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"The Merchant of Venice", 2008.
A study of the message conveyed in William Shakespeare's "The Merchant of Venice", through the portrayal of the characters.
2,300 words (approx. 9.2 pages), 1 source, APA, $ 70.95
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Abstract
The paper discusses the play "The Merchant of Venice" by William Shakespeare which depicts characters who are not as obviously evil or heroic as originally thought. The paper illustrates that the play simply raises the question of stereotypes and of the audience's prejudices toward a race of people, in order to examine it in their own minds. There is no answer to the question of whether Shylock was good or evil. Critics who have placed the blame either squarely on Shylock for being evil or who have taken the opposite tact, have missed the point. The paper concludes that the point of the play is not to display Jewish villainy, but to show humanity, to examine pity, to find the meaning of mercy and to dread the consequences of revenge.
From the Paper
"It is here, in The Merchant of Venice, the Jewish Shylock makes a case against slave ownership. He reaches the trial, an opportune time in the play where one might be able to make a point and make a point Shylock certainly does. Even though it has been argued that Shakespeare was anti-Semitic, in actuality, The Merchant of Venice shows that he is not insensitive to the Jewish plight and in fact is more anti-slavery than anything else. Even though the hero, Antonio, his friend, Bassanio and the duke triy to save the day, all are against him, Shylock does not waver, but continues with his request for a pound of flesh, as he says, concerning slaves, "Let them be free, marry them to your heirs /Why sweat they under burdens?.. . . You will answer 'The slaves are ours.' So do I answer you." A young judge is sent, when Bellario cannot come to be judge because he is ill. Balthasar decides in Antonio's favor, speaking through Portia, who in this play is shown not only to be assertive, but wise."
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Oedipus, 2008.
A review of the theme of "sight and blindness" depicted in the Greek play, "Oedipus the King" by Sophocles.
1,600 words (approx. 6.4 pages), 1 source, APA, $ 52.95
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Abstract
The paper discusses Sophocles' "Oedipus the King" the tragedy of a king who, in the very attempt to flee his fate, brings about his destiny. The paper states that throughout the play, themes of sight and blindness occur in a number of variations. The paper describes that sight therefore could be seen to be symbolic of truth, while blindness represents hidden truths or outright lies. The paper states that at the end of the play, Oedipus blinds himself in a striking attempt to regain the innocence of his previous lack of full knowledge.
Outline:
Sight and Blindness: Oedipus
Sight and Blindness: Creon
Sight and Blindness: Jocasta
Conclusion: Free Will and Destiny
From the Paper
"In this, the Oracle and the Chorus represent sight. They warn Oedipus against searching for the truth, as it can only lead to disaster, which ultimately it does. His desire for truth and honesty however will not let him remain blind to the true state of affairs. As Oedipus moves from his symbolic blindness to finally shedding light upon the ugly truth, he cannot handle finally seeing, and blinds himself. This literal blindness and concomitant pain now takes the place of the blissful sightlessness that he has experienced throughout his life. Oedipus journey therefore comes full circle: from blindness to sight to blindness again."
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"Our Town", 2008.
An analysis of the themes presented in Thornton Wilder's play, "Our Town."
914 words (approx. 3.7 pages), 0 sources, $ 32.95
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Abstract
This paper analyzes Thornton Wilder's play, "Our Town." The paper describes the plot and characters of the play and focuses on the themes that Wilder presents through the play. It suggests that "Our Town" is emblematic of turn-of-the-century America and that Wilder's play includes subtle references to modernization, industrialization and globalization.
From the Paper
"Our Town is emblematic of turn-of-the-century America. Thornton Wilder's play includes subtle references to modernization. In keeping with the suggestion that small town values include insularity and resistance to change, Wilder does not make any overt references to industrialization or urbanization. Instead the insight into every day life in Grover's Corners lends insight into how America was changing at that crucial period in world history. Although gender values and social roles were generally unchanged, persons of Emily's and George's generation were on the brink of a major turning point at which the world's balance of power would indelibly change. The coming World Wars would alter the geo-political landscape in Europe and propel America onto the world's stage in a role that the nation had never served before. Wilder hints at the dramatic future of America through his time capsule and also through his use of the Stage Manager, who directly addresses the audience in a dramatically ironic manner."
