| Papers [109-120] of 1436 :: [Page 10 of 120] | | Go to page : <— 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 —> | |
|
|
Baz Lurman's Film "Romeo and Juliet", 2006.
This paper compares the 1996 film version of Baz Lurman's "Romeo and Juliet" with William Shakespeare's original version of this romantic tragedy.
775 words (approx. 3.1 pages), 3 sources, MLA, $ 27.95
»
Click here to show/hide summary
Abstract
This paper explains that, while Baz Lurman's "Romeo and Juliet" presents the main theme of the play as a conflict between the bad values of the older generation and the disaffected but still hopeful younger generation, Shakespeare's play evolves more as a tale of fate and the fragile nature of love. The author points out that the film's images stem from a modern sense of alienation, an idea underlined in the overall design of the film, in which a Pluralist or post-modern pastiche of Hispanic, contemporary and some Renaissance images creates a sense of confusion mirrored in the lovers' own difficulties in finding meaning in their world. The paper relates that, although the themes of youthful alienation exist in both versions but are more present in Lurman's cinematic re-telling, Shakespeare, as is consistent with the Renaissance era, takes the example of the lovers to reflect upon the 'chance' nature of romance.
From the Paper
"The unavoidability of fate was an important idea of the Renaissance era during which Shakespeare wrote. Also important, well into the Baroque era was the question of how much respect and deference a child owed his or her parents in terms of selecting a marital partner. Shakespeare sides with the lovers in their passion, but clearly shows how Romeo and Juliet's love upsets the rulership of Verona, and how society is harmed as well as helped. Good aspects to society, such as the kind prince, and Juliet's more loving father and mother are upset when Juliet decides to eschew parental care."
| |
|
Hamlet and Othello: Driven by Emotion, 2006.
An analysis of the characteristics of Hamlet and Othello.
983 words (approx. 3.9 pages), 4 sources, MLA, $ 34.95
»
Click here to show/hide summary
Abstract
This paper analyzes the essential flaws in the characters of Hamlet and Othello and discusses the ways that these flaws leads to the tragic actions of the plays and the characters' downfalls. It examines the ways in which the characters' flaws are similar, in that their flaws are emotional, where both characters do not have full control of their emotions and that this allows them to be governed by their emotions.
From the Paper
"Othello's fatal flaw is also related to his inability to deal with his emotions. The difference is that Othello's emotions are jealousy associated with his wife, not shame associated with his mother. Bradley describes this by saying that "Othello's nature is all of one piece... Love, if he loves, must be to him the heaven where either he must leave or bear no life. If such a passion as jealousy seizes him, it will swell into a well-night incontrollable flood" (Bradley 188). This shows how Othello goes to the extremes, especially relating to his emotions. Bradley also says that "He is quite free from introspection, and is not given to reflection."
| |
|
"Henry V", 2006.
An examination of the use of the word 'wild' in William Shakespeare's "Henry V".
1,673 words (approx. 6.7 pages), 1 source, MLA, $ 54.95
»
Click here to show/hide summary
Abstract
This paper examines how, in Shakespeare's "Henry V", the word wild or wildness is used throughout the play to describe the character of King Henry V, the characters of men in general and the circumstances in England and France. It provides a definition of the notion of 'wild' and then provides examples of the use of this theme of "wild" from the play.
From the Paper
"In this statement, King Henry refers not to his own wilder days, but to the wilder days of England. The last sentence where he refers to having never valued the seat of England shows that his complaint is against how England has been managed under his father's rule. He considers that France thinks it is better than England and sees his father as not being a strong enough leader to drive England to victory over France. In this context, the wilder days of England is a negative description of the way England was. He is describing England as being poorly managed and overgrown, as if his father was not able to unite England into one. This establishes that Henry also sees wildness as something negative. Clearly, Henry is not a character where he believes that a wild character will help him lead his country."
| |
|
War and 'Henry V', 2006.
An analysis of the play "Henry V" by William Shakespeare.
