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"Romeo and Juliet", 2004.
An analysis of William Shakespeare's "Romeo and Juliet".
1,045 words (approx. 4.2 pages), 3 sources, MLA, $ 36.95
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Abstract
This paper discusses and analyzes "Romeo and Juliet" by William Shakespeare. Specifically, the paper examines the influence of destiny or fate on the lovers' lives. The paper claims that in "Romeo and Juliet," the two main characters' personal choices cannot defy their destiny or fate that is written in the stars. The paper also states that the feud between the two families does not justify their ultimate actions.
From the Paper
"Romeo and Juliet are fated lovers, and all of these productions make that very clear. The feud between their families may have torn them apart, but it certainly did not justify their taking their own lives. That they both die because of a misunderstanding and miscommunication only shows that their ultimate fate was exactly what was meant to happen. Their destiny led them to their deaths, and to the situation that led them down the path to their deaths. Romeo and Juliet could not escape their fate, even though today it seems as if they had many choices open to them. Each of their personal choices would ultimately take them toward each other, and toward the destiny waiting for them. These indicate that personal choice can be influential, and even vital for a person to fulfill their destiny."
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Morality in Literature, 2005.
An analysis of the interpretation of morality in the writings of William Shakespeare, Jonathan Swift, Moliere, Dante and Samuel Coleridge.
1,699 words (approx. 6.8 pages), 0 sources, $ 55.95
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Abstract
This paper posits that the literary works "Othello" by Shakespeare, "Gulliver's Travels" by Swift, "Tartuffe" by Moliere, "Inferno" by Dante and the poems "Life," "Dejection: An Ode," and "Hexameters" by Coleridge show the protagonist's pursuit for true morality during their journeys. It looks at how these journeys are illustrated as an opportunity for the protagonist or main character to reflect on his life and re-discover one's self, thereby serving as the catalyst to achieve the individual's own meaning of true morality.
From the Paper
"Shakespeare highlighted humanity's faults in pursuing the true meaning of morality in Othello's character in the play, "Othello." Events that led to Othello's commitment of murder to Desdemona was triggered during his absence for a journey, which had given Iago the chance to develop plans that later took a toll in Othello and Desdemona's future. Shakespeare showed Othello's loss in his pursuit of true morality when he decided to believe Iago's allegations, and murder Desdemona in the process without hearing her side of the story. He believed that Desdemona's actions had been immoral, believing that she had an affair with Cassio, while all the way it was Othello who had been immoral, and Desdemona and Cassio, the moral ones."
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"Othello": A Dramatic Study in Venetian Alienation, 2005.
An examination of William Shakespeare's Venice as portrayed in his play "Othello".
903 words (approx. 3.6 pages), 4 sources, MLA, $ 32.95
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Abstract
This paper attempts to show how Shakespeare's representation of Venice in "Othello" shows a diverse city full of prejudice beneath its multifaceted surface-a city full of stereotypes about men of color, about women's desires, and about lower-class men like Iago and Rodrigo. It discusses how the danger, however, is not so much in diversity or multiculturalism in and of itself, but how this diversity, if improperly deployed, can be turned against people like Othello, and used by men like Iago, who strive to vent their hatred upon others rather than upon the society that excludes them because of their class.
From the Paper
"Maurice Hunt further suggests, however, that it is not only Othello who is alienated by Venetian society. "Iago's only bond with his wife Emilia is not intimate, or even affectionate, and it becomes the means that undoes him when he believes he must kill her to prevent her from revealing his knavery." (Hunt, 2003, p.2) Iago, while a Venetian by birth, is also a kind of "private, unofficial" alien in an "existential" sense that he feels denied a rightful position in society. (Hunt, 2003, p.2) The alien Iago forges a bond with official Venetian aliens like Rodrigo and Othello which "serves to underscore an unarticulated affinity felt between two sets of men," but which causes Iago to also feel "painful self-disgust" over his lot in life and forms a "compound impulse to stereotype" the Moor as an alien "devil" and to make him "wish to abuse each victim physically and mentally. (Hunt, 2003, p.2) "
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"Romeo and Juliet", 2004.
An analysis of William Shakespeare's "Romeo and Juliet".
