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Myths: ?The Other Side of Wonder?, 2002.
This paper seeks a definition of ?myth? by examining many sources, especially Shakespeare?s ?King Lear? and Melville?s "Moby Dick".
1,290 words (approx. 5.2 pages), 8 sources, MLA, $ 43.95
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Abstract
This paper selects the best definition of myth as the traditional tale common to the members of a tribe, race, or nation, usually involving the supernatural and serving to explain some natural phenomena. The author points out that the stories of King Lear and of Ahab in ?Moby Dick? provide opportunities for lessons on individualism, pride, social conformity, group cooperation, and, most importantly, sublimation of pride, desire for revenge, and self-aggrandizement. The paper concludes that myths are vehicles for lessons on moral values, respect for others, self-discipline, curbing of anti-social behavior, and stabilizing the social situation.
From the Paper
"Let?s go into more thoughtful and more acceptable provocation. How is the myth exemplified, for instance in King Lear of Shakespeare? It is an accepted fact that tragic heroes have tragic flaws. It is their tragic flaw, which lead to their destruction. King Lear?s tragic flaws are his vanity and his allowing himself to be deluded by the flatteries and lies of his daughters Goneril and Reagan4. He believes himself to be a ?compleat father? which he is not and so he deludes himself into believing Goneril?s and Reagan?s protestations of love and affection for him. Cordelia , the youngest daughter, will not fawn at her father?s feet and be rewarded by a gift of property. To her it was like equating love with an award. Besides, she knew that her sisters were not telling the truth. Their protestations are mythical ? untruths."
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Shakespeare's "As You Like It", 2004.
Analyzes the themes and characters in William Shakespeare's play, "As You Like It".
1,576 words (approx. 6.3 pages), 1 source, MLA, $ 51.95
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Abstract
This paper examines the conflict, contrast, and contradiction in "As You Like It", as well as its host of colorful characters. The main theme of disguise is discussed in detail, and a summary of the play's plot with examples illustrating the main is provided.
From the Paper
"The central theme of disguise makes its way into this early scene in the play, too. Orlando, Oliver?s younger brother and surprise victor in the wrestling match, fights under a false identity. The wrestling scene therefore contains elements of disguise and of excitement, which both continue throughout the play. Moreover, the figure of Touchstone the Jester adds the necessary color and confusion that also characterizes As You Like It."
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Comedy in ?King Lear?, 2004.
Examines elements of comedy in William Shakespeare's tragic play.
1,300 words (approx. 5.2 pages), 3 sources, MLA, $ 43.95
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Abstract
On its surface, "King Lear" by William Shakespeare, stands as an excellent example of one of his tragedies and, in certain senses, it is the most obviously ?classical? of Shakespeare's plays in terms of tragedy. This paper examines how there can be room for comedy in the play and shows how Shakespeare blends the two elements of tragedy and comedy successfully throughout the text. The paper also borrows examples from several of Shakespeare's other plays to illustrate this blending of concepts.
From the Paper
"Indeed, at this moment, King Lear comes to realize for the first time the folly of his policy and the treachery of his daughters and in this moment, we, as an audience might begin to have some sympathy for his earnest expression of grief. The Fool, however, responds to Lear?s heartfelt outpouring with a witty remark that provokes laughter rather than sympathy, creating a strange moment for the viewer who is caught between the depths of Lear?s suffering and the hysterics of The Fool?s remark:"
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Prince Hal and Falstaff, 2004.
An examination of the relationship between William Shakespeare's characters, Prince Hal and Falstaff.
1,887 words (approx. 7.5 pages), 6 sources, MLA, $ 60.95
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Abstract
This paper discusses how the relationship between Falstaff and Prince Hal is among the most interesting, most talked about, and most analyzed story lines in all of William Shakespeare?s plays, and for good literary reason. It looks at how even a cursory description of the dramatic emotional, intellectual, socioeconomic, psychological, and physical differences between the characters, and between their manners and styles, sets up a myriad of potential juxtapositions from which to attack existing analyses or forge fresh ones.
