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Shakespeare?s "Sonnet 39", 2005.
Figures of speech in William Shakespeare's "Sonnet 39".
781 words (approx. 3.1 pages), 4 sources, MLA, $ 27.95
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Abstract
This paper explains why Shakespeare's "Sonnet 39" is one of the best examples of Shakespeare's masterful rhetorical style, use of imagery and use of figures of speech.
From the Paper
"Michael Schmidt, author of The Lives of the Poets, asserts that Shakespeare's sonnets are mysterious, which is a characteristic that most Elizabethan poems do not have. The sonnets, says Schmidt, "seem to emerge from an actual occasion, an occasion not concealed, yet sufficiently clouded to make it impossible to say for what or whom it refers to" (Schmidt 183). With this in mind, we can look at the sonnets and realize we are looking into something mysterious that Shakespeare may have wanted us to figure out, much like a puzzle. The sonnets "present agony which cannot contain itself" (Hubler qtd. in Eastman 315). While the speaker of the poem may be experiencing an agony, it is clear that his separation from his lover has also provided him with a certain amount of inspiration."
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Shakespeare, 2004.
An analysis of the literary work of William Shakespeare and the issue of patronage.
1,022 words (approx. 4.1 pages), 3 sources, MLA, $ 36.95
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Abstract
This paper discusses a playwright's patronage by a wealthy individual. The paper explains that this was common practice and indeed essential, in Shakespeare's time. The paper examines William Shakespeare's "A Midsummer Night's Dream" in an effort to determine whether parts of it were rewritten by Shakespeare upon request of one of his patron's, in honor of a wedding.
From the Paper
"Whether Shakespeare was pandering to Elizabeth Carey's powerful father and grandfather or not, his other patron was-and had to be-Queen Elizabeth herself. In addition, it is in honor of that patronage that Shakespeare used abundant maritime references in the play. Shakespeare is thought to have been creating his own specialized mythology in the play-something he could well be expected to do considering his education-but he was also have been honoring Queen Elizabeth's maritime prowess, and certainly he made reference to the "Virgin Queen" when he wrote of the "fair vestal throned by the west" (Edgecombe, 2000, unpaged)."
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The Supernatural in Renaissance Drama, 2005.
An analysis of the supernatural in the plays "Hamlet" and "Midsummer's Night Dream" by Shakespeare, and "Dr. Faustus" by Christopher Marlowe.
1,154 words (approx. 4.6 pages), 3 sources, MLA, $ 39.95
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Abstract
The theme of the supernatural in Renaissance drama emerges more as a 'problem' than as a unified theology. This paper explains that the use of supernatural and characterization thereof, says more about the playwright's ability to use language to characterize, than about the ideology of the period. It explains that Shakespeare's stress on characterization results in more human fairies and spirits than in Marlowe's world.
From the Paper
"These questions of truth and reality become even more sharply defined in "Hamlet." Ironically, Hamlet begins the play wanting to go back to Faustus' Wittenberg to study-but ends up meeting the supernatural on his own doorstep. Rather than the comic Faustus, stewing over his books, Hamlet's meeting with his father is frightening, and causes Hamlet to consecrate his life to revenge. (1.3) But Hamlet is never sure if the ghost is true or false, hence he uses a play as a truth-test of his uncle's guilt, noting that the devil has a power to assume a pleasing shape. By the end of the play, the supernatural has virtually retreated from the play entirely-the ghost disappears after preventing Hamlet from killing his mother in anger, and Hamlet does kill Claudius, but without the satisfaction of revealing to the court with his own words, or before his mother what really happened to his father."
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Revenge in "Hamlet" and "The Revenger?s Tragedy", 2005.
Compares the motivations for revenge and actions of revenge in Shakespeare's "Hamlet" and Vindici's "The Revenger's Tragedy".
1,359 words (approx. 5.4 pages), 1 source, MLA, $ 45.95
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Abstract
This paper explains that while the main protagonists in both Shakespeare's "Hamlet" and Vindici's "The Revenger's Tragedy" may share the seem motivation for revenge (i.e., death of a loved one), their different characters and circumstances make the way they carry out their revenge quite different.
From the Paper
"Indeed, in my opinion, it is an important note to be made, as the originality of each main character is not determined as much by their underlying motivation, common in both cases, but by the road that takes them to their revenge action. In this sense, it seems useful to emphasize that, despite the obvious similarities between the two plays and the two main characters, driven by the fact that they both belong to the revenge genre, there are differences worth noting in each approach towards revenge for each play in part."
