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"Rosencrantz and Guildenstern are Dead", 2006.
An analysis of the play "Rosencrantz and Guildenstern are Dead" by Tom Stoppard .
1,300 words (approx. 5.2 pages), 1 source, MLA, AU$ 58.95
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Abstract
This paper discusses the Tom Stoppard play "Rosencrantz and Guildenstern are Dead", about actors in a non-existent play. The author's thesis is that while the characters often attempt to create themselves -- to bring themselves to life -- their lives are ultimately an abstract form of death. The paper supports this sense of limbo in the character's actions, emotions and philosophy, providing support for his thesis by quoting lines from the play.
From the Paper
"The notion of limbo is supported by the fact that the play's action occurs "in a place without any visible character." (p. 12) As Stoppard gives us no particular landmarks, Rosencrantz and Guildenstern exist both everywhere and nowhere. In addition, neither of them have any memory of the past or any normal human requirements, such as the need for food and sleep. The only time they mention sleep in fact, is also the only time they are able to recall a past experience."
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"A Doll's House", 2006.
An analysis of Henrik Ibsen's play "A Doll's House".
1,300 words (approx. 5.2 pages), 1 source, MLA, AU$ 58.95
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Abstract
This paper analyzes the play "A Doll's House" by Henrik Ibsen, about deception in marriage. The paper examines the roles of husbands and wives in this play, which were based on the strict moral codes of Victorian society. In particular, the paper studies the role that finance and money played in the dissolution of Norma and Helmer's marriage. The paper also pontificates on the extent to which a wife will go to help her husband -- and at what cost to herself, her children and her marriage.
From the Paper
"Her husband views her as a play- doll- a "Sky lark", synonomis with a fluttering bird with beautiful wings, self absorbed knowing only vanity and beautiful things. She is known only to spend money, much to his dismay as he states, "Bought, did you say? All that? Has my little spendthrift been out squandering money again?" Her attitude about money was frivolous and out of control in her spending habits. Even after Helmer tells her, "But it's going to be three whole months before the first pay check comes in" Her reply, (of inconsequential nature) is, "Pooh!" We can always borrow the meantime.". Even has Helmer lectures her and points out her tolerant character faults and irrational ideas, "Here we go again, you and your frivolous ideas! Suppose I went and borrowed a thousand crowns today and you went and spent it all over Christmas, then on New Year's Eve, a slate fell and hit me on the head and there I was...". Here he is pointing out to her, that money is not guaranteed, especially a continual amount of funds, even death could occur unexpectedly for him."
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Comedy of Manners in Two English Plays.
This paper discusses comedy of manners in two English plays, Richard Sheridan's "A School for Scandal" and Oscar Wilde's "Lady Windermere's Fan".
2,815 words (approx. 11.3 pages), 0 sources, AU$ 112.95
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Abstract
This paper explains that Richard Sheridan's "A School for Scandal" and Oscar Wilde's "Lady Windermere's Fan" are both comedies of wit and manners which provide audiences with an absurd look at London's so-called aristocratic society, by using such devices as gossip, collusion, hidden identities, reversal of attitudes, generational recurrence and the discovery of the unexpected lady. The author points out that central to both plays is the question of whether a disappointed wife might justifiably retaliate or console herself by having an affair; and, in both plays, it is the aspiring gallant or lover, who nearly succeeds in convincing the wife to compromise her marriage and her morals. The paper summarizes that, in Wilde's play, it is gossip, which first creates the disappointment and mistrust in Lady Windermere; while in Sheridan's play it is Lady Teazle's attempt to excel at gossip in order to gain a place in what she considers fashionable society as well as the malicious gossip generated by that very society, which threatens to destroy her marriage. Many quotes.
From the Paper
"Most of the characters in Wilde's play are noble enough, though their actions are not always. Usually, they initially act out of love or concern, though as in the case of the Duchess of Berwick her concern for Lady Windermere is questionable but her conviction at least seems true. Darlington, too, believing Lord Windermere to be a lout, acts on his love for Lady Windermere not wanting her to endure a loveless life. Her mother, Mrs. Erlynn, though perhaps long ago selfish when she abandoned her family does in the end act in a selfless manner when she claims responsibility for the fan in Darlington's quarters. And of course Lord Windermere attempting to protect his wife from shame was acting out of love."
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"Measure for Measure", 2005.
This paper discusses the role of Pompey in William Shakespeare's dark comedy "Measure for Measure".
