Analysis of Sonnet's 57 and 58. Their thematic connection. The nature of the overall Sonnet sequence. Order and structure of the Sonnets. Narrative of the sequence. Principal argument of Sonnet 57. How emotions are structured. Theme of Sonnet 58 first established in 57. Other elements that connect the two poems. Annotated Bibliograpohy.
Shakespeare's Sonnets 57 and 58 are one of a number of thematic pairs or small groups that occur within the larger sequence and subsequences of poems.... more
Shakespeare's Sonnets 57 and 58 are one of a number of thematic pairs or small groups that occur within the larger sequence and subsequences of poems. Indeed the similarity between them is significant enough that one might wonder on first reading if one does not render the other redundant. But close reading of the poems shows that they not only function as a pair but that the order in which they occur in the Quarto of 1609 is essential to their meaning. In a very small way this, in turn, helps confirm that the 1609 order forms a logical sequence as many, but certainly not all, scholars argue. An analysis of the thematic connection between Sonnets 57 and 58, based on readings of their structure, will be preceded by a brief discussion of the nature of the overall Sonnet sequence. There is fairly broad agreement that the speaker in the
Compares similarities & differences of the character of Iago in Shakespeare's great tragedy OTHELLO & in Ann-Marie McDonald's 1988 minor comedy GOODNIGHT DESDEMONA (GOOD MORNING JULIET). Common themes of intrigue & love. Brief description of each play. Symbols & style of each. Iago's motivations; his villainy.
This research paper compares the character of Iago in William Shakespeare's tragedy "Othello" and in Ann-Marie MacDonald's 1988 comedy "Goodnight... more
This research paper compares the character of Iago in William Shakespeare's tragedy "Othello" and in Ann-Marie MacDonald's 1988 comedy "Goodnight Desdemona (Good Morning Juliet)." To better understand the similarities and differences in both plays, a brief description of each needs to be given. There is no doubt that "Othello" is a tragedy of intrigue in spite of the fact that it contains many of the elements of Shakespearean comedies -- the central theme of love, the conflicts between men and women, and the handkerchief, of course, may be seen as a comedic prop. During the course of Shakespeare's play, Iago commits a series of wicked and deceitful acts that culminate in violence. Iago is an ensign to the general Othello, a black Moor who is serving under the Venetian Senate. He becomes jealous when Cassi
Examines conflicting loyalties in two fictional characters. Common problems both face in deciding how to behave when faced with conflicting loyalties. Character of Brutus in Shakespeare's Elizabethan drama "JULIUS CAESAR;" political ideals. Character of Mookie, an African American in 1989 New York in Spike Lee's film "DO THE RIGHT THING;" social discontent.
Loyalty signifies one's duty and fidelity to a cause, a person, a place or an ideal. There are times, however, when more than one object of loyalty... more
Loyalty signifies one's duty and fidelity to a cause, a person, a place or an ideal. There are times, however, when more than one object of loyalty is present, and the result is conflicting loyalties. This paper will examine conflicting loyalties in two very different characters from two different genres and historical times. The first character is Brutus, a noble patrician in Shakespeare's Elizabethan drama Julius Caesar. The second character is Mookie, an African-American pizza delivery man in 1989 Brooklyn, New York in Spike Lee's film Do The Right Thing. Although both characters are worlds apart in every way, they share a common predicament: how should one behave when faced with conflicting loyalties. Both Brutus and Mookie want to do the right thing, but first they have to know what the right thing is, and convince themselves of its justness.
Assesses the historical character as recreated by Shakespeare. Setting of the last battle in The War of the Roses. Principal combatants. Richard as the epitome of all England's wrongs. The nature of Richard III as a villain with some saving graces including self-awareness. Shakespeare's use of poetic license in his characterization of Richard; one-dimensional character.
A Convenient Villain: Richard III Shakespeare’s Richard III is one of the Bard’s “chronicle plays” that describes the eventual... more
A Convenient Villain: Richard III Shakespeare’s Richard III is one of the Bard’s “chronicle plays” that describes the eventual ascendancy of the House of Tudor to the English throne. Elizabeth I was the great-great niece of Richard III, who briefly ruled England before Elizabeth’s grandfather, Henry Tudor (Henry VII) defeated him in battle and took the crown. Elizabeth’s grandmother, also named Elizabeth, was the daughter of King Edward IV and had a claim to the throne in her own right. She was the “prize” won by Henry VII that gave legitimacy to the royal claims of the House of Tudor; her two younger brothers are said to have been murdered by Richard III to pave the way to his own taking of the crown (Parrott, p. 136). For Elizabeth I, therefore, Richard III had to be seen as little more than a villain whose defeat by her own grandfather was
Discusses conceptual binary of culture and nature in the three plays. Shakespeare's "MEASURE FOR MEASURE" and "A MIDSUMMER NIGHT'S DREAM" and "EASTWARD HO" by George Chapman, Ben Jonson and John Martson. "EASTWARD HO" and the city or culture as a wilderness. The city and culture versus nature in Shakespeare's plays. Sexuality in the three plays.
