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Morality in Drama, 2009.
Compares the morality of Hamlet in William Shakespeare's "Hamlet, Prince of Denmark" to Dr. Faustus in Christopher Marlow's "Dr. Faustus".
1,255 words (approx. 5.0 pages), 2 sources, MLA, £ 26.95
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Abstract
This paper explains that Shakespeare's play, "Hamlet, the Prince of Denmark", addresses morality from the viewpoint of a Prince who is not only grieving but also confused. Whereas, while Hamlet is debilitated by uncertainty, Dr. Faustus, in Christopher Marlow's play "Dr. Faustus", is debilitated by the evil to which he has sold his soul to Lucifer. The author compares the themes of death, the possibility of life after death, the supernatural and lethargy, all of which appear in both plays. In its conclusion, the paper notes that Hamlet emerges victorious but tragic as the victim of the various conspiracies that reach their climax at the end of the play whereas Faustus, in the end, emerges defeated in death.
Table of Contents:
Introduction
Indecision, Lethargy, and the Right Thing
Comparative Themes
Conclusion
From the Paper
"As a moral point, this illustrates the illusive and deceptive nature of the devil's promises. Furthermore, Faustus is not only unable to mobilize himself to do something world-changing with his powers despite having the ability to do so; he is particularly unable to make the right decision towards his own redemption. Knowing that his soul is bound for eternal damnation does not motivate him beyond his lethargy. Indeed, it appears that Faustus's lethargy progresses with the progression of time. Eventually his lethargy proves fatal."
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Star-Crossed Lovers Then and Now, 2009.
This paper provides a comparison of Shakespeare's "Romeo and Juliet" and Leonard Bernstein's "West Side Story".
1,150 words (approx. 4.6 pages), 5 sources, MLA, £ 24.95
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Abstract
In this article, the writer notes that both William Shakespeare's "Romeo and Juliet" and Leonard Bernstein's "West Side Story" take up an old tale, once told by a different author in a different genre, and reconfigure that tale to create a new, artistic vision. The writer maintains that what makes both versions of the 'star crossed lovers' unique is not Shakespeare or Bernstein's storyline, plot or even their characters, but the way these stories are applied or not applied to contemporary situations. The writer discusses that Shakespeare creates a story for all time, while Bernstein creates a story about young people in America who are ostracized from society, have little hope of growing old and find momentary happiness in love rather than a real future. The writer compares the two works and looks at the aspect of music. The writer concludes that it is not the musical aspect of "West Side Story" that makes it stand apart from its original source, but the musical's unapologetic American qualities of theme and characters that makes it of its time, seemingly ripped from the headlines of the past, rather than transcendent of time and place.
From the Paper
"Likewise, Bernstein adopted a previous tale to suit his own purposes, taking what had become Shakespeare's now-classic story of violent, warring lovers who are able to use love as a vehicle of compassion in a cruel and uncaring world. Bernstein did not select a far-off land, as Shakespeare selected Italy to add to the romance of the narrative. Shakespeare's hot-blooded, feuding Italians would have seemed foreign to his original English audience, but Bernstein selects a setting close at hand, that of New York City. Bernstein attempts to show that the sort of compassion evoked by Shakespeare for the young lovers in a never-never land of Italy is relevant to his own viewer's contemporary era and the racial strife of his day. The types of seemingly meaningless violent discord between Italian clans in Shakespeare are parallel to the struggles of Puerto Ricans and Anglos in New York, and ultimately just as empty and brutal in its consequences. Bernstein's evocation of "America," both in the song "America" suggests that the tragedy of Tony and Maria is not simply a sad event of circumstance and mishaps, but also a fundamental betrayal of the American dream of integration and that "everyone free in America.""
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Shakespeare in "Alice's Adventures in Wonderland", 2009.
An argument against the views of Harold Bloom regarding William Shakespeare's influence in Lewis Carroll's "Alice's Adventures in Wonderland," as expressed in his work, "Shakespeare: The Invention of the Human."