1,595 words (approx. 6.4 pages), 2 sources, MLA, AU$ 70.95
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Abstract
This paper explains that, in William Shakespeare's "Measure for Measure", one character, Pompey Bum, servant of Mistress Overdone, a bawd, serves better than the other characters to highlight the impossible hypocrisy of the play's social situation in which the Viennese legal system conflicts with human nature when public law forbids illicit lovemaking and makes the crime punishable by death. The author points out that Pompey appears at first to be a minor character; however, if Pompey were different, or even absent, the play's weighty morality might well outstrip Shakespeare's need for humor in this hybrid creation. The paper relates the story of the play demonstrating that Pompey's attitude extends beyond the current themes of virtue and morals and moves into the realm of accepting the inevitable that people will always strive to satisfy themselves especially their sexual desires.
From the Paper
"Throughout the play, Pompey's attitude carries this universal perspective. In his next scene, he is meeting with Lord Escalus in less than fortunate circumstance. A constable named Elbow drags Pompey and a gentleman named Froth in front of old Escalus and Angelo. The latter have just been arguing the virtues of moderation, with Escalus bemoaning the severity of the new law: "Some rise by sin, and some by virtue fall...and some condemned for a fault alone." When Elbow accuses Pompey of being a "tapster," Escalus quickly notices Elbow's ineloquence and gives Pompey the opportunity to defend himself."
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Henrik Ibsen's "A Doll's House", 2006.
An analysis of the main character in Henrik Ibsen's famous play "A Doll's House".
2,733 words (approx. 10.9 pages), 7 sources, MLA, AU$ 109.95
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Abstract
This paper analyzes Nora, the main character in "A Doll's House" and examines the different facets of her personality. The paper discusses both her businesswoman persona that she has kept secret and the little doll persona that she displays for her father and her husband. The paper also compares the story in "A Doll's House" to Ibsen's real life, pointing out similarities between the two and looks at similarities between dilemmas faced by today's women and the women that lived in the era of the novel. Finally, the paper concludes that Nora, in spite of the persona that she projected to her husband and father for so long, is actually a strong, flexible and proud woman.
From the Paper
"In reading what other critics and readers have written about the character Norma Helmer, it appears that her character evolved or was in the process of evolving through out the play. Definitely, she like many women of the 19th Century, carefully hid her strength behind a sweet doll-like demeanor that was at best a fabrication to placate the expectations of her domineering husband and the belief by society at large, that women were weak silly creatures. On the other hand, in presenting this persona, Nora also lied to herself about her own strength and until she revealed herself, she denied her husband the right of the spouse to really know whom he really married. But then maybe Torvald did not really want to know the darker and stronger side of Nora. He was an unappreciative boor for all of her hard work in his name. So we really see the two central characters as they really are at the end of the play. Nora is strong, flexible but proud, and Torvald is a priggish weak egotistical person."
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"Cats", 2006.
Examines the history of the world's greatest musical, written by Andrew Lloyd Weber.
2,348 words (approx. 9.4 pages), 4 sources, APA, AU$ 97.95
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Abstract
The paper discusses the musical "Cats", based on a series of poems by T.S. Elliot and later to become the most popular musical in world history. The paper examines the beginnings of the play at the New London Theater, until it was taken to Broadway in the United States. The paper examines why the play was so popular, as well as the many awards that it won.
From the Paper
"To look at the pre-production problems, the rehearsals with cast changes, the unenthusiastic reviews by many critics, and the enormous expenses of mounting the show, what is it that really has made "Cats" successful. The simple answer is- it is an "audience pleaser". There is no heavy plot line to focus on. The stage and staging are so unusual, as to continue to amaze the audience and to capture their attention. Nobody comes out of a theatre "humming the scenery" as a cynic might remark. But the song, "Memory" heard over and over again on radio stations is the sort of hit that people will remember."
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"A View From the Bridge", 2006.
A detailed review of the Arthur Miller play "A View From the Bridge".
15,850 words (approx. 63.4 pages), 3 sources, MLA, AU$ 335.95
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Abstract
This paper provides a scene-by-scene analysis of the play "A View from the Bridge" by acclaimed American playwright Arthur Miller. The first several page of this paper are devoted to an assessment of Miller's ideas about play-writing and the drama genre, as well as his attitude toward his characters and the audience's interpretation of them. Then, the paper offers an extremely detailed discussion and analysis of this family drama and its eleven characters. The author studies the characters' actions, dialogue and emotions throughout the play.
