| Papers [1-14] of 100 :: [Page 1 of 8] | | Go to page : 1 2 3 4 5 6 7 8 —> | Search results on "TRAGEDY MACBETH": |
|
|
The Tragedies of Macbeth, 2000.
An analysis of the character flaws of Shakespeare's Macbeth.
900 words (approx. 3.6 pages), 1 source, £ 21.95
»
Click here to show/hide summary
Abstract
This is a short essay that analyzes the character flaws of William Shakespeare?s Macbeth. The paper emphasizes the qualities of overconfidence and impulsiveness while using the play as a primary reference.
From the Paper
"In ?Macbeth,? William Shakespeare suggests that overconfidence and impulsiveness are fatal character qualities. Overconfidence leads characters to impulsiveness. When a character believes certain things about themselves or other objects and events around them that are not true, their perception and judgment become clouded; this leads the character to act impulsively. Characters end up carrying out actions rashly and without considering the consequences that they will have to face later. These consequences are often extremely severe and detrimental to the character?s ultimate goal."
| |
|
The Tragedy of "Macbeth", 2007.
An analysis of how "Macbeth" can be considered one of William Shakespeare's greatest tragedies.
1,031 words (approx. 4.1 pages), 0 sources, £ 25.95
»
Click here to show/hide summary
Abstract
This paper examines how the tragedy of "Macbeth" lies in the downfall and eventual transformation of a seemingly humble, trustworthy man. It discusses how Macbeth is introduced to the audience as an honest nobleman of Scotland and how by the end of the play, we gain a new insight into this complex character. No longer is Macbeth a champion of honor and righteousness, but becomes yet another figure caught in the pursuit of power and prestige. Through greed, masculinity, and deception, fate still manages to find a way of punishing Macbeth for his "witch-like" evil motivation for success.
From the Paper
"The play opens with three witches prophesizing, which immediately establish a central theme of evil and corruption. The witches visit Macbeth to share with him the bright future ahead of him. If the prophecy were to be filled, the only way Macbeth could become king would be to eliminate the current King, King Duncan. Macbeth even comments that being a murderer would be improbable. In fact he says that this would be a "horrid image (that) doth unfix my hair against the use of nature?" However, we also begin to see a desire for achieving the kingship as he states, "If chance will have me King, why, chance may crown me, without my stir." As the play continues, Macbeth struggles to forget the witches' prediction, and ultimately decides to kill Duncan, his king. "
| |
|
Macbeth and Lady Macbeth, 2002.
An examination of the relationship between the character Macbeth and Lady Macbeth in William Shakespeare's play, "Macbeth".
568 words (approx. 2.3 pages), 1 source, £ 14.95
»
Click here to show/hide summary
Abstract
This essay discusses the changes in the relationship between Macbeth and his wife, Lady Macbeth in Shakespeare's tragic play, "Macbeth". It shows that as the events of the play progress, so too does their relationship progress from a loving one to an abnormal and unhappy relationship.
From the Paper
"In the beginning of the play, Macbeth and Lady Macbeth seem to be deeply in love with one another, as proven by such things as his referring to her as his ? dearest partner of greatness? and his wanting to go ahead of everyone to get to his home quickly. In the beginning of the play, Macbeth seems to be the ?lesser of two evils? as it may be, and Lady Macbeth seems to be domineering. After the murder of Duncan, Lady Macbeth tries to calm Macbeth down by telling him ?These deeds must not be thought?so it will make us mad?, which is ironic because her own thought so of the murder eventually drive her to suicide. Lady Macbeth begins to manipulate Macbeth and challenges his feelings of guilt and pity for King Duncan and replaces them with malicious and spiteful feelings ?look like th'innocent flower, but be the serpent under't?. Lady Macbeth now instructs Macbeth on how he should act, encouraging him to be deceitful to Duncan. Macbeth becomes so absorbed in his mixed feelings about the murder that he withdraws from the loving relationship that he had with Lady Macbeth in the beginning of the play."
| |
|
Macbeth and Lady Macbeth, 2002.
Discusses how the contrast in the scenes leading up to and following Duncan's death enhances the characterizations of Macbeth and Lady Macbeth.
650 words (approx. 2.6 pages), 1 source, £ 18.95
»
Click here to show/hide summary
Abstract
This essay discusses how the characterizations of Macbeth and Lady Macbeth are enhanced by contrast in the scenes that precede and follow the murder of Duncan in Act 11. Macbeth undergoes a frightening change in his fortune -- a change for which he himself bears at least a partial responsibility. Lady Macbeth is directly involved in this transition.
| |
|
Madness in "Hamlet", "Macbeth," and "King Lear", 2005.
