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Film: "William Shakespeare's A Midsummer Night's Dream", 2007.
This paper compares Michael Hoffman's 1999 film, "William Shakespeare's A Midsummer Night's Dream" with Shakespeare's original play.
2,350 words (approx. 9.4 pages), 9 sources, MLA, £ 44.95
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Abstract
This paper explains that, for his 1999 film, "William Shakespeare's A Midsummer Night's Dream", Michael Hoffman rewrote the original Shakespeare play, put it into a more modern context and emphasized artistic visual expression over Shakespeare's expression through the poetry of language. The author points out that Hoffman modernized the gender roles by creating a dialogue for Bottom's wife, thus increasing her importance; wherein, in the original play, her role consisted of a stare. The paper relates that, to appeal to modern cultural standards, the movie has been made more aesthetically pleasing by the fantasy theatrics of the costumes and makeup.
From the Paper
"The first and most evident difference between the 1999 film adaptation and the original play by Shakespeare is the setting. Shakespeare's work is set in Greece, while Hoffman's is set in the turn of the 20th century Tuscany. It was also filmed in Tuscany. "Hoffman moves the action forward in time and sets it in late 19th-Century Tuscany" writes Welsh, but it is questioned whether this "new setting makes sense". Thus Hoffman's version has an immediate difference between that of Shakespeare's which took place in the traditional classical setting."
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"Hamlet", 2007.
An analysis of the significance of time and its context in William Shakespeare's "Hamlet."
926 words (approx. 3.7 pages), 1 source, MLA, £ 19.95
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Abstract
This paper describes the significance of time in William Shakespeare's "Hamlet." It focuses on Hamlet's exclamation when he meets his father's ghost, that "the time is out of joint" and explains how this fits in with the concept of time throughout the rest of the play. The paper analyzes the context of this statement by Hamlet and uses quotes from the play to support its explanations.
From the Paper
"The state of things gone awry is endemic to every aspect of Danish society, from the lowliest to the highest realm, and parallels Hamlet's internal state of personal angst and grief over his father's death. The death of Hamlet's father is a personal tragedy, but because Hamlet's father was a king, his death has cosmological significance. Now, Denmark has a new king who may not be good, has a suspicious relationship with his new queen, Denmark is about to go to war, and signs from the great beyond suggest that things are only going to get worse, unless Denmark's oath diverted from its current state course. The times truly are "out of joint," even before Hamlet speaks this famous phrase."
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Hamlet, 2007.
This paper examines the play 'Hamlet' by William Shakespeare.
1,100 words (approx. 4.4 pages), 1 source, MLA, £ 23.95
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Abstract
In this article, the writer explains that normally, when reading William Shakespeare's play, 'Hamlet', the theme is the main element discussed. The writer maintains, however, that in this work of art, as in others by Shakespeare, the play's construction is just as complex and remarkable. The writer then discusses the plot, characters and themes in the play. The writer concludes that conflict, confusion and even death result because the characters purposely do not tell the truth, act on the sly for negative or positive reasons, and keep information from each other that could have somewhat resolved the situation or at least saved some unnecessary deaths.
From the Paper
"Every story needs an antagonist, and that is Claudius. Where the other character's motives may be veiled, his are very apparent. His desire for power drives him to murder his brother and marry his brother's wife. On the other hand, Gertrude's actions are left unanswered. Whether or not she conspired with Claudius depends on how the play is interpreted. However, through her words and actions, it appears that she loves her son, and cares greatly for Ophelia and Polonius."
"Although little is known about Horatio, he plays an important role as the objective observer whose comments can be believed. Hamlet also uses him as a way to express himself and help make decisions. The other characters in the play are secondary to the action, but whose deaths make the ending all the more tragic because they meant nothing but good."
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"Much Ado about Nothing", 2007.
This paper discusses the tragedies that never happened in Shakespeare's "Much Ado about Nothing."