From the Paper
"Events are drawn together in a drama. As the selection of events becomes less and less dominated by the question of their natural maturation the style of the play moves further away from realism. Miller says that the events in the drama which covers a period of time generally tends to become unrealistic otherwise the drama would tend to become boring and cannot be completed in a time span. The underlying poem of the play has always to be depicted so that the correct essence of the play is brought out to the viewing audience. Hence his dramas are generally poetic."
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?A Doll?s House?, 2006.
Examines how Henrik Ibsen uses symbolism in his famous play.
1,252 words (approx. 5.0 pages), 2 sources, MLA, AU$ 57.95
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Abstract
Colors, characters, actions, figures or objects can all symbolize abstract ideas or concepts and Henrik Ibsen habitually used them in his writing. The paper examines how Ibsen used symbolism in his play, "The Doll's House", especially when dealing with relationships and the role of women in society.
From the Paper
"Ibsen uses a slamming door to symbolize transitions or endings. At one point Nora hears a slamming door as Krogstad leaves his blackmail letter in the locked mailbox for Torvald. His letter of revelatory truth will transform the Helmer's marriage and Nora's life. At the very end of the play Torvald, having now been told by Nora that she is leaving, is listening to her. He hears her footsteps and thinks that she is not leaving him, that all will remain the same. Instead, he hears a door slam and it is clear that the marriage is over and Nora is gone forever. She has closed this chapter of her life."
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Voltaire's "Candide", 2006.
A review of the themes in the play "Candide" by Voltaire.
1,730 words (approx. 6.9 pages), 1 source, MLA, AU$ 74.95
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Abstract
This paper studies the satirical play "Candide" by Voltaire. The paper analyzes the various themes, which include satirizing the aristocrat class, religion, the military, optimism, and philosophy and philosophers.
From the Paper
"Voltaire's Candide is full of criticism on other people's beliefs on philosophy, religion, and number other aspects of society. Through the actions of the characters, their disappearance, reappearance, transfiguration, and even insensitivity, Voltaire is able to skew the pomposity of the times in which he lived. However, he does not merely prick a few balloons, so to speak. He offers alternatives to the concepts he ridicules. It seems naive to believe that we live in the best of all possible worlds. But, naivete seems to outlive some of the stronger bulwarks of the world during the time of Voltaire. He is twitting his audience, of course, and implying that, if people only could see how foolish the nobility, the church, the army, and the philosophers of the day were (a sort of Francophile "Emperors New Clothes) then there would be the possibility that "our world" could be the best of all possible worlds. Society is corrupt. Nobility is hardly noble. The military have no life outside a battlefield. Philosophers are a pain in the derriere, but (like Pangloss) simply will not go away. And, love is an illusion where the plain become pretty, and the pretty, beautiful. Also, the key to Candide, which permeates all other satirical themes is: Discontent leads to greater discontent; to be "content" means to do something that one is content in doing."
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"Hamlet", 2005.
This paper examines the question of Hamlet's sanity in Shakespeare's play.
1,470 words (approx. 5.9 pages), 5 sources, MLA, AU$ 65.95
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Abstract
This paper explains that the question of Hamlet's sanity in Shakespeare's play "Hamlet" is complex and encompasses various themes within the work, such as what seems to be is often not what it really is, which is a theme often used by Shakespeare, as in "Macbeth". The author points out that Ophelia's main function in the play is to be used as a distinct reference to see clearly what insanity is and to stand in comparison with what Hamlet is acting out. The paper concludes that Shakespeare wanted Hamlet to be an ordinary real man living under extraordinary circumstances; therefore, Shakespeare showed (1) what transpires in Hamlet's very soul with human flaws of indecision and being unable to cope completely with the surmounting odds and (2) how, during this process, this man grows and learns the answer to the question "to be or not to be" is just "let be".
From the Paper
"So why aren't these men thought mad to have seen a ghost, since Hamlet is declared mad for seeing his father's ghost? The ghost was real. Shakespeare often uses ghosts, like in "Julius Ceasar", when Brutus is visited by the ghost of Ceasar, Banquo's ghosts in "Macbeth" at the banquet, and "Richard III" when the king sees the ghosts of his victims. These ghosts have different functions in each of these plays, but, in "Hamlet", the ghost is a catalyst for action, asking for revenge, but since the ghost appears at the beginning, the ghost is a type of prologue device."
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"Hamlet", 2006.
A review of Shakespeare's play "Hamlet".
1,735 words (approx. 6.9 pages), 5 sources, MLA, AU$ 76.95
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Abstract
The paper analyzes "Hamlet" as a mystery which, in its unfolding, allows us to understand human nature of various types. This analysis continues throughout the paper in the same order as the play's action. The paper concludes that at the time of his tragic death Hamlet has been redeemed through his readiness to face both life and death.
