Abstract
This paper shows that, despite often being used as a negative color, Shakespeare uses black in "Titus Andronicus" in a positive way. Aaron the Moor, though the villain, is actually the only good parent in the play and the only character who remains true to himself.

From the Paper
"Scene Two of Act Four also shows Aaron as a parent. The birth of his son provides him a bond with another person sharing his skin color, and he feels the need to protect his son, who is now his only ally. Demetrius says that he will kill the boy: "I'll broach the tadpole on my rapier's point. / Nurse, give it to me, my sword shall soon dispatch it" (4.2.85-86). Aaron stands up for his son without missing a beat and threatens Demetrius: "Sooner this sword shall plough thy bowels up" (4.2.87). Aaron's strong love and his willingness to fight for the child's safety contrasts greatly to the other parents in Titus."

Tags:african, race, tragedy, whiteness

From the Paper
"Shakespeare's last tragedy, Coriolanus, is both very similar to his earlier tragedies, but also highly individualistic. The central character, Coriolanus, is not the central villain of the play, unlike Macbeth. Neither is Coriolanus the central hero of the play, unlike Hamlet. Rather, Coriolanus is a perplexingly pitiable character that has both positive and negative characteristics. He is honorable in his personal, but not particularly loyal in his civic affairs. He is an elitist and violent, but he is also modest and worships his mother. Tullus Aufidius is the character that is counter-poised to Coriolanus throughout most of the play. He is Coriolanus's nemesis and competitor."

Tags:shakespeare

Abstract
This paper presents a character analysis of Helena in the Shakespearean play "All's Well That Ends Well." Often criticized for her manipulative deeds and lack of feminine attributes, Helena's personality is explored by focusing on her feminine and masculine traits and by analyzing her motives. Shakespeare's use of literary devices such as foreshadowing is also explored.

From the Paper
"In Shakespeare's plays, we often find the female characters to be more powerful and unique in their attributes than the ones that existed in actual 17th century English society. This is exactly the impression we get from the character of Helena in "All's well that ends well," as the woman refuses to be bound by moral and societal restrictions and passionately seeks fulfillment of her desires. Not only that, we also notice that Helena, though lower in social standing than her husband Bertram, doesn't take into account the status barriers and being fully aware of her rights as a wife tries to win her husband over despite his persistent rejection. The theme of ethics and morality dominantly overshadows the entire play with readers being forced to analyze and judge every person's motives and every situation in the light of twisted sense of morality that Helena possessed. Helena's character has been a constant source of conflict among critics as Levin (1930) writes, "Some regard her as a genuine romantic heroine--resourceful, yes, but also virtuous, feminine, charming, and modest. She never behaves cynically, and her motives are above reproach . The alternative view is that Helena mercilessly pursues Bertram. Whether she is at first motivated by love, sex or ambition she sets out to trap Bertram, succeeds, and--when he flees her--captures him again. She gets the husband she deserves, a spoiled aristocrat." (Levin, pg. 131)"

Tags:society, restrictions, passion, desire, moral, heroine, rejections, trickery

Abstract
This paper analyzes Leontes' character in "The Winter's Tale" by Shakespeare. The paper provides reference to his interactions, behavior, relationships, madness, paranoia and many other factors that lead to his demise.

From the Paper
"As Leontes makes his first appearance in Shakespeare's "The Winter's Tales," the reader is confronted by an aggressively insecure character. His conversation with the more relaxed Polixenes is illustrative of this. Polixenes, in his anxiety to leave, explains that he has overstayed his welcome; "Besides, I have stayed To tire you royalty, Polixenes" suggestion is clearly a polite one, a non-threatening exclamation of gratitude. However, in a representation of his competitive character, Leontes miscomprehends this as a challenge; "We are tougher, brother, Tha you can put us to it.""

Tags:english, king, late, lear, literature, plays, Camillo, Hermione

Abstract
This essay discusses how Coriolanus's mother uses three convincing arguments to try to talk her son out of destroying his home city. The writer emphasizes how Coriolanus's mother used syntax and diction to persuade her son.

From the Paper
"Shakespeare had a way with words that few people could ever duplicate. A wonderful example of how Shakespeare used language and imagery to express emotion is the monologue by Coriolanus' mother in the Shakespearian play of the same name. In the short exert from Coriolanus, a woman's son is preparing to destroy his own city. His mother is attempting to discourage his actions. She tries to convince him to make peace between his people (The Romans) and the Volsces, she tries to dissuade him by telling him that if he does conquer his own city than he will dishonor his name, she tells him that destroying a people is an "act of the Gods" and that if he tries to accomplish it he will really accomplish nothing, she expresses to him how dishonorable it is to hold a grudge, she uses her children and herself to guilt him into not attacking the city and she finally warns him that if he goes through with his plan than the Gods will spite him."