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Throne of Death, 2008.
This paper studies Akira Kurosawa's film 'Throne of Blood', focusing on the theme of symbolism.
1,349 words (approx. 5.4 pages), 2 sources, MLA, $ 45.95
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Abstract
In this article, the writer notes that Akira Kurosawa's 'Throne of Blood' is more than just an adaptation of Shakespeare's Macbeth. The film is a visual feast with riddled rich symbolism. The writer maintains that it is that symbolism that makes 'Throne of Blood' so memorable. The writer notes that 'Throne of Blood' has a somewhat misogynistic tone that portrays females as socially subservient and spiritually evil. Crescent moon symbols combined with frequent intrusions from the natural world imbue 'Throne of Blood' with pagan symbolism and supernatural elements. The writer maintains that Kurosawa succeeds in solidifying this eerie atmosphere by transforming one of Shakespeare's most disturbing tragedies into high cinema.
From the Paper
"Filming in black and white also suggests the moral choices between good and evil. Washizu seems incapable of distinguishing between good and evil, symbolized by the mist that clouds his vision at several points in the film. He had once remained loyal to his best friend and to his Lord. Until Asaji poisons his mind and suggests that Miki is plotting against him, Washizu's moral choices are sound. Later his choices are clouded by delusional thoughts and the central character descends into a spiral of murder, madness, and mayhem. Ironically, the witch and Asaji are both shrouded in white, which is usually a color symbolizing purity and goodness. Asaji is the most directly evil character in Throne of Blood. Her white face and clothing do not symbolize purity as much as they signify the thematic connection between her character and the witch. The witch appears bathed in white light, which emphasizes her otherworldliness. Neither good nor evil, the witch simply tells Washizu what she sees. It is Asaji who tells Washizu how he should act. Both the witch and Asaji influence Washizu and sway him from one moral pole to the other."
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Comedy, Drama and Tragedy, 2008.
This paper examines Greek and Elizabethan tragedies, dramas and comedies.
1,715 words (approx. 6.9 pages), 7 sources, MLA, $ 55.95
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Abstract
The paper describes the basic form of the Elizabethan play that is modeled after the Greek structure. The paper looks at Greek tragedies and comedies and considers Gustav Freytag's classic analysis of Greek and Elizabethan plays. The paper includes a diagram of Freytag's triangle as an appendix.
From the Paper
""Fiction," says Jean Anouilh, gives life its form." Shakespeare derived his Comedy of Errors from Plautus' Menaechmi and many of Shakespeare's dramas are retellings of the ancient fictions of Greek myths, both tragedies and comedies. The basic form of the Elizabethan play (indeed, most plays written in successive periods, up until contemporary theater and film) is modeled after the Greek structure. One may recognize the structure still being used in theater and much narrative literature today. Utilization of this basic structure allows the story to flow naturally, allows the audience to recognize the reality and truth of life in the story, and to anticipate and yearn to find the moral or the message that resides in its heart."
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Revisiting 'Rothschild's Fiddle', 2008.
This paper looks at the idiom of Anton Chekhov by revisiting his work 'Rothschild's Fiddle' and comparing the style to that of contemporary writer Raymond Carver.
2,631 words (approx. 10.5 pages), 8 sources, MLA, $ 79.95
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Abstract
In this article, the writer notes that before author Anton Chekhov pursued a career in writing, he was a practicing physician and writing was a way for him to express his feelings, opinions, and experiences. His medical practice helped him to bring a unique perspective to his work. The writer points out that Chekhov expressed many themes in his work, including poverty, tragedy, and pain, yet his work seems simple and clear. It allows the reader to come to his or her own conclusions about the material presented. In this essay the writer explores Chekhov's story "Rothschild's Fiddle," and compares the style with that of the contemporary short story writer Raymond Carver.