From the Paper
"Hamlet challenges us, along with Rosencrantz and Guildenstern, to "pluck out the heart" of his "mystery." This mystery marks the nature of Hamlet's characters, in spite of our popular psychologies, it ultimately does for all human personalities. Given this, we can attempt to sketch its origin and outward manifestations. Ophelia tells us that before the events of the play Hamlet was a model courtier, soldier and scholar, "the glass of fashion and the mould of form, Th' observed of all observers." With the death of his father and the hasty, incestuous remarriage of his mother to his uncle, however, Hamlet is thrown into a suicidal frame of mind in which "the uses of this world" seem to him "weary, stale, flat, and unprofitable." Though his faith in the value of life has been destroyed by this double confrontation with death and human perfidy, he feels paralyzed to affect any change in this new reality: "It is not, nor it cannot come to good. / But break my heart, for I must hold my tongue." All he can do in this frustrated state is lash out with bitter satire at the evils he sees and then relapse into suicidal melancholy. (Heffernan, 125)"
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Shakespeare's "Hamlet", 2005.
This paper discusses that in Shakespeare's "Hamlet", the character Ophelia is the most innocent victim of Hamlet's revenge.
935 words (approx. 3.7 pages), 0 sources, AU$ 45.95
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Abstract
This paper explains that, in Shakespeare's "Hamlet", Hamlet and Ophelia's relationship is a complex one, forming and developing as results of death, love, obedience and an Oedipus complex. The author points out that there are many similarities between Ophelia and Gertrude; Hamlet's love and sudden dependence on Ophelia may be an attempt to get closer to his mother as a result of the Oedipus complex. The paper concludes that, even in death, Ophelia has a large part in Hamlet's life because Hamlet's death was ultimately caused by Ophelia's death when the graveyard scene, in which Hamlet proclamation, "I loved Ophelia", leads to his fatal duel with Laertes.
From the Paper
""One fair daughter and no more,/The which he loved passing well," Hamlet sings at Polonius, mocking his supposed love for his daughter. Hamlet also calls him "Jephthah, judge of Israel." As told in Judges 11, Jephthah promises God that if he wins in battle he will sacrifice whatever comes out of the doors of his house when he returns. After he wins the battle, his only daughter hears of his victory and comes out to meet him. He keeps his promise to God. Hamlet's implication is that Polonius, like Jephthah, will sacrifice Ophelia for his own advantage."
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"Amadeus" and "Julius Caeser", 2006.
A review and comparison between the plays "Amadeus" by Peter Shaffer and "Julius Caesar" by William Shakespeare.
2,630 words (approx. 10.5 pages), 2 sources, MLA, AU$ 106.95
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Abstract
This paper explains the various dramatic incidents that occur in the plays "Amadeus", written by Peter Shaffer, and "Julius Caesar", written by William Shakespeare. The paper provides in-depth analyses as to the causes of these events and other patterns involved in them. "Amadeus" revolves around the life of Antonio Salieri, a court composer, and is based on both history and the myth connected with his life, including themes of jealousy and obsession. "Julius Caesar" is the story of a Roman statesman and general who is plotted against and is murdered by his colleagues.
From the Paper
"Amadeus is about a court composer, Antonio Salieri, who is the protagonist in this play. Salieri had always wished from his childhood that he became a great composer, and he also makes a deal with God that he should grant him his one wish. Salieri is happy with his position as court musician until when Wolfgang Amadeus Mozart, a musician arrives in court. Mozart plays much better than Salieri, and this leads to a lot of problem as Salieri realizes that it is Mozart that God has blessed with the talent of excellent music and not him, and this makes Salieri jealous of Mozart and this jealousy slowly starts developing into an obsession and Salieri starts to conspire against Mozart. He is said to have killed him ultimately. But ironically, Salieri gets to realize in the end that it is not God that he has defeated by killing Mozart, because even after Mozart's death his music seems to continue to be heard and praised, whereas at the same time, his music is no longer even known and it slowly tends to fade off and Mozart's music remains ever so fresh and is constantly heard even after his death."
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"Oedipus the King", 2006.
An analysis of the Oedipus character in the Sophocles play "Oedipus the King".
1,950 words (approx. 7.8 pages), 4 sources, APA, AU$ 84.95
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Abstract
The paper assesses the character of Oedipus in the play "Oedipus the King". The paper examines Oedipus' motivations and actions, concluding that while he is a victim of fate, he is not faultless. The author brings evidence that Oedipus is a corrupt tyrant, whose absolute power makes him believe that he is equal to the gods.