Discussion of the recurring theme of madness in three of Shakespeare's tragedies: "Hamlet," "Macbeth," and "King Lear".
900 words (approx. 3.6 pages), 4 sources, MLA, £ 21.95
»
Click here to show/hide summary
Abstract
This paper discusses the theme of madness in the major characters of the three tragedies 'Hamlet,' 'Macbeth,' and 'King Lear.' Hamlet and Ophelia are compared and contrasted, then Ophelia is compared to and contrasted against Lady Macbeth. The witches in 'Macbeth' are related to the theme of madness, then madness is explored in Lear and Edgar. Emphasis is given to speech patterns and the allusion to madness. The paper ends with an analysis of the necessity and reason for the madness of these characters and how they contribute to the tragedy as a whole.
From the Paper
"The theme of madness occurs repeatedly throughout the three tragedies Hamlet, Macbeth, and King Lear. Ophelia slips into madness after her father's death while Hamlet puts on an act of madness in Hamlet. Madness takes the form of visions in Macbeth, in both the spells and predictions of the weird sisters and of Lady Macbeth's nightmares. In King Lear, madness is shown through Edgar's mockery and disguise and through the natural descent of the king."
| |
|
Good and Evil in Doctor Faustus and Macbeth, 2002.
Discusses the themes of good and evil as they appear in "The Tragedy of Macbeth" and "The Tragical History of Doctor Faustus".
1,150 words (approx. 4.6 pages), 6 sources, £ 30.95
»
Click here to show/hide summary
Abstract
The following paper considers good and evil as they appear in William Shakespeare's "The Tragedy of Macbeth" and Christopher Marlowe's "The Tragical History of Doctor Faustus". The present study examines good and evil in both the conceptual form and what could well be termed its objective correlative; how each are embodied within the plays.
| |
|
Tragedy Compared, 2002.
A look at the similarities between two great tragedies, "Macbeth" by William Shakespeare and "Oedipus Rex" by Sophocles.
2,196 words (approx. 8.8 pages), 5 sources, APA, £ 47.95
»
Click here to show/hide summary
Abstract
The paper shows that although "Macbeth" (Shakespeare) and "Oedipus Rex" (Sophocles) are great tragedies from two very different time periods, the similarities that exist between the two are remarkable. It discusses how Shakespeare and Sophocles both understood exactly what it took to write great tragedy. By comparing how fate plays a part in each play, the paper examines whether perhaps Sophocles and Shakespeare were on similar wavelengths. It also examines whether the tragic heroes of each play are doomed to live out their fate or whether there is an element of free will that causes each of their downfalls.
From the Paper
"Oedipus believed that the prophesies of Apollo may full well come true and in an effort to outfox fate, he fled his home and vowed to never let the prophecy come to pass. In doing so, he played right into the hands of Apollo and set off a chain of events that would eventually lead to the prophecy being fulfilled. But was it fate that led Oedipus to commit these horrid acts or was it Oedipus? own strong will and determination to prove it wrong that caused his downfall? Could it be Oedipus? own bullishness that led to his imminent demise? Could it have been Oedipus? ego that forced him to kill his father, then a stranger, on the road?"
| |
|
Shakespeare's "Hamlet" and "Macbeth", 1974.
This paper discusses Shakespeare's two tragedies "Hamlet" and "Macbeth", which relate life as a study of passion.
1,800 words (approx. 7.2 pages), 2 sources, £ 44.95
»
Click here to show/hide summary
From the Paper
"By all critics, at one time or another, William Shakespeare has been variously referred to as the ?master playwright?, brilliant in his portrayal of nearly every facet of action, plot, character; in short, a genius of dramatic expression rarely equaled in his or our time. It is a tribute of course that one-third of all books written is directly or indirectly related to this man. But I do not only wish to praise a man who has already been praised beyond this writer?s ability, but to expound on one of his themes frequently, and, again, brilliantly woven into many if not most of his plays. This being the theme of the supernatural, present, specifically, in Hamlet and Macbeth, which will provide the necessary backdrop for our discussions of the supernatural theme.
The use of the supernatural in Shakespeare?s works..."
| |
|
Macbeth: Evil and Unrestrained Ambition, 2004.
A study of the Shakespearean tragedy, "Macbeth", and the flaws of its title character.
