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"Othello", 2007.
An analysis of the theme of poor communication between members of the opposite gender in William Shakespeare's play, "Othello."
1,249 words (approx. 5.0 pages), 1 source, MLA, $ 42.95
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Abstract
This paper discusses William Shakespeare's play, "Othello." It particularly focuses on the theme of the breakdown of communication between men and women. The paper suggests that the play is about this breakdown in gender relations, more than it is a play about race. The paper presents many examples from the play to demonstrate lack of trust and communication between members of the opposite gender, in order to illustrate this theme.
From the Paper
"This equation of the female body with male honor is seen early on in the play, as well as the difficulty for men and women to communicate effectively. Desdemona's own father cannot see that his daughter is falling in love with Othello, even though he saw it happen before his very eyes, in his own house. Brabatino says his daughter must be seduced by Othello's witchcraft because she was: "A maiden never bold;/Of spirit so still and quiet, that her motion/Blush'd at herself; and she, in spite of nature,/Of years, of country, credit, every thing,/To fall in love with what she fear'd to look on!" (1.3) When Brabatino learns that there was no witchcraft afoot, it is he, rather than Iago, who places the first seeds of doubt in Othello's mind about Desdemona's potential future transgressions: "Look to her, Moor, if thou hast eyes to see:/She has deceived her father, and may thee" (1.3)."
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"Richard III" and "Henry IV", 2007.
An analysis of the lying and cheating of the main characters in William Shakespeare's historical plays, "Richard III" and "Henry IV."
1,356 words (approx. 5.4 pages), 2 sources, MLA, $ 45.95
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Abstract
This paper discusses and analyzes William Shakespeare's historical plays, "Richard III" and "Henry IV." It discusses the characters of Richard III, formerly the Duke of Gloucester, and Falstaff, prince Hal's friend. The paper specifically focuses on their negative characteristics, such as lying and how they used lying to achieve their goals. The paper presents examples from both plays to illustrate the extent of each character's lying.
From the Paper
"During this conflict, Henry shows his bitterness at not having his eldest son, prince Hal to help him in the military matters. Hal is, at this time, with a group of rogues and villains who accompany him in his unlawful actions. Falstaff is the most famous of these, and seems to be Shakespeare's best known personification of falseness (a word from which his name is undoubtedly derived) lying and deceit. Falstaff uses dissembling as a means to achieve both fortune and fame, pretending even to have killed Hotspur in the battle. But even more so, he achieves through permanent lying to create almost a myth about himself, arguing through such skilled rhetoric that he even overtake Richard III, that honor and morality are of no use whatsoever and that they lose their value as soon as they are opposed to the only true thing there is: life."
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Invisibility in Literature, 2007.
An analysis of the implications of character and/or subject invisibility in Gwendolyn Brooks' "We Real Cool", Ralph Ellison's novel excerpt "Battle Royal" and William Shakespeare's "Hamlet".
930 words (approx. 3.7 pages), 3 sources, MLA, $ 33.95
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Abstract
This paper examines how within three well-known works of literature, Gwendolyn Brooks' poem "We Real Cool"; Ralph Ellison's novel excerpt (from "Invisible Man") "Battle Royal", and Shakespeare's "Hamlet", the authors all imply character or subject invisibility, albeit differently from one another, in terms not just of genre itself, but also in terms of author viewpoint and artistic and personal intent.
From the Paper
"In Ellison's "Battle Royal", though, the unnamed narrator is "invisible", and describes himself that way, because he is black and white people therefore treat him as if he were invisible, that is, unimportant, not even a person. The major problem with this, for him personally, is that he has to an extent internalized this view of himself as "invisible", and now must fight hard (within the whole novel, not just "Battle Royal" to negate his "invisibility in his own mind. He is in search of his true self, in a social milieu that makes self-discovery of that kind especially difficult for young black males. "
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"Hamlet", 2007.
An analysis of the theme of the fate of the world and the fate of kings being tied together, as seen in "Hamlet" by William Shakespeare.
937 words (approx. 3.7 pages), 4 sources, MLA, $ 33.95
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Abstract
This paper discusses the play "Hamlet," by William Shakespeare with a focus on the concept that the role and plight of Hamlet in his family mirrors the state of the kingdom and then becomes a means of restoring order to a world in turmoil. It also contrasts Hamlet's character and family situation with the family of Polonius, his father's adviser.
From the Paper
"The fact that the kingdom is in turmoil is reflected not just in the tensions in the court and the storm that may be brewing outside but even more in the fact that Hamlet's father's ghost appears. Hamlet is told what to do by the ghost of his father, whom he meets on the ramparts at night, a portent to all of things to come. Hamlet is called upon to kill Claudius and so to revenge his father's death. This act will also restore order to the kingdom. Some see the ghost as a demonic influence who should not be trusted, and Hamlet himself hesitates as if unsure that the ghost is telling the truth. Hamlet may want revenge, but his actions are not simply attempts to get revenge."