From the Paper
"However, as Oedipus reaches adulthood he is warned by a prophet that he will kill his father and marry his mother. Oedipus leaves Corinth believing that he will avoid this terrible fate by never returning to his home. On the way to Thebes he meets an old man on the road and they get into a fight. Oedipus kills the man unaware that this man is his biological father. When Oedipus arrives at Thebes he finds the city in chaos because the Sphinx is murdering citizens. The Sphinx demands that the citizens of Thebes solve a riddle. When the citizens fail to solve the riddle, she strangles them. Oedipus comes to their rescue by solving the riddle and freeing them from the Sphinx. In return, Oedipus is awarded the throne and unknowingly weds his biological mother. In the end, Oedipus discovers what he has done and in retribution he blinds himself. He lives in exile as a blind beggar for the rest of his life. It is true that Oedipus had no idea he had murdered his father and married his mother, so he cannot be blamed for it but, blame is not the question; the question is pollution. Knowingly or unknowingly he did the deed and finds himself standing before humanity as a victim of fate and a polluted monster. It seems that although Oedipus attempted to avoid his fate, he was doomed to it. The gods control his life and there is nothing he can do to change his future."
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"The Glass Menagerie", 2006.
A review of Scene V of the Tennessee Williams' play "The Glass Menagerie".
1,425 words (approx. 5.7 pages), 1 source, MLA, AU$ 63.95
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Abstract
This paper studies the fifth scene of the play "The Glass Menagerie," by Tennessee Williams. In this scene, Amanda has persuaded her husband Tom to find a gentleman caller for their daughter Laura. Tom has asked a fellow worker to come home with him after work one evening. This paper's author first describes the scene and then analyzes the dialogue in an attempt to better understand the characters' motivation and vision. The paper goes on to address the overarching themes of this scene -- and the larger play. The author says that "The Glass Menagerie" is about fragility, which each of the three main characters falls victim to in one way or another.
From the Paper
"Amanda is not a bad mother. She really does want the best for her daughter (her son has left, more or less, her aura of control). But, she has the firm belief that her daughter is far more fragile than Laura really is. Looking at Amanda today, we might easily call her "a control freak". She wants everything planned. The worst thing that could happen to her- in her wishes and in her reality- is for her plans not to work out. She even chastises Tom when she tells him "You are the only young man that I know who ignores the fact that the future becomes the present, the present the past, and the past turns into everlasting regret if you don't plan for it." She has planned for a future that, one would think deep down in her heart, she knows will never come to pass. She does live, from time to time, in the past. It is what keeps her going, seeing the present be such an unpleasant reality. But, she even plans for a possible mismatch."
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"Who?s Afraid of Virginia Woolf": Reactions in 1962 and 1980, 2006.
A comparison between the 1962 original product of "Who's Afraid of Virginia Woolf" and the 1980 revival.
1,700 words (approx. 6.8 pages), 12 sources, MLA, AU$ 74.95
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Abstract
This paper compares the criticism and reactions to the 1962 original production of "Who's Afraid of Virginia Woolf" and the 1980 revival of Edward Albee's landmark work. The author states that play has thrived over the passage of time, having become an undeniable classic in the playwright's lifetime. Calling it a stark, gritty portrayal of marital disillusion and power-plays, combined with the awkwardness of public betrayals of vulnerability and deeply guarded secrets, the paper says the original production revolutionized American theatre and has even been seen as the high point of Broadway in the last 40 years. However, according to this author, the 1980 revival, although critically acclaimed in its own right, did not enjoy the prestige or controversy of the original.
From the Paper
"Albee's production of Who's Afraid of Virginia Woolf opened at the Billy Rose theatre in October 1962 and starred Arthur Hill, Uta Hagen, George Grizzard, and Melinda Dillon; it consequently ran for 664 performances. The play essentially depicts the interactions of two married couples in an academic setting; the older married couple, George and Martha, represent a bickering, disillusioned older couple. George is a professor who is overpowered by his alcoholic, bitter wife who had hoped that he would have achieved a more stellar position in the academic community. The long-married couple is united by an unseen child who is later exposed to be nothing more than imaginary. The couple is paralleled with a younger couple, Nick and Honey, who are starting out in life and appear to be following a path similar to that of George and Martha. Nick is beginning his own career as an academician, and Honey, bubbly and empty-headed, has falsely entrapped Nick into marriage with a false pregnancy. The psychological, social, and emotional dynamics are portrayed during the proceedings of an awkward dinner party."
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