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William Shakespeare's "Othello, the Moor of Venice", 2006.
This paper discusses the use of animal imagery in William Shakespeare's "Othello, the Moor of Venice".
1,115 words (approx. 4.5 pages), 0 sources, $ 38.95
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Abstract
This paper explain that the use of animal imagery in William Shakespeare's "Othello, the Moor of Venice" reflects the base instincts, which bring about the tragedy of the main character and his innocent wife. The author points out that negatively characterizing Othello as an animal might imply that he is as base and beastly as Iago, but his honor and nobility throughout the rest of Act I makes the reader doubt that Othello is the animal. The paper concludes that comparing the characters to animals suggests that the play is not about race, politics or social convention but rather about the predator and the prey, which is something deeper and more innate than the trappings of society. The paper includes several quotations.
From the Paper
"The innocent and good Cassio is deceived into believing himself a beast because of the machinations of Iago. Knowing that Cassio cannot tolerate alcohol, Iago encourages him to get drunk and orchestrates a fight in which Cassio appears the violent aggressor. Such behavior, especially because it interrupts the marriage bed of Othello and Desdemona, is perceived negatively by Othello who dismisses Cassio from his service. Cassio then likens himself to an animal, disparaging the effect of alcohol that "put an enemy in their mouths ....transform ourselves into beasts!""
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"Macbeth", 2007.
A discussion on Shakespeare's "Macbeth".
1,641 words (approx. 6.6 pages), 7 sources, MLA, $ 53.95
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Abstract
The paper begins with a discussion on the difficulty of writing plays in
Elizabethan England. It explains that Shakespeare was an actor first, which was advantageous to his writing. The author also explores Shakespeare's ability to appeal to the audience, of all classes. In the conclusion, the paper expands on Shakespeare's use of language. The paper offers quotes from "Macbeth" to qualify points made.
From the Paper
"Writing plays during the time of Queen Elizabeth I and King James I could be challenging. One issue that was a chronic problem was the closing of the theaters due to the plague and to Puritanism (Foakes 142). By the time Shakespeare was in London and writing plays in about 1590 most of those dangers had passed and the aristocracy and public were free to enjoy the performances. The challenge for Shakespeare was entertaining all ends of the social and economic spectrum. The task was to "offer poetry for the cultured, shows and a strong plot for the citizens, clowning and bawdy for the illiterate" (Foakes 141). It is Shakespeare's skill in appealing to the whole audience that has made his plays so popular at the time and given them the ability to stand the test of time."
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"Hamlet", 2007.
This paper explores the nature of humanity as presented in the soliloquies of Shakespeare's "Hamlet."
1,100 words (approx. 4.4 pages), 1 source, MLA, $ 38.95
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Abstract
The paper discusses how Hamlet kills Rosencrantz and Guildenstern to avoid his own death, but he submits to the duel at the end of the play because that is what fate deals out to him. The paper describes how rather than trying to orchestrate violent plots and plays, Hamlet learns that one cannot appoint one's self the judge of humanity, but one must be ready to submit to fate. The paper shows how in the end Hamlet dies, but he sees justice done, makes peace with his mother and has a sense of accomplishment from killing the king as an open act of vengeance rather than a private act of anger.
From the Paper
"At first, the play "Hamlet" seems to support the idea that revenge is justified. King Claudius is the murderer of Hamlet's father. Claudius also schemes to kill Hamlet. Fortinbras, the Norwegian king, takes over the Danish throne at the end of the play, partly as a result of his expedition to avenge his own father. Laertes wishes to kill Hamlet because Hamlet accidentally killed Laertes' father Polonius. But despite the presence of all of these other avengers in the play, Hamlet's doubts about committing murder makes him the most sympathetic, and also the most significant character for the audience. Hamlet suggests that it is critical that human beings reflect upon their lots in life, and act with reason and passion in a state of balance."
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The Theory of the Humors, 2007.
A discussion on the characters in Shakespeare's "Henry V" and "Much Ado about Nothing" and their congruence with the theory of the humors.
