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"Sonnet 165", 2005.
An analysis of "Sonnet 165" by William Shakespeare.
1,125 words (approx. 4.5 pages), 5 sources, MLA, AU$ 51.95
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Abstract
"Sonnet 165" by Shakespeare focuses on a young lover, whose emotions are deeply connected with whatever his sweetheart says to him. The paper explains how the entire poem relates the effects of the words "I hate" on the young speaker. The poem is addressed to the reader, and not to a specific listener. The writer points out that the speaker is asking for sympathy, as he evoked sympathy from his lady.
From the Paper
"The poem thus basically focuses on the fact that the young man's lady says the words "I hate" to him. The effect of this on his emotions is devastating. The intensity of his feelings can be seen in the first line, saying that the lips of his lady are made by "Love's own hand". "Love" here is personified as the goddess Venus. The lady is thus seen as being divinely inspired and loving, which makes her words all the more shocking. There is therefore an intense contrast between what the young man believes of his love and the cruel words she says."
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Shakespeare's Globe, 2004.
An analysis of William Shakespeare's theatre, the Globe.
2,277 words (approx. 9.1 pages), 11 sources, MLA, AU$ 94.95
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Abstract
This paper contends that William Shakespeare's theatre, the epic Globe, mirrors the stories of the early, bustling London and ever-morphing England of the 16th and 17th century, from plank and dirt to flame and fame. The paper presents a technical overview of the theatre structure, highlighting the symbolism between the material poverty of the building to that of the society. The paper contends that the social commentary Shakespeare spouted was given a stage by the Globe, which represented, in its own short life, the compendium of Elizabethan life as a whole.
From the Paper
"William Shakespeare was born into a world of words that took him from cold, stone castles in Scotland to the bustling cities of Italy and the high seas of colonial change. An emblem of the Renaissance, the Bard of Avon was not only the conqueror of his own mind and pen, but also of the language of his own social, political, and religious reality. His theatre, the epic Globe, mirrors the stories of the early, bustling London and ever-morphing England in the duration of its own life, from plank and dirt to flame and fame. By 1598, Richard Burbage was the practicing don of the London theatre world, extending his fingertips for production all over the lively center of British commerce and governance. His players, a collection of all-male actors, were widely recognized throughout the theatre world, one of the only sources of popular entertainment. Burbage produced the works of a variety of writers, including William Shakespeare, in his own space called "The Theatre." That year, however, Burbage ordered his company to pull down The Theatre and remove its timber to Bankside. "
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"Taming of the Shrew", 2004.
An analysis of one of the most memorable and prominent Shakespearean comedies, "Taming of the Shrew".
2,347 words (approx. 9.4 pages), 4 sources, MLA, AU$ 97.95
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Abstract
This paper discusses Shakespeare's "Taming of the Shrew". The paper examines the play's patriarchic themes, such as the taming of wild women, a man's domineering character and female subjugation. The paper contends that while many critics feel that the play chronicles the domination process in a marriage where Petruchio, the male lead finally overpowers his wild and aggressive wife, Katherine Minola, closer analysis of the play reveals that this is not exactly true. The paper claims that the play actually deals with the issue of equality of power. The paper states that this play presents a mockery of wife submission norms in English society of 17th century rather than an approval of the same.
From the Paper
"Kate who was very wild and rarely ever submitted to anyone was dragged into a marriage against her wishes. One wonders then, how and why did she ever let her father take this action if she was actually so outspoken. We must understand that while she didn't have much choice in the case since it was a time when arranged marriage customs were rife her behavior earned her the right and respect that she deserved. This is very clear when we read the betrothal scenes of both Kate and Bianca and compare them to each other. In Kate's betrothal scene, her father Baptista, makes it absolutely clear that he wants Pet to win her daughter's love before he could hope to have her money while in Bianca's betrothal scene, she is objectified as Baptista feels he could hand her over to anyone he found suitable enough. "
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Nahum Tate?s "King Lear", 2005.
This paper compares Nahum Tate's "King Lear" with Shakespeare's "King Lear" upon which Tate based his version.
