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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's "Othello", 2004.
This paper analyzes the character Iago in William Shakespeare's play, "Othello".
1,105 words (approx. 4.4 pages), 5 sources, APA, $ 38.95
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Abstract
This paper explains that Iago, from William Shakespeare's play, "Othello," is probably one of the best evil characters ever created. The author points out that he is an interesting case study because he is proud of his evilness and plans to use it to his utmost abilities to bring Othello down. The paper relates that another aspect about Iago's character that makes him so detestable is that he really has no reasonable excuse to hate Othello so much; he is not crazy, but rather is smart and clever, two characteristics that make him even more dangerous.
From the Paper
"Another characteristic of Iago that is unforgettable is his cleverness throughout the entire play. Iago must know Othello well because he demonstrates that he knows just the right things to say to Othello to spur his anger and jealousy. Robert Heilman claims, "Wit is Iago's instrument to compensate for what he does not have. He perversely hates and yet lusts after what he does not have . . . and he undertakes to disparage it, minimize it, debunk it, and destroy it." Once he knows what it is he wants to do, he has no trouble achieving his goal. Critic Harold Bloom states that Iago's ruination of Othello is in some ways too subtle for criticism to paraphrase. Iago suggests Desdemona's infidelity by at first not suggesting it, but hovering near and around it." This is all too true."
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'Othello' by William Shakespeare, 2006.
A review of the jealousy, submissive female gender roles and race in 'Othello' by William Shakespeare.
675 words (approx. 2.7 pages), 5 sources, $ 26.95
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Abstract
This study examines the role of jealousy, submissive female gender roles, and racism within Othello by William Shakespeare. In many ways, Desdemona pays a submissive role to Othello, as she cannot rise above her fears and confront her husband on the grave error of his theories about her infidelity. Furthermore, the issue of race helps Iago deploy his plan, as both he and Desdemona's father are racist in their jealousy of Othello's success. In this manner, jealousy, submissive female gender roles, and racism are constructed to bring a tragic ending to the once hopeful marriage of Othello and Desdemona. The issue of jealousy begins with Iago's anger at Cassio getting a promotion in Othello's elite guard.
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'Twelfth Night' by William Shakespeare, 2005.
A study of the roles of Viola and Maria in William Shakespeare's 'Twelfth Night'.
900 words (approx. 3.6 pages), 1 source, $ 35.95
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Abstract
This paper reviews the play 'Twelfth Night' by William Shakespeare with a special focus on the relationship between the characters Cesario, or Viola in disguise, and Maria, Lady Olivia's lady-in-waiting.
From the Paper
"William Shakespeare's middle-period comedy, 'Twelfth Night', is one of several plays he wrote that deal with mistaken identity, gender, and facade. In the play, young Viola, a girl who has high social status by birth, is involved in a shipwreck and must survive in a new and strange world with only her wits and her wiles. Viola disguises herself as a boy, Cesario, and finds employment and shelter with a wealthy nobleman, Orsino. Finding herself falling for Orsino, Viola also finds that her new employer is smitten by a fellow member of the aristocracy, Lady Olivia, who in turn falls for "Cesario," who she does not realize is young Viola. One of the interesting relationships in this play is that found between Viola and Olivia's young lady-in-waiting, Maria."
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William Shakespeare's "Richard II" and "Henry IV", 2007.
This paper discuss the relationship between kingship and identity in William Shakespeare's plays "Richard II" and "Henry IV".
2,790 words (approx. 11.2 pages), 3 sources, APA, $ 83.95
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Abstract
This paper explains that, in "Richard II" and "Henry IV", William Shakespeare explores the issue of kingship by depicting Richard II and Henry IV as polar opposites. The author points out that Richard II, whose claim to the throne is considered legitimate but whose ability to lead is poor, is regarded as the complacent and lyrical king; whereas, Henry IV, whose claim to the throne in terms of the laws of succession is unstable, has won the support of the people based on his merit. The paper stresses that the perspective of Hal benefits from the experience of both his predecessors in that he is the legal successor to his father. The paper includes several quotations.