1,891 words (approx. 7.6 pages), 1 source, MLA, $ 60.95
»
Click here to show/hide summary
Abstract
This paper introduces, discusses, and analyzes the play "Henry V" by William Shakespeare. Specifically it discusses the various meanings of the word war and how Shakespeare uses it throughout the play. Because so much of the play revolves around war and the results of war, war has become a vital word in this play.
From the Paper
"The word war appears often in this play, along with many variations. In this quote from the First Act, Henry shows the audience his desire to go to war and to conquer France. Shakespeare writes, "For we have now no thought in us but France, / Save those to God, that run before our business. / Therefore, let our proportions for these wars / Be soon collected, and all things thought upon / That may with reasonable swiftness add / More feathers to our wings; for, God before, / We'll chide this Dauphin at his father's door. / Therefore let every man now task his thought, / That this fair action may on foot be brought" (Shakespeare I, ii). The King uses the word as "wars," and acts as if the wars are guided by God.
This is an important aspect of the word, for often wars seem to be religiously inspired, or fought on "God's side." The "right" side in any war believes they are fighting for the right cause and the right reason. For example, in World War II, the Allies were fighting against Fascism and Hitler's horrible dictatorship. The Allies were certainly "right," while Hitler and his followers were "wrong."
| |
|
"Hamlet", 2006.
A review of William Shakespeare's "Hamlet", a tragic play that explores human emotions.
1,206 words (approx. 4.8 pages), 3 sources, MLA, $ 41.95
»
Click here to show/hide summary
Abstract
This paper looks at the tragic play "Hamlet" by William Shakespeare. In "Hamlet", Shakespeare explores various human emotions, particularly the need for revenge. This paper takes a look at these emotions as well as the righteous value that proved to be to Hamlet's downfall.
From the Paper
"First, Hamlet is a thinker. He has the mind of a great man and a sense of the vastness of the universe and eternity. He constantly questions himself about the meaning of life. "What is this quintessence of dust?" he asks. Many of his questions are not answerable to this day. He wonders about profound issues that perhaps only God understands. He is certainly aware of "the great question of being" and of what he does not know. "There are more things in heaven and earth...than are dreamt of in our philosophy." He senses the mental nature of existence and makes profound statements, such as, "There is nothing either good nor bad, but thinking makes it so." Hamlet is also a good judge of honesty and can tell when others are not being completely honest with him. For example, when his old friends Gildenstern and Rosenkranz are asked by the queen and Claudius to come and visit him, he knows they are lying about their reason for visiting."
| |
|
Shakespeare's Women, 2006.
Discusses the roles of Cleopatra and Desdemona in plays by William Shakespeare.
1,245 words (approx. 5.0 pages), 10 sources, MLA, $ 42.95
»
Click here to show/hide summary
Abstract
There is a virtual myriad of essays and criticisms concerning the women characters in William Shakespeare's plays. This paper focuses mainly on the role of two of these women - Desdemona from "Othello" and Cleopatra from "Antony and Cleopatra". It also briefly discusses other characters such as Calpurnia and Portia. The paper concludes that of all his female characters, Shakespeare's Cleopatra is certainly at the top of the list in qualities of intelligence, power, seductiveness, aggression and assertiveness.
From the Paper
"Desdemona in "Othello," appears on the surface as a typical weak female who is totally submissive to her husband, however she is not truly typically meek. She is actually quite broad minded and assertive, and seems to have no problem in standing up to Othello's jealousy or using her feminine wiles to persuade her husband to forgive Cassio. When Othello strikes her, shouting, "Devil," Desdemona responds to him, saying, "I have not deserved this" (Othello pp)."
| |
|
"A Midsummer Night's Dream", 2006.
This paper discusses and analyzes the play "A Midsummer Night's Dream" by William Shakespeare.
1,050 words (approx. 4.2 pages), 2 sources, MLA, $ 36.95
»
Click here to show/hide summary
Abstract
The writer of this article studies various acts of Shakespeare's play "A Midsummer Night's Dream". The paper provides a view of one of Shakespeare's most famous and most loved works. In particular, the paper looks at how an all-male cast affects three pivotal scenes and explains how this staging tactic demands that audiences respond in a particular way. The writer explains that using only men in all the roles would have been common in Shakespeare's time, but today, it seems to take away from the impact and humor of the play.