From the Paper
"First, prior to examining what Falstaff wants from Prince Hal, a look at what there is about Falstaff which attracts Hal. A careful reading of Acts 1 through 3 clearly reveals that Hal does not hang out in the tavern because of any character flaw on his own part, or obsession with alcohol to the point of needing to be drunk; or from any corrupt desire to pursue low-level ambitions of the flesh. To the contrary, Hal is drawn to the Eastcheap tavern environment because he is fond of Falstaff. Hal is greatly impressed by Falstaff?s irrepressible humor and superior wit, and Hal obviously is both amused and delighted when Falstaff recovers from embarrassing circumstances by pure brainpower and charm."
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Shakespeare, Aristotle, and the Idea of Tragedy, 2004.
Examines the dynamic forms of catharsis and tragic flaws in William Shakespeare?s plays and how they relate to Aristotle's definition of tragedy.
2,409 words (approx. 9.6 pages), 5 sources, MLA, $ 73.95
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Abstract
William Shakespeare?s most beloved plays are his tragedies. If one were to list his best and most popular plays, "Othello", "Romeo and Juliet", "Hamlet", "King Lear" ,and so forth, one would find the list comprised almost entirely of tragedies. The paper states, therefore, that it would not be amiss to say that much of the modern literary conception of theatrical tragedy is shaped and influenced by Shakespeare. At the same time, the paper shows that the definitions of the tragic form ,as understood at the roots of theatrical history in Greco-Roman times, continue to be part and parcel of the official comprehension of tragedy. The paper shows that many critics have sought to force Shakespeare into the mold of tragedy as defined in Aristotle?s "Poetica", and many others have rightfully protested that he was not cast from that mold, and that, in fact, he owes little to it.
From the Paper
"On the other hand, there is a startling number of criteria discusses by Aristotle that Yanni never mentions, and which Shakespeare either fulfills or denies to some degree. For example, Aristotle suggests that the proper metre for drama is ?The iambic? the proof is that in talking to each other we most often use iambic lines.? (Aristotle) The majority of Shakespeare?s tragedies, of course, use iambic lines. Likewise, Aristotle claims that ?Necessarily then every tragedy has six constituent parts, and on these its quality depends. These are plot, character, diction, thought, spectacle, and song.? Shakespeare is well known for his focus on diction, spectacle, and even song. In these categories one could make any number of parallels between Aristotle?s dramatic suggestions and the original staged forms of Shakespeare?s work."
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Hamlet, Ophelia, and Gertrude Explored, 2004.
Character analysis of the main characters in Shakespeare's "Hamlet".
971 words (approx. 3.9 pages), 1 source, MLA, $ 34.95
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Abstract
This paper studies and identifies the real-life qualities imbued in the characters of Hamlet, Ophelia, and Gertrude, from the play "Hamlet". The paper presents examples of the characters' traits, qualities, and personal experiences that the audience can identify with and that have contributed to the appeal of "Hamlet" through the ages.
From the Paper
"Hamlet?s procrastination begins early in the play as soon as the ghost visits him. Hamlet has good intentions as revealed when he says, ?Haste me to know?t that I with winds as swift . . . May sweep to my revenge? (I.v.29-31). Unfortunately, Hamlet?s hesitation renders him unable to kill Claudius. Furthermore, he begins to doubt his father?s ghost, which drives him to ?test? Claudius with the play, Mousetrap. Even with confirmation that Claudius is guilty, Hamlet still cannot bring himself to kill him, using the fact that killing Claudius in a moment of prayer would send him directly to heaven. Instead, Hamlet says he would rather kill him in a vile condition, ?When he is drunk asleep; or in his rage; Or in the incestuous pleasure of his bed? (III.iii 89-90). Hamlet even procrastinates so much that the Ghost returns."
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"Hamlet" and "The Glass House", 2004.
Draws parallels between the film, "The Glass House", and Shakespeare's "Hamlet"
895 words (approx. 3.6 pages), 0 sources, MLA, $ 31.95
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Abstract
This paper looks at the parallels in character, plot, and theme that can be drawn between the suspense film, "The Glass House", and Shakespeare's famous play, "Hamlet". The paper points out the parallels that can be seen in terms of the privileged status of the characters of both stories, the discovery of the truth by the main characters, and their feelings of revenge. The paper then goes on to discuss whether the parallels to Hamlet that are seen in "The Glass House" enhance or detract from the film.
