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Samuel Beckett's "Waiting for Godot", 2008.
A paper describing several different interpretations of the play "Waiting for Godot" by Samuel Beckett.
1,234 words (approx. 4.9 pages), 6 sources, APA, $ 42.95
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Abstract
This paper talks about Samuel Beckett's play "Waiting for Godot" written in the 1950s. It has been performed world wide and has been critiqued and deconstructed many times, and many different interpretations offered as to its meaning. The author of this paper concludes with his own interpretation of what Beckett might have intended from this play - that is the he might simply have wanted people to sit still and reflect about what exactly is so significant in their lives.
From the Paper
"In order to understand the comic relief of Beckett the philosophical view of Schopenhauer must be defined. Schopenhauer believed that the "will" is the inner part of man that drives the world forward--"will" supersede intellect placing desire before thought and "will" prior to being (Ross, 1998).
"In the 21st Century Beckett's Godot still has a place in theater including cyber-theater. Interactive art is all about the spontaneous and unpredictable occurrences between people coming together online and performing as if they were on a stage in front of an audience full of hecklers. The interaction between the performers and the audience is far more entertaining then the play by Beckett "Waiting for Godot" when it is performed open to anyone logged into the chat room at the Digital Storytelling Festival in Crested Butte, CO (Rosenberg, n.d.)."
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Opera: "Salome" and "Heriodade", 2008.
This paper compares the operas "Salome" by Richard Strauss and "Heriodade" by Jules Massenet Different, both of which are based on the same story of John, the Baptist and Salome.
2,300 words (approx. 9.2 pages), 8 sources, APA, $ 70.95
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Abstract
This paper explains that Richard Strauss in the opera "Salome" and Jules Massenet in "Heriodade" treat the story of John, the Baptist and Salome in different ways. The author points out that these differences reflect the time of composition and the societies of which the composers were a part. The paper relates that the composers had different motivations for the characters, different theological concerns regarding the story and different musical concerns. The author underscores that the opera by Massenet was a product of what would be called in England the Victorian Age, while the opera by Strauss came during the Edwardian era. The paper discusses that the treatment of women in these opera are different.
Table of Contents:
Introduction
Women and Opera
Women in Two Operas
From the Paper
"The opera depicts two women, Salome and Herodias. In this version, Salome is quite different from the image the world would have of her later, for she is essentially moral, even virginal, and seeks to protect John rather than to destroy him. She is herself a victim and not a perpetrator. Indeed, she is also sentenced tob e beheaded and professes her love to John while they are both in a dungeon. Her mother is the villain in this version, and the character of the mother is more like that would later be attributed to Salome herself."
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Iago's Jealousy, 2008.
This paper analyzes how Iago causes Othello's moral degradation in William Shakespeare's "Othello".
1,663 words (approx. 6.7 pages), 6 sources, MLA, $ 54.95
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Abstract
In this analysis of Shakespeare's "Othello, the author discusses how Othello, Iago and Desdemona are victimized by the envy and jealousy of Iago's trickery. The author further emphasizes how Othello's lack of moral objectivity is often the subject of Iago's cunning. The paper then shows how this loss of moral objectivity ultimately acts as the foundation for Iago's success over Othello.
From the Paper
"In these lines, Iago's envious understanding of Othello's jealousy is a successful modus operandi for his diabolical scheme to sabotage Othello's career. When Iago successfully dissolves Othello's trust in Cassio, one can see a glimpse of his anger, which would commit murder against his wife in a jealous rage. In this manner, the racial superiority that Iago feels toward his Moorish superior helps to begin the cataclysm of jealousy that cascades through Iago and then into the marriage of Othello and Desdemona."
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Greek Myths and Monsters, 2008.
A discussion of the monsters in Greek mythology.
1,641 words (approx. 6.6 pages), 11 sources, MLA, $ 53.95
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Abstract
This paper discusses three of the monsters of Greek mythology:the Gorgon Medusa, the Minotaur and Scylla and Charybdis. The paper also looks at the role that they play in this culture. The paper explains that among the most grotesque of the Greek monsters was the Gorgon. The paper suggests that the Gorgon is a representation of a human head undergoing decay, more common to the Greeks than to modern peoples, but still distasteful. The paper then points out that just as the Gorgon reflected something the Greeks had seen in real life, the Minotaur may have reflected their revulsion with human sacrifice as carried on by the Minoans of Crete. In conclusion, the paper shows that the Greeks tried to explain their world and to do this they created a series of myths and legends that have vastly enriched the world's lore and literature ever since. While some of their stories seem more than fantastic, on examination, most have a reasonable explanation.
