Cited and Consulted: Boklund, Gunnar. "Judgment in Hamlet." Essays on Shakespeare. Ed. Gerald Chapman. Princeton, NJ: Princeton University Press, 1965. Levin, Harry. General Introduction. The Riverside Shakespeare. Ed. G. Blakemore Evans. Boston: Houghton Mifflin Co., 1974. Shakespeare, William. The Tragedy of Hamlet, Prince of Denmark. Massachusetts Institute of Technology. 1995. http://www.chemicool.com/Shakespeare/hamlet/full.html No line nos.
of Moth in Love's Labor's Lost Like much of Love's Labor's Lost, the young character Moth is full of paradox. When Shakespeare has little Moth play great Hercules in the "Nine Worthies," the playwright offers humor in contrasting the physiques of the actor with his role, or as Armado puts it, Moth "is not quantity enough" (5.2.130) to play the Greek god. However, Shakespeare may also be using this contradiction to compare physical strength with mental. Although physical ability doesn't carry
his youthful resemblance to his deceased father. As the King explains, "Such a man might be a copy to these younger times,/Which followed well would demonstrate them now/But goers-backward" [I.2. 49-51]. Like so many literary youths of his day, Shakespeare went backward for his source material for All's Well and based the play on Giovanni Boccaccio's Decameron. Boccaccio's early sixteenth-century story revolves around Giletta of Narbona, the daughter of a wealthy and respected physician. Giletta,
spirit of commitment and unity in the church is for the leaders to die to themselves and be all the way committed – the same thing applies to money and other things that will determine whether I will be a community killer or community builder to the Riverside church. My position as a leader makes this an even more critical issue.
house, My household stuff, my field, my barn, my horse, my ox, my ass, my any thing”. If Katherine was to die before Petruchio, he would inherit all of her land, but if he was the first to go, Katherine would only receive one third of his (Papp). Shakespeare is portraying a characteristic of how Elizabethan women were through one of his plays. They were taught to have a charm to them and to be dressed flamboyantly so that they were both pleasing to look at and to show about how their husbands’ or fathers’
universal plays and, not coincidentally, is very much concerned with human behavior and emotion. As John Wilders observes in The Lost Garden, “Prospero’s island is what the sociologists call a ‘model’ of human society. Its cast of characters allows Shakespeare to portray in microcosm nearly all the basic, fundamental social relationships: those of a ruler to his territory, a governor to his subjects, a father to his child, masters to servants, male to female, and the rational to the irrational within
Shakespeare' As You Like It: Effective Use of Sound In Jaques' Speech As infamous as Shakespeare is, and as well known as his works are, some prose are just simply more extraordinary than the rest. There are many ways to look at Jaques speech, such as use of language or imagery yet, something we often do not reflect on is the sound of the prose. When reading this particular speech, the subject is directly related to the sounds Shakespeare has chosen. We are guided gracefully through the stages
Introduction. The Riverside Shakespeare. Ed. G. Blakemore Evans. Boston: Houghton Mifflin Co., 1974. Nevo, Ruth. “Acts III and IV: Problems of Text and Staging.” Modern Critical Interpretations: Hamlet. Ed. Harold Bloom. New York: Chelsea House Publishers, 1986. Rpt. from Tragic Form in Shakespeare. N.p.: Princeton University Press, 1972. Shakespeare, William. The Tragedy of Hamlet, Prince of Denmark. Massachusetts Institute of Technology. 1995. http://www.chemicool.com/Shakespeare/hamlet/full
Howard Felperin, in his essay “O’erdoing Termagant,” expounds on the ambiguity within Hamlet’s directives to the plays (“O, it offends me to the soul . . .”): Yet whether or not Hamlet’s account of the purpose of playing is also Shakespeare'’, the fact that it occupies a central place within the most theatrically self-conscious and complex of his plays makes it more problematic than is usually supposed, a text in certain respects ambiguous in its statement and inconsistent with the
Macbeth: Subversion of Reason by Ambition Throughout the play Macbeth, by William Shakespeare, the reasoning of the central characters, Macbeth and Lady Macbeth, is completely subverted by their insatiable ambition. At first, Macbeth is reasonable enough to keep his ambition under control. However, his ambition gradually becomes stronger and eventually overpowers Macbeth. Lady Macbeth is controlled by ambition from the very beginning. After the decision is made to kill Duncan, all rational