From the Paper
"Although Shakespeare?s play does have a prominent part in the film itself and in the parallels of the plot, the film?s connection to the play itself is fairly loose. Not everybody in the film dies, for example. Things turn out well when Ruby and her brother end up as charges of the uncle, whereas in ?Hamlet? the uncle is the villain. Furthermore, both of Ruby?s parents are murdered, whereas Hamlet?s father alone is murdered at the beginning of the play. And of course the most important point of tension is the absence of anything ghostly in the film. Ruby does not see her parents? ghosts, but is left to discover the guilt of her guardians by herself. The violence of the revenge however matches the end of Hamlet, where a sword fight culminates in the death of both villain and hero."
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Hamlet's Women, 2004.
A look at the tragedy of the women in Shakespeare's "Hamlet", focusing on Gertrude and Ophelia.
1,987 words (approx. 7.9 pages), 2 sources, MLA, $ 63.95
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Abstract
A look at the role of the women characters in "Hamlet": Gertrude, Hamlet?s mother, and Ophelia, Hamlet's lover. It discusses how the play's plot skirts around them, and finally, their tragic ending in the play. It explains that, in the beginning, these female characters seem flat, yet over the course of the narrative, they take on a critical physical importance because of the feelings men have for them emotionally, and more importantly, physically.
From the Paper
"(As Imagined by an Englishman) ?Hamlet? is often thought of as a drama primarily about one man?s relationship with a dead father and a living and murderous stepfather. According to the Bedford Introduction to Literature, one of the critical components of any story, drama or novel, is that of ?Plot,? forming one of the dominant subject headings of this basic guide. The plot of ?Hamlet? could be summarized with only two cursory mentions to its main female characters. It might go something along the lines of ?Gertrude marries Claudius. Laertes vows revenge upon Hamlet because of the madness of his sister.? However, two of the most memorable characters in Hamlet remain that of Gertrude and Ophelia, Hamlet?s mother, and Hamlet?s ?sweetheart,? ?girlfriend,? or ?fianc?e,? depending on what character you talk to at what juncture of the play. They are memorable despite their peripheral nature to the bare-bones narrative of ?Hamlet? and their relatively flat character structure. Ophelia?s mad scene, where she distributes flowers to numerous members of the court with instructions about what they mean is one of the most iconic images of the play, equally as important in its own right, as Hamlet sitting in the graveyard, holding Yorik?s skull."
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Dysfunctional Families in Shakespeare, 2004.
A look at the theme of dysfunctional families in William Shakespeare's "Hamlet" and some of his other plays.
905 words (approx. 3.6 pages), 0 sources, $ 32.95
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Abstract
This paper discusses how broken and dysfunctional families are a common thread in many of Shakespeare's works and how "Hamlet," one of Shakespeare's finest works, revolves around the broken family of Hamlet, the central character of the play. It looks at how the motive of broken and dysfunctional families also appears in numerous other Shakespeare works, including "The Comedy of Errors," "Romeo and Juliet," "A Midsummer Night's Dream," "Henry IV," "Henry V", and "Much Ado About Nothing" and how the theme itself causes grief, despair, death, and laughter. It analyzes how Shakespeare uses it quite effectively and how his work shows how a common theme can be woven into many different fabrics, making each of them a unique and lasting work of art.
From the Paper
"This theme continues in "Romeo and Juliet," the Montagues and Capulets are broken and dysfunctional in their unreasonable hatred for one another, which ultimately leads to the death of their children, and the reconciliation of the families. The Montagues and Capulets have feuded for years, and hate each other with an unreasonable passion, and this passion carries down to their children, who fall in love despite their families' feuding. Unlike the comedies, where love heals all, and the families come together because of true love, in this tragedy, the broken families can only be healed by true tragedy, and as they both lose their children, the tragedy is complete, and the families recognize what they have lost because of their unreasonable hatred."