From the Paper
"Medusa was eventually killed by Perseus. He was the product of one of Zeus' many dalliances. Perseus and his mother, Danae, came eventually to the land of Seriphos, where the king fell in love with Danae. Wanting to get Perseus out of the way, the king tricked him into going on a quest for the head of Medusa. (Hard, 239)
"Perseus received help from the gods Hermes and Athena, who sent him to the Graiai, the three "old woman," sisters of the Gorgons, who knew their secrets. The Graiai gave Perseus winged sandals with which he could fly, a cap of invisibility which would let him approach Medusa unseen, and a metal satchel in which he could safely store her head."
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Misogyny in Henrik Ibsen's Plays, 2008.
An analysis of the concept of misogyny in playwright Henrik Ibsen "A Doll's House", "Ghosts" and "Hedda Gabler".
2,120 words (approx. 8.5 pages), 4 sources, MLA, $ 66.95
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Abstract
This paper relates that, through an analysis of Henrik Ibsen's plays, "A Doll's House", "Ghosts", and "Hedda Gabler", one can realize the under current of misogyny that Ibsen provides in his own patriarchal Victorian milieu, which devalues the role of women under the various aggressions of men brought forth. The paper explains that, for Ibsen, women provided a servant function within patriarchal society that did not necessarily provide a "feminist" perspective, but revealed that men should be tolerant and respect women. The paper concludes that, as a result, the dark under current of misogynist values provided by Ibsen in his plays informs the reader of the struggle of women in Victorian society, but does not effectively redefine a feminist ideology for women to liberate themselves from patriarchal aggression.
From the Paper
"Hedda's behaviors and actions often appear crude and uninformed as to the nature of husband to use her as a servant for his career. Ibsen often has Hedda appear as naive of the fact that her husband is merely trying to us her as a kind of "trophy wife" to accent his real desire to achieve success in his artistic ambitions. In this manner, she wholly a woman that is able to be traditional, but becomes so enamored of her love that she takes independent action to get his attention. The circumstances under which Hedda burns Lovborg's manuscript are, of course, entirely different and infinitely more dramatic"
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Sexual Tension in 'A Streetcar Named Desire', 2008.
This paper discusses the sexual tension present in the play 'A Streetcar Named Desire' by Tennessee Williams.
750 words (approx. 3.0 pages), 1 source, MLA, $ 26.95
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Abstract
In this article the writer analyzes the play 'A Streetcar Named Desire' by Tennessee Williams and notes that bathing and drunkenness are two common threads exposing sexual tension in the play. The writer points out that even the title of the play suggests the sexual tension between the characters. Further, the writer looks at the connections between desire and death as portrayed in the play. The writer maintains that it is as if Williams is telling us that from too much desire only death can come. The writer notes that Stanley, the most dead of all three characters becomes numb to his reactive behavior. The writer concludes that Stanley is trapped in his uncontrollable animalistic sexual desire destined to live like an animal surviving purely by instinct.
From the Paper
"Stanley is a man's man--full of animal instinct and desire. He cannot control himself in any regard. Stanley cannot control his temper so he beats his pregnant wife. He can't sequester his passion for Blanche so he rapes her. He can't bare losing Stella so he screams for her at the top of his lungs proclaiming his need and love for her. Stanley is all about sexual desire--it rules and runs his life.
"Drunkenness and bathing are the soothsayers for Blanche and Stanley when their desires become overwhelming. Blanche uses a bath to soothe her nerves and to try and wash away her sexually promiscuous path."
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"A Streetcar Named Desire", 2008.
A comparison of patriarchal behaviors in the historical period after World War II with those in modern times, as portrayed within the play, "A Streetcar Named Desire," by Tennessee Williams.
806 words (approx. 3.2 pages), 1 source, MLA, $ 28.95
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Abstract
This paper analyzes the sexism of patriarchal behaviors that were present in the historical period after World War II. It then compares this how they have changed in modern times, as portrayed within the play, "A Streetcar Named Desire," written by Tennessee Williams. The paper analyzes the roles of both men and women in the play in order to examine patriarchal dominance.
