 1 source, MLA, $ 78.95
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Abstract
This paper discusses and analyzes Shakespeare's play, "Measure for Measure", focusing primarily on Act V, Scene I. The paper explains that this play uses the theme of a duke disguising himself as a commoner and going among the people to find out what they really felt about his rule, as a ploy to bring out the truth about the characters of those surrounding the Duke. The paper also explains that Shakespeare adds a twist to the theme when he has the Duke portray a Friar or Holy man who is able to hear confessions and speak to the dying and the condemned.
From the Paper
"We notice that Angelo is more harsh with an individual who was legally betrothed to a woman, got her pregnant and did not marry her than he was with the prostitutes. He did his best to put prostitutes out of business, but no where in the play did it mention Angelo had either them or their "johns" beheaded. Some of this discrepancy is the result of class prejudice. The upper classes had assets and titles. Out of wedlock children were not only and embarrassment but often could contest for both the assets and titles of their deceased father if he had no legitimate male offspring. The lower working classes often had children out of wedlock. Since little or no property was involved, the law turned its head."
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Shakespeare's ?Measure for Measure? and Shaw's ?Major Barbara?, 2002.
This paper compares the many parallel images in the comedies William Shakespeare's ?Measure for Measure? and George Bernard Shaw's ?Major Barbara".
2,405 words (approx. 9.6 pages), 10 sources, MLA, $ 73.95
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Abstract
The author believes that Shaw quite consciously modeled some portions of ?Major Barbara? on Shakespeare's ?Measure for Measure?. The paper discusses the many similarities such as the religious overtones in both plays and the characterization of the female main characters Isabella and Barbara. The author points out that both plays make the same philosophical point: The need to let something go in order to achieve or gain something else, perhaps of greater value.
From the Paper
""Measure for Measure" is gloomy in the beginning; but Shakespeare, as does Shaw, is able to work out the transition from potential tragedy to comedy. Unfortunately, in the transition, Shakespeare, unlike Shaw, does not always make his characters behave consistently. Like Shaw, however, he does order everything that happens in "Measure for Measure" on the principle that the play must be kept a comedy. That was his given reason for making his heroine Isabella a novice nun and for bringing Lucio into her first scene with Angelo (II. ii.); every detail must play its part in intensifying the effect of comic irony. Once used though, such a detail may later be ignored by Shakespeare. Isabella is found to be not too nun-like after all. She is not squeamish or sanctimonious and can be intensely practical, as her "0, let him marry her!" (I. iv. 49) reveals. During the play she develops into a vociferous, ironical nun?almost a Major Barbara."
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Shakespeare and Society: "Measure for Measure" as a Reflection of English Society and Advice to King James, 2002.
This paper contends that Shakespeare's "Measure for Measure" is a reflection of English society and advice to King James.
2,340 words (approx. 9.4 pages), 14 sources, APA, $ 71.95
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Abstract
This paper argues that Shakespeare wrote "Measure for Measure" as a complimentary tutorial for King James. In doing so, he portrays the current state of affairs in England and attempts to provide James with advice concerning the problems facing his kingdom.
From the Paper
"Shakespeare?s England at the time that Measure for Measure was written was in a state of internal conflict and discord. King James I came to power in 1603 and inherited a kingdom rife with a myriad of social and cultural problems, including corruption in the justice system, religious disputes and crises, and rampant sexual immorality. Shakespeare, the ?King?s Playwright,? as Alvin Kernan dubs him, wrote Measure for Measure as a complimentary tutorial for King James. In doing so, he portrays the current state of affairs in England and attempts to provide James, as a ruler with Divine Right and responsibility to his country, with advice concerning the problems facing his kingdom."
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William Shakespeare's "Measure for Measure", 2006.
This paper discusses religious skepticism in William Shakespeare's "Measure for Measure".