4,693 words (approx. 18.8 pages), 9 sources, MLA, £ 76.95
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Abstract
This paper examines mathematics and logic versus the influence of William Shakespeare in Lewis Carroll's "Alice's Adventures In Wonderland." The paper specifically analyzes Harold Bloom's work, "Shakespeare: The Invention of the Human" and his views on Shakespeare's influence in Carroll's book. The paper argues against Bloom's view and aims to find not only references to Shakespeare, but also much grander references to Carroll's own discipline of mathematics and logic.
Table of Contents:
Epigraph
Preface
Introduction
Bloom's Argument of Shakespearean Influence
Testing Bloom's Premise: Shakespeare's Influence
Mathematical Influence
Conclusion
From the Paper
"By discovering that Wonderland is indeed grounded by the same logical, predictable, mathematical basis as the real world, Alice is saved from the fate of losing faith in her knowledge and reasoning abilities, and hence from the madness which afflicts Wonderland. Similarly, she encounters this logic as she comes into contact with a variety of creatures that she does not understand or whom seem strange to her. The creatures' use of logic allows her to understand how the logic that might make sense to her seems completely illogical to them. Thus, Carroll not only manages to use logic in order to prove both the logic and the illogical, but also, he uses this logic and mathematics to emphasizes his two mains themes, that Alice is saved from the world of the illogical by logical concepts like mathematics and that what one person thinks is logical may be illogical to another and vice versa, the dichotomy of the strangers."
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Lady Macbeth and Guilt, 2009.
This paper discusses Lady Macbeth's guilt regarding the murder of Duncan in William Shakespeare's play "The Tragedy of Macbeth".
1,293 words (approx. 5.2 pages), 1 source, MLA, £ 27.95
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Abstract
In this aticle, the writer points out that in 'The Tragedy of Macbeth', even a modern-day audience is struck by the manipulative efforts of Lady Macbeth, whose scheming appears to drive her husband to commit horrible acts, including murder. The writer discusses that Lady Macbeth's apparent guilt by the end of the play makes some people question how much responsibility Lady Macbeth has for her husband's actions, because she shows more remorse than he does. Rather than suggesting that she is not responsible for her husband's actions, Lady Macbeth's guilty conscience actually helps demonstrate that she was as responsible for Duncan's murder as her husband. The writer concludes that although Lady Macbeth is not physically responsible for Duncan's murder, her actions make it clear that she is morally responsible for his murder, and would even be considered a co-conspirator under today's modern criminal law.
From the Paper
"Of course, if Lady Macbeth had kept her plotting secret, never involving her husband in her plans, then Duncan would not have died. Lady Macbeth did not have the resources to commit the murder herself. It is unclear whether this is due to her lack of physical strength, or to the fact that she knew she would feel remorseful about the act, and maybe felt that indirect involvement would insulate her from her feelings of guilt. Whatever her motivation, it is clear that Lady Macbeth does not feel that she can kill Duncan on her own. Therefore, she begins to coach her husband, persuading him that he must kill Duncan in order to take his place as the king. As soon as Macbeth returns home and tells Lady Macbeth that Duncan is coming, she begins plotting Duncan's death. Macbeth tells his wife that Duncan is coming to spend a night, and then leaving in the morning."
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Colonialism in British Literature, 2009.
Demonstrates the British concept of colonialism in literary works by Elizabeth Nunez, Khushwant Singh, William Shakespeare and especially E. M. Forster.
1,040 words (approx. 4.2 pages), 4 sources, MLA, £ 22.95
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Abstract
This paper presents illustrations of the British concept of colonialism from E. M. Forster's "A Passage to India", Elizabeth Nunez' "Prospero's Daughter", Khushwant Singh's "Train to Pakistan" and William Shakespeare's play "The Tempest". The paper focusses on E.M. Forster's work and points out how his novel shows that the colonial relationships are highly subjective and contextual and that the colonial power does not have real cultural access to the feelings and the meanings of the culture upon which it is impinging. The paper indicates that this same theme is repeated in the other examples.
