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Death in Literature, 2006.
A comparative analysis of the depiction of death in William Shakespeare's "Hamlet" and Voltaire's "Candide".
1,913 words (approx. 7.7 pages), 4 sources, MLA, $ 61.95
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Abstract
How we view death is often determined by how we view life. This paper examines how two stories that illustrate opposite points of view regarding this subject are William Shakespeare's "Hamlet" and Francois Voltaire's "Candide." It looks at how with Hamlet, Shakespeare presents us with a character whose life is totally disrupted and for all intents and purposes, destroyed by death. From the onset of the play, Hamlet is forced to deal with death. In contrast, it shows how Voltaire looks at death in a completely different way through the theme of resurrection. With "Candide," we see how death hardly has an impact on the characters at all and how this notion is emphasized through the resurrection of Pangloss, Cunegonde and her brother, the baron.
From the Paper
"The physical aspect of death strikes Hamlet when he discovers Yorick's skull. The skull is a very real symbol of death that leaves a lasting impression in Hamlet's mind. In a very real sense, Hamlet has touched death. We see the impact this scene has on Hamlet when he says, "Here hung those lips that I have kissed I know not how oft. Where be your gibes now? your gambols? your songs?" (Shakespeare V.i.164-5). Hamlet sees the skull but he also sees Yorick very clearly. This moment leads him to consider the fact that all human beings end their lives in this fashion, including the politician to the pauper. Hamlet realizes that even in death, Caesar "turned to clay" (V.i.185)."
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William Shakespeare's "Henry V", 2006.
A look at how the attributes of Henry V are brought out in various parts of Shakespeare's play "Henry V".
1,090 words (approx. 4.4 pages), 1 source, MLA, $ 38.95
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Abstract
This paper analyzes how King Henry V, the central protagonist in William Shakespeare's play of the same name, evolves as a king over the course of the play, both in his own estimation as well as in the estimation of the other characters on stage.
From the Paper
"Henry solidifies his regality and kinship with war: "Now all the youth of England are on fire, /And silken dalliance in the wardrobe lies:/Now thrive the armourers, and honour's thought/Reigns solely in the breast of every man," says the Chorus, when Henry takes England to war against France for the disputed territories Henry believes are his country's by right, custom, and law. Henry takes the slight upon his persona in the 'gift' of the tennis balls along with his land's claim upon France as a justification to seek glory through armament for all the people of England. Henry's actions indicate that he is not pacific or idle in temperament, but still possesses some of his old, immature and adolescent character--not in his love of games, but in his view of war as a diplomatic game and a scene for proving his reputation to be won or lost, much as at a game of tennis. (II. Prologue. http://www-tech.mit.edu/Shakespeare/henryv/henryv.2.0.html) But when at war, this changes within and without of Henry's character, showing that he always has a capacity to adapt and evolve as a leader."
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Shakespeare vs. Hemingway, 2006.
This paper reviews and analyzes William Shakespeare's "Othello" and Ernest Hemingway's "A Clean Well-Lighted Place," while focusing on the common theme depicted in both works of writing.
1,130 words (approx. 4.5 pages), 4 sources, MLA, $ 39.95
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Abstract
The writer of this paper contends and illustrates the common theme of alienation from community, as portrayed in both the writings of Shakespeare and Hemingway. This paper examines how both tragic tales focus on the main, male characters and their personal problems with the people in their respective lives. This paper examines the plot and main character of the deaf, old man, in Hemingway's novel. The main character in Hemingway's tale is alienated from the community because he is a sad old man and few people seem to care for him, including the waiter who serves him in the bar, where much of the story takes place. This paper details the trials and tribulations facing the title character of Othello, in Shakespeare's writings. The writer discusses the various reasons that the community has turned against Othello, mainly due to his cultural background as a Moor. This paper discusses how both tragic characters have outlived their usefulness, to themselves as well as to their communities, each in their own way. This paper also delves into how the underlying themes in both novels are still relevant in today's society.
From the Paper
"Shakespeare's "Othello" presents a similar message but with different characters and methods. Othello is a Moor (a black Turkish man), who is grudgingly accepted by the community as long as he remains a strong leader and commander. However, many Europeans, such as those in the play, might not trust Othello because he is a Moor. Another critic writes, "The Moors and the Turks were united in religion, and the traditional enemies of Christian Europe, having pressed as far as Tours from the south, and as near as Vienna from the east." When Othello marries the white Desdemona, he presses his luck, and the tide of public favor turns against him. One of his most trusted friends turns against him and convinces him that Desdemona is having an affair with another of his friends. Othello is so blinded by jealousy and rage that he cannot see how his own band of men, his own "community" has turned against him and is pitting him against the people he used to trust the most."
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The Symbolic Representation of the ?Other?, 2006.
