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Father-Daughter Relationships in Shakespearean Plays, 2002.
The paper analyzes the use of father-daughter relationships in the plays of William Shakespeare, and focuses on the influence the daughter often possesses over her father.
1,164 words (approx. 4.7 pages), 4 sources, MLA, $ 40.95
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Abstract
The paper looks at the importance of the father-daughter relationship to the playwright and the Sixteenth Century society he wrote for. The paper highlights the Shakespearean play "King Lear" as containing the perfect example of such a relationship, in the way King Lear loved Cordelia, his third daughter. The paper also examines other heroines of Shakespeare who have also been shown in roles as daughters, where they either help their fathers or become a source of genuine comfort for them.
From the Paper
"The relationship between a father and his daughter is one of the most beautiful bonds that Nature has created and is unique in the sense that it provides both the concerned parties a kind of comfort that is missing from father-son relationship. Why this happens is probably not known. But the answer to this question is certainly grounded in psychology, which makes one authority figure deeply care about a younger dependent of opposite sex. While it was in recent times only that we came to learn and appreciate the significance of this bond, Shakespeare was a genius to have felt, detected and illustrated it in 16th century when he used his plays to highlight the beauty and worth of this important connection."
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What is Love?, 2002.
This paper looks for the definition of love in four sources: Ovid's "The Metamorphoses", C.S. Lewis' "The Four Loves", Shakespeare's "Romeo and Juliet" and the New Testament.
1,930 words (approx. 7.7 pages), 4 sources, MLA, $ 61.95
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Abstract
This paper, in the search for definition, explains that the Greek word agape (love) seems to have been virtually a Christian invention. The author cites another type of love, affection or friendship love also know as phileo. The author finds many types of love in ?Romeo and Juliet?, in which Shakespeare managed to combine love of God with love for humans. Long quotations.
From the Paper
"Throughout the tragedy of Romeo and Juliet various types of "love" are displayed. Benvolio believes women are interchangeable, while, at the beginning Romeo believes love is pain. At the beginning, Juliet does not even have a definition of love. Paris's and Lady Capulet's definition of love is in appearance. It is obvious that Shakespeare wants the audience to believe that the only "true" or "real" love is the love that exists between Romeo and Juliet. The first type of love the audience is introduced to is the "interchangeable" love of Benvolio. According to Benvolio, a man should "love" a woman for only the duration of their relationship. If their relationship should end, the man should feel no grief. If the woman rejects the man initially, he should still feel no grief. In either situation, the man should simply start a relationship with another woman. Benvolio's definition of love shows the audience two things about Benvolio: he is a womanizer and he has never before experienced "true love.""
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Hamlet and His Problems, 2002.
An alternative review of Shakespeare's play "Hamlet".
1,289 words (approx. 5.2 pages), 2 sources, MLA, $ 43.95
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Abstract
This paper presents a detailed examination of elements of the Shakespearean play, Hamlet. The writer of this paper uses "The Sacred Wood: Essays on Poetry and Criticism". by T.S. Elliot to illustrate the paper?s central argument. The writer also extracts passages from the play to support and underscore the paper?s theme.
From the Paper
"The play of Hamlet by William Shakespeare has long been studied as one of the greatest and most complicated works of all time. When one takes a first pass at the work one will be impressed by the seeming depth of the plot and the interlaced problems faced by the characters. It is only after one has taken a second look and examined the underpinnings of the truth of the story that one will begin to see what the great work really is. The work of Hamlet is a re-arranged version of an earlier play called The Spanish Tragedy by Thomas Kyd. Kyd?s play holds so many similarities to Hamlet that the overlapping of their plots will show Hamlet to be nothing more than a superimposed image of the original story by the previous author(Eliot 1)."
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On Shakespeare and Artistic License, 2002.
A discussion of the historical accuracy of the plays of William Shakespeare.
3,420 words (approx. 13.7 pages), 9 sources, MLA, $ 96.95
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Abstract
This paper examines how there are many points of contention between historians and artists when it comes to the subject of artistic liberties versus historical fact. Through a review of "Macbeth" and some of his other plays, it attempts to determine some of these historical inaccuracies and analyze why they occurred. It focuses on the question of whether or not Shakespeare was even concerned with being historically accurate or whether he intentionally took ?liberties? with his plays.