2,710 words (approx. 10.8 pages), 3 sources, MLA, $ 81.95
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Abstract
This paper considers the characters of "Romeo and Juliet" on a psychological level, with the analysis looking deeper at the real reasons for their decisions and their behavior. The paper presents "Romeo and Juliet" not as a story of star-crossed lovers, but as one of two teenagers trying to deal with the anxiety in their lives. The paper examines "Romeo and Juliet" from this psychological perspective, illustrating that their story is one that deals with love and anxiety.
From the Paper
"One of the first critical points in understanding Romeo is that Juliet is not the first woman he has been in love with. In the first scene he describes his love for Rosaline. Most importantly, like Juliet, Rosaline is also a Capulet. In the first scene, Romeo describes how Rosaline is sworn to chastity saying, "Well, in that hit you miss: she'll not be hit / With Cupid's arrow; she hath Dian's wit; / And, in strong proof of chastity well arm'd, / From love's weak childish bow she lives unharm'd" (I,i 206-209). This shows that Romeo has selected a person to love that is a completely unsuitable match for him. It is also important that Romeo speaks as if his love is pure and will never die. When Benvolio urges Romeo to forget about her, Romeo replies that he could not possibly forget her because he loves her too much. Considering that Rosaline has shown no interest in Romeo and that they do not have a real relationship, it is suggested that Romeo is inventing his sense of deep love. This is further suggested when Romeo meets Juliet and instantly forgets about Rosaline and transfers all his feelings of love to Juliet. Reading Romeo and Juliet as a love story, it could be argued that Romeo forgets about Rosaline because he experiences real love when he sees Juliet. However, on seeing Juliet, he decided that he loves her intensely without even knowing her. In fact, the only thing he does know about Juliet is that she is a Capulet. This suggests that Romeo desperately wants to love a Capulet."
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"Sonnet 165", 2005.
An analysis of "Sonnet 165" by William Shakespeare.
1,125 words (approx. 4.5 pages), 5 sources, MLA, $ 38.95
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Abstract
"Sonnet 165" by Shakespeare focuses on a young lover, whose emotions are deeply connected with whatever his sweetheart says to him. The paper explains how the entire poem relates the effects of the words "I hate" on the young speaker. The poem is addressed to the reader, and not to a specific listener. The writer points out that the speaker is asking for sympathy, as he evoked sympathy from his lady.
From the Paper
"The poem thus basically focuses on the fact that the young man's lady says the words "I hate" to him. The effect of this on his emotions is devastating. The intensity of his feelings can be seen in the first line, saying that the lips of his lady are made by "Love's own hand". "Love" here is personified as the goddess Venus. The lady is thus seen as being divinely inspired and loving, which makes her words all the more shocking. There is therefore an intense contrast between what the young man believes of his love and the cruel words she says."
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Shakespeare's Globe, 2004.
An analysis of William Shakespeare's theatre, the Globe.
2,277 words (approx. 9.1 pages), 11 sources, MLA, $ 70.95
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Abstract
This paper contends that William Shakespeare's theatre, the epic Globe, mirrors the stories of the early, bustling London and ever-morphing England of the 16th and 17th century, from plank and dirt to flame and fame. The paper presents a technical overview of the theatre structure, highlighting the symbolism between the material poverty of the building to that of the society. The paper contends that the social commentary Shakespeare spouted was given a stage by the Globe, which represented, in its own short life, the compendium of Elizabethan life as a whole.
From the Paper
"William Shakespeare was born into a world of words that took him from cold, stone castles in Scotland to the bustling cities of Italy and the high seas of colonial change. An emblem of the Renaissance, the Bard of Avon was not only the conqueror of his own mind and pen, but also of the language of his own social, political, and religious reality. His theatre, the epic Globe, mirrors the stories of the early, bustling London and ever-morphing England in the duration of its own life, from plank and dirt to flame and fame. By 1598, Richard Burbage was the practicing don of the London theatre world, extending his fingertips for production all over the lively center of British commerce and governance. His players, a collection of all-male actors, were widely recognized throughout the theatre world, one of the only sources of popular entertainment. Burbage produced the works of a variety of writers, including William Shakespeare, in his own space called "The Theatre." That year, however, Burbage ordered his company to pull down The Theatre and remove its timber to Bankside. "
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"Taming of the Shrew", 2004.
