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The Evil of Lady Macbeth, 2007.
This paper examines the wicked character of Lady Macbeth in Shakespeare's "Macbeth."
1,355 words (approx. 5.4 pages), 1 source, MLA, $ 45.95
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Abstract
The paper analyzes Lady Macbeth and discusses how we see her evil throughout the play. The paper shows how she manipulates her husband and how she decides to murder Duncan and then plans the murder. The paper discusses how she is not willing to commit murder herself so that she does not need to take any responsibility and also examines how she responds to the murder. The paper highlights how she is more evil than her husband; while Macbeth completes an evil action, Lady Macbeth shows that she is evil in her actions and in her character. The paper discusses how this evil stems from her lack of regard for other people and her focus on what she wants at the expense of others.
From the Paper
"The first way that Lady Macbeth's evil is seen is in the way that she is willing to manipulate her husband. This occurs in Act 1, Scene 7, where she convinces Macbeth to commit the murder. At the start of the scene, Macbeth is applying reason to the situation and talking himself out of committing the murder. When Lady Macbeth enters he states his decision not to continue saying "We will proceed no further in this business" (I, vii). His reasons include that Duncan has been good to him. At this point, Macbeth seems like a good and reasonable man. Lady Macbeth then replies. Rather than acknowledge Macbeth's goodness, she chides him and calls him a coward."
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Shakespeare's "A Midsummer's Night Dream", 2007.
This paper compares and contrasts Shakespear's original version of "A Midsummer's Night Dream" with the film version.
990 words (approx. 4.0 pages), 2 sources, MLA, $ 35.95
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Abstract
The paper discusses how both the film and the original version of William Shakespeare's romantic comedy "A Midsummer's Night Dream" use the same words to tell a tale of temporarily thwarted young love. Yet, there are many differences the paper illustrates. The paper explains that because the film uses visual images to illustrate the words of the Shakespearean play and makes use of selective cutting to emphasize certain scenes over others, the film offers a more selective view of dreams and dreaming as opposed to the play that is viewed in its complete and uncut form.
From the Paper
"The nature of cinema allows the director of "A Midsummer's Night Dream" to make the fairies, such as Titania, Oberon, and Puck seem much more fantastical in contrast to the earth-bound mortals. The fairies float; strange, beautiful lights surround them. Yet in this rendition, they lose some of the earthier, humorous, and more interesting mortal qualities in contrast to the warring fairy characters in the play."
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William Shakespeare's "Othello", 2006.
This paper discusses the theme of jealousy in William Shakespeare's "Othello".
1,865 words (approx. 7.5 pages), 5 sources, MLA, $ 59.95
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Abstract
This paper explains that "Othello", like Shakespeare's other "big" plays, abounds in spectacular examples of theatrical effect, such as the brawls and the big pageantry;however, the theatrical effect of the rest of the play represents communication by gesture and look, the eloquent silences and whispered, spoken and shouted language. The author points out that jealousy in Shakespeare's "Othello" is a mask for the fear of death because what the jealous lover fears is that there will not be time or space enough for him. The paper relates that one of the peculiar splendors of "Othello" is that Othello's belated jealousy cannot be understood without first understanding Iago's primal envy of Othello, which is at the hidden center of the drama.
From the Paper
"Shakespeare's Iago appears in two aspects: his external appearance, as he reacts with others and his inner life as revealed by the soliloquies. Forget the soliloquies for a moment, and examine the face that Iago turns to the world. Here is a clever, ambitious man coolly manipulating others for his own ends. The current theories of will and reason he voices belong to his character both "psychologically" and dramatically. He denies the reality of loving feelings, they are only a lust of the blood, a permission of the will; he asserts the supremacy of the will and intelligence, ..."
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Mark Antony (83 B.C. - 30 B.C.), 2006.
A look at the life of Mark Antony (83 B.C. - 30 B.C.).