From the Paper
"Many of Shakespeare?s primary sources are now available in their entirety on the Internet. Facsimiles of Holinshed?s history is available, Reginald Scot?s Discoverie of Witchcraft and King James I Daemonologie are available in their entirety. Seneca?s plays are available in their original Latin, as well as some excellent translations. Many others have written on the historical inaccuracies of Shakespeare?s plays long before it was so easily to look at his primary sources and compare them to the play. These authors only focused on whether Shakespeare?s plays were historically accurate, and the consensus of the pool of authors was a unanimous consensus that Shakespeare?s did contain historical inaccuracies. This fact has been reiterated and restated many times, by many authors. There is no reason to restate what is now considered historical fact, as it is now considered common knowledge that Shakespeare?s plays are historically inaccurate when compared to modern historical sources."
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?Oedipus? and ?Hamlet?, 2002.
Examines the characters in plays by ancient Greek playwright, Sophocles and the Bard, William Shakespeare.
1,311 words (approx. 5.2 pages), 2 sources, MLA, $ 44.95
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Abstract
The characters of Sophocles? Oedipus and William Shakespeare?s Hamlet present two of the most enduring examples of the tragic hero. The paper shows that both characters are victims of fate and both characters are in control of their destinies, yet each character, turning different ways, end up with very different lives. The paper shows that Oedipus was lead by what he believed to be the truth and Hamlet, knowing the truth, is paralyzed by it. In exploring the similarities and differences between these two characters, the paper shows how we are able to understand fate and destiny and how they relate to the truth.
From the Paper
"Hamlet and Oedipus conform to the same classic formula. Hamlet is a member of a royal family and next in line to sit at the throne. Claudias has determined that Hamlet will inherit the throne. This makes Hamlet the second most popular man in Denmark and to anger him is to invoke a king?s anger in the years to come. Oedipus is already a king and he clearly asserts his position by announcing that he is king, the world-famous Oedipus. It is safe to assume that Oedipus is already in high standing in both the political and social hierarchy of the times because he is a king and he is world famous. To follow the model of the classic tragic formula, the story not only needs a hero who is in a position of status, but it also needs a hero to also fall from that position."
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Acting in Theatre, 2002.
A comparison of "Hamlet" by William Shakespeare and its spinoff Tom Stoppard?s play "Rosencrantz and Guildenstern are Dead" with an emphasis on the theme of acting.
889 words (approx. 3.6 pages), 0 sources, $ 31.95
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Abstract
This paper discusses how in both Tom Stoppard?s play "Rosencrantz and Guildenstern are Dead" and the play it was based on, Shakespeare?s "Hamlet", acting is a major theme and motif. It examines how especially in "Rosencrantz and Guildenstern are Dead", acting signifies the falsity, absurdity and superficiality of life and therefore, acting and the staging of plays is a metaphor for living. It analyzes how both plays use acting to portray the futility and tragedy of life, but how "Rosencrantz and Guildenstern are Dead" does so in an almost slapstick way. It looks at how Stoppard?s play is a comedy that grossly exaggerates two minor characters in Shakespeare?s "Hamlet". While Shakespeare shows how acting and drama can evoke deep emotional responses in people, as with Claudius? reaction to Hamlet?s play in Act II, scene ii, Stoppard proves that plays can be purely meaningless.
From the Paper
"The Players, or Tragedians in Shakespeare?s Hamlet first appear in Act II, scene ii. Hamlet speaks to the troop of performers about staging a drama for the King so that Hamlet can entrap him. The general association of plays and emotionality is conveyed in this scene. Hamlet?s main objective in staging ?The Murder of Gonzago? is to show Claudius that he is aware of his murderous act. Hamlet hopes to evoke in Claudius an incriminating response and to inspire fear in him. The players and Hamlet speak of the efficacy of the Classical Greek tragedies. This conversation emphasizes how significant great works of drama are in providing archetypes and universal metaphors. Even the characters within a play, in this case within Shakespeare?s play Hamlet notice the importance of play-acting. Hamlet, however, is caught up in the melodrama. In his soliloquy at the end of Act II, scene ii, he wonders how actors can feign emotion so well."