From the Paper
"Another symbol is seen in the association Chekhov creates between Yakov and the violin and the orchestra. The violin represents the influence of music that soothes him and can change his emotion. Yakov uses the violin and fiddling to forget about the losses he's suffered. As a violin player, he is one of a group of music players. The orchestra stands for togetherness, a group of musicians that play a piece of music smoothly and beautifully by cooperating. TThe orchestra could also represent the town Yakov lives in, where everyone is expected to have common courtesy and respect for each other. In that orchestra or environment, Yakov sticks out like a sore thumb. He often becomes uncomfortable with the surroundings where is playing and feels hatred toward the Jews around him. Seeing Yakov so insecure and uncomfortable shows his inability to feel a part of society. He can't fit in. He cannot see things from the other person's perspective and does not care how others feel. He is alienated and lacks basic social skills."
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The Black Arts Movement, 2008.
Explores today's black arts movement, which includes music, stage, film, television, literature and the visual arts.
2,310 words (approx. 9.2 pages), 8 sources, MLA, $ 71.95
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Abstract
This paper explains that the black arts movement is an extension of the Harlem renaissance period. The author points out the contributions of black persons to different genres or mediums of the arts in an overall social context. The author also stresses the impact of the black arts movement on all artists, regardless of color, and to the general culture to the extent that today the lines between white and black performers has been successfully blended.
From the Paper
"It was a well known fact that, by the time many young black men reached their early twenties, they had been arrested or came of age during incarceration. Rap reflected this, not just in the music, but in the music labels that were born to promote the industry: Death Row Records; Jive Records, Def Jam; Quannum Projects. All depicted labels that told the contemporary black story, and it wasn't a pretty a story. Black community, who had supported and marched with the Dr. Martin Luther King, Jr., finally began speaking out against the violence message in rap aimed towards black women."
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Conflict in "Antigone", 2008.
An analysis of the main thematic conflict in the drama "Antigone" by Sophocles.
1,379 words (approx. 5.5 pages), 1 source, MLA, $ 46.95
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Abstract
This paper discusses the main thematic conflict in the tragic drama "Antigone". Specifically, the paper relates that the main thematic conflict in "Antigone" is Antigone's rebellion against authority and law. The paper then looks at how Creon represents the power of the state, while Antigone represents the individual. The paper explains how the conflict is resolved in a tragic way; Creon loses some of his pride while Antigone loses her life.
From the Paper
"Early in the play, it becomes clear that Antigone is not afraid of the power of Creon or the state. She believes the laws are unfair, and she is not afraid to stand up against them and challenge Creon and his power. She believes the gods are the only ones who can truly make the laws, and this sets up the conflict between Antigone and Creon that lasts through the entire play. She says, "Creon is not strong enough to stand in my way" (Sophocles 1304), and she truly believes this, which is why this tragic conflict continues. She loves her brother enough to sacrifice herself to make sure he is properly buried and she will not let the laws of a powerful king stand in her way."
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Revenge in Drama, 2008.
Compares the theme of revenge in Henrik Ibsen's "The Wild Duck", William Shakespeare's "Hamlet" and Aeschylus' "The Oresteia".
1,325 words (approx. 5.3 pages), 3 sources, MLA, $ 44.95
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Abstract
This paper states that revenge makes for some of the best stories ever written and suggests that "The Wild Duck" by Henrik Ibsen is one of the best revenge tales ever told. The paper maintains that the theme of revenge in "The Wild Duck" is far stronger than that in "Hamlet", which is more similar to "The Oresteia". The paper relates the plots of each of these stories and argues that, in "Hamlet" and "The Oresteia", the characters are motivated by the death of someone they love. Thus, their revenge is more justified than Gregers' motivation in "The Wild Duck" because they are avenging the death of a loved one.