1,070 words (approx. 4.3 pages), 3 sources, MLA, $ 37.95
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Abstract
This paper reviews the life and history of Mark Antony, born Marcus Antonius. The paper discusses how, thanks to the works of famous writers like Plutarch and Shakespeare, Mark Antony has become a legend. The paper further discusses how his actions following Julius Caesar's death in 44 B.C. and his exploits with Queen Cleopatra have made him interesting reading and a source of entertainment for centuries. However, behind the many stories, there was a man who was a brave general, loyal supporter, dedicated Roman and ardent lover.
From the Paper
"While Caesar was fighting in Egypt and Africa to defeat the last of Pompey's forces, Antonius was given the distinction of being made Master of the Horse (fact). His role was to be a politician and administrator in Italy while Caesar was out of the country. Unfortunately for him, Antonius was not good in that role and was removed in 47 B.C. and even banished from Caesar's sight for two years (unrv). Nevertheless, Antonius was able to work his way back into Caesar's circle; in 44 B.C. he was the one to offer the crown to Caesar, a circumstance much celebrated in the first act of Shakespeare's play, Julius Caesar (unrv)."
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Theater Genres, 2007.
This paper discusses genres of the theater, both past and present.
1,509 words (approx. 6.0 pages), 4 sources, MLA, $ 49.95
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Abstract
In this article, the writer discusses that, as noted by Alvin Goldfarb and Edwin Wilson in the text 'Theater: The Lively Art', quite often it is difficult to identify a play as either tragic or comic, simply based upon its plot. The writer points out that the way that the author of a play chooses to depict certain events determines the audience's reaction, whether viewers will gasp in horror or roar with laughter. Further, the writer notes that the difficulty in determining the genre of the play based upon plot alone, however, is best illustrated, perhaps in comparing some of Shakespeare's plays with exactly the same plots. The writer concludes that when classifying the genre of a play, one must consider the overall texture of the work, as the playwright usually cannot, nor wants, to create a seamless effect of laughter or sadness.
From the Paper
"Goldfarb and Wilson point out that the genres of tragedy and comedy themselves have undergone substantial reconfiguration over the course of the history of drama. Classical tragedy used to only involve august personages, like kings and great heroes, along the lines of Oedipus Rex or Jason. Later, in modern tragedy, ordinary men and women's lives were given epic scope and drama, like Arthur Miller's tragic figure of the salesman Willy Loman in "Death of a Salesman," or the Iceman Hickey, the man who murders his wife in Eugene O'Neill's "The Iceman Cometh." These modern characters were not heroes or gods. Their actions were deemed worthy by the modern playwright of the audience's interest, and the main character's tragic fall is viewed with great sadness, even though the men are quite ordinary."
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"Hamlet", 2007.
An analysis of William Shakespeare's "Hamlet", focusing on Hamlet's delay in killing Claudius.
2,319 words (approx. 9.3 pages), 4 sources, MLA, $ 71.95
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Abstract
This paper explores why Hamlet delayed the revenge of his father's death by killing Claudius, in William Shakespeare's play, "Hamlet". The author examines several possible explanations about why Hamlet did not take immediate revenge including fear of becoming king, suffering from an Oedipus complex, fear of the ghost and other factors that may have played a part in Hamlet's reluctance to exact revenge on the man who killed his father.
From the Paper
"Along those same lines have been arguments that Hamlet was mentally stable but to weak minded to make a decision as strong as deciding to commit murder. This theory is not one that is easily supported however because he shows in many instances during the play that he can make a decision when he needs to. He also does not display weakness when he first begins killing characters. Whatever caused him to delay in the killing of his stepfather probably had more to do with the task of killing Claudius than the act of killing in itself."
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"Macbeth", 2007.
An analysis of the dramatic events which take place in the play "Macbeth" by William Shakespeare.
979 words (approx. 3.9 pages), 1 source, MLA, $ 34.95
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Abstract
This paper examines how the play "Macbeth" is the story of how ambition can drive a person to commit terrible acts. It looks at how the play is written in the order of the events, with the exposition scattered through much of the first act. It then discusses the various important and dramatic scenes of the play and notes that one of the most important parts establishing the play happens in the first scene when the three witches appear and are talking about how they are going to see Macbeth.