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The Man Who Was Not Shakespeare, 2002.
A biography of the comedic and tragic life of the playwright Christopher Marlowe with comparisons to William Shakespeare.
1,370 words (approx. 5.5 pages), 4 sources, MLA, $ 45.95
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Abstract
This paper looks at the life of the Elizabethan playwright Christopher Marlowe. It discusses how, unlike Shakespeare ,the other main playwright of the time has plays which tend to be character-driven. The author finds that Marlowe wrote extremely rhetorical, highly poetical works with elevated language and elaborate feats of stagecraft. It analyzes how Marlowe?s concern with power and society?s elite is reflected not only in the language of his plays, but also in terms of his play?s subject matter. This is reflected in his most famous works, such as ?Dr. Faustus? and ?Tamburlaine.? It looks at how Marlowe is often studied as an example of a literary influence upon the early Shakespeare but because Marlowe?s style is so different in tone and so divergent in subject matter, he exists more as an interesting historical curiosity in his own right, as an individual playwright of note, outside of Shakespeare?s own theatrical history.
From the Paper
"The fascination with Catholicism evident in ?Dr. Faustus? should not come as much of a surprise, even despite Marlowe?s avowed atheism. Catholicism was a despised and outlawed religion in the England of his time. But Marlowe did not contemplate converting to the faith. Rather, in one parodic document he wrote, he stated that Catholicism was a good religion, ?merely because it embraces the fictions of ceremony rather than indulging in the Protestant hypocrisy which pretends to a literalism it will not see through.? In other words, Catholicism is a better religion because it pretends the ?bell, book, and candle? of exorcism and the physical rites of the mass do have supernatural powers. This is unlike Protestantism which avows itself as a more spiritual, ascetic faith, stating that humanity will not be saved by physical acts, but by a system of theology and belief alone. Marlowe thus embraced the theatrical nature of religion, while defying the central tenants of religion itself, much like his great hero."
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Macbeth - The Tragic Hero, 2002.
A review of how Shakespeare's Macbeth manages to ruin his own life due to careless actions and becomes a true tragic hero.
1,025 words (approx. 4.1 pages), 1 source, MLA, $ 36.95
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Abstract
The writer of this paper argues that through a series of bad decisions, Macbeth single-handedly ruins his own life. By allowing himself to be influenced by outside forces, Macbeth diffuses his own moral strength and good nature, which were the very things that led him to greatness. The writer shows how, step-by-step throughout the play, the reader can watch Macbeth?s character deteriorate until he has nothing left. It concludes that Macbeth might have been a tragic hero, but the tragedy was of his own making.
From the Paper
"In the beginning of the play, Macbeth demonstrates characteristics of a hero and a leader. His loyalty to the king transforms into a desire to be king. This is evident in the first scene when Macbeth encounters the witches and falls victim to their curses and predictions. Because of his false sense of security, he believes everything they say. In a rather simple move, they have successfully tempted him with the idea of becoming king. Macbeth reveals his weakness in character when he allows himself to be swayed by what the witches tell him. Shakespeare paints a picture of a man that is somehow mesmerized by them and lulled into a ?fantastical? state of mind (1. 3. 139). Because he listens to them, he opens the door to fear and doubt; by believing what they say, he welcomes ambition."
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"Courtly Love", 2002.
A look at William Shakespeare's use of the concept of "courtly love".
1,263 words (approx. 5.1 pages), 4 sources, MLA, $ 42.95
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Abstract
This paper discusses how ?courtly love? is a term that was retroactively developed to describe a medieval French concept known as ?Fin Amour.? It examines how this concept became widespread in the 12th century and referred to a code of behavior that was to formulate our modern conceptualization of chivalrous romance. This concept was reflected in Francesco Petrarch?s "Italian sonnets", which introduced the concept of lyrical poetry in the 14th century. It analyzes how by Shakespeare?s time, a renewed interest in medieval court behavior coincided with a growing interest in Italian ducal courts as depicted in "Othello", "Romeo and Juliet" and "12th Night". It also evaluates how Shakespeare?s sonnets, which differed from Petrarch?s format, invoke medieval romantic concepts of unrequited love and long periods of courtship while taking a more humanistic approach to these themes.