1,910 words (approx. 7.6 pages), 6 sources, MLA, AU$ 81.95
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Abstract
This paper explains that Nahum Tate's idea was to adapt Shakespeare to suit the taste of 18th century restoration theatergoers; thus, Lear no longer dies, Cordelia marries Edgar, the monarchy is restored and order once again reigns. The author points out Lear's suffering, which in Shakespeare's original play denotes the nature of humanity and the tragedy and misunderstanding that often accompany human life is completely lost in Tate's rewritten version, especially in terms of the ending. The paper reveals that the use of language by Tate and by Shakespeare also differs significantly; whereas Shakespeare believes in the reductive power of language in its simplest form, Tate's philosophy leans more towards the elevated forms of language hence the greater effect of Cordelia's simple statement in the Shakespeare play.
From the Paper
"Other significant differences between the two versions include the roles of the specific characters. Edgar, for example, takes the role of Cordelia's suitor from the beginning of Tate's play, whereas in Shakespeare he never pursues the girl, but does become king at the end of the tragedy. His role in both Shakespeare's and Tate's plays is to restore justice, but in different ways. In Shakespeare's play, his role is tragic. Because of the betrayal by his brother, Edmund, who attempted to dishonor him in his father's eyes, Edgar is obliged to disguise himself. He thus pretends to be a demonic madman in order to escape his father's men. As such he also serves as a parallel for King Lear's madness, and gives him somebody to identify with during this difficulty. Edgar thus has a redemptive function here. In Tate's play, his redemptive function is mainly focused upon Cordelia and eventually the kingdom."
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Hamlet Character Analysis, 2005.
A character analysis of Hamlet from Shakespeare's play "Hamlet".
1,258 words (approx. 5.0 pages), 2 sources, MLA, AU$ 57.95
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Abstract
The character of Hamlet in Shakespeare's play, "Hamlet", is probably the most analyzed characters in literary history because, even though he is difficult to comprehend, he is real. It explains that Hamlet is a complex man because his problems are internal initially. In short, his psychological disorders are a direct result of what is happening in his mind. It shows how Hamlet moves through a series of drastic emotions in the play, beginning with depression and anxiety, moving to madness and more stress. Each of these emotions paves the way for a deeper, more compounded emotional state, which ultimately causes Hamlet to lose his grip on reality.
From the Paper
"Hamlet's melancholy, or depression, is given no reprieve during the play and the ghost is the primary reason for this. In fact, the ghost is the dominant force behind Hamlet's internal conflict. Hamlet comes from a background of teaching that suggests that murder is wrong and from this perspective, the ghost is literally asking him to commit a grievous sin. Bloom notes that Hamlet has "no desire to cut down Claudius" (Bloom 70). Because of this, Hamlet at first tries to deny who or what the ghost is, referring to it as a "goblin damned" (Shakespeare i.iv.44). After some speculation, Hamlet then decides that maybe the ghost is not as evil as he once suspected. Here we see Hamlet's big problem with inconsistency, which will come back to haunt him sooner than later. Hamlet calls the ghost, "King, father, Royal Dane" (I.iv.50), which indicates Hamlet's inability to trust his instincts. The ghost, what it means, and what it is asking Hamlet to do leads to an increased level of anxiety for Hamlet because he does not have a clue about what he should do."
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Blood and "Macbeth", 2005.
An analysis of the use of blood imagery in William Shakespeare's "Macbeth".
1,611 words (approx. 6.4 pages), 5 sources, MLA, AU$ 70.95
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Abstract
This paper examines how William Shakespeare successfully uses blood imagery in his play "Macbeth" to illustrate the drastic change in Macbeth's character. Blood imagery is powerful because blood is essential for life and every time we see blood, we are reminded of life. It looks at how the images of blood are all linked to Macbeth throughout the play, from the first images of blood connected with loyalty, to the blood imagery connected with justice at the end of the play.
From the Paper
"Blood is a powerful image to the audience and to Macbeth. After he kills Duncan, Macbeth says, "Here lay Duncan, /His silver skin laced with his golden blood" (II.iii.130-1). The murder of Banquo brings even more bloody imagery. At the feast, it becomes apparent that Macbeth is becoming unstable because he cannot distinguish between what is real and what is not. He thinks he sees Banquo's ghost at the table and blurts, "Blood hath been shed ere now, i' th' olden time" (III.iv.87). Here we see, like the blood and guilt in the previous scenes, Macbeth cannot wash this blood away, either. In fact, the image becomes more intense, which intensifies Macbeth's reactions to it. It is more real to him now because he is slipping."