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Falstaff in "Henry IV", 2007.
A discussion of the figure Falstaff in Shakespeare's "Henry IV".
1,297 words (approx. 5.2 pages), 4 sources, MLA, $ 43.95
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Abstract
This paper explores the role and character of Falstaff in Shakespeare's play "Henry IV". The paper acknowledges Falstaff's role as comic relief and his part in Prince Harry's life. This friendship is considered in the paper as well. Several opinions of Falstaff from noted Shakespeare experts are presented along with the writer's view of this character. The paper concludes by stating Falstaff was a necessary figure in the play because he was the only character with whom Prince Harry spoke candidly and often truthfully.
From the Paper
"Falstaff made life exciting for Prince Harry, and he was fun to be around. His character is in sharp contrast with the nobility which will be Harry's companions at court when he becomes King, and seems to be quite dishonest by comparison. However, in some ways, he is truer than any of the noblemen, because he is quite candid concerning his own self interest. It is not that he does not lie. He does, in the last scene of Act II, when he tells about how he and his companions were robbed by other highwaymen after capturing their prize, "All! I know not what you call all; but if I fought not with fifty of them, I am a bunch of radish: if there were not two or three and fifty upon poor old Jack, then am I no two-legged creature." Harry and Poins were, of course, the robbers who fell on them as a practical joke, and they all fled immediately. As Falstaff tells the tale and answers questions the lies become more and more exaggerated."
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'Hamlet', 2006.
A look at the female characters in Lawrence Olivier's 1948 production and Kenneth Branagh's 1996 film version of 'Hamlet'.
1,044 words (approx. 4.2 pages), 7 sources, MLA, $ 36.95
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Abstract
This paper reviews and discusses the contrast of the female characters in "Hamlet", as portrayed in two 20th century film productions: Lawrence Olivier's 1948 production and Kenneth Branagh's 1996 version.
From the Paper
"Shortly after this sequence, Hamlet bursts into his first soliloquy, and through this "textual transposition," placing the Ophelia scene immediately after the first soliloquy...a direct link is created between Hamlet's sense of sexual betrayal in Gertrude's "dexterous posting" between "incestuous sheets" with his uncle Claudius and Ophelia's refusal of him as a chaste or sexual lover. (Dawson 178; "Hamlet" I.2) The former seems likely, given that the actress who plays Ophelia seems so innocent, blond and docile to her father and brother's wishes, in contrast to the young, sensual brunette Gertrude. Oliver's Gertrude hardly seems old enough to have a mature son, although she also seems anything but innocent in the caressing way she behaves towards Oliver, even at the outset of the film."
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Hamlet's Delay, 2007.
This paper looks at reasons for Hamlet's delay in killing Claudius.
1,072 words (approx. 4.3 pages), 4 sources, MLA, $ 37.95
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Abstract
The paper relates that although critics and scholars have offered many different reasons for Hamlet's delay in avenging the death of Denmark's King, none of these possible causes have received unanimous acceptance. The paper then examines the various plausible explanations for Hamlet's delay in killing Claudius. The paper also explains that there is some degree of certainty that Hamlet's obvious madness, whether it was feigned or real, had a great deal of influence on his actions.
From the Paper
"It has also been said that Hamlet's delay was caused by doubt about Claudius's action or the motive of the ghost. It is seen that Hamlet does suspect the motives of the ghost when he wonders if it could be a devil trying to lure him to commit the hideous crime. But this doubt is soon settled during the play scene and Hamlet is still unsure of his reaction and leaves for England. Morality is also out of question as the possible cause because Hamlet feels no remorse or burden on his conscience when Rosencrantz and Guildenstern die. (V.ii.58) This shows that he fully understood the difference between killing an innocent man and killing an offender."
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Horatio and Hamlet, 2007.
An analysis of the genuine friendship between Horatio and Hamletin William Shakespeare's famous play, "Hamlet".
1,636 words (approx. 6.5 pages), 5 sources, MLA, $ 53.95
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Abstract
The paper portrays how the relationship between Horatio and Hamlet, in Shakespeare's play, Hamlet", is based on extraordinary trust and confidence. The paper illustrates how Horatio is genuinely interested in Hamlet's welfare and Hamlet recognizes this, thus even in the midst of his lunatic fits, Hamlet doesn't fail to praise Horatio for his selfless devotion. The paper notes that a striking feature of their relationship is the secrecy and privacy of information that Hamlet demands and Horatio readily respects. The paper also shows how Horatio's concern is genuine but his protection style is passive which shows maturity and respect.
From the Paper
"It is in the very beginning of the play, Act I, Scene II, that we realize what this relationship means as the strength of it becomes evident when Horatio encounters the apparition of Hamlet's father and feels that Hamlet must be told. Even though Horatio understands that this information could be both painful and dangerous for the very fragile Hamlet, still he wants him to know since the information could be of significance. Horatio fully recognizes the repercussions of communicating this information since he has seen such visions leading to murder and conflicts."
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The Tragedy of Hamlet, 2003.
