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Literary Themes: Invisibility and Keeping the Dead Living, 2007.
This paper examines the literary themes of invisibility and keeping the dead living as observed from William Shakespeare's "Hamlet" to the modern literature of Robert Browning, William Faulkner, Gwendolyn Brooks and Ralph Ellison.
1,960 words (approx. 7.8 pages), 5 sources, MLA, $ 62.95
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Abstract
This paper explains that, in "Hamlet", Shakespeare uses literal invisibility only once; however, there are several instances in which he uses a motif of figurative invisibility, when characters are present but unseen. The author points out that Gwendolyn Brooks' brief poem 'We Real Cool' reflects a modern understanding of invisibility as people about whom no one cares rather than in the classic motif of a character whom some can see while others cannot. The paper relates that, in Shakespeare's "Hamlet", Robert Browning's poem "My Last Duchess" and William Faulkner's "A Rose for Emily" the living characters try to deal with the dead. The author points out that Prince Hamlet is driven by the ghost of his father, Browning's Duke Alphonso has reduced his late wife to a curtained off, collectible art object and Faulkner's Miss Emily has clung for thirty years to the hidden body of the lover she felt she could not keep were he alive.
Table of Contents:
The Theme of Invisibility
Shakespeare's "Hamlet"
Gwendolyn Brooks' Poem 'We Real Cool'
Ralph Ellison' "Invisible Man"
The Theme of Keeping the Dead Living
Robert Browning's "My Last Duchess"
William Faulkner's "A Rose for Emily"
From the Paper
"The "Invisible Man" is a black youth in the segregated deep South. His invisibility stems from the fact that the whites around him are determined to maintain a racial caste. To do this, they have made those who were slaves "invisible." When the ten youths are summoned to the hotel ballroom and shoved blindfolded into the boxing ring, the white crowd does not see then as human beings. They are the countless racial slurs that are yelled out at them. They are the animalistic violence that drives the crowd to a frenzy."
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Hamlet and Truth, 2008.
This paper discusses the aspect of truth in the play "Hamlet" by William Shakespeare.
1,330 words (approx. 5.3 pages), 1 source, MLA, $ 44.95
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Abstract
In this article, the writer discusses that in 'Hamlet', the central character has to face a number of truths in the play. The writer notes that Hamlet has been seen as hesitant to do so in many cases, hesitating while he decides if the truth he is facing is really the truth or not. The writer maintains that these truths contribute to the overall themes of the play and also illuminate the character of Hamlet.
The writer concludes that Hamlet shows that he has learned the importance and sanctity of the confessional and now lets that knowledge guide his action. Throughout the play, Hamlet listens, observes, and learns what is true and what is not, what is right and what is wrong, what he must do and what he must not do.
From the Paper
"The first truth that he must face is that his mother and uncle murdered his father. He is told this by the Ghost, and the way he hesitates before taking the action he is told to take makes it seem that he doubts the Ghost. The Ghost has to be seen as a reliable informant, though some have doubted what the Ghost says and believe that Hamlet has doubts about this as well. The Ghost brings the charges against Claudius in the beginning of the play, introducing the character of Claudius so as to make clear his guilt. The Ghost appears first in the play, passing through as an ominous portent of things to come and as indication of what happened in the past, though this is not yet explained."
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Hamlet's Misogynistic Behaviors, 2008.
This paper explores the central motivations for Hamlet's sexist and misogynistic behaviors in "Hamlet, The Prince of Denmark" by William Shakespeare.
848 words (approx. 3.4 pages), 1 source, MLA, $ 30.95
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Abstract
The paper explains that Hamlet's hatred for his mother and Ophelia causes him to become consumed with an extended misogynist complex that sets his own tragic downfall. The paper examines the roots of this behavior and shows how Hamlet's misogynistic actions occurred due to his inability to find strong female role models and his ghostly father's patriarchal influence.