From the Paper
"A modern woman in the feminist perspective would certainly be offended at Stanley's 'lordly' patriarchal values, which would have the woman only be a servant to his domestic needs. The contrast in this scene with modernity in the roles between men and women would be defined through a feminist construct, enabling women to defy commands and overtly sexist demands that Stanley makes to Stella. In this manner, Stanley becomes the patriarchal figure that would not be tolerated in the 21st century, but within the context of the post World War II era, he is able to incite sexism and machismo in the cultural context of the returning soldiers and their behaviors toward women as objects for their servitude in the home. In this manner, the greatly contrasting choices that feminism brought in the 1970s until modern times has changed the way that women react toward sexist men, providing them with a choice to follow or reject these patriarchal behaviors that Stanley epitomizes in the play."
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Chaucer, Shakespeare and Gender Roles, 2008.
A comparison of the portrayal of sexual and gender roles in Geoffrey Chaucer's "Wife of Bath's Tale" and William Shakespeare's "Twelfth Night".
1,540 words (approx. 6.2 pages), 3 sources, MLA, $ 50.95
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Abstract
The paper compares how Geoffrey Chaucer in "Wife of Bath's Tale" and William Shakespeare in "Twelfth Night" questioned, challenged or mocked contemporary views on gender roles and sexual stereotypes. The paper shows how, although there are differences, we can see a similar attitude in both works toward gender roles, sexual stereotyping and the treatment and portrayal of women.
From the Paper
""The Wife of Bath's Tale" is one of a series of stories in Geoffrey Chaucer's The Canterbury Tales. It was probably written shortly prior to his death in 1400. The Canterbury Tales is a "frame story," meaning that a series of narratives are tied together allowing each character to relate their own story (Alexander xvii). Chaucer's stories are the individual tales of a group of pilgrims traveling together to the shrine of St. Thomas Becket at Canterbury (Alexander xvi). "The Wife of Bath's Tale" is really the second for this character as it is preceded by "The Wife of Bath's Prologue" which is sort of an autobiography in which she describes her five marriages. The true order in which Chaucer placed each of the tales (other's including the Miller, the Pardoner, the Prioress and the Nun's Priest) is not known (Alexander xix). Chaucer was not only a writer, but had a long career as a public servant. During his life he traveled widely throughout Europe, no doubt the source of many of his story ideas and characters. It is possible that Chaucer never finished all of his intended tales, and that some of the book is autobiographical, with him playing the varied role of the host for his collection of characters."
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First Nations Literature, 2008.
A review of First Nations Literature including two plays by Marie Clements: "Burning Vision" and "The Unnatural and Accidental Women", and a poetry book "Exercises in Lip Pointing" by Annharte.
1,315 words (approx. 5.3 pages), 4 sources, MLA, $ 44.95
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Abstract
This paper discusses of some of the ways in which First Nations literature makes a criticism of North American society and culture. the paper explains that in "Burning Vision", Clements makes it clear that the First World is pathologically sick in terms of its attitude to the world and its people and resources. The paper then examines the theme of resistance and struggle and decolonization in three of the texts. The writer believes that if First Nations' existence is defined by their status as having been colonized by people of a different race, then their salvation lies in resistance and struggle. The writer concludes that if First Nations cannot decolonize their countries, they can at least decolonize their minds, and that is what many of the best First Nations writers strive to do, which accounts for the central importance of this theme in much of their literature.
From the Paper
"Clements also seems to imply that the ultimate expression of this rape is nuclear destruction - the ultimate assertion of power, delivered in phallic-shaped bombs by phallic-shaped jets. In this regard, it is important to remember that FAT MAN was the name of one of the atomic bombs. Moreover, the other atomic bomb was code named LITTLE BOY. This was unintentional irony, given that it is Western male aggression that propelled colonization, as well as the kind of destruction meted out by the atomic bombs. In The Unnatural and Accidental Women, Clements seems to be on a totally different track, focusing on poor women living in Vancouver's Eastside in the 1980s."
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Morality by Marlowe and Wilde, 2008.
A comparison of immorality and hypocrisy in the main characters of "The Tragical History of Dr. Faustus" by Christopher Marlowe and "The Importance of Being Ernest" by Oscar Wilde.
1,561 words (approx. 6.2 pages), 2 sources, APA, $ 51.95
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Abstract
This paper discusses the portrayal of morality in the plays, "The Tragical History of Dr. Faustus" by Christopher Marlowe (1995) and "The Importance of Being Ernest" by Oscar Wilde (1985). More specifically, the paper looks at the plots of the plays and then compares and contrasts immorality and hypocrisy in the main characters of these two works.
