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"Hamlet", 2004.
An analysis of William Shakespeare's "Hamlet," with a focus on Hamlet's oedipal complex.
2,200 words (approx. 8.8 pages), 5 sources, MLA, $ 68.95
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Abstract
This paper reviews the play, "Hamlet," by William Shakespeare. The paper contends that "Hamlet" is a complex play and can support a wide variety of interpretations. The paper describes one aspect of the psychology of the main character that harks back to the ancient world and the story of Oedipus, who was ordained to kill his father and marry his mother, which he unwittingly did. This story would later serve as a source for Sigmund Freud as he developed his oedipal theory, and the paper explores a similar idea that is played out by Hamlet in terms of his mother and father. The paper explains that Hamlet does not kill his own father, but he does have to kill his step-father at the behest of the ghost of his father and plays out the idea of sexual jealousy because his mother has remarried.
From the Paper
"In Hamlet as in other Elizabethan drama, the fate of kings is tied to the order of the universe, and dissension and tension in one is reflected in the other. Yet, the issue is complex, and while the usurper has no right to rule, it is not always clear who has the right to prevent him from ruling. The hesitation of Hamlet, much commented on by critics, may derive from the fact that while he knows Claudio to be a regicide, to kill Claudio would make him a regicide as well. The usurpation of the throne leads to a more dangerous and uncertain environment in the land, and nature concurs by expressing through storms and other travails visited upon the people that a great political wrong is also a great moral and religious wrong. The effects of a regicide are seen in storms and the like because such actions offend the gods, or God."
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"Hamlet", 2004.
A review of William Shakespeare's "Hamlet".
1,845 words (approx. 7.4 pages), 4 sources, MLA, $ 59.95
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Abstract
This paper presents William Shakespeare as a political critic in his play, "Hamlet". The paper contends that "Hamlet," as a literary work, is clearly an assassination of the fragile nature of a monarchical government controlled by one fragile man and his selfish desires. The paper explains how Shakespeare challenges the status quo not with what is within the work, but with what is left out: any mention of the population of lives altered by the treachery, intrigue, ambition and lust inherent in humankind. The paper claims that Shakespeare's subtlety allows viewers to overlook the political assassination in the work as it boldly pronounces the very personal and local results of the real assassination of a king.
From the Paper
"Treachery, intrigue, ambition and lust all emotions and situations the modern world is intimately aware of, yet universal in their historical control over humankind. Unresolved grief for many is the cornerstone of madness, the death, or subversion of reason as the monitor of emotion the biggest fear within Shakespeare's Hamlet, within the play itself and within the character of Hamlet. (Levy 83) Stricken by the universal outgrowth of treachery, intrigue, ambition and lust Hamlet struggles to regain control over his emotions. Hamlet wavers between the rational and the emotional, with only marginal ability to control either and within his struggle lays the fate of a nation."
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"Hamlet" and "Oedipus the King", 2005.
Character analysis of Prince Hamlet in "Hamlet" by William Shakespeare and Oedipus in "Oedipus King" by Sophocles.
807 words (approx. 3.2 pages), 1 source, APA, $ 28.95
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Abstract
In this paper, a character analysis of both Prince Hamlet and Oedipus is conducted, arguing that both characters have exhibited tragic flaws that ultimately determined their downfall in life.
From the Paper
"In Aristotle's literary discourse, "Poetics," he discusses his theory of tragedy, wherein he introduces the concepts of tragic flaw or "hamartia," which serves as the catalyst for the protagonist's downfall or the tragedy of the story to happen. He determines a tragedy as a "drama" that brings about a "sorrowful conclusion, arousing fear and pity in the audience" (Roberts and Jacobs, 1998:1189). Tragic stories are identified through three (3) characteristics or elements: first, the protagonist, usually a male, must be of noble stature; second, the protagonist or tragic hero must possess a tragic flaw or "hamartia" that shall become his downfall at the end of the story; and third, the hero's downfall must come with a self-realization on his part, making him a 'reformed' individual even if a tragic outcome happens to him."
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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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Prospero, 2004.
An examination of the character, Prospero, in William Shakespeare's "The Tempest".
1,321 words (approx. 5.3 pages), 1 source, MLA, $ 44.95
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Abstract
William Shakespeare's character, Prospero, in "The Tempest", proves to be one of the playwright's most baffling and interesting creations through his dramatic transformation. This paper shows that, while Prospero is an interesting mix of power, magic, and knowledge, he becomes an example of one of the most humane individuals we encounter in Shakespeare's plays. One of the most striking aspects of Prospero's character is the fact the he abandons his power and decides to return to being a regular human being. His actions clearly demonstrate a desire to return to his humanity rather than become like a god. An analysis of his actions throughout this paper indicate that Prospero does indeed change for the better and, as a result, changes our perception of him, as well as his world of magic. The paper also compares Prospero's traits with other Shakespearean characters, such as King Lear and Macbeth.