From the Paper
"The first misogynist resentment that Hamlet has is against his mother, Gertrude. Since she has married Claudius so soon after his father's death, he begins to resent her for not realizing the usurping treachery Claudius represents. After Hamlet's father appears as a ghost and tells him that his brother, Claudius, had poisoned him, Hamlet resents anyone involved with the usurping king. Hamlet states is immediate anger at all women, but especially toward his mother: "Frailty, thy name is woman!" (1.2.146). Hamlet's diatribe on his mother's baseness for marrying his father's murderer is relentless when he defines his mother as a beast: "O God, a beast that wants discourse of reason/Would have mourned longer -- married with my uncle" (1.2.150-151)."
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Loman, Hamlet and Death, 2008.
A comparative analysis of the theme of death in William Shakespeare's "Hamlet" and Arthur Miller's "Death of a Salesman".
1,438 words (approx. 5.8 pages), 3 sources, MLA, $ 47.95
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Abstract
This paper discusses the contention that the families of Hamlet and of Willy Loman drove them to their deaths. It looks at how, in the first instance, the faithlessness of Queen Gertrude, the stern injunction of the vengeful ghost of Hamlet's father and the evil-doing of Claudius push Hamlet towards the commission of a terrible crime that ultimately costs him his own life. It also looks at how, Willy's pain at seeing his son Biff fall short of his full potential drives the elder Loman to first melancholic madness and thence to death. In the end, the plays both reveal how the environmental stimuli provided by those around us are often the very stimuli which push us into the abyss.
From the Paper
"In Hamlet, it is soon enough apparent that the young prince's family is the chief cause of his descent into brooding madness. For example, Hamlet's mother, Gertrude, has married the sly and sinister Claudius - the brother of Hamlet the Elder and the man who has profited handsomely from his brother's death (Shakespeare, 154). For Hamlet, who would seem to venerate his father as only a son can, the decision of his mother to join hands in holy matrimony with a fellow Hamlet finds repugnant (Shakespeare, 163) is basically beyond the earthly power of Hamlet to endure."
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Comedy in "Twelfth Night", 2008.
An analysis of the use of comedy as a form of instruction in William Shakespeare's "Twelfth Night".
1,754 words (approx. 7.0 pages), 1 source, MLA, $ 56.95
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Abstract
This paper discusses how "Twelfth Night" is a powerful vehicle for teaching its audiences several important lessons and how the play draws people in because it is an entertaining romantic comedy, complete with cross-dressing and the titillating misunderstandings that derive from the cross-dressing. It argues that the lessons are made more accessible because they are conveyed by characters and actions in a romantic comedy, frequently in a comic way, than they would have been if the lessons were simply stated in a didactic way.
From the Paper
"In Shakespeare's time, his plays provided entertainment and often comedy to people who had far less access to entertainment than we do in our time, with our highly commercialized and ubiquitous entertainment industry. His plays were therefore much enjoyed, and any lessons he intended were keenly listened to. This is the first reason why the comic antics portrayed in Twelfth Night would have been likely to communicate the lessons Shakespeare intended - simply because the play would have been so greatly enjoyed. It is a classic romantic comedy, dealing as it does with the never-failingly-interesting topic of romance, and providing the audience with a satisfying happy ending. "
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"Hamlet" in Film, 2007.
An analysis of how the characters of Ophelia and Gertrude differ in different film versions of William Shakespeare's "Hamlet".
1,018 words (approx. 4.1 pages), 7 sources, MLA, $ 36.95
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Abstract
The paper discusses how different productions of a play such as "Hamlet" by William Shakespeare will have differing interpretations of characters. The paper focuses on the central female characters in "Hamlet," of Ophelia and Gertrude. It then looks at how they are portrayed differently in two film versions of the play - the 1949 version directed by and starring Laurence Olivier and the 1990 version directed by Franco Zeffirelli and starring Mel Gibson.
From the Paper
"The role of Ophelia differs in the two versions as well. In keeping with the play, the Olivier version shows the deterioration of Ophelia as she descends into madness with the death of her father and other events in the play. The Zeffirelli version treats her in a manner similar to Claudius and Gertrude in that she starts at a high level and stays there. In the Zeffirelli version, Ophelia is distracted from the time we first see her so that her madness seems already entrenched and only needs a push to become full-blown. Her madness does not develop in the time of the play but is part of her make-up from the beginning, so just as we immediately see Claudius and Gertrude as guilty, we see immediately see Ophelia as insane."