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Jealousy in "Othello", 2005.
An examination of the concept of jealousy in Shakespeare's "Othello".
1,072 words (approx. 4.3 pages), 2 sources, MLA, $ 37.95
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Abstract
This paper briefly compares the jealous nature of Othello and Iago. Using examples from the play, the writer questions whether Iago was more jealous that Othello and whether their jealous natures impacted each other's incorrect decisions throughout.
From the Paper
"Othello is often described as a tragic character because he is a great leader and military hero who is brought low by one, fatal personal flaw that he is otherwise unaware of-namely his jealousy. But really it seems as if Iago is the more jealous of the two men, jealous of the Moor's advancement in Venetian society, and of the promotion of Michael Cassio. One of the first things Iago says in the play, in Act 1, Scene 1 to Rodrigo is "Why, there's no remedy; 'tis the curse of service, /Preferment goes by letter and affection, /And not by old gradation, where each second/Stood heir to the first." (1.1) In other words, rather than merit and age, people who are pretty and preferred like Cassio get promoted-a statement that seethes with jealousy. In contrast to Iago, Othello in fact seems to possess a free and open nature, and seldom jealously begrudges anyone of anything they are truly, fully owed. He leaps into service for the state immediately upon his wedding night when the city is threatened militarily. Instead, Othello's true tragic flaw is his sense of being an outsider."
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Shakespeare and Ondaatje, 2005.
A discussion of the similarities between Shakespeare's play "Romeo and Juliet" and Michael Ondaatje's 1992 novel "The English Patient."
1,225 words (approx. 4.9 pages), 2 sources, MLA, $ 41.95
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Abstract
Although the plot and characters differ considerably as do the time periods in which the stories are set, "Romeo and Juliet" and "The English Patient" share themes, imagery and motifs in common. This paper explains that both stories take place amid violence and war; both are also set in Italy. It also looks at how both focus on tales of passionate, forbidden and unrequited love that is made all the more powerful against the violent backdrop.
From the Paper
"War also causes the characters in both Romeo and Juliet and The English Patient to concoct convoluted plans that cause tragedy and death. For example, Juliet takes a potion that makes her appear dead and lies in a family crypt awaiting Romeo's arrival. Her plan backfires due to mixed messages; because she took the potion a day early and because Romeo never became aware of the plan the two lovers die side by side. Similarly, the English Patient is forced to leave Katherine in a cave with the intent of returning to rescue her. His plan backfires as well, causing her death and his being burned. Both stories thus end in a bittersweet peace. The tragedy befalling all the sets of lovers is foretold and foreshadowed by the warlike imagery and violent backdrop; war and violence pervades both Romeo and Juliet and The English Patient. No plan, however well-concocted, can save or reunite the lovers. Death is the inevitable outcome of war, tragedy the inevitable outcome of romance. In the end of both Romeo and Juliet and The English Patient, a sense of peace and relief sets in over the characters; however, this peace is bittersweet, borne of the acceptance of death, tragedy, and unfulfilled romantic love."
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The Duke of Gloucester, 2005.
An analysis of the character of the Duke of Gloucester from William Shakespeare's "Richard III."
950 words (approx. 3.8 pages), 3 sources, MLA, $ 33.95
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Abstract
This paper examines how although Shakespeare's Richard III, The Duke of Gloucester, may not bear much resemblance to the real life King, in character and appearance, in the play, he is certainly the most dominant and a fully developed figure that serves as both the protagonist and villain of the play. It discusses whether "Richard III" can actually be called a tragedy since the protagonist appears less a tragic figure and more a vain, cruel and malicious king who was ruthlessly ambitious and killed people not for the love of his country, as most other tragic kings did, but to advance his own objectives.
From the Paper
"As in all Shakespeare tragedies, the ghosts of those he conspired against and killed visit Richard III. They admonish him and foreshadow his death. This happens a day before his army is to clash with Lancastrian heir, Henry, Earl of Richmond's forces. while the ghosts of his victims haunt Richard, Richmond is praised as the rightful ruler. The ghosts tell him to 'live and flourish!' [5.3.131] and instruct him to, 'Arm, fight and conquer, for fair England's sake.' [5.3.150]. Though Richmond's army is no match for Richard's in term of size, yet the former has divine support. Bosworth Field serves as the last battleground for Richard as Richmond manages to bring an end to Richard III's terrifying reign by slaying him: 'Now civil wounds are stopp'd, peace lives again.' [5.4.53]"
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"Henry IV", 2004.