From the Paper
"In that jealousy ultimately destroys Desdemona and Othello, Shakespeare?s portrayal of love is ultimately a tale of how people shouldn?t behave when they are in love. The way that the ill-fated couple conduct themselves before they leave Venice is essentially anti-social: when they secretly marry and elope, they implicitly reject the values of society and the desires of Desdemona?s family. Whereas a modern audience might see Desdemona?s refusal to respect her family?s wishes as a not to what were to become the cosmopolitan values of liberal, sexually and racially emancipated Europe, a Shakespearean audience would have recognized this action as a serious breach of conventional norms that characterized European society. "
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Insane or Not Insane - That is the Question, 2002.
An examination into the question of whether Shakespeare's Hamlet was insane or not.
1,585 words (approx. 6.3 pages), 6 sources, MLA, $ 51.95
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Abstract
A thorough analysis of whether the character of Hamlet can be considered to be sane or insane. The paper looks at several examples and scenes of the play in order to examine this question and concludes that Hamlet was not insane, but it was simply a cover-up to confuse his enemies.
From the Paper
"In both theatrical and academic circles alike a common topic of conversation is whether or not the character of Hamlet in William Shakespeare?s masterpiece is insane or simply feigning insanity. Throughout the years since this play was first produced many theatre artists have made the strong choice to define Hamlet as insane. This choice is decidedly wrong. Hamlet is not insane. The Danish Prince is merely pretending such so that he might understand the deception revolving around him more clearly while developing a strategy of revenge."
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Shakespeare's ?Measure for Measure? and Shaw's ?Major Barbara?, 2002.
This paper compares the many parallel images in the comedies William Shakespeare's ?Measure for Measure? and George Bernard Shaw's ?Major Barbara".
2,405 words (approx. 9.6 pages), 10 sources, MLA, $ 73.95
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Abstract
The author believes that Shaw quite consciously modeled some portions of ?Major Barbara? on Shakespeare's ?Measure for Measure?. The paper discusses the many similarities such as the religious overtones in both plays and the characterization of the female main characters Isabella and Barbara. The author points out that both plays make the same philosophical point: The need to let something go in order to achieve or gain something else, perhaps of greater value.
From the Paper
""Measure for Measure" is gloomy in the beginning; but Shakespeare, as does Shaw, is able to work out the transition from potential tragedy to comedy. Unfortunately, in the transition, Shakespeare, unlike Shaw, does not always make his characters behave consistently. Like Shaw, however, he does order everything that happens in "Measure for Measure" on the principle that the play must be kept a comedy. That was his given reason for making his heroine Isabella a novice nun and for bringing Lucio into her first scene with Angelo (II. ii.); every detail must play its part in intensifying the effect of comic irony. Once used though, such a detail may later be ignored by Shakespeare. Isabella is found to be not too nun-like after all. She is not squeamish or sanctimonious and can be intensely practical, as her "0, let him marry her!" (I. iv. 49) reveals. During the play she develops into a vociferous, ironical nun?almost a Major Barbara."
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Betrayal in Shakespeare?s "King Lear", 2002.
This paper looks at two characters from William Shakespeare's "King Lear" who, according to the writer, react very differently when betrayed by those closest to them.
960 words (approx. 3.8 pages), 1 source, MLA, $ 34.95
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Abstract
The writer discusses the characters of Lear and Gloucester. These two characters are faced with the same basic problem: their close acquaintances are betraying them. According to the writer, Lear reacts by exiling or cutting off anyone that he suspects of betrayal, while Gloucester gives his trust to those he thinks remain loyal.
From the Paper
"He begins by exiling Kent, a member of his counsel. Next he cuts off Cordelia, his youngest daughter, for going against his wishes. Finally, he offends the King of France. This not only sets him up for disaster later, but also provokes serious responses from the aggrieved parties. Lear has responded quickly and decisively to betrayal, but he has not necessarily helped himself with his actions."
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