An analysis of one of the most memorable and prominent Shakespearean comedies, "Taming of the Shrew".
2,347 words (approx. 9.4 pages), 4 sources, MLA, $ 72.95
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Abstract
This paper discusses Shakespeare's "Taming of the Shrew". The paper examines the play's patriarchic themes, such as the taming of wild women, a man's domineering character and female subjugation. The paper contends that while many critics feel that the play chronicles the domination process in a marriage where Petruchio, the male lead finally overpowers his wild and aggressive wife, Katherine Minola, closer analysis of the play reveals that this is not exactly true. The paper claims that the play actually deals with the issue of equality of power. The paper states that this play presents a mockery of wife submission norms in English society of 17th century rather than an approval of the same.
From the Paper
"Kate who was very wild and rarely ever submitted to anyone was dragged into a marriage against her wishes. One wonders then, how and why did she ever let her father take this action if she was actually so outspoken. We must understand that while she didn't have much choice in the case since it was a time when arranged marriage customs were rife her behavior earned her the right and respect that she deserved. This is very clear when we read the betrothal scenes of both Kate and Bianca and compare them to each other. In Kate's betrothal scene, her father Baptista, makes it absolutely clear that he wants Pet to win her daughter's love before he could hope to have her money while in Bianca's betrothal scene, she is objectified as Baptista feels he could hand her over to anyone he found suitable enough. "
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Nahum Tate?s "King Lear", 2005.
This paper compares Nahum Tate's "King Lear" with Shakespeare's "King Lear" upon which Tate based his version.
1,910 words (approx. 7.6 pages), 6 sources, MLA, $ 60.95
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Abstract
This paper explains that Nahum Tate's idea was to adapt Shakespeare to suit the taste of 18th century restoration theatergoers; thus, Lear no longer dies, Cordelia marries Edgar, the monarchy is restored and order once again reigns. The author points out Lear's suffering, which in Shakespeare's original play denotes the nature of humanity and the tragedy and misunderstanding that often accompany human life is completely lost in Tate's rewritten version, especially in terms of the ending. The paper reveals that the use of language by Tate and by Shakespeare also differs significantly; whereas Shakespeare believes in the reductive power of language in its simplest form, Tate's philosophy leans more towards the elevated forms of language hence the greater effect of Cordelia's simple statement in the Shakespeare play.
From the Paper
"Other significant differences between the two versions include the roles of the specific characters. Edgar, for example, takes the role of Cordelia's suitor from the beginning of Tate's play, whereas in Shakespeare he never pursues the girl, but does become king at the end of the tragedy. His role in both Shakespeare's and Tate's plays is to restore justice, but in different ways. In Shakespeare's play, his role is tragic. Because of the betrayal by his brother, Edmund, who attempted to dishonor him in his father's eyes, Edgar is obliged to disguise himself. He thus pretends to be a demonic madman in order to escape his father's men. As such he also serves as a parallel for King Lear's madness, and gives him somebody to identify with during this difficulty. Edgar thus has a redemptive function here. In Tate's play, his redemptive function is mainly focused upon Cordelia and eventually the kingdom."
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Hamlet Character Analysis, 2005.
A character analysis of Hamlet from Shakespeare's play "Hamlet".
1,258 words (approx. 5.0 pages), 2 sources, MLA, $ 42.95
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Abstract
The character of Hamlet in Shakespeare's play, "Hamlet", is probably the most analyzed characters in literary history because, even though he is difficult to comprehend, he is real. It explains that Hamlet is a complex man because his problems are internal initially. In short, his psychological disorders are a direct result of what is happening in his mind. It shows how Hamlet moves through a series of drastic emotions in the play, beginning with depression and anxiety, moving to madness and more stress. Each of these emotions paves the way for a deeper, more compounded emotional state, which ultimately causes Hamlet to lose his grip on reality.