1,298 words (approx. 5.2 pages), 2 sources, MLA, £ 26.95
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Abstract
The paper relates that there are no real events in Shakespeare's "Much Ado about Nothing", or any real action; nothing happened in the play although many tragic things might have. The paper shows how the play can be considered tragic because the characters simulate and dissimulate, manufacture plots out of "nothing" and play with reality in a dangerous way that could have serious consequences for everyone.
From the Paper
"Shakespeare's play Much Ado about Nothing effectively combines the comic and tragic elements in its structure. The title is the point where the reading should begin: Shakespeare himself indicates that the play is about "nothing", that is, there are no real events in the text, no real action, only deceiving and misprision. The plot focuses on the two couples that are the main protagonists: Berenice and Benedick, Hero and Claudio. The dissembling, deceiving and misprisions in the play seem endless and are directly related to the tragic undertones of the text."
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Shakespeare's "The Tempest", 2007.
This paper analyzes the means of control used by the character of Prospero in Shakespeare's "The Tempest".
1,520 words (approx. 6.1 pages), 2 sources, MLA, £ 30.95
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Abstract
This paper points out parallels between philosopher Michael Foucault's work and "The Tempest" and relates that the topic of both works revolves around the topic of justice. The author argues that Prospero's behavior in Shakespeare's "The Tempest" represents a shift from a medieval power structure to one that is institutionalized and which takes power from the individual and gives it to society. The paper comments that Prospero's main conflict was not with his brothers but rather with the centralized power that they represented.
From the Paper
"Prospero has to design a tactic for each individual. This demonstrates great intelligence and adaptability. The first stage of the plan was to separate them and take away their power in numbers. He knew that he would be overthrown if he were not able to do this. Therefore he first isolated his "guests" and gave them a display of his power. The prison cell had much the same effect. Foucault goes to great lengths to explain and give examples of how the prison cell acts of isolate and convey the sense of power to the convict. The jailor has complete control over the prisoner."
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Britten's Midsummer's Night, 2007.
This paper discusses the opera 'Midsummer Night's Dream' by Benjamin Britten.
986 words (approx. 3.9 pages), 3 sources, MLA, £ 21.95
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Abstract
In this article, the writer notes that Benjamin Britten obtained the plot for the opera, "Midsummer Night's Dream", from Shakespeare's play by the same name. The writer relates that in 1960 Britten, along with his companion, Peter Pears, presented it as a showpiece for friends and for a wide variety of talents. The writer points out that the opera contains a largely spoken, theatrical part, a boy's soprano choir, a large fairy who sings coloratura, a simple country bumpkin named Bottom whose head is turned into an ass' head by Puck and romantic subplots. The writer maintains that the opera is humorous and lyrical and a treat for the musical ear. The writer concludes that in this opera, the audience falls in love with Puck and with the fairies, as if the love-juice had been put on their own eyes.
From the Paper
"Britten starts the opera in what was the second act of Shakespeare's play, but refers to what happened, so the audience does not feel anything is missing. The rustic folk, the fairies and the lovers are first presented in the woods around Athens and from there on the action never stops. The lead role of Oberon is sung by a countertenor, which is very rare, as leads are usually sung by tenors or basses. As the fairies appear, the well-known song, "Over hill, over dale" is heard, sung by Tytania's young boys' fairy choir. The strange relationship of Tytania and Bottom is the central romantic story that Britten chose to make the centerpiece of the opera. The dominating female fairy has a very difficult role to play, as she is attracted to Bottom, but is subject to Oberon and his accomplice, Puck, who make her life very difficult and her music hard to sing."
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"A Thousand Acres", 2007.
This paper discusses "A Thousand Acres" by Jane Smiley, a re-vision of Shakespeare's "King Lear".
