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William Shakespeare's "King Henry the IV, Part I", 2008.
Looks at the treatment of women in William Shakespeare's "King Henry the IV, Part I".
920 words (approx. 3.7 pages), 1 source, MLA, £ 16.95
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Abstract
This paper examines the apparent roles and functions of women in William Shakespeare's "King Henry the IV, Part I". Specifically, the paper looks at the impact of women upon other characters and whether or not their roles should have been different and, if so, how they should have been different. The paper contends that Shakespeare accurately captures the gender divisions of his age but fails to highlight the central contribution of Henry IV's first wife, Mary de Bohun, in the establishment of this man as a powerful king over a flourishing empire.
From the Paper
"One other thing that becomes evident is that much of the play is about men seeking power - about them accruing titles or lands, in short. As a result, by as early as Act 1, Scene 3, it is fairly clear, at least as we listen to Hotspur denounce the Prince of Wales and "Bolingbroke" (Henry IV), that power in fourteenth century England is a "man's thing" and that women are only referenced in these matters if they are bearing children who may become lineal descendants to a throne or baronetcy or if the behavior of one nobleman or another is so intemperate that he is described by his colleagues as a "woman" who cannot hold his tongue or think rationally."
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Women in Shakespeare's Tragedies, 2008.
A proposal for a project to study the representation of women in Shakespeare's "Romeo and Juliet" and "Othello".
940 words (approx. 3.8 pages), 34 sources, MLA, £ 17.95
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Abstract
This paper explains that the project will be a detailed analysis of two works by William Shakespeare, "Othello" and "Romeo and Juliet", focusing primarily on the feminist and philosophical elements of the two plays, as well as the significance of the historical context in which they were written. The author points out that feminists, who are preoccupied with the commentary being made in Shakespeare's plays concerning women, question whether his representations of women truly reflect reality. The paper includes an outline of the method by which the project will be completed.
Table of Contents:
Project Overview
Subject to be Studied
Intended Outcomes
Learning Objectives
Detailed Work Plan
Project Outline
Method
Literary Resources
On-Line Resources
Faculty Supervisor's Role
Proposed Timetable
From the Paper
"The project proposes to examine the genius of Shakespeare as a dramatist who possessed a deep psychological understanding of women and who usually was able to anticipate a feminist perspective on women's issues and roles. Being a male author during the Elizabethan period, Shakespeare exhibited profound insights into the psyche of his female characters. Desdemona is unafraid to confront her father and is fascinated by the violent aspect of life yet she is also incapable of taking any real action to resolve her situation."
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The Nature of Evil, 2008.
An analysis of the concept of evil in John Milton's "Paradise Lost" and Shakespeare's "Othello".
2,220 words (approx. 8.9 pages), 1 source, APA, £ 35.95
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Abstract
The paper examines pathological narcissism and how it manifests itself in Milton's "Paradise Lost" and Shakespeare's "Othello". The paper looks at the characteristics of jealousy, revenge, war and self-glorification and describes the devious, ingenious means by which both Satan and Iago wreak their havoc. The paper shows how these two characters portray how the nature of evil is to destroy and cause harm at any cost.
From the Paper
"Paradise Lost, a poem by John Milton, is one of his most highly acclaimed poems. This particular poem is about the birth of Adam and Eve and how they lost their place in the Garden of Eden, or Paradise, caused by Satan. In this poem Milton deals with many issues regarding concept of evil. The concept of evil is prevalent in the character, Satan, just as it is prevalent in the character of Iago. Predictably, they also harbor some of the psychological features of those inclined to evil-doing: incorrigible jealousy, narcissism (from which springs jealousy), an inability to look at oneself honestly, a taste for violence, and an irrepressible commitment to self-glorification. Going further, there are other similarities between Satan and Iago. Chiefly, the similarities revolve around their actual activities in the stories; to wit, each individual is far more interested in securing revenge."
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Emotion and "Twelfth Night", 2008.
This paper looks at the overabundance of emotion in Shakespeare's work 'Twelfth Night'.
1,274 words (approx. 5.1 pages), 1 source, MLA, £ 22.95
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Abstract
In this article, the writer points out that many scholarly articles and studies of 'Twelfth Night' tend to downplay the literary importance of the play by categorizing it as a genial and charming play. The writer maintains that there is not anything inherently abominable about being either genial or charming, but these two words do not do justice to Shakespeare's deceptively "light" play. 'Twelfth Night' is not a tragedy, but this does not prevent Shakespeare from exploring, through comedy, several fundamental themes of human existence: love, grief, and desire. This paper analyzes Shakespeare's exploration of these existential themes as they appear in 'Twelfth Night' and argues that the playwright, through comedy, unveils the ludicrousness and inappropriateness of extravagant and sentimental emotion.