From the Paper
"Hamlet's melancholy, or depression, is given no reprieve during the play and the ghost is the primary reason for this. In fact, the ghost is the dominant force behind Hamlet's internal conflict. Hamlet comes from a background of teaching that suggests that murder is wrong and from this perspective, the ghost is literally asking him to commit a grievous sin. Bloom notes that Hamlet has "no desire to cut down Claudius" (Bloom 70). Because of this, Hamlet at first tries to deny who or what the ghost is, referring to it as a "goblin damned" (Shakespeare i.iv.44). After some speculation, Hamlet then decides that maybe the ghost is not as evil as he once suspected. Here we see Hamlet's big problem with inconsistency, which will come back to haunt him sooner than later. Hamlet calls the ghost, "King, father, Royal Dane" (I.iv.50), which indicates Hamlet's inability to trust his instincts. The ghost, what it means, and what it is asking Hamlet to do leads to an increased level of anxiety for Hamlet because he does not have a clue about what he should do."
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Blood and "Macbeth", 2005.
An analysis of the use of blood imagery in William Shakespeare's "Macbeth".
1,611 words (approx. 6.4 pages), 5 sources, MLA, $ 52.95
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Abstract
This paper examines how William Shakespeare successfully uses blood imagery in his play "Macbeth" to illustrate the drastic change in Macbeth's character. Blood imagery is powerful because blood is essential for life and every time we see blood, we are reminded of life. It looks at how the images of blood are all linked to Macbeth throughout the play, from the first images of blood connected with loyalty, to the blood imagery connected with justice at the end of the play.
From the Paper
"Blood is a powerful image to the audience and to Macbeth. After he kills Duncan, Macbeth says, "Here lay Duncan, /His silver skin laced with his golden blood" (II.iii.130-1). The murder of Banquo brings even more bloody imagery. At the feast, it becomes apparent that Macbeth is becoming unstable because he cannot distinguish between what is real and what is not. He thinks he sees Banquo's ghost at the table and blurts, "Blood hath been shed ere now, i' th' olden time" (III.iv.87). Here we see, like the blood and guilt in the previous scenes, Macbeth cannot wash this blood away, either. In fact, the image becomes more intense, which intensifies Macbeth's reactions to it. It is more real to him now because he is slipping."
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Plays within Plays, 2004.
A discussion of the concept of a play-within-the-play in "The Spanish Tragedy" by Thomas Kyd and Shakespeare's "The Tempest".
1,728 words (approx. 6.9 pages), 5 sources, MLA, $ 55.95
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Abstract
This paper discusses the plays "The Spanish Tragedy" by Thomas Kyd and Shakespeare's "The Tempest". The paper explains that these two plays present a demonstration of the use of the play-within-the-play device as a representation of human themes and cultural messages. The paper contends that while the play-within-the-play contributes to the denouement of plot, it also draws attention to the relative power of theater in society.
From the Paper
"Themes of the human condition repeat themselves almost continually through the art of drama and through the realm of the real. Themes of human circumstances, moral and amoral influence the cultural representation of right and wrong, but strangely change very little over time. Things that are "wrong" in Shakespeare and Kyd's England similar to those which are "wrong" today. Betrayal and revenge flow together as a stream through the human soul and repeatedly show their influence upon art and humanity. Messages of revenge, a constant fascination of the Elizabethan period (1558-1603) and that of the England that followed her reign, often follow the form of the play-within-the-play dramatic technique and this is true of both the works discussed here."
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Shakespeare?s "Sonnet 39", 2005.
Figures of speech in William Shakespeare's "Sonnet 39".
781 words (approx. 3.1 pages), 4 sources, MLA, $ 27.95
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Abstract
This paper explains why Shakespeare's "Sonnet 39" is one of the best examples of Shakespeare's masterful rhetorical style, use of imagery and use of figures of speech.
From the Paper
"Michael Schmidt, author of The Lives of the Poets, asserts that Shakespeare's sonnets are mysterious, which is a characteristic that most Elizabethan poems do not have. The sonnets, says Schmidt, "seem to emerge from an actual occasion, an occasion not concealed, yet sufficiently clouded to make it impossible to say for what or whom it refers to" (Schmidt 183). With this in mind, we can look at the sonnets and realize we are looking into something mysterious that Shakespeare may have wanted us to figure out, much like a puzzle. The sonnets "present agony which cannot contain itself" (Hubler qtd. in Eastman 315). While the speaker of the poem may be experiencing an agony, it is clear that his separation from his lover has also provided him with a certain amount of inspiration."
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