3,548 words (approx. 14.2 pages), 7 sources, MLA, £ 60.95
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Abstract
The paper examines the similarities and significant differences between Jane Smiley's novel "A Thousand Acres" and Shakespeare's original "King Lear". The paper illustrates how "A Thousand Acres" is a feminist re-vision of the Lear tragedy where the patriarchal myth is best grounded. The paper shows how, by giving voice to the women seen as vile in Shakespeare's text, Smiley manages to shed a new light on the traditional story and make it more compatible with modern consciousness.
From the Paper
"Thus, Jane Smiley's re-vision of King Lear works as a displacement of traditional patriarchy: the author demits Lear from his role as a patriarchal figure, persecuted and betrayed by his ungrateful daughters. The main characters in A Thousand Acres, as well as the main directions in the plot, are all mirroring the Shakespearian tragedy: the prosperous farmer in Iowa - Larry Cook/ Lear decides, on an impulse, to renounce the absolute rights on his property, and to divide the family land among his three daughters: Ginny/ Goneril, Rose/ Regan and Caroline/ Cordelia. The names of the characters themselves are plain allusions to the main characters in Shakespeare's text."
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The Film: "Henry V", 2007.
This paper discusses Kenneth Branagh's 1989 film interpretation of Shakespeare's "Henry V".
1,900 words (approx. 7.6 pages), 3 sources, MLA, £ 36.95
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Abstract
This paper explains that the modern, cinematic environment created by director Kenneth Branagh in his film "Henry V", juxtaposes the poetic language of Elizabethan theater with the visual language of film. The author points out that Branagh's plea for cinematic tolerance is especially apt because "Henry V" is a rather obscure film for an American or even European audience, less likely to be informed and interested in why England fought with France over a little patch of land, long ago. The paper describes the valid historicity of the film, the colors used, the techniques of warfare deployed, its Elizabethan language and modern cinematic techniques and looks at how they are all used used effectively to make this film a successful interpretation of Shakespeare's play.
From the Paper
"The camera work in the princess scene is especially quick and fleeting, as it follows the princess throughout the castle. Although the camera occasionally becomes anchored to Henry's face during a soliloquy, overall, the camera is a kind of peripatetic actor throughout most of "Henry V". The camera follows the horses as they gallop over the field of battle, wildly. The common soldiers on the ground, as when they are storming the castle walls of the city are shown from the ground up. The camera whizzes by the viewer's eye as it pans through time and from France to England and back again..."
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Renaissance Drama and Cultural Materialists' Viewpoints, 2007.
This paper provides an analysis of the difference between the new historicist viewpoints on Renaissance drama and the cultural materialist viewpoints.
2,408 words (approx. 9.6 pages), 19 sources, MLA, £ 44.95
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Abstract
In this article, the writer notes that in recent years, two related and overlapping schools of literary theory have emerged that have offered competing responses to the relationship between Renaissance drama and the political power of Tudor and Stuart Britain. To determine the differences in these perspectives, this paper provides an analysis of Shakespeare's "The Comedy of Errors," Ben Jonson's "The Alchemist," Thomas Kyd's "The Spanish Tragedy" and Heywood's "A Woman Killed with Kindness". The writer looks at these works from the perspective of two modes of criticism or theory, with various criticisms from the new historicist camp and cultural materialist camp being reviewed. An assessment of the complexities of these modes is also provided, taking into account the social, theoretical, and critical movements that informed them. A summary of the research and salient findings are presented in the conclusion.
Outline:
Introduction
Review and Discussion
Shakespeare's "The Comedy of Errors."
Ben Jonson's "The Alchemist."
Thomas Kyd's "The Spanish Tragedy."
Thomas Heywood's "A Woman Killed with Kindness"
Analysis
Conclusion
From the Paper
"This relationship between social contract and means of production becomes even clearer when its importance in the community was taken into account, with marriage representing both a socially acceptable framework in which people could live together and have children, it was inextricably related to how people earned their livings and what roles they played in this society. In this regard, Orlin emphasizes that although marriage ceremonies feature prominently in the opening and conclusion of the play, there is a difference between the celebratory nature of the occasion today and the implications the institution had during this period in history. There is no romantic comedy involved in the marriage of John and Anne Frankford, for example, and the opening scene ... "
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Society's Moral Decline, 2007.