From the Paper
"These plays address morality from the mores of their own times. Marlowe did not permit Faustus to be redeemed. Faustus' lack of moral insight was, perhaps, as great a factor in his condemnation as his lack of soul. His inability to change and mature, as evidenced by his petty tricks and lack of success despite his power, left Faustus with no recourse other than damnation. Jack, however, was able to change his life, learning the importance of being "earnest" in his dealings. It is through this insight and through his maturation as a moral human being that he is worthy of redemption, while Faustus is not."
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"Goodnight Desdemona (Good Morning Juliet)", 2008.
An analysis of how Ann-Marie MacDonald undermines gender stereotypes in her play, "Goodnight Desdemona (Good Morning Juliet)."
1,269 words (approx. 5.1 pages), 3 sources, MLA, $ 43.95
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Abstract
This paper discusses Ann-Marie MacDonald's play, "Goodnight Desdemona (Good Morning Juliet)" and shows how MacDonald uses gender bending and variations on sexuality to challenge and ultimately undermine gender stereotype. In particular, the paper focuses on the character of Constance and how she rises to her full human potential in this play, and in so doing, undermines the gender stereotypes which often function to deny a fully rounded personality to people.
From the Paper
"In conclusion, what MacDonald seems to be saying in this play is that the choice made by Constance is open to all of us - and without alchemy. All that is needed is for us to probe into the powerful depths of our sub-conscious, and in this way choose powerful personal attributes that will enable us to rise to our full human potential. The crucial point is that women may choose supposedly male attributes such as courage, because the gender binary that says most personal attributes are gendered is culturally constituted and illusory. We can have it all, regardless of gender. Thus, MacDonald's play powerfully undermines gender stereotypes."
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Deceit and Emilia's Unwavering Trust, 2008.
An analysis of Emilia's trustworthy character in William Shakespeare's "Othello".
1,129 words (approx. 4.5 pages), 2 sources, MLA, $ 39.95
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Abstract
In Shakespeare's "Othello", deceit and jealousy combine to make one of the most disturbing tragedies of all time. This paper discusses how, at the helm of this disturbing voyage is the villainous Iago, driven by pure malice. In particular, the paper looks at how there is a great irony in this story, since Iago's plan to dismantle all virtue and trust amongst the targeted characters would never have been successful without his own wife Emilia's complete, unwavering trust and obedience.
From the Paper
"The first example of Emilia's unique and seemingly tolerant trust in her husband is shown early in the play. Upon arriving in Cyprus, Iago socially insults his wife in front of Cassio, Desdemona and others. Instead of immediately playing along, she falls silent, waiting for a cue from her husband. Her friend Desdemona notices this immediately: "Alas, she has no speech (II.1.118)." Emilia simply allows Desdemona to defend her, letting the game pass over her. This silence illustrates a great deal about the relationship between the couple. Even though Emilia eventually plays along with the game, "You shall not write my praise (II.1.132)," she clearly allows Iago to be in control of the situation. "
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Kinship in "Oedipus the King" and "Midsummer Night's Dream", 2008.
This paper examines the theme of kinship in Sophocles' "Oedipus the King" and Shakespeare's "Midsummer Night's Dream".
1,346 words (approx. 5.4 pages), 2 sources, MLA, $ 45.95
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Abstract
The paper analyzes the treatment of kinship in Sophocles' "Oedipus the King" and Shakespeare's "Midsummer Night's Dream" and considers why family relationships are such a frequent subject in these genres. The paper shows how kinship is treated in relationship to its role in patriarchal societies in both of these two plays. The paper explains how kinship is a powerful plot driver in both plays, due to the fact that kinship, as epitomized in the paternal bond, lies at the heart of patriarchy.
From the Paper
"It is not surprising to find family relationships to be such a frequent subject in these genres - after all, these are the deepest ties that bind, and thus offer a rich source to be mined for both comedy and tragedy. In both of these plays, kinship is crucially important because it sets up the problems that are key drivers of the plots. In Midsummer Night's Dream, the problem consists in the fact that a father is attempting to invoke paternal authority to thwart the romantic wishes of two of the principal players. Egeus, an Athenian nobleman, is pleading with Theseus, Duke of Athens, to force his (Egeus's) daughter Hermia to marry the man Egeus has picked for her: Demetrius. Hermia is insisting she would rather marry the man she loves, Lysander."
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Honor and its Social Impact in "The Iliad" by Homer, 2008.
An analysis of the social roles of the heroic code of honor in "The Iliad" by Homer.