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Plays within Plays, 2004.
A discussion of the concept of a play-within-the-play in "The Spanish Tragedy" by Thomas Kyd and Shakespeare's "The Tempest".
1,728 words (approx. 6.9 pages), 5 sources, MLA, AU$ 74.95
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Abstract
This paper discusses the plays "The Spanish Tragedy" by Thomas Kyd and Shakespeare's "The Tempest". The paper explains that these two plays present a demonstration of the use of the play-within-the-play device as a representation of human themes and cultural messages. The paper contends that while the play-within-the-play contributes to the denouement of plot, it also draws attention to the relative power of theater in society.
From the Paper
"Themes of the human condition repeat themselves almost continually through the art of drama and through the realm of the real. Themes of human circumstances, moral and amoral influence the cultural representation of right and wrong, but strangely change very little over time. Things that are "wrong" in Shakespeare and Kyd's England similar to those which are "wrong" today. Betrayal and revenge flow together as a stream through the human soul and repeatedly show their influence upon art and humanity. Messages of revenge, a constant fascination of the Elizabethan period (1558-1603) and that of the England that followed her reign, often follow the form of the play-within-the-play dramatic technique and this is true of both the works discussed here."
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Shakespeare?s "Sonnet 39", 2005.
Figures of speech in William Shakespeare's "Sonnet 39".
781 words (approx. 3.1 pages), 4 sources, MLA, AU$ 37.95
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Abstract
This paper explains why Shakespeare's "Sonnet 39" is one of the best examples of Shakespeare's masterful rhetorical style, use of imagery and use of figures of speech.
From the Paper
"Michael Schmidt, author of The Lives of the Poets, asserts that Shakespeare's sonnets are mysterious, which is a characteristic that most Elizabethan poems do not have. The sonnets, says Schmidt, "seem to emerge from an actual occasion, an occasion not concealed, yet sufficiently clouded to make it impossible to say for what or whom it refers to" (Schmidt 183). With this in mind, we can look at the sonnets and realize we are looking into something mysterious that Shakespeare may have wanted us to figure out, much like a puzzle. The sonnets "present agony which cannot contain itself" (Hubler qtd. in Eastman 315). While the speaker of the poem may be experiencing an agony, it is clear that his separation from his lover has also provided him with a certain amount of inspiration."
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Shakespeare, 2004.
An analysis of the literary work of William Shakespeare and the issue of patronage.
1,022 words (approx. 4.1 pages), 3 sources, MLA, AU$ 49.95
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Abstract
This paper discusses a playwright's patronage by a wealthy individual. The paper explains that this was common practice and indeed essential, in Shakespeare's time. The paper examines William Shakespeare's "A Midsummer Night's Dream" in an effort to determine whether parts of it were rewritten by Shakespeare upon request of one of his patron's, in honor of a wedding.
From the Paper
"Whether Shakespeare was pandering to Elizabeth Carey's powerful father and grandfather or not, his other patron was-and had to be-Queen Elizabeth herself. In addition, it is in honor of that patronage that Shakespeare used abundant maritime references in the play. Shakespeare is thought to have been creating his own specialized mythology in the play-something he could well be expected to do considering his education-but he was also have been honoring Queen Elizabeth's maritime prowess, and certainly he made reference to the "Virgin Queen" when he wrote of the "fair vestal throned by the west" (Edgecombe, 2000, unpaged)."
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The Supernatural in Renaissance Drama, 2005.
An analysis of the supernatural in the plays "Hamlet" and "Midsummer's Night Dream" by Shakespeare, and "Dr. Faustus" by Christopher Marlowe.
1,154 words (approx. 4.6 pages), 3 sources, MLA, AU$ 53.95
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Abstract
The theme of the supernatural in Renaissance drama emerges more as a 'problem' than as a unified theology. This paper explains that the use of supernatural and characterization thereof, says more about the playwright's ability to use language to characterize, than about the ideology of the period. It explains that Shakespeare's stress on characterization results in more human fairies and spirits than in Marlowe's world.