From the Paper
"The narrow view of Shakespeare's famous play of colonization is explicitly questioned in Elizabeth Nunez's novel "Prospero's Daughter". There, the mad scientist Dr. Gardner takes over the native orphan boy Carlos' land and falsely accuses him, as the boy comes of age and can lay claim to his property, of raping Gardner's daughter Virginia. Gardener uses this as justification for his taking possession of everything Carlos owns. He even uproots the life-giving native fruit trees crops because they take away from the beauty of his transplanted soil and grass."
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| Essay # 112451 |
temporarily unavailable
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The Development of the Globe Theater, 2009.
A look at the Globe Theatre and the part it played in Shakespeare's plays.
1,056 words (approx. 4.2 pages), 4 sources, MLA, £ 23.95
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Abstract
This paper discusses the role of the Globe Theatre in Shakespeare's plays. The author describes the layout of the Globe Theatre and explained that, as all of Shakespeare's plays relied upon a highly interactive relationship between the audience and actors, he clearly wrote his plays with an eye upon such a performance space. The paper relates that Elizabethan plays, unlike those of today, were staged in a very minimalist style, with little in the way of scenery. Characters created the scenery with their words rather than the sets, which explains the ornate quality of the language. The paper provides a short history of the Globe Theatre and heralds it as a full-bodied, cut-throat performance space.
From the Paper
"Shakespeare clearly wrote his plays with an eye upon such a performance space. All of his plays rely upon a highly interactive relationship between the audience and actors, as is exemplified in the use of soliloquies, for example, where the actor is often in dialogue with the audience as he shares his thoughts aloud. The beginning of many of Shakespeare's plays, like "Romeo and Juliet," start with fights or quarrels, to settle the noisy audience down. At the Globe, there was no opening of the curtain or dimming of the lights, as in an enclosed theater. There was no artificial light at all, and plays were performed mid-day in the open air."
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"Henry V" Driving the Leadership Engine, 2009.
This paper looks at William Shakespeare's ideal, motivational king and the management philosophy of Noel M. Tichy in 'The Leadership Engine'.
1,273 words (approx. 5.1 pages), 3 sources, APA, £ 27.95
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Abstract
In this article, the writer notes that the great, rallying speech William Shakespeare's Henry V makes to his English troops before the decisive battle of Agincourt contains some of Shakespeare's greatest heroic poetry. The writer points out that the great king Henry V in the play and later in the movie based upon Shakespeare's play becomes one of the common soldiers, and also, in his rhetoric elevates the common soldiers to the level of a king. The writer discusses that this form of motivation by teaching leadership, and showing a personal interest in others is not only applicable to a medieval scene of battle, but also to today's organizations, according to the 'Leadership Engine' by Noel M. Tichy. The writer maintains that Tichy's writings are especially applicable to "Henry V" because Tichy suggests that more so than a specific cause, fostering leadership and confidence in leadership is important.
From the Paper
" In Kenneth Branagh's film, Henry V's face is smeared with dirt, and he is no longer the young, attractive, and careless leader of the beginning of the film. That king lead his nation heedlessly into a foolish war, to regain the French territories lost to Henry's predecessors. Despite the fact that the English troops were lesser in number, they proved greater in valor, and against all odds, they triumphed. But because Henry's war is based on a fairly tenuous claim, when the English army realized they were outnumbered, the men were angry and resentful. They had suffered on the long campaign, and they had forgotten what they were fighting for in the first place. Without a sense of mission, most of the men would rather go home. Shakespeare's Henry knew he needed to motivate the English soldiers, restore his legitimacy as a king and leader in their eyes, and give them a common purpose, even if the purpose is only tenuously based in rhetoric. Essentially, in the speech he rolls up his sleeves and acts like a common soldier and appeals to English grit and sense of honor. They have come so far, how can they turn back now, he asks?"
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Shakespeare's Discourses, 2009.
A review of Shakespeare's discourse on law, mercy and justice in "The Tempest" and "Titus Andronicus".