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Gender in "Twelfth Night", 2007.
This paper explores the issue of gender from the perspective of the character of Viola in Shakespeare's "Twelfth Night".
1,657 words (approx. 6.6 pages), 2 sources, MLA, $ 53.95
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Abstract
The paper discusses Viola's presentation of gender in "Twelfth Night", which implicitly challenges the strict binary gender system that prescribes different and opposite behaviors for the two genders. The paper shows how the character of Viola stands in stark contradiction to long-standing prejudices about the weaknesses and frailty of women. The paper also points out, however, Viola remains a victim of the prejudices of her society, in that from her own perspective, she continues to see women as frail.
From the Paper
"In Twelfth Night, Viola and Sebastian are twins, but they are separated in a storm at sea. Viola adopts male garb, and the name Cesario, as a survival strategy - to enable herself to get a job working for the Duke Orsino. Thus, Violet is not explicitly making a statement about gender when she begins passing as a male - rather, she is simply making a statement about wanting to survive. However, the necessity for her to adopt this strategy does of course arise from the strict sex-based segregation of the times. Despite the fact that Viola does not intend to buck the binary-gender system in any way, she certainly seems to enjoy "being a man," and moreover, the fact that she adopts a male persona inevitably leads to gender-based complications. For example, the Countess Olivia falls in love with her, while "Cesario" falls in love with Duke Orsino, and "Cesario" is challenged to a duel by the jealous Sir Andrew. Viola's gender switch thus lays the foundation for much of the plot. However, despite being a plot device, it also makes it possible for Viola to present an alternative representation of gender."
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Freud and "Hamlet", 2007.
An analysis of Sigmund Freud's oedipal complex in "The Tragedy of Hamlet, Prince of Denmark" by William Shakespeare.
942 words (approx. 3.8 pages), 2 sources, MLA, $ 33.95
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Abstract
This paper attempts to reveal Freud's psychological theory and psychoanalytical interpretation in regards to the character Hamlet in William Shakespeare's play "The Tragedy of Hamlet, Prince of Denmark". The paper looks at how, by assessing modern critical theory on Hamlet's character, one can understand that critics agree on Hamlet's insanity - via Freudian oedipal perspectives. The paper also shows how, by offering Freud's psychoanalytical analysis of Hamlet's character, one can understand the complexities of the Oedipus complex within William Shakespeare's dramatic forum.
From the Paper
"The element of Freud's contention that Hamlet seeks the erotic feminine love of his mother and to murder his father is apparent throughout the play. Although he is clearly making allusions to psychological behavior in conjunction with madness or insanity, Hamlet can also be perceived as a "brilliant fake, promoting madness so that his enemies might not think him a real threat to Claudius and his cronies" (Bloom 178). However, this rationale is not always apparent in the text. Hamlet does not show mastery over his obsessive urge to kill his father's enemies in a covert or disguised manner--he is openly acting out his unconscious desires in the Oedipal tradition. "
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"Oedipus Rex" versus "Hamlet", 2007.
An analysis of the influence of the Sophoclean Grecian tragedy, "Oedipus Rex" on William Shakespeare's "Hamlet, The Prince of Denmark".
2,414 words (approx. 9.7 pages), 2 sources, MLA, $ 73.95
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Abstract
This paper evaluates the influential aspects of the Sophoclean Grecian tragedy on the latter forms of Shakespearean tragedy used within the Elizabethan period. It discusses the various psychological and political issues that abound in "Oedipus Rex" by Sophocles and how Oedipus acts as a clear role model for the insanity that Hamlet exhibits within Shakespeare's "Hamlet, The Prince of Denmark".
From the Paper
"In conclusion, the reemergence of the Greek tragedy in the Elizabethan era can be readily seen through the works of William Shakespeare through the influence of Sophocles. The plays Hamlet: The Prince of Denmark and Oedipus rex provide textual examples of the psychological and political disposition of the heroic character that is doomed to death due to errors in judgment. By understanding the principle aspects of the tragic hero in the work of Sophocles, one can realize why Shakespeare uses many of the literary devices that define tragedy along the Greek model. This inevitably appears in Hamlet and Oedipus through the presence of insanity in their thought process, but also in their lack of control over the political forces that seek to destroy them. This is how William Shakespeare readily provides an example of the reemergence of Greek tragedy in the Elizabethan era through the tragic works of Sophocles."