2,167 words (approx. 8.7 pages), 1 source, MLA, $ 67.95
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Abstract
This paper analyzes the heroic code of honor in Homer's "The Iliad" by examining the social roles of Hector and Achilles within the construct of familial and military culture. The paper defines the social role of Hector as a hero and as an ethical defender of his family through civic responsibility. The paper looks at the social role of gift giving as a part in the heroic code, because honor becomes the central catalyst for the heroic portrayals provided by Homer in "The Iliad". The paper then points out that Achilles also abides by strong ethic towards honor, which invariably creates a social impact on his actions after Patroklos is killed. In conclusion, the paper shows that the impact of these social norms drive Achilles and Hector toward the extreme violence of war, which ultimately ends in their deaths.
From the Paper
"The encounter between Hector and Andromache during the battle reflects a Homeric process, which allows for a union between family that is compassionate and not driven necessarily by a cold and calculating necessity for war on the part of the soldier. In this manner, Homer is projecting a socially responsible man in Hector that respects social traditions military and within the family unit. Andromache is a wife that shows concern, and only wishes for her husband to stay with her and not die in battle with the Aecheans. In this manner, Hector is not only questing to find solace in his wife's love for him, but actually seeks to be consoled before entering into the main thicket of war outside the Trojan City."
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The Role of Entertainment in Ancient Rome, 2008.
A discussion of the important function of entertainment in the political and everyday life of the Roman Republic and Roman Empire.
1,878 words (approx. 7.5 pages), 3 sources, MLA, $ 60.95
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Abstract
This paper examines the social and political significance of the entertainment in the life of ancient Rome. The paper explains that even though many forms of entertainment existed, special emphasis was given to the spectacles and public events rather than private events, like parties. The paper then looks at the function of these spectacles and their role in the politics and government of Ancient Rome. The paper discusses how, as Rome expanded both territorially and in influence, the status of the spectacles transformed - the expansion resulted in significant social and economic changes. The paper points out that entertainment in ancient Rome had a function that significantly differs from its function today - it was an opportunity for public gathering during which the people could speak freely and express their concerns. In conclusion, the paper shows that as Rome went from the republic to the empire, the spectacles remained important events and they gave the opportunity to the masses to see their ruler and express their opinion on state matters freely.
From the Paper
"The Romans were an agricultural society and their religion can be described as polytheistic paganism. The early religious rituals were aimed at pleasing the gods who, as Romans believed, controlled everything necessary for a successful harvest like crop growth and weather. The rituals were not limited only to the agriculture. They also extended to celebrations of military victories, celebrations of various household deities, etc. As Shelton notes "these days were the days of sacrifice and ritual, but also of holiday merriment, as Easter or Christmas are for us today" (329). In other words, these holidays were a great opportunity to skip a day of hard work, relax, socialize, be grateful for what you have and, through the rituals, do the best to have more next season. As such these holidays did not have any deeper political and social position in the Roman society.
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Emilia's Speech in "Othello", 2008.
An analysis of Emilia's speech in Act IV, Scene 3 of William Shakespeare's "Othello".
1,180 words (approx. 4.7 pages), 0 sources, $ 40.95
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Abstract
This paper examines a passage from Act IV of Shakespeare's "Othello", (scene iii, ll.89-106), which comes after the dinner that Desdemona hosts for Othello. The passage is a speech by Emilia in which she tries to get Desdemona to feel better and not to despair at the way her husband has been treating her, in essence by suggesting what she should do. The paper points out that this speech serves as a balance to an earlier speech by Iago on the false nature of wives from Act II. To conclude, the paper focuses on the way Shakespeare uses the sound of the words the way they are put together to create an impression that guides the listener through Emilia's argument and enhances aspects of that argument to make it more sensible and to show ways in which men and women are alike.
From the Paper
"This speech serves as a balance to an earlier speech by Iago on the false nature of wives from Act II. Emilia here refers to the false nature of husbands and to the consequences for those husbands, for their wives are then unfaithful in retaliation. Emilia is always the practical one in the play, sat least in terms of how she believes people should behave. She takes the practical view that if Desdemona is under suspicion and if her husband is mistreating her, then Desdemona should take care of herself and forget Othello. At the same time, she knows that Desdemona is innocent and also knows part of what Iago is doing. She certainly knows that Iago has taken the handkerchief, and she is likely also bitter about the way she is treated by her own husband, Iago. Much of this bitterness comes out in this speech."
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Male and Female Relationships in Literature, 2008.