An analysis of the moral decline in Shakespeare's "Hamlet" and Oscar Wilde's "The Importance of Being Earnest."
2,082 words (approx. 8.3 pages), 2 sources, MLA, £ 39.95
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Abstract
The paper examines "Hamlet" and "The Importance of Being Earnest" and explains that both of these plays analyze the moral state of the 'modern' society. The paper notes that these plays are at two very different moments in time, the Renaissance and the end of the Victorian Age, but they both show the moral decline of society. The paper discusses how the plays reach a similar conclusion about humanity: the trivial side of human nature usually prevails over the spiritual, ethical one.
From the Paper
"In Shakespeare's Hamlet, the state of moral decline of the society at the Court of Denmark is the main focus. Denmark is meant to figure, of course, the larger, universal context of man. The plot is somewhat simple: Hamlet is called upon to revenge (morally) the death of his father. The appearance of the ghost of the murdered king in the first act is already a sign of the moral direction in which the play goes: a dead spirit comes back to claim justice. Thus, Hamlet's own ideas about the world and about man, which are essentially idealist, meet with an obvious obstacle in the material world, where he sees the baseness of character of both his uncle and his mother who are capable of murder, adultery and duplicity. All of Hamlet's famous soliloquies oppose the idealist and the actual, real view of man as an immoral and trivial creature."
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Motivation in Literature, 2007.
An analysis of the motivation of Iago in William Shakespeare's "Othello" and Krogstad in Henrik Ibsen's "A Doll's House."
1,401 words (approx. 5.6 pages), 7 sources, MLA, £ 28.95
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Abstract
This paper analyzes the concept of good and evil and people's motivation for following a particular path in their lives. It focuses on this concept as it is illustrated in William Shakespeare's "Othello" and in Henrik Ibsen's "A Doll's House." The paper describes the characters of Iago, possibly the most heinous villain in Shakespeare and of Krogstad, a secondary character in Ibsen's "A Doll's House" and discusses their motivation for their actions.
From the Paper
"In terms of the motivation and the purpose of their actions Iago and Krogstad are two different characters. Indeed, Krogstad is the antagonist in "A Doll's House" but he is not necessarily a villain. Krogstad is a person who has been wronged by society as he committed the same crime Nora did, forgery of signatures. Though he did break the law, his mistake was relatively minor but the society has labeled him as a criminal and prohibited him to go beyond his past. Additionally Krogstad's claim that the cause of his immoral behavior was when Mrs. Linde abandoned him for a man with money so she could provide for her family makes it possible for us to see Krogstad as a victim of circumstances. Even if society's unfair treatment of Krogstad is not a justification for his actions, it tempers in the same time out perception of him as a despicable character. It can be said that his actions are indeed motivated because when Torvald becomes director of the bank in which Krogstad is employed and threatens him with dismissal, he naturally has to fight back: "If necessary, I am prepared to fight for my small post in the bank as if I were fighting for my life...It is not only for the sake of the money; indeed, that weighs
least with me in the matter. There is another reason...my sons are growing up; for their sake I must try and win back as much respect as I can in the town. This post in the Bank was like the first step up for me--and now your husband is going to kick me downstairs again into the mud" (act 1, "A Doll's House's Text"). As can be seen Krogstad has reasonable motives for behaving as he does: he wants to keep his job at the Bank in order to spare his children of the hardships that come with a spoiled reputation."
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Hamlet and Ophelia, 2007.
An analysis of Hamlet's love for Ophelia in the play "Hamlet" by William Shakespeare.
764 words (approx. 3.1 pages), 1 source, MLA, £ 16.95
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Abstract
The paper discusses how Hamlet loves Ophelia in his own tortured and odd way. The paper illustrates how, as the play continues, it is clear Hamlet loses touch with reality and with it, his love for Ophelia. The paper describes how Ophelia cannot deal with his rejection and rather than go on with her life, she ends it, without fulfillment, without love and with no future. The paper demonstrates how both lovers cared for each other and might have had a life together, but they were both too tragically flawed to ever really become a couple or maintain their love.