From the Paper
"While many may find Prospero's sincerity at the end of the play problematic, a close examination of his actions reveals his true intentions. We can assume that since Prospero spared his enemies, his goal was not simply punishment for the sake of punishment. Certainly Prospero was aware that he could easily destroy them with his magic if he intended to punish them. A grander scheme would have included destroying them while saving the ship, which would have provided the means for Prospero to return safely to Naples. Prospero also comes to the realization that revenge may not be worth its intended results. In some of his last lines he hopes that his final acts assault "Mercy itself and frees all faults/As you from crimes would pardoned be,/Let your indulgence set me free" (V.i.18-20)."
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"Othello", 2004.
An analysis of love as a mockery in Shakespeare's "Othello".
787 words (approx. 3.1 pages), 1 source, MLA, $ 28.95
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Abstract
This paper paper discusses the emotion rampant in Shakespeare's "Othello". The paper contends that many of the loving relationships in "Othello" prove to mock the very word. The paper describes the characters of the play and explains that these characters prove that love, as well as jealousy, can be a destructive force.
From the Paper
"While jealousy is one of the most written about emotions in William Shakespeare's play, Othello, it is far from being the only powerful emotion in the play. Just a jealousy can be a destructive force and "mock the meat it feeds on" (Shakespeare III.iii.168), we learn from some of the characters that love can be as well. Brabantio certainly loves Desdemona but not nearly enough because he allows himself to be swayed against his true instincts. Emilia is blind to what is going on all around her and allows her loving husband to make a mockery of their love. In addition, Othello allows himself to be played as a fool because of his own insecurities. His love for Desdemona becomes nothing more than an afterthought when it too late to do anything at all. These character prove that love, as well as jealousy, is a monster that mocks the meat it feeds on."
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Prince Henry, 2005.
Examines the character development of Prince Henry in William Shakespeare's "Henry IV".
1,050 words (approx. 4.2 pages), 1 source, MLA, $ 36.95
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Abstract
Prince Henry is an excellent character study when it comes to lessons of maturity. This paper shows how Shakespeare paints the portrait of a character that grows from childhood pranks to admirable maturity in his play, "Henry IV". This paper examines this growth through quotes by the character and his interaction with other characters in the text.
From the Paper
"While Prince Henry may appear to be lackadaisical, it seems as though he is fully aware that his carefree days are numbered. In addition, he is setting himself up for a glorious transformation when he finally discovers his true and noble self later in the play. However, it is important to note that while Prince Henry says these things and is apparently aware of them he must still live up to this reputation--something he is not quite ready to do at this point. This passage also provides insight into the overall world of the play in that Prince Henry, as well as everyone else, is aware that he will be king someday."
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Tragedy and Comedy, 2004.
This paper discusses that the genres of drama, tragedy and comedy, are not always exclusive; many plays and films fit into both categories simultaneously.
2,510 words (approx. 10.0 pages), 9 sources, MLA, $ 76.95
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Abstract
This paper identifies one characteristic of comedy and two characteristics of tragedy and demonstrates their application to scenes from four plays considered some of the greatest tragedies ever penned, Shakespeare's "Oedipus Rex", "Macbeth", "Romeo and Juliet", and "Hamlet"; and from two films, the comedy, "Pretty Woman", and tragedy, "The Path to War". The author explains that one characteristic of comedy is the exaggerated or wry manner in which human folly or foolishness is underscored, and two characteristics of tragedy are the struggles or suffering of the protagonist over moral issues and the raising of questions about the meaning of human existence. The paper states that the "Path to War" and "Oedipus Rex" are pure tragedy based on circumstances and errors in judgment; whereas, "Pretty Woman" is a film that is a comedy because its light heartedness and innocence completely overshadow its tragic characteristics.
From the Paper
"Perhaps the most appropriate starting point for demonstrating that a comedy and tragedy are not necessarily mutually exclusive, though they have long been considered the main divisions of drama is "Romeo and Juliet". Indeed, although "Romeo and Juliet" is hailed as one of the greatest love tragedies ever written, it, almost deceptively, appears to be a comedy for the most part. In fact, had Shakespeare not used the prologue to announce that the play was about star-crossed lovers; the audience may well have been completely deceived in expecting or hoping for a happy ending, particularly since the opening scene itself is a witty one that mocks human foolishness through a dialogue between Sampson and Gregory from the house of Capulets."
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"Antony and Cleopatra", 2005.
An examination of Shakespeare's play, "Antony and Cleopatra".