From the Paper
"The question and the man who asks it barely register in Orsino's mind, but he is quick to pull out his readily available stock of conventional wisdom as soon as he breaks his reverie, and responds to Curio's question with a trite metaphor on love and hunting. No wonder, then, that the servants show signs of impatience and restlessness: their master is luxuriating in a state of complete self-absorption, and the outside world (or the beings that inhabit it) have ceased to exist. Of course, this matters not at all to the extravagant Orsino, as he is completely clueless as to what transpires around him and simply lacks the energy (in the manner of all love-sick gentleman) to engage in hunting or other depleting physical activities.
"Olivia, too, embodies these same characteristics, and it is perhaps unfortunate that the two do not make their own happy ending. Similarly to her determined pursuer, Olivia's emotional "disorder" reveals itself through her conversations with Cesario. The reader knows, before even encountering Olivia, that she is in mourning for a beloved brother. "
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Magic in Three Shakespearean Plays, 2008.
An analysis of the theme of magic in William Shakespeare's "The Tempest", a "A Midsummer Night's Dream", and "Hamlet".
1,657 words (approx. 6.6 pages), 3 sources, MLA, £ 27.95
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Abstract
In a number of his plays, William Shakespeare uses magic as a driving force moving the action of the play forward. This paper discusses how this is certainly true in two of his famous comedies, "The Tempest" and "A Midsummer Night's Dream" and how, it is also true, in a somewhat different way in his greatest tragedy, "Hamlet".
From the Paper
"A Midsummer Night's Dream (MSN in following citations) is also a play filled with magic. This play involves essentially three sets of characters: the Athenian workmen, the young lovers (Hermia, Helena, Lysander, and Demetrius), and the fairies. The fairies are, of course, magical beings, and their interaction with one another and with the various humans drives the play. Interestingly, for all their more-than-natural powers, the fairies are prey to a most human emotion, jealousy. Titania has quitted her marriage bed because Oberon has become too fond of a young boy he sought as a page of honor. (MSN, II, i, 118-21) Stung by Titania's jealousy, Oberon plots a mischievous revenge. "
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Shakespeare as Horatio, 2008.
This paper argues that William Shakespeare wrote the character of Horatio in "Hamlet" as an expression of himself.
781 words (approx. 3.1 pages), 3 sources, MLA, £ 14.95
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Abstract
The paper explains that while there is no written documentation that suggests that Shakespeare intentionally delineated himself as Horatio, several factors within the play demonstrate that this was the case. The paper looks at how Hamlet was written for Shakespeare's son, Hamnet, how Horatio serves as the voice of reason for Hamlet, and how Horatio spoke to Fortinbras.
From the Paper
"There is no documented evidence that suggests that William Shakespeare wrote the character of Horatio in Hamlet as an expression of himself. However, it is clear throughout the play specific factors could support the notion that Horatio was not only the voice of reason for Hamlet, but a representation of Shakespeare that strode along side the title character and assisted him through the events that ultimately led to Hamlet's death. In this manner Shakespeare does delineate himself as the character of Horatio, who is bound by Hamlet's last request to tell the tragic tale. "
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Hamlet's Sanity, 2008.
An analysis of Hamlet's level of sanity in William Shakespeare's play, "Hamlet."
1,477 words (approx. 5.9 pages), 12 sources, MLA, £ 24.95
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Abstract
This paper discusses the personality of Hamlet in William Shakespeare's play, "Hamlet." It particularly focuses on the question of whether Hamlet was insane or if he was just pretending to be so. It also questions whether Hamlet could have plotted murder if he was insane. The paper concludes that Hamlet was melancholic, depressed and suffered from anhedonia.
From the Paper
"The fact is that many people have interpreted Shakespeare's play, Hamlet, in different ways. The play is centered on the fact that Hamlet does not immediately seek revenge. Hamlet has been told by a ghost to seek revenge for his father's death. Any person seeing a ghost and hearing one would automatically question their saneness. Hamlet is angry at himself at times for not carrying out the revenge, but murdering someone is not something that can be done easily even in cases where murder is necessary (Prince Hamlet). Looking at the etymology of Hamlet shows that is name is one filled with meaning and controversy (Prince Hamlet). No doubt, Hamlet felt torn in many different ways when it came to seeking revenge for his father. During the Reformation time period, the existence of purgatory was a major issue. Perhaps Hamlet delayed the death to make sure that his uncle had made peace with God (Prince Hamlet). Perhaps most people can see Hamlet as a mirror of the audience, because everyone has problems that could lead them to be insane."