From the Paper
"Shakespeare has an ambivalent attitude towards kingship. He does provide an argument in favor of rightful succession to Richard's throne and the maintenance of traditional values embodied in the crown and the state under its rule, in the voice of Carlisle, for example. Yet at the same time, he clearly illustrates the destructive nature of kingship on the individual behind the crown. There are moral questions raised which are never answered which in itself casts doubt on the values inherent in kingship. For example, we are never provided with a suitable moral explanation for, and are never really comfortable with, Hal's renouncement of Falstaff."
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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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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, 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 "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'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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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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'Pericles' by William Shakespeare, 2006.
A review of the play "Pericles" by William Shakespeare.
3,029 words (approx. 12.1 pages), 0 sources, $ 89.95
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Abstract
This paper analyzes Shakespeare's play "Pericles".The paper discusses the way that Shakespeare utilizes fantasy elements, such as a fairy tale format and characters from extreme ends of the spectrum, to illustrate a kind of reality. The paper further discusses how by grabbing the reader, and allowing them to explore this make-believe world, Shakespeare also allows us to explore our inner self, the real source of truth.
From the Paper
"Near the end of his life, Shakespeare began experimenting with the seemingly artificial elements of the Romances. With its extraordinary plot riddled with random occurrences, and its ridiculously apparent fairy tale format, Pericles is the most obviously contrived of all of these later plays. Once one looks beyond the bland rhyme schemes of the first two acts and the underdeveloped characters throughout, however, one can begin to understand that the blatant artificiality of the play is deliberate. The question is why? Why would Shakespeare choose to create such an unrealistic play? The answer being that Pericles delineates the ideas and concepts that are fundamental parts of the real world through the use of these artificial conventions. For instance, the archetypal characters and the episodic sequences of events place Pericles in the company of stories such as Snow White and Cinderella. Yet the reason why these kinds of characters appeal to people so much is because they reflect the very ideals and emotions that people see in themselves. Likewise, the episodic events parallel reality, in that life seldom follows the traditional narrative arch found in many of Shakespeare's earlier plays."
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Evil in the Plays of William Shakespeare, 2005.
An analysis of the function and usage of evil in the plays of William Shakespeare.
3,050 words (approx. 12.2 pages), 5 sources, MLA, $ 89.95
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Abstract
This paper studies Shakespeare's usage of evil in his plays. The essay attempts to reveal the function of this device by analyzing its usage in seven Shakespeare plays: "Macbeth", "Henry VI", "Hamlet", "Julius Caesar", "Richard III", "King Lear" and "Othello". The author includes complete character and plot summaries, and supports his theses with quotes from the texts.
From the Paper
"'Fair is Foul and Foul is Fair'. Unfortunately for Steve Bartman and the 2003 Chicago Cubs, this famous phrase does not apply to baseball playoffs. William Shakespeare wrote this line to describe the relationship between good and evil in his play Macbeth. By casual definitions, good is right and evil is wrong. However, Shakespeare operated with larger concepts that go beyond passive terminology. In his works, balance, harmony, justice and righteousness represent good. Evil is represented by disorder, temptation, corruption and immorality. There is inherent tension created when these principles collide."
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Sonnet 29 by William Shakespeare, 2001.
A commentary on William Shakespeare's Sonnet 29, including a look at various stylistic devices, the tone used, and the poetry themes focusing on self-alienation and denial.
400 words (approx. 1.6 pages), 1 source, MLA, $ 17.95
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Abstract
A short and concise essay analyzing Shakespeare's Sonnet 29 with textual examples of personification, assonance, repetition, symbolism, simile, comparison, and shift.
From the Paper
In "Sonnet 29," Shakespeare illustrates the speaker looking back on his life, and the lack of faith during it. The speaker finally realizes how he has had no faith in his life up to the present, and his lack of faith causes to be angered towards himself and then to realize that it is never too late. Because he was so selfish in his early life, he is angry with himself throughout the first eight lines, "desiring this man's art and that man's scope", and leaving no room for divine guidance.
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