2,275 words (approx. 9.1 pages), 0 sources, $ 70.95
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Abstract
This paper explains that, in William Shakespeare's problem comedy "Measure for Measure", there is a certain sense of Shakespeare's discomfort or downright cynicism toward the concepts of religion such as Providence, divine mercy and the afterlife. The author analyzes the way the actions of the characters of Duke Vincentio, Isabella and Claudio reflect the religious skepticism that Shakespeare so frequently insinuated into his work. The paper concludes that Claudio is the only one for whom the play ends with a truly happy ending; insinuating that perhaps for all of those, who deny their true nature and insist on living their lives to achieve the impossible standards of religion, perhaps there is no happy ending.
From the Paper
"The questionable actions of Isabella, too, can be construed as Shakespeare commenting on divine mercy. For instance, when dealing with her brother Claudio, Isabella shows little or no pity toward his eminent death when it is directly weighed against her chastity. Yet when Angelo is condemned for basically an identical crime for which he doomed Claudio, Isabella pleads to the Duke that Angelo might be spared because Angelo did not, for all intents and purposes, actually succeed in his objective. Since Isabella did not stand to lose anything in her defense of Angelo, she made it willingly. When Isabella was forced to give up something precious to herself, however, she chose her own salvation over her brother's salvation."
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The Moral Compass in Shakespeare's 'Measure for Measure', 2001.
A look at the approach of various critics to the play 'Measure for Measure'.
1,800 words (approx. 7.2 pages), 4 sources, $ 57.95
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Abstract
This paper looks at the drastically different interpretations by critics of "Measure for Measure". The comments of H.C. Goddard, Harold Bloom and Martin Lings are contrasted, who variously take the play as: a moral tale on the nature of authority and governance, a spectacle of extreme nihilism, and a mystical quest for spiritual redemption. The paper asserts that each of these writers has a distinctly valuable approach to Shakespeare's text, but none has captured the mysterious whole.
From the Paper
"Measure for Measure has always been a difficult play to interpret, engendering many conflicting viewpoints. Much of twentieth century criticism tried to find a moral direction in the story, redeeming it from charges of inconsistency and vulgarity. R.W. Chambers, for example, insisted that "from first to last, the plot turns on the problem of punishment and forgiveness." [1] He took particular care to defend both Claudio and Isabella against accusations of selfishness, pointing out that Isabella is simply being human when she erupts at her brother Claudio in his prison cell, noting "there are things about which we cannot argue calmly.""
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William Shakespeare?s "Measure for Measure", 2004.
A look at how Shakespeare is able to capture the complexity of many of life's issues explored in this play.
2,400 words (approx. 9.6 pages), 2 sources, MLA, $ 73.95
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Abstract
This paper explores the way that Shakespeare presents many of the complex issues of life, such as love, honor, and shame in his play, "Measure for Measure". The paper analyzes the characters in the play and explains how Shakespeare is able to deftly capture the spirit of the human psyche in each one.
From the Paper
"Isabella becomes a pivotal character in the play because as we become concerned with what she should do, we realize the problems her choice means to her. Part of the difficulty associated with Measure for Measure is that the answer to this question is not clear. What we discover about Isabella is something peculiar about her chastity. In short, her actions reveal that she is not as pure as she may seem. She no doubt wants to save her own soul, life, and chastity, obviously at whatever the cost. While Isabella?s behavior causes her to appear to be somewhat selfish, it is also important to realize that there is little else she can do."
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William Shakespeare and Christopher Marlowe, 2000.
This essay compares the themes and styles
William Shakespeare's "Sonnet 29" and Christopher Marlowe, "The Passionate Shepherd to his Love".
3,460 words (approx. 13.8 pages), 0 sources, $ 97.95
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Abstract
The following paper compares and contrasts the themes, poetic techniques, choices of description and unique individual styles of the following poets and poems: William Shakespeare's 'Sonnet 29' and Christopher Marlowe's, 'The Passionate Shepherd to his Love', Michael Drayton's 61 and Sir Philip Sidney's 20,William Shakespeare's, Sonnet I and Walter Raleigh's, A Farewell to False Love,Sir Philip Sidney's 7 and William Shakespeare's, Sonnet 18,William Shakespeare's, Sonnet 55 and William Shakespeare's, Sonnet 71.