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Clothing in "Cymbeline", 2004.
Examines the use of clothing in William Shakespeare's play, "Cymbeline".
963 words (approx. 3.9 pages), 1 source, $ 34.95
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Abstract
"Cymbeline" is one of the lesser-known comedies of William Shakespeare. but it contains all the drama, intensity, chaos. and confusion of a typical Shakespearean work. This paper examines some instances when clothing is used by the characters in the play to carry out important tasks. The paper shows that clothing has been given different terms. such as clothes, apparel. and garments in the play. and this helps in creating the right kind of setting for different incidents.
From the Paper
"From the above passage it is clear that clothing was used as a tool to transform a meek dainty woman into a strong ad courageous person. It was not exactly transformation of woman into man, but a weak person into a brave one. Clothing, it appears, could change the course of Imogen?s destiny-who would have otherwise been remained imprisoned in the castle. Pisanio encourages her to stop behaving like a weak pretty woman and instead force herself to act and feel as strong as a man. To this, Imogen replies that she already feels like a man. However Pisanio is not happy with this answer and tells her to change into men?s clothing:?First, make yourself but like one.
Fore-thinking this, I have already fit--
'Tis in my cloak-bag--doublet, hat, hose, all
That answer to them: would you in their serving,
And with what imitation you can borrow..? (Pisanio, Act III Scene IV)"
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?Sonnet 87?, 2004.
A review of William Shakespeare's ?Sonnet 87?.
1,712 words (approx. 6.8 pages), 9 sources, MLA, $ 55.95
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Abstract
This paper discusses how human emotion and the element of mystery work together to create a dramatic experience in Shakespeare?s "Sonnet 87", and while the sonnet does evoke a bit mystery, it does not waver in its ability to capture human emotion. It examines how, by using the events of everyday life and applying the human element, Shakespeare reveals his skill as a writer. It looks at how the theme of the "Sonnet 87" is about a relationship that has reached its end and how the theme is not only centered on the end of a relationship, it also reflects on the idea of friendship, or love, worth giving.
From the Paper
"Halio also says that Shakespeare?s choice of diction and metaphors reveal a ?subtlety and sophistication worthy of any profoundly affected friend or lover faced with the ending of something once?and perhaps still?highly esteemed and cherished? (Halio). Shakespeare has chosen a subject to which we can all relate. The ambiguities that are present in the sonnet ?reflect the kind of ambivalence typically found at the breakup of an affair? (Halio). Additionally, Halio points out that Shakespeare demonstrates his awareness of the ironies involved in the human experience. Halio observes, ?That one can love a person who is undeserving of that love is one such irony; that one can praise a person while at the time being aware that the praise may not be fully?or at all?deserved is another."
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Lawrence Olivier's ?Hamlet?, 2004.
This paper discusses Lawrence Olivier?s film, ?Hamlet? (1948), one of the greatest movies, in which he not only acted, but also directed.
1,165 words (approx. 4.7 pages), 3 sources, MLA, $ 40.95
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Abstract
This paper discusses that, from ?Hamlet? ,you can understand the general techniques Olivier would employ in his other Shakespearean films. The author points out that Olivier transformed Hamlet from a dark and moody stage performance to a dark and moody film performance; thus, he has, in every aspect, maintained not only the theme and plot of the play, but even its scene settings. The paper concludes that Olivier is a great, versatile director, like Kurosawa, who not only made movies for the sake of attaining success, but also for giving integral messages to movie viewers through the art of film making.
From the Paper
"It is obvious from Hamlet, that Olivier would make his other movies, based on Shakespearean novels, of manageable length while updating some of the obscure phrases presented in all Shakespeare?s stories. Olivier also would rearrange some of the scenes to fit his own style. In Hamlet, he cinematically represented all scenes, which could have been performed on theatrical stages such as the killing of Hamlet?s father, Hamlet?s act of insanity with Ophelia, Hamlet?s seizure by the pirates and the death of Ophelia. In other words, Olivier would try his best to enhance the audience imagination."
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