Tags:mother, rome, shakespeare

Abstract
This paper examines the play, "Troilus and Cressida," as a critique on the mythology of the Trojan War and as a larger comment on the problems of human desire and self-centered actions. There are three kinds of reasoning offered by three different characters, all of which make claims to a method for judgement, a method for values and as a rationale for acting. Shakespeare then portrays each character in contradiction, acting in self-serving ways, thus prolonging the war, trapped in a cycle of unresolvable issues that are based on the conflicts of human motivation.

From the Paper
" Any production of Shakespeare's first tragedy, Titus Andronicus, has to take a position regarding the play's seriousness and Julie Taymor's 1999 film version, Titus, establishes her intentions immediately. She will not only take it seriously she will look to the text for universal lessons about violence. The film's opening sequence also makes clear, however, that she will not offer a literal-minded production but will work freely in visual terms, and in supplementing the text as she sees fit, in order to produce the meanings she hopes to draw from the play. It is easy, however, to forget all about her serious intentions as one sits back and enjoys the nearly irresistible brilliance of the spectacle that Taymor creates. Yet, even though the viewer can be pleased by the sheer fun that is involved in the costumes, the music, the acting, and the.."

Abstract
This paper discusses Shakespeare's poem "Venus and Adonis" and describes the theme of sexuality within it.

Tags:venus, adonis, sexuality

Abstract
This essay is about William Shakespeare and the ways in which his art has changed and evolved with time. This essay covers many of Shakespeare's plays and many modern film adaptations of his plays. The paper discusses much of the history behind Shakespeare's works and the many sources from which his drama was derived. The essay also deals with Shakespeare's language and the aspects of his invented language that have become a part of our everyday vocabulary. It covers the many characters, plots and genres of Shakespeare's works. The main theme of the paper is centered around the ways modern history has invented a Shakespeare of its very own.

From the Paper
"Who is Shakespeare? What is Shakespeare? Nearly four hundred years following his death, the Shakespearean debate trudges on. In his lifetime, William Shakespeare wrote a phenomenal cannon of dramatic literature. He managed to create an astounding thirty-seven plays in scarcely the span of twenty-five years. Individually, these plays constitute some of the best art ever written. Collectively, these works secure Shakespeare as the principle literary draftsman of the Elizabethan Age. In his dedication to William Shakespeare in 1623, Ben Johnson wrote: "He was not of an age, but for all time." To this day, Shakespeare's creative genius has yet to be exceeded. No writer in any language can rival the eminence and immortal perpetuity that Shakespeare has relished. And no man, in any creative enterprise, has ever impelled a cultural influence as ample or as profound. Shakespeare's language and extensive lexicon of coined phrases are more ubiquitous in trite conversation today than the myriad of cliched aphorisms present in the King James Bible. His hundreds of characters-the very mirrors of human nature-are equally as recognizable. From small amusements like Bottom the Weaver, to such unparalleled manifestations as Falstaff, Shakespeare has enriched civilization by mimicking it."

Tags:caesar, chronicles, coriolanus, dream, edward, elizabethan, england, renaissance, literature, enlightenment, play, stage, drama, falstaff, henry, holinshed, idaho, iii, jacobean, julius, king, henry, richard, dream, midsummer

Abstract
This paper discusses the way in which Shakespearean Comedy has been formulated by elements of plot that are viewed as typical. It provides a brief outline of Shakespearean Comedy and explores the plot elements of the green world, multiple intertwined plots, disguise, mistaken identity and the conventional young lovers. It shows how many plot sequences, seen as typical to comedy, are demonstrated through Shakespeare's various stock characters. The paper then demonstrates how Shakespeare's "Much Ado About Nothing" is one of his plays that presents slight deviations from this typical structure.

From the Paper
"Since its origin, Shakespearian Comedy has developed having specific and identifiable elements viewed as typical, in regards to plot. Much Ado About Nothing contrasts the other comedies. The setting is not in the magical green world and there are two plots. The young lovers do not demand and obtain the role most interesting to the reader and the 'placing of the comic initiative in the hands of its vivacious heroine Beatrice' not a servant. Beatrice and Benedick appear to captivate the comic progression of the play and other than Dogberry present most of the absurd, wit and humour. The basic foundations of Much Ado About Nothing centre on the typical progression from of conflict to a happy resolution that ends with two marriages not just one. Don Pedro, the disturbingly sinister character for a comedy, is expelled, all is forgiven and society is restored to its festive note. 'Strike up, pipers.'"

Tags:disguise, identity, lovers, characters