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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, £ 15.95
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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, £ 15.95
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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, £ 21.95
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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, £ 15.95
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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, £ 32.95
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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, £ 23.95
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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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Michael Almereyda's "Hamlet", 2005.
A discussion on director Michael Almereyda's film version (2000) of William Shakespeare's "Hamlet".
4,755 words (approx. 19.0 pages), 10 sources, MLA, £ 67.95
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Abstract
This paper examines how director Michael Almereyda uses technology and a modern setting to tell the story of "Hamlet". It looks at how Almereyda's use of various devices, as well as forms of technology, give "Hamlet" new relevance to an audience that may not understand or care much about the succession of monarchies but does understand the consequences of corporate buy-outs. It also discusses how the fact that Almereyda sets "Hamlet" in modern times not only makes it more accessible to a modern audience, but also changes the image of the play.
From the Paper
"After one has seen multiple productions of "Hamlet", one comes to expect each production to place a different emphasis on Hamlet's madness. Therefore, one of the most striking things about Almereyda's Hamlet was that it completely de-emphasized Hamlet's madness. However, by taking emphasis away from the very scenes in which other directors have chosen to have their Hamlets act the most mad, Almereyda and actor Ethan Hawke have created something unusual: a Hamlet that is definitely mentally ill. While Hawke's Hamlet lacks the frantic lunacy of other Hamlets, the movie makes it clear that Hamlet is severely depressed. In fact, Hawke spoke of rock star Kurt Cobain, who ended his life by suicide, as his inspiration for Hamlet."
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"Macbeth", 2006.
An analysis of the main character in Shakespeare's "Macbeth".
800 words (approx. 3.2 pages), 1 source, MLA, £ 15.95
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Abstract
This paper studies the tragic character of Macbeth in Shakespeare's play "Macbeth". The paper discusses how, true to Shakespearean tragedy, the character's downfall stems from his own actions. The paper examines Macbeth's murder of King Duncan and his role in instigating the demise of both Banquo and Fleance, as well as eventually engineering the deaths of Lady Macduff and her son. The paper also discusses the play's atypical elements in Shakespeare's tragedy formula -- such as the fact that Macbeth is more villain than hero in comparison to other well-known tragic characters. However, the paper concludes that since there is resolution for the survivors after Macbeth's death, the reader is truly able to see him as a tragic character.
From the Paper
"The reader detects a sense of urgency as the murders evolve - another characteristic of the tragic play. Macbeth is desperate to realize his ambition of becoming and remaining king. But his obsession drives him even further as he attempts to exterminate all those who might challenge or succeed him. Even as he proceeds down this ever-darkening course, Macbeth is aware that his flaw may prove fatal."
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"Othello", 2006.
An analysis of Shakespeare's play "Othello".
1,350 words (approx. 5.4 pages), 1 source, MLA, £ 25.95
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Abstract
This paper analyzes the play "Othello" by William Shakespeare, focusing on the main character of Othello and how he torments himself with the thought that Desdemona may be unfaithful. The paper focuses its analysis on two speeches in Act 3, Scene 3, which demonstrate how Othello has gone from confidence in Desdemona's love to suspicion that she is now unfaithful. The paper explores Iago's role in fostering Othello's jealousy and how he manipulates racial tension to accomplish his aims. The paper concludes that both Desdemona and Othello are tragic heroes because their fate is sealed despite their fine qualities. Desdemona is blind to what is happening around her, while Othello is blinded by his own insecurity. The play further asserts that the play has universal resonance because all human beings are subject to the feelings of jealousy and insecurity, and are easy prey to those who choose to manipulate them, like Iago did to Othello.
From the Paper
"Although the conventional belief is that Othello is about jealousy, some scholars believe that jealousy is merely the lynchpin upon which Iago's hatred is transferred to Othello. In the middle of Iago's speech there is a line that is designed to undermine Othello's innate self confidence in a particularly repulsive way: "One may smell in such a will most rank,/ Foul disproportion, thoughts unnatural." (248-249) He has skillfully introduced into Othello's consciousness the disgust some feel for a person of another race."
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Shakespeare and Galileo, 2006.
A look at the shared era of William Shakespeare and Galileo Galelei, the lasting influence of these two men and what they would have thought of each other.
1,235 words (approx. 4.9 pages), 6 sources, MLA, £ 23.95
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Abstract
This paper examines the work of William Shakespeare and Galileo Galelei and how their work contributed to the advancement of civilization. The paper also looks at how these men might have viewed one another and what they might have said to one another had they ever had the opportunity to meet. The paper points out that, while Galileo's work may have more relevance to today's world than Shakespeare's work, both men, in their own way, furthered civilization's thirst for truth and knowledge, as well as for entertainment and discovery.
From the Paper
"One has to remember that France was, intellectually, far ahead of England, which would produce the plays of Racine, Moliere and Corneille already being popular- plays which not only criticized some of the manners of the people, but hinted at some revolutionary ideas about the class structure. England had Chaucer, of course, and would be blessed with Milton, one of its greatest poets, Samuel Butler, John Bunyan (among others)and John Dryden, while playwrights prior to Shakespeare included William Wycherly, John Gay (of Beggar's opera fame). The fact is, the humanities were beginning to be part of everyday life. In fact, it was 1685 before the public saw the "Fourth Folio of Shakespeare's works" (Grun Not paginated)."