From the Paper
"These questions of truth and reality become even more sharply defined in "Hamlet." Ironically, Hamlet begins the play wanting to go back to Faustus' Wittenberg to study-but ends up meeting the supernatural on his own doorstep. Rather than the comic Faustus, stewing over his books, Hamlet's meeting with his father is frightening, and causes Hamlet to consecrate his life to revenge. (1.3) But Hamlet is never sure if the ghost is true or false, hence he uses a play as a truth-test of his uncle's guilt, noting that the devil has a power to assume a pleasing shape. By the end of the play, the supernatural has virtually retreated from the play entirely-the ghost disappears after preventing Hamlet from killing his mother in anger, and Hamlet does kill Claudius, but without the satisfaction of revealing to the court with his own words, or before his mother what really happened to his father."
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Revenge in "Hamlet" and "The Revenger?s Tragedy", 2005.
Compares the motivations for revenge and actions of revenge in Shakespeare's "Hamlet" and Vindici's "The Revenger's Tragedy".
1,359 words (approx. 5.4 pages), 1 source, MLA, AU$ 61.95
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Abstract
This paper explains that while the main protagonists in both Shakespeare's "Hamlet" and Vindici's "The Revenger's Tragedy" may share the seem motivation for revenge (i.e., death of a loved one), their different characters and circumstances make the way they carry out their revenge quite different.
From the Paper
"Indeed, in my opinion, it is an important note to be made, as the originality of each main character is not determined as much by their underlying motivation, common in both cases, but by the road that takes them to their revenge action. In this sense, it seems useful to emphasize that, despite the obvious similarities between the two plays and the two main characters, driven by the fact that they both belong to the revenge genre, there are differences worth noting in each approach towards revenge for each play in part."
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Jealousy in "Othello", 2005.
An examination of the concept of jealousy in Shakespeare's "Othello".
1,072 words (approx. 4.3 pages), 2 sources, MLA, AU$ 50.95
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Abstract
This paper briefly compares the jealous nature of Othello and Iago. Using examples from the play, the writer questions whether Iago was more jealous that Othello and whether their jealous natures impacted each other's incorrect decisions throughout.
From the Paper
"Othello is often described as a tragic character because he is a great leader and military hero who is brought low by one, fatal personal flaw that he is otherwise unaware of-namely his jealousy. But really it seems as if Iago is the more jealous of the two men, jealous of the Moor's advancement in Venetian society, and of the promotion of Michael Cassio. One of the first things Iago says in the play, in Act 1, Scene 1 to Rodrigo is "Why, there's no remedy; 'tis the curse of service, /Preferment goes by letter and affection, /And not by old gradation, where each second/Stood heir to the first." (1.1) In other words, rather than merit and age, people who are pretty and preferred like Cassio get promoted-a statement that seethes with jealousy. In contrast to Iago, Othello in fact seems to possess a free and open nature, and seldom jealously begrudges anyone of anything they are truly, fully owed. He leaps into service for the state immediately upon his wedding night when the city is threatened militarily. Instead, Othello's true tragic flaw is his sense of being an outsider."
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Shakespeare and Ondaatje, 2005.
A discussion of the similarities between Shakespeare's play "Romeo and Juliet" and Michael Ondaatje's 1992 novel "The English Patient."
1,225 words (approx. 4.9 pages), 2 sources, MLA, AU$ 55.95
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Abstract
Although the plot and characters differ considerably as do the time periods in which the stories are set, "Romeo and Juliet" and "The English Patient" share themes, imagery and motifs in common. This paper explains that both stories take place amid violence and war; both are also set in Italy. It also looks at how both focus on tales of passionate, forbidden and unrequited love that is made all the more powerful against the violent backdrop.
From the Paper
"War also causes the characters in both Romeo and Juliet and The English Patient to concoct convoluted plans that cause tragedy and death. For example, Juliet takes a potion that makes her appear dead and lies in a family crypt awaiting Romeo's arrival. Her plan backfires due to mixed messages; because she took the potion a day early and because Romeo never became aware of the plan the two lovers die side by side. Similarly, the English Patient is forced to leave Katherine in a cave with the intent of returning to rescue her. His plan backfires as well, causing her death and his being burned. Both stories thus end in a bittersweet peace. The tragedy befalling all the sets of lovers is foretold and foreshadowed by the warlike imagery and violent backdrop; war and violence pervades both Romeo and Juliet and The English Patient. No plan, however well-concocted, can save or reunite the lovers. Death is the inevitable outcome of war, tragedy the inevitable outcome of romance. In the end of both Romeo and Juliet and The English Patient, a sense of peace and relief sets in over the characters; however, this peace is bittersweet, borne of the acceptance of death, tragedy, and unfulfilled romantic love."