From the Paper
"Clearly, the implications and consequences of the play are different when all the cast members are one gender. Some of the passion goes out of the play, and some of the scenes may even seem ridiculous or far-fetched. Personally, the play is funny and emotional, and some of that might just seem like farce to the audience when the cast was all male. It might seem more like "The Bird Cage" or other gay films. Giving hints of femaleness may work with some of the cast, but in other scenes, giving hints may simply take away the dramatic effect and lessen the impact of the play. The femaleness of the female characters is very important to the play, but it can be overcome with actors who believe in what they are doing and deliver their lines with conviction. Tongue-in-cheek lines will ruin the entire meaning and impact of the play."
| |
|
Grief in "Hamlet", 2006.
This paper analyzes the devastating effects of grief in William Shakespeare's classic play "Hamlet."
756 words (approx. 3.0 pages), 1 source, MLA, $ 26.95
»
Click here to show/hide summary
Abstract
The writer of this paper contends and proves the manner in which grief can and does destroy the life of Hamlet. This paper delves into Hamlet's, depression, self-doubt, insanity and thoughts of suicide which is brought on by his father's death. This paper cites relevant sections of the play which specifically point to Hamlet's self inflicted grief.
From the Paper
"The next phase of grief leads to self-doubt, which is emphasized by the appearance of the ghost. At first, Hamlet tires to deny the ghost and what it means, calling it a "goblin damned". Almost immediately after that, he calls the ghost, "King, father, Royal Dane". Here we see the beginning of Hamlet's wavering and doubt. Even though he does not know what or who the ghost is, he demands that it answer him so that he might "not burst in ignorance". When Hamlet cannot kill Claudius, he experiences even more self doubt, saying that he is a "dull and muddy-mettled rascal . . . unpregnant of my cause,/And I can say nothing". These scenes allow us to see how Hamlet's grief is beginning to effect his reasoning. Grief also leads Hamlet to thoughts of suicide. One of his most famous soliloquies contemplates "To be, or not to be."
| |
|
Shakespeare, 2006.
A discussion on the true identity of William Shakespeare.
1,853 words (approx. 7.4 pages), 4 sources, MLA, $ 59.95
»
Click here to show/hide summary
Abstract
This paper introduces the notion that the famous William Shakespeare was writing under a pseudonym. The paper explores how Shakespeare may have been Edward De Vere, Francis Bacon or Christopher Marlowe. It offers clues, insight and reasoning for each alleged identity.
From the Paper
"The question is an astounding one and there are many theories as to why De Vere would not write under his own name. Gibson contends, "It would have been unseemly, his advocates point out, for a courtier to attach his name to public wares. And De Vere was a truly uncommon nobleman: he was the hereditary Lord Great Chamberlain and a sometime favorite of Elizabeth I's" (Gibson). According to Gibson, the man had his reasons and they were clearly connected with his nobility. Despite this fact, Gibson and others are convinced that De Vere did "leave clues" (Gibson). For example, his copy of the Geneva Bible has been discovered in the Folger Shakespeare Library in Washington and "to the delight of advocates, words are underlined that reappear in the masterpieces" (Gibson). Among these little treasures are "I am that I am" from the book of Exodus. This passage is found in a letter that De Vere "wrote to his father-in-law in 1584 but also in 'Sonnet 121.'" Gibson also states that among De Vere's clues in the Bible are the words "weaver's beam" from the book of II Samuel, which appear in The Merry Wives of Windsor as well as one of Falstaff speeches. According to Gibson, other examples of De Vere's clues exist as well."
| |
|
Shakespeare's Kings, 2006.
A comparison between William Shakespeare's characters of Richard II and King Henry IV.