This paper focuses on symbolic similarities in Joseph Conrad's "The Secret Sharer," William Shakespeare's "The Merchant of Venice" and Miguel de Cervantes' "Don Quixote."
1,455 words (approx. 5.8 pages), 3 sources, MLA, $ 48.95
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Abstract
This paper analyzes the theme of the physical self and the metaphorical other which represents the conscious and unconscious selves of the protagonists in all three works of writing. This paper details how the Captain in "The Secret Sharer," Shylock in "The Merchant of Venice" and Quixote in "Don Quixote" have struggled to control these particular facets of their personalities. The writer of this paper examines how the three were either able to overcome this struggle or were eventually defeated. This paper clearly details the characteristic traits and events that led to the main characters' self realization. Shylock is primarily characterized as a man motivated by money and power, whose physical self is motivated by greed, while his metaphorical self was motivated by revenge. Don Quixote's character is similar to that of Shylock's. The writer contends and explains how in the same manner as Shylock, Don Quixote allowed his other self to emerge, thereby making him an insane individual, no longer able to distinguish between illusion and reality. The Captain is depicted as man who is not able to fully experience the kind of life that his metaphorical self desires, yet he nevertheless achieves it by helping the character of Leggatt achieve his freedom.
From the Paper
"Conrad's psychological portrayal of the Captain became more explicit as the story neared its end. The Captain was not able to fully experience freedom and a carefree life, the kind of life that his metaphorical self desired, but he nevertheless achieved it by helping out Leggatt achieve his freedom. Moreover, wish-fulfillment was achieved when he let go of the symbolic white hat, which the Captain described as "marking the spot where the secret sharer of my cabin and of my thoughts, as though he were my second self...a free man, a proud swimmer striking out for a new destiny." His metaphorical self recognized, the Captain sought a better life by living his own life meaningfully, in his own way. Through this, he had achieved true self-actualization, for he was able to recognize the benefits and limits of both his physical and metaphorical selves."
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Iago in "Othello", 2005.
Examines the character of Iago as the evil genius in William Shakespeare's "Othello".
781 words (approx. 3.1 pages), 1 source, MLA, $ 27.95
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Abstract
One of the most popular characters to illustrate the theme of evil is Iago from William Shakespeare's play, "Othello". Iago is the definition of true evil genius. By observing his character and actions, this paper shows that we can understand his philosophy of life, which includes no regard for others. In fact, the more pain and destruction he can cause, the happier he seems to be. The paper shows that, through Iago, Shakespeare has painted the portrait of evil in human flesh.
From the Paper
"Iago also demonstrates his capacity for evil when he tricks Othello. He uses what he knows about Othello against him. In fact, he can manipulate him so easily because he knows him so well. For example, he convinces Othello that he actually cares for him and that he is concerned about his future. He cautions him that being jealous might lead to ruin by telling him, "O, beware, my lord of jealousy!/It is the green-eyed monster, which doth mock/The meat it feeds on" (III.iii.166-9)."
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Death in "Hamlet", 2006.
Examines healthy and unhealthy responses to death in William Shakespeare's "Hamlet".
759 words (approx. 3.0 pages), 1 source, MLA, $ 27.95
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Abstract
In William Shakespeare's play, "Hamlet", we see how Hamlet and Laertes illustrate the healthy and the unhealthy ways in which we can choose to deal with death and revenge. The paper shows that Hamlet demonstrates an unhealthy response to his father's death because he turns his grief inward and allows it to practically eat him alive. On the other hand, Laertes responds in a way that is healthier because he expresses himself and releases his feelings.
From the Paper
"In addition, Laertes shows his true strength as things progress. For instance, when he expresses that it is almost against his better judgment to use a poisoned sword when he fights with Hamlet, we see his true character. When Laertes ends up being struck with that very sword, he believes that he is justly killed. Furthermore, when he knows that his life is at its end, he asks Hamlet for forgiveness. His last words release him from his pain and anger."
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Symbolism in Shakespeare's "Hamlet", 2006.
An analysis of the symbolism of the ghost in the play "Hamlet" by William Shakespeare.
1,100 words (approx. 4.4 pages), 5 sources, MLA, $ 38.95
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Abstract
This paper discusses Shakespeare's use of symbolism in his play "Hamlet" and cites literary critics to support its thesis. While the play is rich with symbolism, the paper explains that the most important symbol is the ghost of Hamlet's father, who makes his appearance near the beginning of the play. The paper details the symbolic significance of the appearance of the ghost and analyzes how it serves as a call to action for the confused young prince, which fuels the action of the rest of the play.