A review of 'Hamlet' by William Shakespeare.
818 words (approx. 3.3 pages), 2 sources, MLA, $ 29.95
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Abstract
This paper takes a look at William Shakespeare's most famous play, 'Hamlet'. According to the paper, at face value the plot appears to be relatively simple. The paper goes on to explain, however, that, upon taking a closer look, one realizes that the play has many psychological and metaphysical implications: it is, in fact a meditation on the nature of man, as well as a meditation on life in general.
From the Paper
"At both the psychological and philosophical levels of the play, the Shakespearian text reveals a very important theme- that of the contrast between appearance and reality. The structure of the play and its main events unfold this contrast: the double crime is called a "foul play" by Hamlet upon his hearing from Horatio about the apparition of the ghost of his father. This term intimates that the events as apparent in the play have a hidden meaning. Also, play becomes again important in what was called the "play within play" scene, where it is Hamlet's turn to play and stage a tragedy for Claudius with the aid of some actors, in which he inserts a few lines that speak of his father's murder. Thus, the "play" or the act of playing at reality becomes a central theme of Hamlet. "
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Shakespeare's "Hamlet", 2006.
This paper identifies Renaissance ideals in Shakespeare's "Hamlet".
1,445 words (approx. 5.8 pages), 2 sources, MLA, $ 47.95
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Abstract
This paper explains that the Renaissance concept and consideration of death are prominent throughout Shakespeare's "Hamlet". The author points out that, in Shakespeare's famous soliloquy, Hamlet hesitates in his consideration of suicide not because of an absolute Christian belief in divine retribution but because he is afraid of an afterlife of which he is unsure. The paper relates that the Renaissance ideas around decay of the body and mortality as the great leveler are present in "Hamlet" on several occasions such as after killing Polonius and disposing of the remains. The paper includes quotations from the play.
From the Paper
"The Renaissance is considered a period of rebirth for culture and learning. It is traditionally identified at the period of European history that closes the Middle Ages, spanning from the 14th to the mid-17th centuries. Considered the beginning of the modern world, the Renaissance period experienced a rebirth of ancient Greek philosophies, and a renewed interest in classical art forms and sensitivities. Many artists began to explore and expand the work done in the classical age, concentrating on the human form and the depiction of ancient mythologies."
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"Hamlet" and the Renaissance, 2006.
A review of the representation of Renaissance ideals in William Shakespeare's "Hamlet".
1,453 words (approx. 5.8 pages), 2 sources, MLA, $ 48.95
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Abstract
This paper takes a look at "Hamlet" by William Shakespeare and looks at how he uses his work to display Renaissance thought and concerns. It examines how, through Hamlet's contemplation of death, his character is solidly connected to the ideals of the Renaissance.
From the Paper
"One such archaic belief that was left behind in the previous centuries was the sense that tragedies, both personal and widespread, were great punishments for sins. In particular, a tragic and untimely death was often considered some kind of spiritual retribution passed down to the individual from God himself. This certainly made sense since the medical knowledge of the day could not explain the horrible plagues that wiped out entire populations, or other such tragic events. Often what is not understood is highly feared and attributed to a greater power, and so an early death or any death preceded by an agonizing illness was considered a terrible event since they were a clear indication of God's displeasure. These conceptions were replaced in the Renaissance, especially by the time Shakespeare was writing Hamlet."
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"The Merchant of Venice", 2007.
An analysis of the money-conscious attitudes of the various characters in William Shakespeare's play, "The Merchant of Venice."
750 words (approx. 3.0 pages), 1 source, MLA, $ 26.95
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Abstract
This paper discusses whether Shylock the Jew is the most money-hungry character in William Shakespeare's play, "The Merchant of Venice." The paper analyzes the plot and some of the scenes in the play in order to compare the different character's views on money. The paper concludes that it is the Christian Bassanio who is the most money-conscious of all of the persons in the play and explains why this is so.
From the Paper
"It is the Christian Bassanio, ironically, who is the most money-conscious of all of the persons in the play. Bassanio chooses lead, when asked to select from the three caskets that Portia offers to test her suitors. She is happy that he wins, and the lead is supposed to be the correct choice, for the person who chooses lead is supposed to be a man who has hazarded all he has, to win Portia. But in truth, Bassanio has hazarded nothing and desires Portia's gold. It is Antonio who has taken the risk in lending money for his friend. Now that Shylock is angered because of the loss of his daughter, he resolves to call upon the bond Antonio made in jest, a pound of flesh. The jest-like nature of the false bond was reflected when Antonio said that: "The Hebrew will turn Christian: he grows kind." (I.2) In other words, Shylock asked for no interest or money upon the loan in an effort to cement his relationship with Antonio (another example of how Shylock does not always put money before relationships). However, Shylock's kindness turns to cruelty, because a Christian has sundered his relationship with his beloved daughter--a Christian, incidentally, in need of money that willingly spends the ducats stolen by his stolen bride from Shylock's coffers."
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