From the Paper
"These two poems share one common theme, the happiness that their love brings them. But these two poems achieve this in very different ways. Marlowe?s poem reads as a love poem. He is addressing his love and telling her how good life will be if she will be his love. At the same time he is also telling himself how much he needs her love. Marlowe does this simply by focusing on what life would be like. He focuses on all the pleasures that will come. In the first section he says that they will gather all the pleasures that are offered. He is referring here to how his life is not complete without her love and how everything will be more beautiful and more appreciated if she is there. He describes everything as perfect and calm. Phrases such as ?melodious birds?, ?fragrant posies?, ?pretty lambs? and ?silver dishes? all add to the feeling of contentment. The lines ?a gown made of the finest wool, which from our pretty lambs we pull? is very meaningful. The fact that he describes the lambs that the wool will come from as ?pretty? is interesting, as is the choice of the word ?pull?. Pull does not reflect the same contentment as it is a more forceful term....."
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William Shakespeare, 2002.
A literary review of Shakespeare's "Measure for Measure" and "As You Like It".
1,066 words (approx. 4.3 pages), 2 sources, MLA, $ 37.95
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Abstract
This paper discusses and analyzes the plays "Measure for Measure" and "As You Like It", both by William Shakespeare. Specifically, the paper explains how Shakespeare developed the three themes of love, the stages of human life and the city versus the country in these two plays. The paper includes direct quotes from the two plays.
From the Paper
"Love is a common theme in many of Shakespeare's plays, and these two are no exception. "As You Like It" is a romantic comedy filled with love and romance, and Shakespeare seems to be saying that love is not always courtly and refined, that it can be bawdy, and bring happiness to everyone involved. In fact, at the play's end, Rosalind has shown that love is really a source of absolute happiness, because she has successfully arranged four happy marriages and made sure the government will be more just."
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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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Film: "William Shakespeare's A Midsummer Night's Dream", 2007.
This paper compares Michael Hoffman's 1999 film, "William Shakespeare's A Midsummer Night's Dream" with Shakespeare's original play.
2,350 words (approx. 9.4 pages), 9 sources, MLA, $ 72.95
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Abstract
This paper explains that, for his 1999 film, "William Shakespeare's A Midsummer Night's Dream", Michael Hoffman rewrote the original Shakespeare play, put it into a more modern context and emphasized artistic visual expression over Shakespeare's expression through the poetry of language. The author points out that Hoffman modernized the gender roles by creating a dialogue for Bottom's wife, thus increasing her importance; wherein, in the original play, her role consisted of a stare. The paper relates that, to appeal to modern cultural standards, the movie has been made more aesthetically pleasing by the fantasy theatrics of the costumes and makeup.
From the Paper
"The first and most evident difference between the 1999 film adaptation and the original play by Shakespeare is the setting. Shakespeare's work is set in Greece, while Hoffman's is set in the turn of the 20th century Tuscany. It was also filmed in Tuscany. "Hoffman moves the action forward in time and sets it in late 19th-Century Tuscany" writes Welsh, but it is questioned whether this "new setting makes sense". Thus Hoffman's version has an immediate difference between that of Shakespeare's which took place in the traditional classical setting."
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William Shakespeare's "A Midsummer Night's Dream", 2006.
This paper analyzes the use of comedy in William Shakespeare's "A Midsummer Night's Dream" as presented in the play-within-a-play, 'The Most Lamentable Comedy and Most Cruel Death of Pyramus and Thisby', in Act V.
1,495 words (approx. 6.0 pages), 3 sources, MLA, $ 49.95
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Abstract
This paper describes William Shakespeare's "A Midsummer Night's Dream as preposterous, and arsy-versy. The author points out that, by using the rude mechanicals, Shakespeare seems to be arguing that arsy-versy can turn even the most lamentable tragedy into a roaring comedy. The paper relates that an example of arsy-versy of one of the rude mechanicals is called Snug the Joiner, whose rhetoric is so slow and disjointed that he asks for his lines written in advance. The author also then discusses Titania as an example of preposterousnous, explaining that she is the fairy goddess who falls deeply in love with Bottom despite his having an ass for a head of which he is unaware. The paper concludes that the backwards reaction to the events of the play-within-the-play points to Shakespeare's message that people are insensitive to their own follies and yet are very perceptive of the same follies found in others.