Conceptual Binary: Nature and Culture in Three Plays The purpose of this brief report is to examine three plays – Shakespeare’s Measure for... more
Conceptual Binary: Nature and Culture in Three Plays The purpose of this brief report is to examine three plays – Shakespeare’s Measure for Measure and A Midsummer Night’s Dream, as well as Eastward Ho by George Chapman, Ben Jonson, and John Marston – with respect to their use of a conceptual binary. A conceptual binary is understood as a pair of terms that seem to be complementary, or intrinsically linked yet opposed. In this essay, the binary to be explored is that of nature and culture, which can be manifested in terms of the relationship between the City and the Countryside, or Society and the Wilderness. The first of the three plays is Eastward Ho by Chapman, Jonson, and Marston. In this play, Master Touchstone and Quicksilver are gentlemen at least superficially and are very much a
Analysis of double plotting in "HAMLET" & "KING LEAR." Subplots as devices to support central theme. The primary story of revenge and subplot of Hamlet's relationship with Ophelia in "HAMLET;" other subplots. Several different subplots in "KING LEAR." Problems between Lear and his daughters main plot. Primary subplot of Gloucester and his two sons.
Subplots in Shakespeare’s Plays: Hamlet and King Lear In many of his plays, William Shakespeare used subplots or a device known as double... more
Subplots in Shakespeare’s Plays: Hamlet and King Lear In many of his plays, William Shakespeare used subplots or a device known as double plotting to enhance his audience’s understanding of a play’s theme and characterization. This device will be discussed with respect to two of his greatest dramas, Hamlet and King Lear. In discussing Hamlet, Harold Bloom (p. 409) states that both the primary story (that of Hamlet’s gradual decision to avenge the death of his father) and the subplot (involving Hamlet’s relationship with Ophelia) both involve one of Shakespeare’s greatest inventions, “the internalization of the self.” By making Hamlet both a hero in terms of his avenging role vis-à-vis his father and a villain with respect to his treatment of Ophelia, Shakespeare demonstrated that any indiv
Critical analyses of the play. Approaches of three prominent critics in their analyses of the drama, its plot and the characterization used by Shakespeare to development his themes. John Dover Wilson's link of Hamlet to the Earl of Essex. Ernest Jones' Freudian theory of Hamlet's Oedipus complex. Harold Bloom's focus on theological issues.
Hamlet and the Critics Introduction Hamlet has been characterized by John Masefield (1964, p. 94) as “one of the most baffling of the... more
Hamlet and the Critics Introduction Hamlet has been characterized by John Masefield (1964, p. 94) as “one of the most baffling of the great plays, because it is about baffling: that is the theme: Hamlet is baffled because, being wise, he finds the wise course difficult to decide upon.” The play and its drama requires Hamlet to come to terms with the fact that his much-loved father has been murdered by his uncle, who has simultaneously assumed the kingship and married Hamlet’s widowed mother. Something “from outside life urges Hamlet to take vengeance, but his wisdom does not admit vengeance, it seeks justice, and cannot see its way to justice; however necessary justice might be" (Masefield, 1964, p. 95). The purpose of this study is not to provide an analysis of
Shakespeare's use of violence in the play. The cruelty and destruction in Hamlet's story. The murder of Hamlet's father upon which the play's actions hinge. The demand for vengeance from the murdered King. Hamlet's reaction. Theme of the destructive waste of violence. The nobility of Hamlet's pain and sacrifice.
This paper is a discussion of violence in William Shakespeare’s Hamlet. The play’s actions hinge on a murder and, by the end, eight more people... more
This paper is a discussion of violence in William Shakespeare’s Hamlet. The play’s actions hinge on a murder and, by the end, eight more people have died violently. Yet the greatest violence is done to the living (in some cases, driving them to kill), and Shakespeare uses all these acts as a cautionary tale. In Hamlet’s own words, “I must be cruel to be kind” (III IV 1003). Through violence, he argues for clemency and empathy. Before the play begins, Hamlet’s uncle has murdered his father in order to secure the throne for himself. Claudius then claims Hamlet’s mother as his queen, seducing and distracting her from questioning her father’s death. Yet the restless ghost of the murdered king demands vengeance, and his haunting appearances set the actions of the
Examines characterization of women in two plays. Analysis of major female characters in HAMLET and KING LEAR. Relationship of these women to the tragic hero of each drama. The psychology of the female characters. The tragic decline of Hamlet and of Lear. The women's responsibility in their fates.
This research examines the characterization of women in Shakespeare's Hamlet and King Lear as a presentation of an apocalyptic vision embedded in the... more
This research examines the characterization of women in Shakespeare's Hamlet and King Lear as a presentation of an apocalyptic vision embedded in the tragic scheme of action. It will be argued that in each of the plays, different as they and their respective tragic heroes are, the major women characters are positioned in ways that complicate and lend psychological texture to the unfolding action in general, while amplifying the stature of the tragic hero in particular. H.D.F. Kitto distinguishes between Greek tragedy, which "presents sudden and complete disaster, or one disaster linked to another in linear fashion," and Shakespearean tragedy, which "presents the complexive, menacing spread of ruin." The Greeks, says Kitto, derive tragedy from transgression of "divine law," while Shakespeare derives it from "an evil quality which, once it has b
Discussion of theme of human behavior in play. Inner & outer life.
"Measure for Measure" takes its title from the Gospel according to Matthew: “with what measure ye mete, it shall be measured to you again" (Matthew... more
"Measure for Measure" takes its title from the Gospel according to Matthew: “with what measure ye mete, it shall be measured to you again" (Matthew 7:2), a passage from the Sermon on the Mount. This sermon emphasizes the difference between outer sanctity and inner corruption, between seeming and being. Like the play, the Sermon on the Mount stresses the world of the soul, the intentions, the mind: emphasizing not only on what a person does but also what he thinks, the inner life is even more significant than the outer life. The law as figured in the Ten Commandments can speak to behavior, distinguishing between what is good and what is bad; but it cannot speak to attitude and intention. Moreover, in its specificity, the law is prone to become concrete legalism, a