A discussion of the art of the drama in Shakespeare's "Henry IV" and "Hamlet, Prince of Denmark".
1,322 words (approx. 5.3 pages), 2 sources, MLA, $ 44.95
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Abstract
This paper compares the characters of Prince Hal and Hamlet in William Shakespeare's plays "Henry IV" and "Hamlet, Prince of Denmark". The paper analyzes the dramatic aspects of each character. The paper illustrates the personas that each character creates for himself, in addition to their personality as defined by the author. The paper highlights the constant contrasts between Prince Hal and Hamlet.
From the Paper
"Shakespeare is of course a dramatist, that is, he was an author of plays with fictional characters in them, portrayed by real people known as actors. Yet quite often Shakespeare's fictional characters are themselves 'actors' in their own life stories, creating personas that they play in addition to acting out their true, 'real life' struggles of the plot as defined by the author. For instance, Prince Hal, of Henry IV, Part I and Hamlet are two such individuals-the first pretends to be a rouge, even though he is really a skillful prince and politician destined to be a king, the second is an avenging son who assumes madness as a truth-telling device, and also as protection for his eccentric actions and behavior in a fraught Danish court. "
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Courtly Love in Literature, 2005.
A look at how four famous Renaissance writers each represents the variety of ideas about courtly love that were present during the Renaissance.
1,361 words (approx. 5.4 pages), 7 sources, MLA, $ 45.95
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Abstract
This paper explains how Renaissance writers William Shakespeare, Christopher Marlowe, John Donne and Ben Jonson illustrated the emerging traditions of a new form of writing with traditional notions of courtly love. The paper shows us how Shakespeare depicts Juliet and Rosalind as two assertive women that act in their own interests, while Christopher Marlowe's writing presents us with more traditional aspects of courtly love and Jon Donne and Ben Johnson's writings presented different ideas about women in love altogether, causing us to think differently about the idea of women in love.
From the Paper
"The Renaissance was an interesting time in literature because many of the writers of this time were experimenting with new techniques based upon medieval ideas. While writers of the Renaissance were concerned with conventional notions, they were also heavily influenced by Humanism. M. H. Abrams notes that "Renaissance writers were in their own way profoundly original, but they did not think of originality as involving opposition to or revolt against literary traditions or artistic conventions" (Abrams 424). Abrams notes that writers were challenged "something fresh and new" from medieval traditions. Medieval ideas concerning love often viewed love as something spiritual rather than physical. Renaissance writers took a more humanistic approach to love. William Shakespeare, Christopher Marlowe, John Donne, and Ben Jonson are writers that incorporate new ideas with the traditional notion of courtly love."
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Revenge in Plays, 2005.
An examination of the concept of revenge in the William Shakespeare's "Hamlet" and Thomas Middleton's "The Revenger's Tragedy."
1,101 words (approx. 4.4 pages), 2 sources, MLA, $ 38.95
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Abstract
Shakespeare and Middleton explore the depth and range of the human psyche in their plays, "Hamlet" and "The Revenger's Tragedy." This paper discusses how, through the characters of Hamlet and Vindici, we discover different motivations to their feelings of vengeance, illustrating the complexity of human nature as it relates to revenge. It explains however, that while both plays operate under the same theme of vengeance, they are quite different in terms of how each protagonist is portrayed and how each play is received. Hamlet, because he relates his father's death to the state of the world, represents a larger social commentary on mankind while Vindici and his antics represent a play that shocks rather than provokes thought.
From the Paper
"Hamlet is also motivated by an outside force, which is the ghost. The presence of the ghost guarantees that hamlet will find no rest from his sorrow or his shock until he avenges his father's death. The presence of the ghost adds a supernatural element to Hamlet that The Revenger's Play does not have. This element allows us to believe Hamlet when he compares the rankness in Denmark to the fallen state of the world. The ghost heightens Hamlet's inner conflict not only because it exists but because of its request. Hamlet's religious upbringing has taught him that murder is wrong and Hamlet tries to get out off killing Claudius by wasting time trying to determine of the ghost is legitimate or simply a "goblin damned" (Shakespeare i.iv.44). Even when hamlet decides that the ghost is good, he experiences difficulty following his orders. The ghost in Hamlet opens the play up to spirituality and thus spiritual conflicts."
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