1,600 words (approx. 6.4 pages), 2 sources, MLA, $ 52.95
»
Click here to show/hide summary
Abstract
This paper examines two of Shakespeare's historical kings: Richard II and King Henry IV. The paper argues that Richard II was a king by divine right, whereas Henry IV was a Machiavellian king. The paper first assesses Richard's rule: he was not loved by his people or by those who served him; he did not earn his kingship, did not respect it and did not do anything in order to keep it. The paper contrasts this to King Henry IV, who was completely aware of his kingship and what he had to do to keep it; he acted aggressive, decisive and proactive. The paper then demonstrates how the characterization of these two kings demonstrates Shakespeare's unique ability to capture the diversity of humanity and create believable characters. The paper concludes that Shakespeare proves that kings are just like the rest of us--some of them capable and some of them negligent beyond belief. The paper quotes from both plays in order to supports its theses.
From the Paper
"Richard II was a king by the divine right of kings and we only need to look at his actions to determine this fact. He would have never earned his kingship had it not been something that was given to him by right of his birth. In short, Richard is a bad king with no real vision. He never takes time to learn what it means to be king and, as a result, does not care about the responsibilities that come along with the title of being king. To make matters worse, he breaks laws and traditions that are essential to his own kingship and his bad behavior forces those under him to feel helpless, hopeless, and without direction. He does not care for the people and while he may have been an intelligent man, he was not strong in the way that a king needs to be strong. Undoubtedly, King Richard's strongest and best characteristic was his eloquence."
| |
|
"Hamlet", 2006.
A discussion on the characters in Shakespeare's "Hamlet".
1,461 words (approx. 5.8 pages), 10 sources, MLA, $ 48.95
»
Click here to show/hide summary
Abstract
This paper discusses the differences and similarities between Hamlet and Laertes in terms of the revenge motif and the way that is it possibly related to the code of honor and the concept of revenge during Elizabethan times. The paper offers examples from the text in order to clarify and qualify its point.
From the Paper
"There is therefore a difference between the two characters in that Hamlet debates, thinks and agonizes about his revenge, even thought the ghost of his father has given him clear and unequivocal instructions to revenge his death. Despite this fact Hamlet seeks to make sure on a personal and individual level that the words of the ghost are correct and that there can be no mistake as to the guilt of Claudius. Hamlet looks for confirmation and this is the main reason why he acts as it he is mad in order to ascertain the true motives of those around him. This however is to result in the madness and death of Ophelia and the subsequent actions of Laertes."
| |
|
Shakespeare: Magic and the Supernatural, 2006.
This paper highlights the magic and supernatural themes present in Shakespeare's "A Mid-Summer Nights Dream", "Hamlet" and "The Winter's Tale".
860 words (approx. 3.4 pages), 0 sources, $ 30.95
»
Click here to show/hide summary
Abstract
The author emphasizes the ideas of magic, fairies and ghosts that lie, sometimes hidden, in the works of Shakespeare. In "A Mid-Summer Nights Dream" the main theme is that of magic, with fairies; in "Hamlet" the theme is ghostly apparitions, whilst "The Winter's Tale" is full of the supernatural in many different forms. The author points out that these plays continue to appeal to many people in many different cultures, perhaps because of the various themes and ideas related to magic and the supernatural.
From the Paper
"In A Mid-Summer Nights Dream, Shakespeare utilizes many themes and symbols, yet the most predominant theme is that of magic, especially in relation to fairies and other supernatural beings. The play itself was written to celebrate a marriage, perhaps for a private performance at a great estate or possibly at court, and it must be remembered that fairies dominate all aspects of this play, a possible reflection on the Elizabethan penchant for fairies in relation to weddings. The plotline in this play is actually three, one layered upon another, the first being Theseus and the four lovers, the second, the silliness of Bottom and his friends, and lastly, the fairy plot. In this play, there are "songs" or slices of poetry that allude to Robin Goodfellow, a fairy from Oberon, where ghosts abound and where the King and Queen of fairies sing and dance in the moonlight. These fairies are also artificers and creators of illusion and use strange ointments and pranks to make their powers known to all. Thus, the function of the fairies in this play is to create the illusion of magic, something that was quite important in any Elizabethan wedding ceremony, especially when taking place in the dim and dark forest just outside of the palace at Athens."
|
|
|