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The Duke of Gloucester, 2005.
An analysis of the character of the Duke of Gloucester from William Shakespeare's "Richard III."
950 words (approx. 3.8 pages), 3 sources, MLA, AU$ 45.95
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Abstract
This paper examines how although Shakespeare's Richard III, The Duke of Gloucester, may not bear much resemblance to the real life King, in character and appearance, in the play, he is certainly the most dominant and a fully developed figure that serves as both the protagonist and villain of the play. It discusses whether "Richard III" can actually be called a tragedy since the protagonist appears less a tragic figure and more a vain, cruel and malicious king who was ruthlessly ambitious and killed people not for the love of his country, as most other tragic kings did, but to advance his own objectives.
From the Paper
"As in all Shakespeare tragedies, the ghosts of those he conspired against and killed visit Richard III. They admonish him and foreshadow his death. This happens a day before his army is to clash with Lancastrian heir, Henry, Earl of Richmond's forces. while the ghosts of his victims haunt Richard, Richmond is praised as the rightful ruler. The ghosts tell him to 'live and flourish!' [5.3.131] and instruct him to, 'Arm, fight and conquer, for fair England's sake.' [5.3.150]. Though Richmond's army is no match for Richard's in term of size, yet the former has divine support. Bosworth Field serves as the last battleground for Richard as Richmond manages to bring an end to Richard III's terrifying reign by slaying him: 'Now civil wounds are stopp'd, peace lives again.' [5.4.53]"
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"Henry IV", 2004.
A discussion of the art of the drama in Shakespeare's "Henry IV" and "Hamlet, Prince of Denmark".
1,322 words (approx. 5.3 pages), 2 sources, MLA, AU$ 59.95
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Abstract
This paper compares the characters of Prince Hal and Hamlet in William Shakespeare's plays "Henry IV" and "Hamlet, Prince of Denmark". The paper analyzes the dramatic aspects of each character. The paper illustrates the personas that each character creates for himself, in addition to their personality as defined by the author. The paper highlights the constant contrasts between Prince Hal and Hamlet.
From the Paper
"Shakespeare is of course a dramatist, that is, he was an author of plays with fictional characters in them, portrayed by real people known as actors. Yet quite often Shakespeare's fictional characters are themselves 'actors' in their own life stories, creating personas that they play in addition to acting out their true, 'real life' struggles of the plot as defined by the author. For instance, Prince Hal, of Henry IV, Part I and Hamlet are two such individuals-the first pretends to be a rouge, even though he is really a skillful prince and politician destined to be a king, the second is an avenging son who assumes madness as a truth-telling device, and also as protection for his eccentric actions and behavior in a fraught Danish court. "
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Courtly Love in Literature, 2005.
A look at how four famous Renaissance writers each represents the variety of ideas about courtly love that were present during the Renaissance.
1,361 words (approx. 5.4 pages), 7 sources, MLA, AU$ 61.95
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Abstract
This paper explains how Renaissance writers William Shakespeare, Christopher Marlowe, John Donne and Ben Jonson illustrated the emerging traditions of a new form of writing with traditional notions of courtly love. The paper shows us how Shakespeare depicts Juliet and Rosalind as two assertive women that act in their own interests, while Christopher Marlowe's writing presents us with more traditional aspects of courtly love and Jon Donne and Ben Johnson's writings presented different ideas about women in love altogether, causing us to think differently about the idea of women in love.
From the Paper
"The Renaissance was an interesting time in literature because many of the writers of this time were experimenting with new techniques based upon medieval ideas. While writers of the Renaissance were concerned with conventional notions, they were also heavily influenced by Humanism. M. H. Abrams notes that "Renaissance writers were in their own way profoundly original, but they did not think of originality as involving opposition to or revolt against literary traditions or artistic conventions" (Abrams 424). Abrams notes that writers were challenged "something fresh and new" from medieval traditions. Medieval ideas concerning love often viewed love as something spiritual rather than physical. Renaissance writers took a more humanistic approach to love. William Shakespeare, Christopher Marlowe, John Donne, and Ben Jonson are writers that incorporate new ideas with the traditional notion of courtly love."
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