1,269 words (approx. 5.1 pages), 4 sources, MLA, $ 43.95
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Abstract
This paper explains that the Elizabethans believed that all human beings were made up of four humours or bodily fluids. These fluids were associated with certain personality traits. The paper continues to use Shakespearean characters to qualify and quantify the theory of the humors.
From the Paper
"In contrast, according to the theories of the humors, a choleric person would have an imbalance of yellow bile within him. The most obviously choleric person of "Henry V" would be the Dauphin of France. According to the theories of the humors, these persons were usually slim, wiry, and showed a great deal of color in their face when they were angry. They are, like Dauphin, ambitious, energetic, and direct. The Dauphin angers Henry V by sending the king tennis balls, a foolish and rash action. He constantly proclaims the French superiority to the English, and rages at every chance he has about the English actions."
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Two Domestic Tragedy Plays, 2006.
This paper compares William Shakespeare's "Othello" and Henrik Ibsen's "The Doll House".
1,170 words (approx. 4.7 pages), 2 sources, MLA, $ 40.95
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Abstract
This paper explains that, in both William Shakespeare's "Othello" and Henrik Ibsen's "The Doll House", a major source of conflict is some serious misunderstanding between a man and a woman. The author points out that, while the plays differ in significant ways, they also have some traits in common such as a third person who wants to improve his position and attempts to manipulate the man's wife in an effort to reach his goal. The paper compares the three characters in each play to explore the similarities and differences related to this third-party plotting: the third persons Krogstad ("Doll House") and Iago ("Othello"), the husbands Torvald and Othello and the wives Nora and Desdemona.
From the Paper
"While there are differences between Torvald and Othello as well as between Iago and Krogstad, the most important differences may be the ones between Desdemona and Nora. Desdemona is faced with the most terrible of dilemmas: the husband she loves is about to kill her, and she does not know why. He tells her to "think on thy sins," and she repeatedly tells him she has done nothing against him. Even as she dies she protects Othello, calling out to a companion that she has killed herself."
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Irrational Forces, 2007.
A discussion of how human behavior appears to be guided by irrational forces in Euripides' "Medea" and in Shakespeare's "Twelfth Night."
1,230 words (approx. 4.9 pages), 5 sources, MLA, $ 41.95
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Abstract
The paper illustrates how, throughout "The Twelfth Night," we see how the characters are the prey of irrational forces when we look at the series of mistaken identities. The paper also shows how in "Medea" the irrational takes on a more radical form and drives the character on a series of terrible murders. The paper demonstrates how in both the Shakespearean comedy and the Greek tragedy, human behavior is seriously influenced by the irrational forces. The paper portrays how these forces take on different forms, from love to jealousy and the desire of revenge and how they always make use of devices to attain their purposes.
From the Paper
"Shakespeare blends in his play everything that can be an exponent of the irrational: the play is filled with cases of mistaken identity, with gender as well as identity disguises, with pun-making about reality, and with the play of fools and clowns who interfere in the action of the play at every step. The beginning of the play itself is very suggestive: Viola and her twin brother Sebastian are shipwrecked, and lose each other's trace on the shore of a fictive country with the name of Illyria, an obvious pun as, Hartmann observes, composed "out of Ill and liar/lyre" . Thus the play itself begins with a land whose name hints to lying and farce-making, and also with a shipwreck, another manifestation of destiny or of another irrational force."
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Imagery in 'Hamlet', 2006.
A review of the use of imagery in William Shakespeare's 'Hamlet'.
1,234 words (approx. 4.9 pages), 5 sources, MLA, $ 42.95
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Abstract
This paper reviews and discusses Shakespeare's use of imagery in his play 'Hamlet'. According to the paper, imagery has always played an important role in the work of Shakespeare and as much as the appearance of various motifs and interplay of images interest us, not many of us are familiar with what imagery really is.
From the Paper
"Hamlet indeed offers very vivid, brilliant and vibrant imagery- mostly through Hamlet's own words and thoughts. It must be made clear that other characters including Claudius have made use of imagery but their imagery is neither as strong nor as free flowing as that of Hamlet's. According to Spurgeon, Hamlet's imagery mainly emerges from the use of symbols and metaphors derived from such bleak things as sickness and blemishes. The dominating image is thus that of tumor or ulcer.