From the Paper
"Gregers' first plan of action is confronting his father about his past. He argues with him about his mother and tells his father that it was the "suffering and humiliation she had to undergo, till at last it broke her down and drove her to such a miserable end." It is clear from their conversation that nothing is going to be resolved. What we do learn from this conversation is Gregers inability to forgive or forget his father. That is not to say that Werle asked for forgiveness or deserved it even but the fact that Werle is not remorseful at all does not make things between the two men any better."
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Play: Susan Glaspell's "Trifles", 2008.
Examines the background, the plot and the critical views of Susan Glaspell's play "Trifles".
1,325 words (approx. 5.3 pages), 4 sources, MLA, $ 44.95
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Abstract
This paper relates that Susan Glaspell, a reporter, based her one-act play "Trifles" on events that actually happened in Iowa near the turn of the 20th century, which she covered. The author points out that the plot of the play is as if Glaspell didn't like the outcome of the real-life situation and then got to craft her own ending. The paper relates that the themes in "Trifles"are gender relationships, the tug-of-war battles between the sexes, women's perceptive intuition vs. men's bullishness, male chauvinism and the good-old-boy network of criminal justice
From the Paper
"After leaving newspaper work, her writing was strictly fictional; until that is her husband, George Cram Cook (a classics scholar with whom she had been involved during his second marriage in a long affair) urged her to write a play. "Glaspell may have been trying to buoy up Cook's artistic reputation by making him out to be the party responsible" for her literary success, something he, Cook, had never achieved. Meanwhile, even though Glaspell herself carried on an affair with a married man, thus hurting another woman, she painted men in "Trifles" as the bad guys."
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Sophocles' Theban Plays, 2008.
This paper discusses the merits of reading Sophocles' Theban play cycle, "Oedipus the King", "Oedipus at Colonus" and "Antigone" in chronological order.
1,323 words (approx. 5.3 pages), 1 source, MLA, $ 44.95
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Abstract
The paper argues that reading the three plays "Oedipus the King", "Oedipus at Colonus" and "Antigone" in chronological order gives us more insight into Sophocles' narrative skill. The paper explains that one is able to fully savor the strange fusion of character and destiny that Sophocles manages to pull off as a playwright and storyteller. The paper argues further that although the play cycle has occasional lapses in chronology and internal inconsistencies, the plays also show us how certain characters, in particular, Creon, are able to radically transform themselves over time.
From the Paper
"Sophocles composed the Theban plays during a thirty-six year span. The three plays were actually not composed in chronological order; Antigone was penned first, followed by Oedipus the King, and finally, Oedipus at Colonus, shortly before Sophocles's death. As such, the three plays are rife with inconsistencies that come out when one reads them closely in chronological (i.e. sequential) order. Most notably, at the end of Oedipus the King, Creon has emerged as the undisputed King. He decides to expel Oedipus from Thebes after consulting with Apollo. Creon is then asked to look after Antigone and Ismene, the two daughters of Oedipus, which he agrees to do. In the subsequent plays, however, the two daughters are found wandering about on their own, either having fled with Oedipus or actively campaigning against Creon, who is supposed to be looking after them."
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"Hamlet" and "Orestes", 2008.
A comparison of the plots and characters in William Shakespeare's "Hamlet" and the Greek tragedy, "Orestes."
1,337 words (approx. 5.3 pages), 4 sources, MLA, $ 44.95
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Abstract
This paper discusses the connection between William Shakespeare's play, "Hamlet" and the Greek tragedy, "Orestes." It describes the parallels between the two plays and the similarities between the plots and the main characters. The paper suggests that the main thing that makes the two plays collude is the attitude of the main hero who hesitates and suffers in front of his ponderous duty.
