Anthony G. Barthelemy Pub. Macmillan New York, NY 1994. (page 68-90) Shakespeare, W. (1997) Othello (c. 1602) E. A. J Honigmann (Ed.) Surrey: Thomas Nelson & Sons Ltd. Snyder, Susan. "Beyond the Comedy: Othello" Modern Critical Interpretations, Othello Ed.
Clark and Wright 247-277 Watts, Cedric. Twayne's New Critical Introductions to Shakespeare: Romeo and Juliet. Boston: Twayne Publishers, 1991.
Order and Superstition in the Tragedies of Shakespeare The concept of order was an extremely important one to William Shakespeare, and to Elizabethans in general. We in the existentialist atomic age have little trouble conceiving of an individual man or woman as the only beacon of light in a world gone irrevocably and irredeemably mad, but this would be inconceivable to Shakespeare and his audience. Shakespeare staunchly followed the common Elizabethan conception of the universe as deliberately and benevolently patterned and planned; when, for some reason, something happened to temporarily force things out of kilter, individual people might suffer, but the universe would soon right itself and life would go on. This belief in a divine plan also underwrote Shakespeare's usage of portents and omens in such plays as Julius Caesar and Macbeth; because he saw the world as something planned and coherent, it is possible to divine that plan through supernatural sources. But there is little point; to try to force one's will against fate, Shakespeare tells us, will inevitably end in tragedy.
King Lear HarperCollins Publishers New York, NY, 1994 Shakespeare, William. Romeo and Juliet Berkley Publishing Corp New York, NY, 1967 Secondary Resources Bradley, A.C. Shakespearean Tragedy Http://global.cscc.edu/engl/246/TragedyLex.htm Dover, James. An Intro to Shakespeare Oxford University Press, New York, NY, 1961 Fox, Levi. The Shakespeare's Handbook. G.K. Hall & Co. Boston, Mass, 1987 Lamb, Sidney.
Is what she saying all lost thoughts about her head, or do they make sense, perfect senses to the outcome of the play. For the most part during this time in her life, Ophelia has no one to tell her, or guide her. As her brother does when he warns her of "Hamlet and the trifling of his favor..." (1, 3, 5), that "His greatness weighed, his will is not his own"(1, 3, 17). She is also at a loss for her father, Polonius' words of wisdom of her relationship with Hamlet; he states, "Do not believe his vows, for they are brokers, not of that dye which their investments show..." (1, 3, 126-127). Nor does she have Hamlet to lean to for advice as when he tells her to "get thee to a nunnery..."(3, 1, 121).