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"A Midsummer Night's Dream", 2008.
A discussion on various subject themes in the play "A Midsummer Night's Dream " by William Shakespeare.
914 words (approx. 3.7 pages), 1 source, APA, $ 32.95
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Abstract
The paper discusses "A Midsummer Night's Dream" by William Shakespeare. The paper notes that the play weaves together the three subject themes: a reality in Athens, a dream-state in the woods, and the play-within-the play. The paper discusses that it is a tale of three romances, of love triangles, of jealousy and hilarity. The paper also states that Shakespeare's play is therefore structured to ask its readers and viewing audiences to contemplate the meaning of fiction and its impact on human consciousness.
From the Paper
"They share characters and situations. For example, all four of the play's central human characters fall asleep in the woods and enter its dreamlike world. Hermia, Helena, Demetrius and Lysander all appear in the city and in the woods and have equally significant roles in both worlds. Likewise, Bottom and the rest of the craftsmen troop practice "Pyramus and Thisbe" in the woods but perform it to the king and queen-to-be in Athens. The woods therefore serves as the place in which dreams are created, crafted, and nurtured. Those dreams then impact the daily lives of those living in the concrete world of the city, just as Shakespeare's play impacts the daily lives of those who read and watch them."
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Tragedy, Comedy and Human Nature, 2008.
This paper analyzes how human nature is reflected in the three theater genres of comedy, tragedy and drama.
1,401 words (approx. 5.6 pages), 3 sources, MLA, $ 46.95
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Abstract
This paper discusses the three theater genres that reconstruct human experience: comedy, tragedy and drama. The paper first discusses the theater genre of tragedy using Shakespeare's "Hamlet" as an example and then describes the genre of comedy using Shakespeare's "A Midsummer Night's Dream" as an illustration. The paper also discusses the origins of drama genre and points out how it differs from the tragedy genre. Furthermore, the paper then points out that despite notable difference in characters, plot, outcome and tone, these three genres all reflect human nature. The paper concludes that whether comical or tragic, the main function of the theater is to stir emotions by portraying the frailties of the human condition.
From the Paper
"The theater can be considered as a reproduction of the fundamental conditions of human existence. The theater can be seen as a set of symbols reconstructing the conditio humana as a basic theater representation contains all the trials and tribulations of life. Acting can be deciphered as the attempt to assume a different identity. In this sense, the theater is a continuous creation and changing of identities. Irrespective of cultural and epochal differences, this has remained a constant as far as theatrical performance. There are three theater genres each reconstructing human experience: comedy, tragedy and drama. Nonetheless, despite notable difference in characters, plot, outcome, tone etc. these three genres have one thing in common, i.e. they reflect human nature."
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| Term Paper # 108413 |
temporarily unavailable
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Sophocles' "Oedipus Tyrannus", 2008.
Reviews the play Sophocles' "Oedipus Tyrannus", especially the theme of fate and free will.
1,320 words (approx. 5.3 pages), 1 source, MLA, $ 44.95
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Abstract
This paper explains that Sophocles' play "Oedipus Tyrannus" asks the question whether Oedipus could have used free will to stop the fulfillment of the prophesy concerning his life and, if not, whether he deserved his self-imposed fate at the end of the play. The paper points out that one of the central flaws in Oedipus' character is his confidence, stubbornness and pride in himself, which led to his fate in the end. The paper concludes that Oedipus cannot be regarded as guilty but rather a victim of forces outside of his control.
Table of Content:
Character
Fate vs. Free Will
Oedipus' Guilt
From the Paper
"The audience is not presented with the impression that Oedipus' fate is the direct result of any flaw in his character. Indeed, the people of Thebes love and respect him. He also shows his integrity in dealing with those seeking his downfall. Creon for example seeks a private audience with Oedipus, but Oedipus refuses this in the interest of disclosure in matters regarding his people. He also shows himself to be a good king, in placing the interests of his people before his own."
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"Othello", 2008.
A discussion on Iago's soliloquies in "Othello" by William Shakespeare in Act I.3.375-396.
1,151 words (approx. 4.6 pages), 1 source, MLA, $ 39.95
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Abstract
The paper states that throughout the play "Othello" by William Shakespeare, the only character to speak to the audience directly and intimately, is the character of Iago. He speaks to the audience and discloses his true motivations for his treacherous actions in the world of the play. The paper comments that Shakespeare uses this literary device specifically to show the audience the true colors of Iago. In the last passage of Act 1, Act 1.3.375-396, Iago's soliloquy is a glance at his manipulative psyche, where he believes himself to be the master of the other characters. His excessive pride and deception later result in the tragic end of the play. The paper notes that the audience develops a strange, but special, relationship with Iago through his manic ridden soliloquies. In the end, however, Shakespeare chooses to end Iago's term as master of the play and reclaims his position as playwright from the arrogant Iago.
From the Paper
"He uses his role as confidant to the other characters to manipulate them into believing he has their best interest in mind, when really he plays them pawns against each other for his own goals. Iago shows the audience his dislike for Roderigo, which therefore allows the audience special access into the real world of Cypress where Iago pulls the strings, and not Othello. This passage also shows the depth of Iago's deception. As seen when he discusses Othello later in his soliloquy, Iago takes great pains to make himself the innocent confidant, when his true purpose is to destroy those who trust in him."
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"The City Match" and British Drama, 2008.
This paper examines the relationship of Jasper Mayne's play "The City Match" (1639) to the British Commonwealth and the Restoration.
1,203 words (approx. 4.8 pages), 4 sources, MLA, $ 41.95
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Abstract
The paper focuses on the work of Jasper Mayne, a popular playwright before and immediately after the Restoration, and the author of "The City Match". The paper explains that "The City Match," is not a tragedy, but it does reflect the political concerns of the day, and its dialogue shows why the Puritan Parliament was so eager to silence the theaters for political reasons. The paper highlights how "The City Match" was written during a critical juncture between two very different styles and eras of British drama.
From the Paper
"One of the most important events in British literature was the closing of the British theater during the period of history known as the Commonwealth, when the monarchy was abolished and the Puritan Parliament was officially in control of the nation. Lord Protector Oliver Cromwell ordered that stage plays were forbidden because such "lascivious Mirth and Levity" did not "comport with public calamities and seasons of humiliation," in other words, because play-going did not conform to the appropriate respect that citizens should feel for the sinfulness of the world and their own fallen nature (Wright 75)."
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