From the Paper
"In Hamlet however, the psychological complexity of the situation surpasses even that in Oresteia. Modern thought sublimates the tragedy and the decision that has to be made by Hamlet is even more unsettling than that which has to be made by Orestes. Confronted with a state of moral rottenness that reigns over Denmark, Hamlet is, as Showerman stresses, "caught between irreconcilable imperatives": "The Oresteia of 458 BC and Shakespeare's Hamlet both explore the interaction between gods and ghosts and the tragedy of human beings caught between irreconcilable imperatives."(Showerman, 67) Hamlet goes through various states of mind throughout the play, ranging from sheer indignation at the immoral state in which the royal family and implicitly his country is, and reaching almost a state of indifference. Thus, Hamlet's first reaction upon hearing the truth of the murder from the ghost of his father is to state that he is anxious to take his revenge to the end as fast as possible: "Haste me to know't, that I, with wings as swift/ As meditation or the thoughts of love,/ May sweep to my revenge."("Hamlet", 1.5. 33-35) Gradually however he begins to doubt everything, and loses all assuredness. He begings to see the difficultness that lies in his moral duty: "O cursed spite,/ That ever I was born to set it right!"("Hamlet", 1.5. 207-208) As in Orestes' case, Hamlet sees his father in a aura of distinction, as a sacred representative of monarchy and righteousness: "See what grace was seated on his brow--/ Hyperion's curls, the front of Jove himself,/ An eye like Mars, to threaten or command,/ A station like the herald Mercury/ New-lighted on a heaven-kissing hill." ("Hamlet", 3.4.55-58) The injustice of the crimes grows continuously in Hamlet's mind, baffling his initial decision to take immediate revenge on the murders."
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"Epicoene": An Ambivalent Comedy, 2008.
An analysis of the plot, characters, style and purpose of Ben Jonson's famous play, "Epicoene or the Silent Woman"
2,741 words (approx. 11.0 pages), 10 sources, MLA, $ 82.95
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Abstract
This paper discusses Ben Jonson's famous play, "Epicoene or The Silent Woman." The paper analyzes the plot and the characters of the play. It discusses the style in which "Epicoene or The Silent Woman" is written and its structure of an overlapping array of plots that essentially subsume one another throughout the course of the play. The paper looks at Jonson's purpose in the play and its success.
From the Paper
"There is also the sexual sub-plot, which is skillfully woven into the play. Truewit and Clerimont assert halfway through that the play seems to be a mere repetition of previous dramatic forms. But Dauphine, at the end of the play, reveals that he is one step further than the rest of the characters when he reveals Epicoene's true gender. Thus, Dauphine comes closest at this point to the role that the author, Jonson, has been playing throughout - as the author is always one step ahead of the audience. Again, Elizabethan conventions of dramatic form are exposed, ridiculed, and discarded in favor of a more open-ended, modern approach to the question of gender. An Elizabethan audience would not have questioned the fact that Epicoene was being played by a boy, as this was a norm during the Elizabethan period. But by exposing Epicoene as a transvestite at the end of the play, Dauphine - and Jonson, by extension - effectively disrupts this norm - the very sort of norm that would be upheld by Morose, who is the ultimate victim of this deception."
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Theme of Respect in "A Raisin in the Sun", 2008.
An analysis of the metaphorical significance of the title of Lorraine Hansberry's play, "A Raisin in the Sun" and the theme of respect.
1,164 words (approx. 4.7 pages), 2 sources, MLA, $ 40.95
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Abstract
This paper discusses the plot and themes of Lorraine Hansberry's play, "A Raisin in the Sun." It discusses the metaphorical significance of the title of the play and how it relates to the plot and characters that are portrayed in the work. The paper specifically focuses on the theme of respect, both giving and receiving, as the key to understanding Lorraine Hansberry's "A Raisin in the Sun."
From the Paper
"What we must seek out and learn to understand about the Youngers is that every action they take and every stage of their development is predicated upon their level of respect for themselves and each other. In the beginning, respect is hard to come by, and what there is is falsely laid. But after the loss of the money, the family is forced to take real stock of themselves and what they realize is that their perception of being in a hopeless situation, of having their best potentials in life disappear, is actually totally incorrect. Mama knows this, and in the act of buying their way out of the Black neighborhoods, she is liberating them from their lack of self-respect, they are proving their ability to be independent."
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The 'Alchemist' and Duality, 2008.