but Earnest Young Aristocrat.” Readings on Hamlet. Ed. Don Nardo. San Diego: Greenhaven Press, 1999. Rpt. from The Masks of Hamlet. Newark, NJ: Univ. of Delaware P., 1992. Shakespeare, William. The Tragedy of Hamlet, Prince of Denmark. Massachusetts Institute of Technology. 1995. http://www.chemicool.com/Shakespeare/hamlet/full.html West, Rebecca. “A Court and World Infected by the Disease of Corruption.” Readings on Hamlet. Ed. Don Nardo. San Diego: Greenhaven Press, 1999. Rpt. from
The Importance of Emilia in Shakespeare's Othello In Othello the Moor, Shakespeare combines destiny with a fatal character flaw and that flaw is jealousy. Shakespeare's tragedy allows one character to hold the key to the entire web he has spun and that character is Emilia. Emilia is the lone character who garners the knowledge to all circumstances of the events surrounding the characters in Othello the Moor. Although other characters in the play are privy to certain details of the unfolding
Women's Sinister Roles in Macbeth In reading Shakespeare's tragic drama Macbeth, one meets only one good woman - Lady Macduff. The remaining female characters are basically evil. Let's consider mainly Lady Macduff and only briefly the three witches. Blanche Coles states in Shakespeare's Four Giants that Macbeth's wife had considerable leverage over her husband's mind: This was her opportunity to do as she had promised herself she would do after she had read the letter - to pour
has often been dismissed as a mere farce, unworthy of any serious attention. Yet, when the author is Shakespeare, even a "farce" is well worth a second look. Shakespeare himself may have takent his comedic work quite seriously, for audiences expected comedy of his day not only to entertain, but also to morally instruct. It is not surprising, therefore, that for one of his earliest comedies, Shakespeare found a model in the plays of Plautus and Terence, which were studied in all Elizabethan Grammar Schools
grace, hell and heaven . . . and the disease images of IV, iii and in the last act clearly reflect both the evil which is a disease, and Macbeth himself who is the disease from which his country suffers."(67-68) Roger Warren comments in Shakespeare Survey 30 , regarding Trervor Nunn's direction of Macbeth at Stratford-upon-Avon in 1974-75, on opposing imagery used to support the opposing notions of purity and black magic: Much of the approach and detail was carried over, particularly
him down. Works Cited and Consulted: Greenblatt, Stephen. "Introduction to Macbeth." The Norton Shakespeare. New York: Norton, 1997. 2555-63. Hawkins, Michael. "The Witches and Macbeth." Focus on Macbeth. Ed. John Russell Brown. London: Routledge, 1982. 155-88. Kermode, Frank. "Introduction to Macbeth." The Riverside Shakespeare. Boston: Houghton, 1974. 1307-11. Shakespeare, William. Tragedy of Macbeth . Ed. Barbara Mowat and Paul Warstine. New York: Washington Press, 1992
not limited to the framing plot, though they often depend on it. In fact, what is serious and thought-provoking in the play is often the source of laughter, too. Usually the laughter comes first, and then, if we're attentive, we'll notice that Shakespeare has given us something to think about. Let me offer some examples. First, the play treats with some seriousness issues related to marriage: jealousy, loyalty, love, misunderstanding, the need for patience, the "troubles of the marriage-bed,"
The Motifs of Blood and Water in Macbeth In his masterpiece Macbeth, William Shakespeare employs many motifs, but none more often than blood and water. The play includes many images of blood and water to show the characters' attitudes toward their own development of guilt. Both motifs mature and change in their meaning along with the setting and mood of the play. “Without an understanding of the blood and water symbolism, the play cannot be completely understood”(Scott 14). Blood symbolizes
The Horrendous Evil Within Macbeth Macbeth by William Shakespeare is a recognized classic tragedy portraying the victory of good over evil. This paper will explore the various expressions of evil within the play. a In Fools of Time: Studies in Shakespearean Tragedy, Northrop Frye compares some evil in the play to demonic possession: There is some suggestion of being relieved from a kind of demonic possession, of a type that seems to run through history with its own version of de
in William Shakespeare's A Midsummer Night's Dream Shakespeare anticipates the Freudian concept of the dream as egoistic wish-fulfillment through the chaotic and mimetic desires of his characters in "A Midsummer Night's Dream." The play also utilizes a secondary meaning of the word "dream" - musicality - by tapping into theater's potential for sensory enchantment. Through this artificial recreation of the dream-state, Shakespeare integrates the audience, whom the solipsistic characters