From the Paper
"Those surrounding Ophelia believe Hamlet loves her - even that he has gone mad with love for her. Her father, Polonius tells her Hamlet's rash behavior is based on his unrequited love for her. He says, "That [denial of love] hath made him mad" (II. i. 109). Thus, those surrounding Ophelia misinterpret Hamlet's actions, and Ophelia might have as well, although it does seem Hamlet loves her in his own tortured and odd way. He does leave her a note that seems to confirm his feelings for her. It reads, "O dear Ophelia, I am ill at these numbers; I have not art to reckon / my groans: but that I love thee best, O most best, believe it. Adieu" (II. ii. 120-121). Thus, he has confessed his love to her, and no matter how it deteriorates from this point on in the play, he has held love for her in his heart."
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Comparing Two Love Poems, 2007.
A comparison between Robert Burns' "A Red, Red Rose" and William Shakespeare's "Sonnet 130".
1,022 words (approx. 4.1 pages), 2 sources, MLA, £ 22.95
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Abstract
This paper reviews, discusses and compares the poems "A Red, Red Rose" by Robert Burns and "Sonnet 130" by William Shakespeare. The paper reports that both these poems use hyperbole to highlight aspects of love, but do so in dramatically different ways. The paper further reports that these poems share the common goal of convincing their lovers that they love them in a unique and rare way.
From the Paper
"In sharp contrast to Burns' poem, Shakespeare's poem makes it clear that he does not believe his love is supernatural. While many love poems, like Burns' "A Red, Red Rose," describe love as something greater than nature, Shakespeare celebrates the earthly nature of his love. Instead of using commonplace metaphors to exault his lover's beauty, Shakespeare uses these metaphors to demonstrate that his lover is not an exceptional beauty. Her eyes are "nothing like the sun;...her breasts are dun,...black wires grow on her head," and her breath reeks. (Shakespeare). In other words, Shakespeare acknowledges that his lover is simply a woman, not something greater than this earth. In fact, he specifically states that his lover is not a goddess. Compared with the over-the-top love sonnets of the day, it seems that Shakespeare has little affection for his lover."
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Reversal of Nature in "Macbeth", 2007.
An analysis of the theme of malignant deeds and their affect on nature, as seen in "Macbeth" by William Shakespeare.
1,344 words (approx. 5.4 pages), 5 sources, MLA, £ 27.95
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Abstract
This paper discusses the main theme of William Shakespeare's play, "Macbeth" as the reversal of values and of nature itself, triggered by the evil actions and murders of Macbeth and his wife. The paper presents quotes from scenes in the play in order to illustrate this theme. It suggests that Shakespeare's play advocates that any kind of evil is a crime against nature itself, against human nature and against the divine order of the universe.
From the Paper
"The Tragedy of Macbeth is definitely Shakespeare's most violent play. The main theme of the play is the reversal of values and of nature itself, triggered by the evil actions and murders of Macbeth and his wife. The reversal of the natural order is announced from the introductory lines of the play, in the discourse of the three witches: "Fair is foul, and foul is fair"(1.1.12) The main plot of the play, the killing of Duncan, the king of Scotland, is a common subject for tragedy during the Renaissance age, and a recurrent one in Shakespeare's plays. The belief that royalty was foreordained by divinity explains why the act of murdering a king was considered as a reversal of order and of values. When the murder is done, the old man significantly proclaims it as "unnatural", comparing it to the killing of a falconer by an owl. Thus, throughout the play, there are direct hints to the reversal of nature caused by the dreadful murders, as well as descriptions that reveal absolute natural disorder, like the sun's refusal to shine for example. The murderous acts are seen thus as a menace against the basic order of the universe itself."
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