This paper discusses the theme of duality in the play the 'Alchemist' by Ben Jonson.
2,883 words (approx. 11.5 pages), 12 sources, MLA, $ 85.95
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Abstract
In this article, the writer notes that duality in literature and drama is a common theme suggesting various relationships between people, attributes, character traits, and also suggesting the larger dictum that things are not always what they seem. The writer discusses that the 'Alchemist' is a comedy written in verse and that two of the central themes in this play are inherently shaped around ideas of duality. The first of these themes is that of illusion versus reality, again a common theme in drama and one that includes duality as how things appear is not how they truly are. This theme also shows the tendency people have to see what they want to see and to fail to perceive the true nature of people and things in this world. A second theme in this play is transformation, clearly a term related to the idea of an alchemist, who had as his primary goal changing base metals into gold, an idea that was an illusion in itself. The writer notes that in the 'Alchemist' this idea involved a deliberate duality as even the concept of alchemy itself becomes the subject of and means to a swindle, a deliberate illusion to mask the true intent of the perpetrator.
From the Paper
"The names of the characters have a duality all their own as they tend to be fitting to the real character while the character him or herself seeks to hide that fact. The three conspirators are Subtle, Face, and Dol Common, and the use of the word "subtle" in particular suggests deception. Their primary target is Sir Epicure Mammon, a man whose name represents two of the seven deadly sins, gluttony and greed. The house where the conspirators create their illusion is owned by a man named Lovewit, also suggestive of one who knows a deception is taking place and who enjoys the game of it, though in fact he has left London to escape the plague. The conspirators want to be all things to all people, so long as this will give them an advantage and enable them to fleece those who visit them. Mammon is attracted by their promise of the Philosopher's stone, a legendary artifact that can turn base metals into gold and that is the object of all alchemical inquiry. Kastril is attracted by the promise of a charm so he can win at cards. Drugger the tobacconist wants his shop cleansed of impurities and supernatural threats. The duality of the three conspirators is matched by that of Pertinax Surly, the man who sees through their deceptions and who uses a disguise of his own to investigate."
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William Shakespeare's "Othello", 2008.
Looks at the perils of cultural differences and the clash of identity in William Shakespeare's "Othello".
1,275 words (approx. 5.1 pages), 0 sources, MLA, $ 43.95
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Abstract
This paper explains that "Othello", a Shakespearean tragedy, is as much about a clash of cultures as it is about a failed romance or jealousy. The author relates the story about the main character, the commander Othello, a dark-skinned Moor living in a largely white, Christian society. The paper suggests that, created by Iago's scheming, issues of Othello's culture and race are suspect as the causes that drove him to murder Desdemona. The author concludes that, while a person might sympathize with the ostracized Othello in a racist society, it is uncertain if Shakespeare might have written the play originally to validate some of his own culture's racist stereotypes.
From the Paper
"The charge of witchcraft is especially relevant, because it underlines how Othello is perceived as a stranger; capable of strange arts because of his religion and appearance, even by the side he fights for, the people of Venice. And it might be added, that because Desdemona falls in love with Othello because of his power to tell stories about his strange life, which includes being sold into slavery but also cannibals and men whose heads grow beneath their shoulder, his strangeness and 'otherness' becomes a source of attraction."
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The Gaze, 2008.
A discussion on the meaning of the term "gaze."
1,246 words (approx. 5.0 pages), 3 sources, APA, $ 42.95
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Abstract
The paper discusses the term "gaze" and relates the many forms in which it can be interpreted and applied in movies, television and everyday life.
From the Paper
" "In her discussion of the way women "look" at war and interpret that act of looking through language and image, The World Wars through the Female Gaze, Jean Gallagher asserts that "Vision has ... played an important role in the development and gendering of cultural discourses about war" (Acton, 2004, p.53). Acton goes on to explain that the gaze is important if it can be interpreted through the eyes of the person who is beholding the event, whether that event is a movie or a war battle. Today's woman seem to know of what they gaze upon which they may not have known before, or at least they did not have the courage enough to say so. "
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The Father in "The Glass Managerie", 2008.