1,105 words (approx. 4.4 pages), 1 source, MLA, £ 26.95
»
Click here to show/hide summary
Abstract
"Macbeth", possibly one of Shakespeare?s most well-known plays, is most well-known for its striking portrayal of a decorated Scottish general and his wife and their quest for absolute power. This paper focuses on the topic of evil combined with unrestrained ambition in Shakespeare's "Macbeth". It considers possible explanations for Macbeth's murders and analyzes the text to determine why Macbeth turned to evil.
From the Paper
"MacBeth, possibly one of Shakespeare?s most well known plays, is most well known for its striking portrayal of a decorated Scottish general and his wife and their quest for absolute power. Shakespeare?s shortest tragedy is also known for its study of human nature, namely, the conflict between the forces of good and evil in the human psyche. Like all tragic heroes, Lord MacBeth has a fatal flaw: ambition. This flaw consumes him throughout the course of the play leading to his inevitable downfall at its conclusion. However, MacBeth is not simply Shakespeare?s study of ambition; its focus is much more precise. MacBeth is a study of the evil to which ambition leads when unrestrained by morals."
| |
|
Macbeth Analysis, 2005.
A three-point essay on the analysis of the namesake of Shakespeare's tragedy, Macbeth.
802 words (approx. 3.2 pages), 3 sources, MLA, £ 19.95
»
Click here to show/hide summary
Abstract
A descriptive and thought provoking analysis of the character Macbeth, including direct quotes from the play.
From the Paper
"In life, we are taught to waste few opportunities. It seems almost by natural instinct to grab what we can when we can. Some cultures might see this as greed. Others might perceive it simply as common sense. No matter one's stand on the subject, it is difficult to deny that it is true. Even in the world of fiction, a land of abstract thought, this idea rings true. However, it is uncommon to come across a work of fiction than enables the idea that characters are human. They are not black and white. Every situation does not have a "right" or "wrong" outcome. Shakespeare's Macbeth is an example of such a concept. Shakespeare addresses the difficult task of representing the effects on the human psyche after being barraged by guilt and lust for power."
| |
|
Shakespeare's Tragedies, 2002.
Examines William Shakespeare's tragedies as an illustration of the breakdown and ultimate restoration of order.
2,203 words (approx. 8.8 pages), 4 sources, APA, £ 47.95
»
Click here to show/hide summary
Abstract
This paper illustrates the specific idea that appears to be evident in a majority, if not all, of Shakespeare's works - that the works are mainly concerned with the concept of the disruption and restoration of order at various levels. Examples are provided of this "breakdown" at various different or parallel levels, including personal, intimate, political and spiritual. The paper examines several Shakespearean tragedies including "Hamlet", "King Lear" and "Macbeth".
From the Paper
"Hamlet at the very moment of killing Claudius and thus restoring both personal and political order himself dies. He then cannot take his rightful place on the throne, nor as head of his family. This has been denied him as the price for its very restoration. This also holds true for Lear. His kingdom is restored and those who sought to destroy him are no more. Yet it is Albany who now rules. In addition at the personal level, Lear finally discovers his love for Cordelia only just before her death. Having finally found her, she is now lost to him for eternity. Lear has also paid the ultimate price for restoration."
| |
|
Greek Tragedies and Their Influence on Modern Day Literature, 2002.
A discussion on the ways in which Greek tragedies and the theory of the Greek tragic hero has survived the diverse style changes of literature since its conception.
960 words (approx. 3.8 pages), 2 sources, MLA, £ 23.95
»
Click here to show/hide summary
Abstract
The following paper examines the ways in which the idea of Greek tragedies has been embellished upon by great literary geniuses. This paper examines how Shakespeare, for example, used his tragic plays to purge his audience of their own flaws, which is precisely how Aristotle had defined the ideal tragic play. The writer examines how modern playwrights such as Sophocles, Ibsen and Tennessee Williams began to interject less idealism and more realism into their tragedies, providing a more ?real life? hero than the ideal hero as defined by the dramas in ancient Greece.
