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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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Hamlet, 2004.
A review of Shakespeare's "Hamlet" with a focus on the theme of revenge.
1,441 words (approx. 5.8 pages), 6 sources, MLA, $ 47.95
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Abstract
This paper discusses one of Shakespeare?s greatest plays, "Hamlet". In keeping with the theme of revenge of this drama, the paper contends that Shakespeare exalts Hamlet as a hero. The paper describes the evolution of the characters within the context of the theme of revenge.
From the Paper
"One might alternatively decry Hamlet?s methods. For, in his quest for vengeful justice, many innocent are killed. These include his beloved, Ophelia, her father Polonius, her brother Laertes, Hamlet?s mother Gertrude, his friends Rosencrantz and Guildenstern and of course, justifiably, Claudius. But Shakespeare does provide final resolution. This resolution is good for Denmark. The nation is now left in the hands of neither the criminal Claudius, nor the mercurial (and possibly, truly insane) Hamlet. Fortinbras rules Denmark. We hope that he does so justly."
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Law and Justice in Literature and Film, 2004.
An analysis of how the issues of law and justice are presented in works by Martin Cruz Smith, William Shakespeare, Karl Marx, and the film, "Casablanca".
1,275 words (approx. 5.1 pages), 4 sources, MLA, $ 43.95
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Abstract
The 1980?s crime novel, "Gorky Park", by Cruz Smith, Shakespeare?s ?problem? play, ?Measure for Measure,? Marx and Engels's political manifesto, ?The Communist Manifesto?, and the World War II Warner Brothers motion picture, ?Casablanca?, all ask, at their respective narrative and philosophical hearts, the fundamental human question: What is justice? The paper shows that all grapple with the issue of how best to create a truly just society rather than one that is only superficially just. They ask, for example, whether just men and women or a just system of laws produce fair and equitable societies. Also, whether a fair code of laws or good people attempting to do what is right within any particular moral context is more important. The paper shows that, despite having been produced during different times and for different purposes, these four works form a textual unit that may be analyzed as argument by the critically inquisitive reader. Taken as a whole, this package of textual materials argues that the formulaic construction of law and government are meaningless, and the acts of good human beings alone can construct a truly just society.
From the Paper
"Marx and Engels called upon the reader, the member of the working proletariat, to respond to the text out of the outrage of his or her unjust experiences within the capitalist systems. The system must be changed, these authors counsel the reader. However, even these supreme advocates of systemic rather than personal and psychological change, must call forth within the reader a sense of sustained emotional outrage within his or her breast, without which no change would be possible. ?All that we want to do away with is the miserable character of this appropriation, under which the laborer lives merely to increase capital, and is allowed to live only in so far as the interest of the ruling class requires it.? (Chapter 2)"
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"Othello", 2004.
An analysis of the concepts of strength and weakness in Shakespeare's play, "Othello".
1,374 words (approx. 5.5 pages), 4 sources, MLA, $ 45.95
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Abstract
"Othello" by William Shakespeare is a play demonstrating that we all have strengths and weaknesses and that, while the best of us will focus on people?s strengths, the worst of us will not only focus on their weaknesses, but use them in destructive ways. It discusses how, throughout the play, the weakness of jealousy directly or indirectly brings the destruction and downfall of all the major characters, including not only Othello and his bride Desdemona, but Iago, his wife Emilia, Roderigo, and Cassio.
From the Paper
"Othello is particularly vulnerable because, being a Moor, he is somewhat an outsider (Weller, PAGE). He is accepted as a leader in society and as a great military man, but he is aware of his differences. He used them to charm those around him, wooing and winning the beautiful Desdemona and then defending her marriage to others, but the villain of the play, Iago, knows that it can be easy to cast doubt on an outsider, and he uses Othello?s differences to his own perverted and personal advantage."
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Hamlet and Death, 2005.
A look at the theme of death in the experiences of Hamlet, Ophelia, and Laertes in Shakespeare's play, "The Tragedy of Hamlet, Prince of Denmark".
2,011 words (approx. 8.0 pages), 1 source, MLA, $ 63.95
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Abstract
This paper explores the concept of revenge and madness in Shakespeare's play, "The Tragedy of Hamlet, Prince of Denmark", and looks at how these concepts are central to the play's theme of death. The paper explains how each of the main characters in the play, Hamlet, Ophelia and Laertes, respond to death and points out how these reactions and responses add depth to the characters and make them appear more real to the audience.
From the Paper
"Hamlet, Ophelia, and Laertes deal with the death of their fathers in very different ways. When we look at each character and how they choose to deal with death, we often discover insight into the characters themselves. Each character?s reaction is also fueled by other aspects in the play that influence their reason and logic. For example, Hamlet?s response to his father?s death is fueled by his anger and hurt feelings toward Gertrude and Claudius for marrying so soon. Ophelia?s response to her father?s death is influenced by the fact that Hamlet has been hateful to her and that Hamlet killed Polonius. Laertes? response to Polonius? death is fueled by the fact that Hamlet killed him and is indirectly responsible for Ophelia?s suicide."
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