An analysis of the significance of the absent father in Tennessee Williams' play "The Glass Managerie".
1,395 words (approx. 5.6 pages), 0 sources, $ 46.95
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Abstract
This paper discusses how "The Glass Menagerie" by Tennessee Williams presents the audience with a family that has been damaged by the departure of the father. The paper points out that each character is in his or her own way irreparably harmed by this event. The remaining parent, Amanda, perpetuates both her own and her children's pain by constantly reminding herself and her children of the missing family member, and creates for the entire family a dichotomy between the father figure as the nostalgic and hero-like character, and on the other hand as a faithless deserter whose example is not to be followed at any cost. The paper concludes that the father, even in his absence, continues to dictate the interactions within his family, and remains central to the events and choices in their lives.
From the Paper
"Despite this rare recognition of true reality, Amanda's grip on the true state of affairs does not last long. Instead, she pours her whole heart and soul into the projected success of ensnaring a husband for Laura, but like Tom's attempt at escape, the projected success of this attempt is also more purely fantasy than Amanda is willing to recognize. Tom attempts to warn his mother that a man might not respond favorably to Laura's physical and emotional defects. She also never bothers to thoroughly investigate the man that Tom brings to meet Laura, and therefore fails to take into account the possibility that Jim might already be connected to another girl. In the end, both her wild hope and Laura's emerging personality are completely crushed by the one revealed truth: Jim is already taken. In addition, the final representation of their hope vanishes with Tom's escape. Laura and Amanda are left to their own devices at the end of the play. Only Laura's image remains to haunt Tom, regardless of how far he travels to escape them."
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Richard III vs. Much Ado About Nothing, 2008.
This paper compares and contrasts two of William Shakespeare's plays, "Richard III" and "Much Ado About Nothing".
2,300 words (approx. 9.2 pages), 2 sources, APA, $ 70.95
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Abstract
This paper basis it's premise on the fact that at the center of Shakespeare's plays there exists a current of darkness, a cynicism about government, people and love, and a willingness to poke the eye, if only gently, of the establishment. Using this premise, the author discusses "Much Ado About Nothing", which highlights the foibles of the human heart, and "Richard III", which showcases the nature of corruption and power in the hands of the evil. The author asserts that while on the surface, these two plays could not be compared or even contrasted, at the thematic level, there exists a level of anxiety about female sexuality, of the supremacy of man over God in terms of destiny, of moral examples of how power wielded badly can result in truly horrific consequences, and a fear that if we simply accept the rule of others, then we too would be corrupted with power. Furthermore the author states that in both of these works, Shakespeare sends the message that women are of equal significance and power to men; that people control their own destinies, can either be a power for good or for evil and that loyalty to friends and family supercedes all other fealties.
From the Paper
"Elizabeth is absolutely power-hungry. She is as corrupt and fickle as Richard's assessment of women. She is his equal in this manner. She is just as capable of manipulating her as he is of taking the dominant position - though he has usurped his brother's title, he proves his weakness is ultimately his desire to be truly loved for himself and not the power he wields. Where Shakespeare took this theme up to a positive resolution in Much Ado About Nothing, in giving both Benedick and Beatrice a satisfactory joining upon their mutual realization of respect and love, he showed the opposite side in Richard III. The power of the feminine sexuality proved to be Richard's undoing, his eventual collapse came because he could not absolutely dominate Elizabeth and Anne, to use young Elizabeth, and to manage the nation that is now his. The failure, of Richard, is in his absolutely corrupt nature. He is incapable of love and because of this, he approaches women in an awkward and rather juvenile way. He cannot actually succeed in love because he can never come to the kind of realization of mutual respect that Benedick and Beatrice did. So, in his brand of fear of feminine power, Richard is unable to escape from his own foibles. But, both Benedick and Richard express their fear of the power of women in the relatively same way - they attempt to dominate women with whatever their natural or coarsely gained power may be."
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