When referring to his mother's incestuous crime, Hamlet calls it a blister on 'fair forehead of an innocent love'. Every word and line that he utters in that emotionally charged scene (Act 3, Scene 4) with his mother Gertrude is full of colorful images. For example instead of saying that heavens must be disgusted with her, Hamlet says: "Heaven's face doth glow....Is thought-sick at the act." And drawing her attention to his uncle, Hamlet says: "....Here is your husband, like a mildew'd ear Blasting his wholesome brother." Look at the rich adjectives that add meaning to the otherwise ordinary emotions of anger and shame. Hamlet then goes on to say that the appearance of his father's ghost should not be blamed on his madness but it is also a result of Gertrude's guilt. "
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Hamlet and his State of Madness, 2006.
A look at Hamlet's apparent madness in the play 'Hamlet' by William Shakespeare.
1,650 words (approx. 6.6 pages), 4 sources, MLA, $ 53.95
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Abstract
This paper discusses the uncertainty surrounding Hamlet's apparent state of melancholy and madness. The paper describes his madness, reviewing how it develops, why it develops, and what purpose it serves for Hamlet.
From the Paper
"Yet, in marrying his mother so quickly, Claudius has done something that Hamlet's conscious cannot forgive. This leaves Hamlet at a point of inaction, where his desire to seek revenge is not great enough to overcome his cowardice. The ghost of his father and the message that he brings is then a way for Hamlet to force himself to take action. In short, Hamlet cannot choose to take revenge on Claudius willingly. Instead, he has to create a scenario for himself where he believes that he has no choice. When he imagines he sees his father's ghost and is told to take revenge, he has given himself such a scenario. Another important point that reveals Hamlet's madness is the actions he takes after he is told to take revenge. After speaking with the ghost, Hamlet swears that he will take revenge. However, he does not immediately choose to take revenge. Instead, he considers his actions and falls into a state of melancholy and madness."
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The Supernatural in Shakespeare's Plays, 2007.
Examines how the supernatural is presented in plays by William Shakespeare.
1,375 words (approx. 5.5 pages), 4 sources, MLA, $ 45.95
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Abstract
William Shakespeare was in many ways a man of his time regarding his own beliefs in regards to religion, magic, and the supernatural. This paper examines how Shakespeare's family and historical environment clearly influenced the way that the supernatural was deployed in his later plays.
From the Paper
"All of these conflicting ideas about the supernatural and religion Shakespeare infused into his plays. For example, in Shakespeare's plays, the supernatural often appears during times of great national torment. In "Hamlet," after the murder of the king, the ghost of Hamlet's father comes back from purgatory to demand that his son avenge his death. Even before anything evil happens in "Macbeth," the witches prophesize doom for Scotland. In Julius Caesar, supernatural occurrences occur before Caesar's assassination."
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Shakespeare's Sonnets, 2006.
This paper discusses William Shakespeare's sonnets, especially sonnets 29 and 116.
2,145 words (approx. 8.6 pages), 5 sources, MLA, $ 67.95
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Abstract
This paper explains that Shakespeare modified the traditional Petrarchan sonnet format into what is now called English or Shakespearean sonnet, which he used for all of his 154 sonnets. The author points out that, when reading a Shakespearean sonnet, it is important to know that he intended each quatrain and the couplet to be read as distinct from the others because each contains a particular idea that the speaker is trying to express; however, the poem requires that all of the lines be part of a single movement. The paper reviews sonnets 29 and 116 to demonstrate Shakespeare's skill as a writer and his flare as a user of language when he speaks to his audience through the medium of poetry. The paper includes several quotations from sonnets 29 and 116.
From the Paper
"The appeal of this sonnet for the average person is that everyone has felt lost and lonely in the world and a true friend can make all the difference in the way we feel about ourselves and our lives. Anyone can appreciate the sentiments conveyed here without necessarily knowing the circumstances under which the poem was written. As mentioned earlier, this is one of the many poems addressed to a young man. According to Thomas M.Greene, "The poetry reflects a sense of inner depletion, emptiness, poverty, which the friend is asked or stated to fill up.""
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