From the Paper
"As T.S. Eliot once stated, "Hamlet the character has had an especial temptation for that most dangerous type of critic: the critic with a mind which is naturally of the creative order, but which through some weakness in creative power exercises itself in criticism instead" (Sacred Wood, p 83). As that observation implies, it is not so much that Hamlet cannot make up his mind about the symbolic significance of the ghost and what exactly he should do to avenge his father's death; it is just that he continually second-guesses himself. As Eric Levy suggests, "As a rational animal, a man is one who thinks. But the play problematizes [sic] the proper exercise of thought by which man sustains this identity. In one of the earliest scenes, Bernardo, Francisco, and Marcellus tell Horatio, who at first doubts their word, that they believe they have seen Hamlet's father's ghost. Horatio waits with them for the ghost to reappear. When it does, Horatio asks it "What art thou, that usurps't this time of night" (Act1.1.46). He also tells the ghost, who does look like King Hamlet, to identify himself: "b heaven, I charge thee, speak!" (Act1.1.49)."
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Shakespeare?s ?Sonnet 130?, 2005.
This paper analyzes William Shakespeare's "Sonnet 130", one of his most popular and unique sonnets.
775 words (approx. 3.1 pages), 1 source, MLA, $ 27.95
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Abstract
This paper explains that William Shakespeare's "Sonnet 130" is his joke, which becomes a true token of love when read between the lines. The author points out that Shakespeare depicts his lover's attributes with very non-traditional and realistic references that come across as very insulting, which undermines the Petrarchan form of love poetry that generally viewed love in an idealized way and often idolized the lover. The paper relates that the joke becomes a rather serious issue with its last couplet when, by recognizing his lover's ordinary characteristics and loving her this much anyway, he reinforces the depth of his love.
From the Paper
"With "Sonnet 130," Shakespeare uses this type of comparison but in a very unique and memorable way. Coral lips, rosy cheeks, and eyes the are bright as the sun are mentioned in this poem, but they are a joke that forces us to see real beauty in real life. Love is often blind but it does not need to be and Shakespeare show us how love can be honest and beautiful in its own way. In the end, Shakespeare is suggesting that love and lovers do not need to be as beautiful as these love sonnets make them to be true love."
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The Globe Theatre, 2005.
A look at the history of the physical and sociological development of the modern theater, focusing on the Globe theater and the involvement of William Shakespeare.
1,850 words (approx. 7.4 pages), 7 sources, MLA, $ 59.95
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Abstract
The origins of theater in the ancient world were centered around religion and the gods and the Globe theater continued that tradition in Elizabethan England with the help of contributions from Shakespeare. The paper examines how the design of the open-air theaters in Athens may have inspired the architecture of theaters, such as the Globe, that were built in England many years later. It also discusses how William Shakespeare was one of the partners from among the actors and how his own money, as well as artistic work, went into the theater.
From the Paper
"In the 1570s, a man named James Burbage obtained for himself a theatrical license, which allowed him to actually lease a piece of land to be used exclusively by a theater. It was a long-term lease which gave him a great deal of control over the land and the freedom to construct or deconstruct buildings on it as he pleased. This was a landmark event all around, for this was the first theatrical license granted in England; The Globe Theatre was a part of many landmark events in English theater. The location was on the north shore of the Thames River, and it sat just outside of London. The location was actually a strategic move for Burbage, for within the city limits of London he would have faced far more scrutiny and protest for building a theater, which was not considered to be an upright establishment, and ranked in many people's minds right along brothels so far as morality is concerned."
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Austen and Shakespeare's Headstrong Women, 2006.
A comparison and contrast between Jane Austen's "Pride and Prejudice" and William Shakespeare's "Taming of the Shrew".
1,300 words (approx. 5.2 pages), 2 sources, APA, $ 43.95
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Abstract
This paper reviews, compares and contrasts the headstrong women presented in Jane Austen's novel "Pride and Prejudice" and Shakespeare's play "Taming of the Shrew." The paper first discusses the different intentions of the two authors, explaining that "Pride and Prejudice" was a sort of comedy of manners, written by a maiden lady, while "The Taming of the Shrew" was intended for the bawdy audience of the Globe Theatre, willing to get a good laugh at the sight of a prospective suitor paddling his prospective bride. The paper looks at the characters of Elizabeth -- who was quite proper -- and Katharina, who was not.
From the Paper
"Elizabeth Bennet would never say those words. She might smile and offer to honor and obey her wedding vows. She might DO what Kate SAYS, but it simply would not be in her character to be really that subservient. While Shakespeare literally changes his "shrew" into a doting wife, definitely the "weaker sex", Elizabeth will be sure to uphold her husband's profession and demeanor, and no doubt, keep his books. These two opinionated people will find a common, middle ground, and their wit and demeanor will surely bring them happiness and a large family (which Darcy will admire from afar) Kate, it seems to me, upon bearing children, will raucously demand a wet nurse at once. Her act of obedience is more of a temporary expedient, from my point of view."
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