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Iago's Jealousy, 2008.
This paper analyzes how Iago causes Othello's moral degradation in William Shakespeare's "Othello".
1,663 words (approx. 6.7 pages), 6 sources, MLA, £ 28.95
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Abstract
In this analysis of Shakespeare's "Othello, the author discusses how Othello, Iago and Desdemona are victimized by the envy and jealousy of Iago's trickery. The author further emphasizes how Othello's lack of moral objectivity is often the subject of Iago's cunning. The paper then shows how this loss of moral objectivity ultimately acts as the foundation for Iago's success over Othello.
From the Paper
"In these lines, Iago's envious understanding of Othello's jealousy is a successful modus operandi for his diabolical scheme to sabotage Othello's career. When Iago successfully dissolves Othello's trust in Cassio, one can see a glimpse of his anger, which would commit murder against his wife in a jealous rage. In this manner, the racial superiority that Iago feels toward his Moorish superior helps to begin the cataclysm of jealousy that cascades through Iago and then into the marriage of Othello and Desdemona."
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Chaucer, Shakespeare and Gender Roles, 2008.
A comparison of the portrayal of sexual and gender roles in Geoffrey Chaucer's "Wife of Bath's Tale" and William Shakespeare's "Twelfth Night".
1,540 words (approx. 6.2 pages), 3 sources, MLA, £ 25.95
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Abstract
The paper compares how Geoffrey Chaucer in "Wife of Bath's Tale" and William Shakespeare in "Twelfth Night" questioned, challenged or mocked contemporary views on gender roles and sexual stereotypes. The paper shows how, although there are differences, we can see a similar attitude in both works toward gender roles, sexual stereotyping and the treatment and portrayal of women.
From the Paper
""The Wife of Bath's Tale" is one of a series of stories in Geoffrey Chaucer's The Canterbury Tales. It was probably written shortly prior to his death in 1400. The Canterbury Tales is a "frame story," meaning that a series of narratives are tied together allowing each character to relate their own story (Alexander xvii). Chaucer's stories are the individual tales of a group of pilgrims traveling together to the shrine of St. Thomas Becket at Canterbury (Alexander xvi). "The Wife of Bath's Tale" is really the second for this character as it is preceded by "The Wife of Bath's Prologue" which is sort of an autobiography in which she describes her five marriages. The true order in which Chaucer placed each of the tales (other's including the Miller, the Pardoner, the Prioress and the Nun's Priest) is not known (Alexander xix). Chaucer was not only a writer, but had a long career as a public servant. During his life he traveled widely throughout Europe, no doubt the source of many of his story ideas and characters. It is possible that Chaucer never finished all of his intended tales, and that some of the book is autobiographical, with him playing the varied role of the host for his collection of characters."
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Poor Character Judgment in "King Lear", 2008.
A analysis of King Lear's poor character judgement in William Shakespeare's play, "King Lear."
1,108 words (approx. 4.4 pages), 1 source, MLA, £ 19.95
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Abstract
This paper analyzes a personal life evaluation of the blindness of poor character judgment in relation to William Shakespeare's "King Lear." It specifically discusses the poor character judgment of King Lear by not choosing Cordelia to take over his empire and invariably leaving his domains in the hands of his two corrupt daughters, Goneril and Regan. It also presents the writer's own personal experience with relation to the "blindness" of poor character judgment.
From the Paper
"In conclusion, the arrogance of age is one example in my life where I had made a 'blind' choice because I assumed an elder superiority over rational judgment. Much like king Lear, I had chosen the wrong persons to inherit a valuable asset, which invariably ended in a tragic and destructive way. King Lear had lost his ability to rule, just as I had lost my old car to an irresponsible cousin. In this manner, I was blind because of my arrogance in assuming that those that respect my status as an elder would be more responsible. King Lear also made this mistake by allowing his superficial and usurping daughters to inherit his kingdom over the far more honest and noble Cordelia. This is how my own life experience was blind the truth in relation to King Lear of William Shakespeare's tragic play."
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Deceit and Emilia's Unwavering Trust, 2008.
An analysis of Emilia's trustworthy character in William Shakespeare's "Othello".
1,129 words (approx. 4.5 pages), 2 sources, MLA, £ 20.95
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Abstract
In Shakespeare's "Othello", deceit and jealousy combine to make one of the most disturbing tragedies of all time. This paper discusses how, at the helm of this disturbing voyage is the villainous Iago, driven by pure malice. In particular, the paper looks at how there is a great irony in this story, since Iago's plan to dismantle all virtue and trust amongst the targeted characters would never have been successful without his own wife Emilia's complete, unwavering trust and obedience.