An analysis of the relationship between the male and female characters in the ancient text, "The Medea" by Euripides and the modern text, "A Doll House" by H. Ibsen.
1,025 words (approx. 4.1 pages), 2 sources, MLA, $ 36.95
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Abstract
This paper examines two texts, one ancient, "The Medea" by Euripides and the other modern, "A Doll House" by H. Ibsen. It looks at the roles of the two female characters - Medea in " The Medea" and Nora in "A Doll House" and discusses how the relationships between the male and the female characters reflect the relationship of the colonizer and the colonized. The paper examines what such a relationship entails and argues that this relationship can be changed only under extreme circumstances, which require a drastic action on the part of the colonized.
From the Paper
"Both Medea and Nora have challenged the concept of the passive feminine and the gender roles assigned to men and women within our society. The relationships between the male and the female often resemble the relationship between the colonizers and the colonized. The male/colonizer is active, the female/colonized is passive. The balance of power tips sharply towards the male/colonizer. The female/colonized are often the 'Others'; they are weak, simple creatures that need protection and guardianship, provided by the 'naturally' stronger, dominant male/colonizer. Nora and Medea refused to stay in the roles of the colonized and succeeded in freeing themselves from oppression by taking drastic action. Both however, were punished for it, shunned by the society in which they lived and both lost their children."
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Music and Performing Arts, Renaissance to Today, 2007.
A discussion of music and drama, from the Renaissance era until today.
984 words (approx. 3.9 pages), 4 sources, MLA, $ 34.95
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Abstract
This paper examines the influence that music and performing arts have had on human culture and society, focusing on the Renaissance period. The paper explains that in the early part of the Renaissance, the role of music was tremendously important as polyphony became more simplified in the Renaissance, generally "smoother" and more harmonious overall. The paper notes that there is no doubt that the technological impact of recording technologies, beginning with the phonograph and leading up to today's CDs and DVDs, has had an impact upon the individual enjoyment and distribution of music and dramatic art forms (especially film), unprecedented since the invention of the printing press in the Renaissance. In conclusion, the paper shows that today, the Internet has hugely assisted in enabling individuals to share such work among themselves, though not to the point of alleviating the isolating influence of technology or to creating a new form of communal experience.
From the Paper
"In the early part of the Renaissance, the role of religion, that is to say, the church as an organization and social unifying force, was still prominent above all else. Nation-states had not yet arisen to assert their claim on peoples' loyalty. The church represented stability and social cohesion in a world of uncertainty and danger from many sources: feudal overlords, weak central governments, and unpredictable weather and harvests. The role of music was thus tremendously important too in this period. Polyphony became more simplified in the Renaissance, and generally "smoother" and more harmonious overall."
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The Meaning of Comedy, 2007.
A review of the films "Sherlock, Jr." directed by Buster Keaton and "Bringing up Baby" directed by Howard Hawks.
966 words (approx. 3.9 pages), 6 sources, MLA, $ 34.95
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Abstract
This paper examines Aristotle's definition of comedy using two classical cinema comedies - "Sherlock, Jr." and "Bringing up Baby" - to illustrate this definition. The paper explains that Aristotle believed that comedy shows people engaged in ridiculous activities, but this ridiculousness is not painful or destructive and the comic action must be without bad intent. The paper looks at how in each movie the lead character is ridiculous, but always portrayed without malice. The paper points out that in "Bringing up Baby", a longer film than "Sherlock Jr.", and one in which sound allows for the speedy development of more characters, the subordinate characters draw heavily on classical models such as Shakespearean figures like Dogberry and Verges in "Much Ado About Nothing". The paper notes that these characters too are ridiculous although not malicious, and clearly inferior in the nonsense they act out, but saved in the end through the resolution of the plot. In conclusion that paper shows that Aristotle's definition is general, even imprecise, but it is clearly a definition which is well illustrated in these two films.
From the Paper
"These people act without malice. Keaton wants to be a detective, but is outdone by the "sheik," who gets him blamed for the theft of a gold watch, and by his girlfriend, who shows his innocence. In his dream, he is a great, if bumbling detective. Grant tries mainly to avoid Hepburn, but cannot extricate himself from her. Hepburn means well, repeatedly offering to help him get the funding for his museum which is his main hope. Sherlock Jr. begins with scenes of Keaton sweeping the theatre, beset by people who claim to have lost money in his trash pile. The scenes are funny: they show an inferior person, an inept sweeper, being ridiculous. They do little, however, to advance the main plot."
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