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Richard III, 2007.
This paper compares and contrasts five dramatic and historical interpretations of Richard III.
1,482 words (approx. 5.9 pages), 5 sources, APA, $ 48.95
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Abstract
The paper examines four productions and one biography of Richard III.
The paper explains that a controversial historical figure like Richard III, whose flawed character and life was filled with intrigue, betrayals, confrontations and battle has provided ample opportunities for playwrights, biographers, novelists, and filmmakers to interpret him and the events of his life in a variety of ways. The paper shows how some interpretations rely upon an understanding of the historical Richard III, others rely upon the characterization of him in William Shakespeare's famous play, while others have chosen to rely less upon traditions and more upon innovative approaches.
From the Paper
"Carefully examining the 1954 and 1995 films, both entitled Richard III; as well as Shakespeare's Richard III, Al Pacino's Looking for Richard, and historical and biographical accounts of Richard III provides many opportunities to compare and contrast these various interpretations. William Shakespeare's play is the best known of these productions, and justifiably so, for it created a memorable and lasting image of Richard III that renders the historical figure virtually irrelevant to most people. Shakespeare's interpretation of Richard is so powerful, vivid, and overwhelming that no biography or historical account can even begin to compare."
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Iago's Plot, 2007.
This paper examines a passage from William Shakespeare's tragedy "Othello."
796 words (approx. 3.2 pages), 1 source, MLA, $ 28.95
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Abstract
The paper analyzes a passage from "Othello" in which Iago first conceives of his plot to inflame Othello's jealousy against his wife. The paper shows how it is in this passage that Iago effectively defines his plan of action that leads to the tragic destruction of the play's primary characters. The paper highlights how the passage is critical to our understanding of both the action of the play and the complex character and motivations of Iago.
From the Paper
"This passage is situated in the play directly after the failure of Iago's initial plot to hurt Othello; in which he had stirred Desdemona's father, Brabantio, into a rage at the thought that the Moor had seduced and "stolen" his daughter (I.1). This plot fails when both Othello and Desdemona are brought before the Duke of Venice, where both Othello's nobility and Desdemona's protestations of her love for him sway the Duke in favour of the couple (I.3). Yet, this plot having completely failed, Iago nonetheless continues to scheme. At this point, Shakespeare is compelled to reveal the reason why Iago seems so driven to hurt his master. Significantly, it is Iago's own jealous belief that Othello has slept with Iago's wife that, Iago states, fuels his rage: "I hate the Moor,/ And it is thought abroad that 'twixt my sheets / He's done my office" (I.3.380-382)."
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Hamlet, 2007.
This paper analyzes the state of Hamlet's mind in William Shakespeare's play of the same name.
1,188 words (approx. 4.8 pages), 2 sources, MLA, $ 40.95
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Abstract
This paper discusses Hamlet's inability to carry out his desire to avenge his father's murder. The paper describes Hamlet's schizophrenic shock and shows how he was suffering from manic depression. The paper labels "Hamlet" a dark play and demonstrates how it was staged in Hamlet's mind.
From the Paper
"We first see Hamlet dejected in black mourning in contrast to the brightly lit court of the new King (Act I, Sc. 2). His melancholy attire mirrors the foreboding of the ghost on the ramparts and his passionate, broken hearted soliloquy contravenes the staid, artificial dialogue of the familial scene at court. It reveals his depression as a result not just of his grief for his father but also for his mother and her "disgusting dexterity to incestuous sheets" (Act 1, Sc.2). The sordidness he sees reflect the schizophrenic shock that is beginning to affect his ability to act. The forbidden idea of suicide, the image of his father as "Hyperion" to his uncle's "satyr", the counterpoint between things divine and those of earth grossly profane, "unrighteous tears" and "galled eyes", twist his
depression into a knot in his throat "for I must hold my tongue", and a desperate feeling of low self-esteem and inadequacy "no more like my father than I to Hercules"."
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