From the Paper
"As literature has evolved over time, plays have become less of a staple of only aristocracy. American literature came into existence, and with that came Tennessee Williams (one of many notable playwrights) and his superb work, ?The Glass Menagerie?. Unlike the original idea of a tragic hero that was someone of great influence and stature (though not god-like), Tennessee Williams wrote about real characters, that virtually anyone could identify with. In the play, the role of the hero is shifted between Amanda, Tom and Laura ? depending on the angle of the play at the time. Williams doesn?t focus on the characters, which doesn?t allow for much development beyond their initial two-dimensional appearance. Tom is arguably our hero, but he isn?t really all that likeable. He is mean to his mother, alienates his sister, and abandons them both. Nothing remarkably heroic there. Williams is more concerned with the outcome of the play, and Tom?s resounding guilt for his actions; as a result, Williams revolves completely around the plot. Tom, who serves as the narrator for the play, is essentially the protagonist of the play ? he is not necessarily the most important figure in the play, but he is the first one to interact with the audience, which is the definition used in the time of the Greek tragedy."
| |
|
Homer's Tragedies, 2004.
Summarizes two famous Greek tragedies, "The Iliad" and "The Odyssey", and looks at the theory that Homer did not actually write them.
1,096 words (approx. 4.4 pages), 5 sources, MLA, £ 26.95
»
Click here to show/hide summary
Abstract
This paper examines the theory that the two famous Greek tragedies, "The Iliad" and "The Odyssey", were not actually written by a real person named Homer, but rather that Homer was the collective pen name of all the bards who told these renditions of "The Iliad" and "The Odyssey". The paper also summarizes both tragedies and concludes that, no matter who the author, these stories are wonderfully entertaining and greatly influenced the course of the literature, drama, and philosophy that followed.
From the Paper
"The Odyssey is a sequel to the Trojan War. Odysseus, a Greek war hero, has been lost at sea. For ten long years the gods play with his fate as he encounters powerful creatures and manages to survive many disasters at sea. He faces man-eating giants, seductive murderous sirens, Circe who turns his men into pork, and even the goddess Calypso who keeps him as a love slave for many years. When Odysseus returns home from his journey, he finds that his wife is still waiting for him. His house, however, is overrun with suitors trying to woo his wife and eat his food. Even his dog (who is now a homeless stray living on garbage and must be of a remarkably old age for a canine) dies as soon as Odysseus returns home. Together with his now adult son, Odysseus kills hundreds of his wife?s suitors and all of his corrupted servants. He is finally reunited with his loving wife and evil blind father. (Homer, The Odyssey)"
| |
|
The Tragedies of Kings and Men, 2001.
This paper studies the main works of Aristotle and Arthur Miller and their depiction of tragedy.
3,245 words (approx. 13.0 pages), 4 sources, MLA, £ 65.95
»
Click here to show/hide summary
Abstract
This paper studies the term "tragedy" and defines it using the thoughts of Plato and Aristotle and plays written in ancient Greece and by Arthur Miller's works. In order to do so the paper proceeds to examine each of these thinkers and writers and their works. It details Aristotle's notes that defined tragedy and his play 'Antigone' and 'Oedipus Rex', Arthur Miller's 'On Tragedy', 'The Crucible' and 'Death of a Salesman'.
From the Paper
"The simplest, most reasonable definition of tragedy is that found in dictionaries and the definitions of laymen and theater -goers everywhere: ?a story with a sad ending.? However, literary theorists and critics would quickly be out their jobs if they simply left the common law of art alone. Thus for centuries there have been disagreements as to what constituted ?true? tragedy. In ancient Greece, both the merits and ideal qualifications of tragedy were under debate. Plato suggested that tragedy might be best defined as people pretending to be villainous or sad for no good reason, and thus corrupting society. Aristotle, on the other hand, said that tragedy was a form of social good, for it allowed the rational soul to vent its emotions in a process he referred to as a ?catharsis.? He went on to define the trademarks of a tragedy it in some detail, including such plot elements as the noble birth of the protagonist, and the inevitability of the ending. Works that followed his model, such as Oedipus cycle, set the standard for centuries to come. Aristotle?s conventions became a measuring stick for literary critics, though they were not always followed by poets and playwrights. In the modern era, many of these conventions were challenged, and this was particularly noticed in the case of Arthur Miller. After his play, Death of a Salesman, was lambasted by critics for not being a ?real? tragedy, he responded with a seminal work on the modern adaptation of tragic conventions. The ideas put forth in his ?On Tragedy? were deeply important to parts of his later play The Crucible. It is fascinating to see that despite the fact that many critics saw Miller?s works as antithetical to ancient ideas of tragedy, and assumed that ancient tragedies would not be based around the ideals embraced by Miller, in many ways there are distinct parallels in thought between such works as The Crucible and older masterpieces such as Antigone. The inevitability of each play is iron-wrought, and each is driven by the inseparable division between the straight edge of power and the personal freedom of choice and self-definition. "
|
|
|