1,750 words (approx. 7.0 pages), 3 sources, MLA, £ 35.95
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Abstract
The paper compares two of Shakespeare's plays, "The Tempest" and "Titus Andronicus", which are very distinct in substance and meaning and which present two different discourses on justice, law and mercy. "The Tempest" is one of Shakespeare's most appreciated works, impressive through its wondrous atmosphere and its profoundness, while "Titus Andronicus", on the other hand, is certainly the most violent of all Shakespearian tragedies, as it is full of atrocities, murders and rapes. The paper focuses on the fact that in both of these plays one of the most important themes is revenge. While in "Titus Andronicus" violence and revenge involve all the characters in a ferocious game of life and death, in "The Tempest", Prospero saves the lives of his treacherous brothers instead of taking vengeance on them.
From the Paper
"Titus was merely being just and merciless in his attempt to recover his honor. An instance of this possible reasoning on his part is given in the terrible act of slaying Lavinia, towards the end of the play. Having been raped through Tamora's conspiracy, the Titus Andronicus' daughter was also mutilated so that she couldn't speak by her aggressors. When Titus Andronicus finds out who the doers are, he gives them their due, cutting their throats in front of his daughter."
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90493.doc, 2009.
An examination of William Shakespeare's "The Tempest" and its relationship to Elizabethan colonialism.
2,000 words (approx. 8.0 pages), 4 sources, MLA, £ 40.95
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Abstract
"The Tempest" is one of William Shakespeare's later plays probably written between 1610 and 1611. The early 1600s were marked by the beginning of the emigration from England and Spain to North America and the paper sets out to examine how the theme of colonization was expressed in the play. This paper contends that Shakespeare's play, "The Tempest," raises issues about the relationship of Europeans with native peoples but does not aim at describing the experience of one particular nation, be it English or Spanish. The paper's main argument is that Shakespeare utilizes the pattern of colonialism seen as a general phenomenon, and the colonialist endeavors of one European nation in particular.
From the Paper
"The literary critics who argue against the theme of colonization in "The Tempest" claim that rationalization (attempting to justify Prospero's cruelty towards Caliban by making the former seem good, and the latter inherently bad), is a technique which works against colonialism in Shakespeare's play because this way, Caliban is given the chance to exhibit a series of qualities which were not associated with savage men such as Caliban. Caliban represents anarchy, uprising and the unwillingness to surrender. These, however, were general traits shared by most of the natives who were faced with colonialism. In this sense, he is a generalized reflection of "the other" in the English imperialists' drive for hegemony overseas (Marshall: 387). Both Skura and Marshall challenge the idea that Prospero and Caliban are actors in the typical European-Native American colonial narrative. The Indian as the bogeyman which fits the Caliban mould does not exist until after 1622 whereas Shakespeare's play was written around 1610 (Marshall: 389). Skura also points at a very interesting detail which has been largely disregarded by critics. Sycorax, Caliban's mother, came from the Old World hence Caliban can only be considered half-native because although he was born on the island, his mother was not (Skura: 50)."
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Revenge and Madness in "Hamlet", 2009.
This paper discusses why madness and vengeance in Shakespeare's "Hamlet" are interlinked.
1,082 words (approx. 4.3 pages), 3 sources, MLA, £ 23.95
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Abstract
The paper looks at how madness and vengeance in "Hamlet" are closely allied, making it difficult to determine how responsible Hamlet is for any of his actions. The paper thus explains how the association between madness and revenge in "Hamlet" suggests that both displace the individual's true identity and spur him or her on to uncharacteristic actions.
From the Paper
"The events of the murder of Polonius do suggest that Hamlet was in an unbalanced state, particularly because of his reaction towards second sight of his father's ghost. The ghost is not visible to his mother Gertrude, suggesting that perhaps Hamlet is hallucinating. Hamlet seems to have killed the old man in a state of passion, whom he apparently mistook for Claudius. Hamlet clearly feels remorse for his action, even if he called Polonius an old fool, and made jokes about worms eating his corpse. When he and Laertes fight during Ophelia's funeral, he later observes to his friend Horatio: "That to Laertes I forgot myself; /For, by the image of my cause, I see/The portraiture of his." Hamlet adds "the bravery of his grief did put me/Into a towering passion" (V.2)."