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Hamlet as Procrastinator, 2006.
An analysis of the character of William Shakespeare's Hamlet and how his tendency to procrastinate cost him his life.
2,530 words (approx. 10.1 pages), 7 sources, MLA, £ 42.95
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Abstract
This paper examines and analyzes the character of Hamlet, explaining that he may be one of the most famous procrastinators in the history of literature. The paper points out that this trait is possibly one of the reasons that the play has maintained its popularity over the ages and that it is a trait with which we can all readily identify. The paper analyzes this trait in Hamlet and how it impacts the audience as well as the character and outcome of the play.
From the Paper
"He may be one of the most famous procrastinators in the history of literature. Many writers, students, scholars, actors, directors through the ages have pondered this trait. Perhaps the vein of procrastination that courses through Hamlet is one key reason why it remains so popular in film on stage and as the written word. We can all identify with
putting off doing things we know we should. Thinking too much is usually an ineffective goal-oriented strategy but a wonderful time waster! Here are just two examples through his dialogue that Hamlet seems entranced with procrastination and its offshoots - similar behaviors and/or
character traits)."
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Hamlet and the Gravediggers, 2005.
This paper discusses the final act of Shakespeare's "Hamlet" about gravediggers and views on death.
1,180 words (approx. 4.7 pages), 0 sources, £ 22.95
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Abstract
This paper explains that, at the beginning of the final act of "Hamlet", William Shakespeare foreshadows the bloody and carnage-filled conclusion to this tragedy by introducing views concerning the inevitability and finality of death through the dialogue between Hamlet and the two gravediggers. The author points out that, as Hamlet ponders the past profession of a skull, which has been carelessly tossed out of its grave, he is forced to realize that in death there is no social distinction. The paper concludes that, through Hamlet's reversal of opinion about the desirability of death and the discussion with the gravediggers, Shakespeare, who is readying the audience for the slaughter that is soon to commence, uses the scene as a means of commenting on his perception of death, the only lasting condition and the oldest profession.
From the Paper
"With the new light shed upon the dark subject of death, Hamlet forces himself to reevaluate his death wishes. Through out the play, Hamlet sees death as a desirable end, worrying only about where his soul would go if he were to commit self-slaughter. At the height of his misery, he makes known his yearnings, exclaiming "O, that this too too sullied flesh would melt..." (1-2-129). It is clear that his coveted will is for a quick demise. Hamlet explains this further when he reveals his belief that his life is useless. After promising to bend his eye away from Wittneberg and towards Elsinore, Hamlet states "How weary, stale, flat, and unprofitable/Seem to me all the uses of the world!" (1.2.133-134)."
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Kenneth Branagh's Version of "Much Ado About Nothing", 2006.
An analysis of Kenneth Branagh's film adaptation of William Shakespeare's "Much Ado About Nothing".
1,380 words (approx. 5.5 pages), 5 sources, APA, £ 25.95
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Abstract
This paper describes and summarizes the plot and characters in the film adaptation of William Shakespeare's "Much Ado About Nothing". The paper also explains the play's theme that something so innocent can be quickly turned into woe by deceivers.
From the Paper
"The idyllic scene contrasts sharply with the next scene, where the MEN enter, galloping atop of fierce, snorting steeds that thunder down the hill side, the men sweaty, disheveled uniforms sport triumphant smiles or stern determined gazes, as the prince's army returns from a successful battle. Pure animal testorone, in the most positive sense, that gets the blood circulating and makes the women swoon, even in this day."
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Characterization in Shakespeare's "Macbeth", 2006.
This paper details the three aspects of the title character's personality which eventually leads to his downfall in William Shakespeare's play "Macbeth."
702 words (approx. 2.8 pages), 1 source, MLA, £ 13.95
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Abstract
This paper reviews and analyzes William Shakespeare's cleverly written "Macbeth" while focusing on the three aspects of the title character's personality that leads to his eventual downfall. The three character traits detailed in this paper are: Pride, tyranny and envy. By describing the title character as a proud warrior, tyrannical leader and envious man, Shakespeare proves Macbeth's actions as not only believable but also understandable.
From the Paper
"The first personality trait that Shakespeare reveals in Macbeth is pride. It is evident at the beginning of the play that the citizens of England regard Macbeth as a fearless fighter. While this is often a good trait, it leads to his downfall in two ways. First, Lady Macbeth is able to use his pride to coerce him into killing Duncan: "When you durst do it, then you were a man:/And to be more than what you were, you would/Be so much more the man." (I,vii,49-51). Lady Macbeth knows that pride is one of Macbeth's weaknesses, and she exploits it well. Macbeth's pride again gets the better of him when the witches tell him his fate for the second time. When Macbeth hears that he will be safe until the Birnam Wood rises up against him, his pride overcomes him, and he is not as suspicious as he should be: "That will never be./Who can impress the forest, bid the tree/Unfix his earth-bound root? Sweet bodements, good!" (IV,i,94-96). Macbeth's pride leads him to overconfidence, which leads to his downfall."
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