1,205 words (approx. 4.8 pages), 3 sources, MLA, $ 41.95
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Abstract
This paper discusses the depictions of Antony's and Cleopatra's respective conflicts, and how those depictions portray the value of romantic love. The discussion begins with Antony's conflict, which is a struggle between reason and emotion, mind and heart. This conflict is a central theme to the play and is even manifest in a geographic and political sense as the struggle between the Western world of Rome and the Eastern world of Egypt. The discussion moves to Cleopatra and shows that she is at the center of the same struggle and is motivated, just as Antony, to choose between political power and love. The paper concludes with an examination of Shakespeare's message about the value of romantic love.
From the Paper
"Cleopatra is portrayed to us as a woman of sublime beauty. She is seductive to such a degree that she is considered an enchantress and is referred to as a witch. Her majesty is described in vivid terms in a narration by Enobarbus; one of Antony's most trusted lieutenants (II.ii.196-210). He describes the golden decks of her barge, purple sails and silver oars. He compares her visage to Venus, and mentions her as surrounded by young servant boys and ladies. His description brings to us the enchanting quality of Cleopatra's presence, and her subsequent hold upon Antony."
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Music and Song in "Othello", 2005.
A look at Shakespeare's use of song in his play, "Othello", as a way for the audience to better understand the characters in the play.
1,134 words (approx. 4.5 pages), 4 sources, MLA, $ 39.95
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Abstract
This paper explains how Shakespeare's use of music and song in "Othello" strengthens our perspectives of the characters in the play and reveals the very distinct and opposite characters of Iago and Desdemona. On the one hand, the paper points out Iago's songs reveal the depth to which he will go to manipulate others and control situations, while Desdemona's songs, on the other hand, reveal her innocence. Finally, the paper concludes that, in "Othello", Shakespeare demonstrates the power of music through the songs the main characters sing, while also illustrating that there can be more to music than meets the eye.
From the Paper
"In his play, Othello, Shakespeare presents us with unusual opportunities to understand character through song. While we often think of music as a form of entertainment, Iago and Desdemona demonstrate another use of music with their songs. Iago successfully uses his songs to further his evil desires. In short, his songs are trick to get Cassio drunk. In contrast, Desdemona sings as a form of expression to release her inner feelings, most of which she cannot understand. Both of these characters demonstrate that the power of music not only lives beyond words but it can also change lives. Iago and Desdemona reveal more of their true selves through song."
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Shakespeare's Feminine Evil, 2004.
A review of Shakespeare's "King Lear" and "Macbeth", focusing on the feminine evil.
2,360 words (approx. 9.4 pages), 2 sources, MLA, $ 72.95
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Abstract
This paper discusses two of Shakespeare's plays that portray evil female characters, "King Lear" and "Macbeth". The paper describes the daughters in "King Lear", Goneril and Regan, as ungracious and self-centered and capable of great evil. The paper contends that this notion of the independent, aspiring woman is further emphasized in the calculating, power-hungry character of Lady Macbeth in "Macbeth". The paper claims that, with these strong characters, Shakespeare is expanding the role of women by recognizing them as capable of the same desires and motivations that inspire men. These images of women not only contrast the traditional image of the medieval damsel in distress, but they mortify and embarrass their male counterparts.
From the Paper
"That King Lear could have two daughters so dissimilar from Cordelia is an issue that Shakespeare explores within this family dynamic. The contrast between their affection for their father only intensifies King Lear's awful mistake. It is important to note that all of his daughters violate traditional expectations in one way or another. Clearly, Cordelia's recalcitrant answer is the least offensive of these violations--but it is the action that moves the entire plot of the play. We know that she loves her father, which makes Goneril and Regan's speeches so hard to swallow. The most despicable aspect of Goneril and Regan's evil is the fact that they seem to have no love or respect for King Lear as a father, a man, or a king. Clearly, they have no interest in him as soon as they acquire their inheritance."
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The Poetry of "Othello", 2004.
Analyzes a poetic passage spoken by the character, Emilia, in Shakespeare's play, "Othello".
700 words (approx. 2.8 pages), 1 source, MLA, $ 24.95
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Abstract
This paper examines Act IV, scene iii, of "Othello" by William Shakespeare and analyzes a passage spoken by Emilia to Desdemona. The paper discusses the rhythm, diction, and images in the passage to show how Shakespeare used every available device to make his plays richer and more meaningful.
From the Paper
"The mood and tone of this passage are clear, and the tempo and imagery of the passage clearly help set the mood. The women are unhappy, and there is clearly an unsettling feeling of trouble brewing just below the surface of the speech. Desdemona will betray Othello, and part of that betrayal is born in this speech that typifies the woman's place at the time, and how it created animosity and ultimately tragedy."
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