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"King Lear", 2009.
An analysis of the transformation of King Lear in William Shakespeare's "King Lear".
832 words (approx. 3.3 pages), 1 source, MLA, £ 18.95
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Abstract
The paper discusses how King Lear, the main character in Shakespear's play of the same name, experiences a radical personality change during this play and, while his lessons are difficult and painful, he is a better man for having lived through them. The paper looks at how death and loss are the valuable teachers for this foolish king who transforms into a gentle and loving father.
From the Paper
"William Shakespeare's play, King Lear is one that allows us to live vicariously through the life of someone else in order that we might not make regrettable mistakes. King Lear experiences a radical personality change during this play and while his lessons are difficult and painful, he is a better man for having lived through them. He can live knowing the meaning of true love and devotion and he can fully appreciate life itself. These things may seem minor as we read them now, but they are major because King Lear was such a rotten man in the beginning of the play. He literally must lose everything he has to know what it feels like to truly love and be loved. King Lear goes from behaving like a spoiled child to being a devoted father that gives and receives love. Death and loss become valuable teachers for this once foolish king."
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The Intervention of the Supernatural, 2009.
An analysis of Shakespeare's "A Midsummer's Night's Dream" and Gary Winick's film "Thirteen Going on Thirty".
1,490 words (approx. 6.0 pages), 4 sources, MLA, £ 31.95
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Abstract
The paper examines the film "Thirteen Going on Thirty" and the play "A Midsummer's Night's Dream" and shows how, in both works, the intervention of the supernatural improves the world, making it temporarily disorderly in a human way only to bring it back to a greater state of moral order at the end. The paper brings out how the use of the supernatural convention of affection or body switching makes the viewer question how truthful his or her own affections are towards a beloved and how much age really matures the inner, wounded adolescent soul. The paper concludes that although these works are fantasies and comedies, the lessons they teach are sobering.
From the Paper
"Both Shakespeare's play "A Midsummer's Night's Dream" and the director Gary Winick's 2004 film "Thirteen Going on Thirty" might be classified as romantic comedies, despite the fact that one was authored during the 17th century, and the other during the 21st century. "A Midsummer's Night's Dream" dramatizes the various narrative complications that ensue when a group of humans in a romantic triangle accidentally finds their way into the path of a group of fairies in a similar war of the sexes. However, in its own fashion, "Thirteen Going on Thirty" likewise uses the supernatural as a means of escapism that teachers the viewer. Fantasy and what takes the viewer out of the realms of the natural does not mean that the lessons that are learned are inapplicable to the world outside of the story's frame. Instead, the intervention of the supernatural in the form of fairy dust is used as a kind of heightened, metaphorical realism."
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Shakespeare's Globe Theater, 2009.
A paper describing Shakespeare's Globe Theater as a center for drama and society.
1,463 words (approx. 5.9 pages), 7 sources, MLA, £ 30.95
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Abstract
The paper discusses the construction of Shakespeare's Globe Theater and its modern reconstruction. The paper explains how, in addition to the theater providing hours of drama, seeing a play at the Globe Theater was a social event where everyone gathered to be entertained. The paper shows how the Globe Theater is a rich part of the world's social, literary and dramatic history.
From the Paper
"Of the literary and dramatic icons in the English-speaking world, none is so revered, so respected, and so well known as William Shakespeare. Producing 38 plays and 154 sonnets, The Bard is memorialized through both his drama and poetry, which continues to be read and discussed with fervor in classrooms today. Shakespeare's birthplace in Stratford-Upon-Avon has become the site of many a writer and dramatist's pilgrimage. In fact, the tiny house was once outfitted with windows where famous writers scratched their names, leaving their legacy with Shakespeare as he had left his legacy with them. Visitors to the birthplace today can still see some of the scrawled names on the window panes, which are now located behind protective glass--Charles Dickens and Ralph Waldo Emerson to name just two (Shakespeare Aloud)."
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