From the Paper
"As the play begins, the preposterousness of the presentation is immediately shown in the prologue, which the rude mechanicals took great care to write so as not to offend the court. Peter Quince's delivery of the prologue presents a message opposite from the intended one. "If we offend, it is with our good will," he says, unfortunately telling the court that his intent is to offend. "All for your delight," he later says, "we are not here". The players then continue to present their play in a rather backwards manner; by making it crystal clear to the court that what they see in front of them isn't real."
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William Shakespeare's "The Tempest", 2006.
An analysis of the Elizabethan theme of political corruption in William Shakespeare's "The Tempest".
1,350 words (approx. 5.4 pages), 2 sources, $ 53.95
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Abstract
This drama study historically critiques the theme of political corruption as it evolves in the play, "The Tempest", by William Shakespeare. The paper analyzes the various characters of this play to illustrate how the struggle for power is complex and that power and greed are the basis of corruption. The paper also points out that ,although Prospero dissolves the aggression set against him in the play, Shakespeare
uses "The Tempest" to reveal a commentary on political intrigue and corruption that reflects the historical Elizabethan monarchal class system and the politics of Shakespeare's times.
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William Shakespeare, 2002.
A biography of the life and work of the playwright William Shakespeare.
1,150 words (approx. 4.6 pages), 3 sources, $ 44.95
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Abstract
This paper presents a detailed look at the life and works of famed playwright William Shakespeare. The author of this paper takes us on an exploratory path through the childhood and teen years of Shakespeare before embarking on the adult life in which he became so famous.
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William Shakespeare's "King Henry the IV, Part I", 2008.
Looks at the treatment of women in William Shakespeare's "King Henry the IV, Part I".
920 words (approx. 3.7 pages), 1 source, MLA, $ 32.95
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Abstract
This paper examines the apparent roles and functions of women in William Shakespeare's "King Henry the IV, Part I". Specifically, the paper looks at the impact of women upon other characters and whether or not their roles should have been different and, if so, how they should have been different. The paper contends that Shakespeare accurately captures the gender divisions of his age but fails to highlight the central contribution of Henry IV's first wife, Mary de Bohun, in the establishment of this man as a powerful king over a flourishing empire.
From the Paper
"One other thing that becomes evident is that much of the play is about men seeking power - about them accruing titles or lands, in short. As a result, by as early as Act 1, Scene 3, it is fairly clear, at least as we listen to Hotspur denounce the Prince of Wales and "Bolingbroke" (Henry IV), that power in fourteenth century England is a "man's thing" and that women are only referenced in these matters if they are bearing children who may become lineal descendants to a throne or baronetcy or if the behavior of one nobleman or another is so intemperate that he is described by his colleagues as a "woman" who cannot hold his tongue or think rationally."
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William Shakespeare vs. Sheldon Zitner, 2006.
This paper discusses author Sheldon Zitner's criticism of William Shakespeare's comedic play "Much Ado About Nothing."
1,103 words (approx. 4.4 pages), 2 sources, MLA, $ 38.95
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Abstract
This paper details author Sheldon Zitner's discourse and evaluation of William Shakespeare's comedic Elizabethan play "Much Ado About Nothing." Beyond the plot and character analysis Zitner asserts that the play lacks accessibility to the memory unlike some of Shakespeare's more studied and performed romantic comedies.
From the Paper
"Besides Shakespeare's literary control, Zitner points out the fact that "Much Ado About Nothing" makes no claim on class distinction like most other romantic comedies. I deeply agree with Zitner's thought since I did not feel heavy class distinction between the characters when I read the play. For instance, Dogberry is portrayed as being ingratiating and terribly unpleasant, which impedes justice rather than upholding the law. Although Leonato has some rank, he, unfortunately, has little ability. The play merely hints at Hero's lower class."
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