From the Paper
"The first example of Emilia's unique and seemingly tolerant trust in her husband is shown early in the play. Upon arriving in Cyprus, Iago socially insults his wife in front of Cassio, Desdemona and others. Instead of immediately playing along, she falls silent, waiting for a cue from her husband. Her friend Desdemona notices this immediately: "Alas, she has no speech (II.1.118)." Emilia simply allows Desdemona to defend her, letting the game pass over her. This silence illustrates a great deal about the relationship between the couple. Even though Emilia eventually plays along with the game, "You shall not write my praise (II.1.132)," she clearly allows Iago to be in control of the situation. "
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"Sonnet 35", 2008.
An analysis of William Shakespeare's "Sonnet 35" .
951 words (approx. 3.8 pages), 2 sources, MLA, £ 17.95
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Abstract
This paper discusses "Sonnet 35" by William Shakespeare and examines the poem's meaning as well as the poetic techniques and devices that were used to communicate and enrich that meaning. The paper maintains that "Sonnet 35" is very personal and in it the narrator feels guilt and appears to take some the blame for the things done against him.
From the Paper
"The next line is about why the poet thinks he is at fault just as much as the youth. "For thy sensual fault I bring in sense" (9). Here the narrator is saying that he is taking the sins of the youth, which were just physical, and which stem from physical urges, and putting his mind to work on them. In other words, the youth has sinned from passion, not thinking, but following his urges or lust. The sin of the poet on the other hand is much more severe because his sin is that of the mind; it is well though out in advance, premeditated and intellectual." "
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Kinship in "Oedipus the King" and "Midsummer Night's Dream", 2008.
This paper examines the theme of kinship in Sophocles' "Oedipus the King" and Shakespeare's "Midsummer Night's Dream".
1,346 words (approx. 5.4 pages), 2 sources, MLA, £ 23.95
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Abstract
The paper analyzes the treatment of kinship in Sophocles' "Oedipus the King" and Shakespeare's "Midsummer Night's Dream" and considers why family relationships are such a frequent subject in these genres. The paper shows how kinship is treated in relationship to its role in patriarchal societies in both of these two plays. The paper explains how kinship is a powerful plot driver in both plays, due to the fact that kinship, as epitomized in the paternal bond, lies at the heart of patriarchy.
From the Paper
"It is not surprising to find family relationships to be such a frequent subject in these genres - after all, these are the deepest ties that bind, and thus offer a rich source to be mined for both comedy and tragedy. In both of these plays, kinship is crucially important because it sets up the problems that are key drivers of the plots. In Midsummer Night's Dream, the problem consists in the fact that a father is attempting to invoke paternal authority to thwart the romantic wishes of two of the principal players. Egeus, an Athenian nobleman, is pleading with Theseus, Duke of Athens, to force his (Egeus's) daughter Hermia to marry the man Egeus has picked for her: Demetrius. Hermia is insisting she would rather marry the man she loves, Lysander."
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The Mechanical's Play in a "Midsummer Night's Dream.", 2008.
A review of the sub-plot in William Shakespeare's "Midsummer Night's Dream."
1,795 words (approx. 7.2 pages), 5 sources, MLA, £ 29.95
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Abstract
This paper is based around characters that are featured in Shakespeare's play "A Midsummer Night's Dream". The paper first relates that, amid this complicated play, there is the tale of the six mechanicals or craftsmen. The paper then explains how Shakespeare differentiates between them and the other members of his play by use of different language and style.
From the Paper
"The mechanics have retreated to the woods outside Athens to rehearse the play that they intend to present at the wedding of Theseus and Hippolyta. The play is the classical story of Pyramus and Thisbe. These were two young lovers, living in houses that shared a common wall, whose parents had forbidden them to marry. Their only means of communication was through a crack in the wall of their adjoining houses. Eventually, they were unable to stand separation any longer, and agreed to elope, meeting in the nearby woods. On the appointed night, and taking advantage of the darkness, they slipped out of their respective houses. Thisbe arrived first at the appointed place by a mulberry tree, to find a lioness, her mouth bloody from a recent kill. Terrified, Thisbe fled, dropping her veil as she ran. The lioness then mauled the veil, leaving it torn and covered with blood. Coming on the scene and finding only the torn bloody veil, Pyramus assumed that the lioness had killed Thisbe. In his wild grief, he stabbed himself. Thisbe, emerging safe from her hiding place, and finding Pyramus dead, killed herself. In commemoration of this tragedy, the mulberry tree beside which the lovers took their lives now bears purple berries, instead of the white it had originally grown. (Rivers)"
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