From the Paper
"In the second scene, King Duncan hears about Macbeth's victories and makes him thane of Cawdor in the place of the old thane who was a traitor. In scene iii the witches greet Macbeth as the thane of Cawdor before he has been told of Duncan's decision. The witches predict that Macbeth will become king and that his companion, Banquo, will have a son who become king, although he himself will not ever sit on the throne. This prophecy immediately starts Macbeth thinking about whether he should try to help these events happen or not."
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The Winter's Tale, 2005.
A discussion on Shakespeare's play, "The Winter's Tale".
1,858 words (approx. 7.4 pages), 0 sources, $ 59.95
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Abstract
This paper focuses on the final scene, Act V of "The Winter's Tale". It discusses the main themes of the scene, that of mystery, magic and mockery. The author of the paper offers examples from the text to qualify points made. The paper also highlights the Greek and Christian symbols which Shakespeare presents.
From the Paper
"The symbol of unveiling is also significant in this final scene. That which is "Lonely, apart" is both virginal and mysterious like an esoteric wisdom. Shakespeare therefore imbues the scene with a mystic flavor. Something secret is about to be revealed; one of life's mysteries is to be encountered by human eyes. Paulina states, "prepare / To see the life as lively mock'd as ever / Still sleep mock'd death: behold, and say 'tis well." The references to sleep and death and to a mockery of both also suggest esoteric wisdom, which seeks a greater understanding of the meaning of life, death, and the unconscious mind."
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Shakespeare's Fathers and Daughters, 2006.
This paper discusses Shakespeare's portrayal of the relationship between fathers and daughters.
1,969 words (approx. 7.9 pages), 8 sources, MLA, $ 62.95
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Abstract
In this essay, the writer discusses Shakespeare's work, while examining the way in which he portrays the relationship between fathers and daughters. The writer looks at the plays "King Lear" and "The Tempest," in which the daughters pursue a certain course in life due to their fathers' patriarchal actions. Further, the writer discusses the play "The Tempest," in which the character Miranda follows, although somewhat rebelliously, the eventually advantageous path set out by her father. The writer also looks at "Romeo and Juliet" in which the bonds between Juliet and her father appear to be much more loyalty bound than love oriented and patriarchy constraints are to the extreme. Using references from literature discussing Shakespeare's writings, the writer presents this view of the roles of fathers and daughters in Shakespeare's work.
From the Paper
""Romeo and Juliet" is naturally one of the first Shakespeare plays that comes to mind when considering the role of fathers and daughters, because of the work's popularity through the years with its many modern renditions. However the bonds between Juliet and her father appear to be much more loyalty and dutiful bound than love oriented, and patriarchy constraints are to the extreme. Although Cordelia does not actually say the exact words her father, Lear, wants to hear, it is because of love not fear. Likewise, Miranda and Prospero have a very loving father-daughter relationship from the very beginning of "The Tempest." Although "Romeo and Juliet" does definitely show how a daughter's actions are set in place by her father's behavior, "King Lear" and "The Tempest" are even more interesting due to the additional conflicting relationships that exist due to this strong love between father and child."
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Odyssey, Othello and Sir Gawain, 2006.
An analysis of the influence of women to the protagonists in "Odyssey", "Othello" and "Sir Gawain".
2,068 words (approx. 8.3 pages), 3 sources, MLA, $ 65.95
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Abstract
This paper analyzes how the male protagonists in the "Odyssey" by Homer, "Othello" by William Shakespeare, and "Sir Gawain and the Green Knight" are driven by their personal needs, strengths and weaknesses. It also describes how their lives are greatly influenced by women and details these influences.
From the Paper
"Sir Gawain, in other words, is gaining his power and strength to fight the Green Knight from Mary and the Church. This power will help him if he is ever tested to be disloyal in love and spiritual faith. Like Odysseus, on his journey to look for the Green Knight he is confronted by a number of hardships and finally reaches the point of despair. However, he is not helped by the thought of a mortal woman waiting, but a spiritual symbol. As he lies cold and alone in the woods, he prays to Mary to find him shelter and a place of lodging to say Mass on the Eve of Christmas. She answers his prayers and leads him to Bertilak's, "The Cross of Christ me speed!" (33.)"
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