Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
An essay about william shakespeare
An essay about william shakespeare
An essay about william shakespeare
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: An essay about william shakespeare
Prospero’s Loss in The Tempest
Shakespeare’s The Tempest is a play about loss - more specifically, Prospero’s loss. Prospero is a tragic hero, in a sense, because he makes the transition from having everything to having nothing. He loses his daughter. He brings his enemies under his power only to eventually lose control and release them. In the end, he gives up his influence on the world – including his incredible power over nature itself. The Tempest can be seen as a tragic play because of a few elements – Prospero is a dominant figure who must have revenge in return for the wrongs inflicted upon him, and, in his fury, he manages to destroy his enemies as well as his own humanity and his daughter’s future.
Prospero is shown to be somewhat of a dictator in The Tempest. He doesn’t speak to the other characters, instead he dictates “at” them. Rather than converse with his daughter Miranda, Prince Ferdinand, and Ariel, he tells them his thoughts with no intention of receiving a response. At the end of Act IV Prospero is caught up in the ecstasy of punishing and determining the fate of ...
... middle of paper ...
... William Shakespeare. Cambridge: Harvard UP, 1958. xlii.
Palmer, D. J. (Editor) The Tempest - A Selection of Critical Essays London: MacMillan Press Ltd., 1977.
Shakespeare, William. The Tempest. The Riverside Shakespeare. Ed. G. Blakemore Evans, et. al. Boston: Houghton Mifflin Company, 1974.
Solomon, Andrew. "A Reading of the Tempest." In Shakespeare's Late Plays. Ed. Richard C. Tobias and Paul G. Zolbrod. Athens: Ohio UP, 1974. 232.
John Wilders' lecture on The Tempest given at Oxford University - Worcester College - August 4th, 1999.
To conclude, Frederick Douglass’s determination is admirable because he never ceased to defend the rights, freedom and equality of himself and others. He fought throughout his entire life, and in the end he was able to see the results of his life’s work. Through his effort, he was able to change the lives of the American people and history. Revolutionaries like Frederick Douglass who did not conform to are the kind of people that this world needs more of today. who create an impact and change in the world because they fight for what really matters, rather than settling and waiting for others to do the
August and June understand May’s situation, so they wanted to help her not be sad all the time. While this may be true, in respect it is incorrect because when they help May, she feels ashamed of being a helpless person who cannot take care of her own problems. May does love being loved back, but not in a way where everyone has to worry about her and make sure she is not depressed. May wants everyone to worry about their own lives and future. She did not want everyone to change their life plans just to protect her and make her
In The Great Gatsby by F. Scott Fitzgerald, Nick’s unreliability as a narrator is blatantly evident, as his view of Gatsby’s actions seems to arbitrarily shift between disapproval and approval. Nick is an unreliable and hypocritical narrator who disputes his own background information and subjectively depicts Gatsby as a benevolent and charismatic host while ignoring his flaws and immorality from illegal activities. He refuses to seriously contemplate Gatsby’s negative attributes because of their strong mutual friendship and he is blinded by an unrealized faith in Gatsby. Furthermore, his multitude of discrepancies damage his ethos appeal and contribute to his lack of dependability.
In the comedic, yet thrilling play, The Tempest, William Shakespeare uses characters such as Caliban, Alonso, and Ariel to show Prospero’s immense cruelness and pure monstrosity. Moreover, these Shakespearean characters are also used to highlight Prospero’s change in character into a kinder and more forgiving person. Prospero starts the play out as a vengeful monster, after an illuminating moment however, his persona transforms into his true identity of a compassionate man.
Palmer, D. J. (Editor) The Tempest - A Selection of Critical Essays London: MacMillan Press Ltd., 1977.
Gervinus, G.G. "The Tempest." The Shakespeare Criticism Volume 8. Gale Research Inc., Detroit. 1989: 304-307.
In this brief examination of the Tempest, it becomes obvious that the play is a mirror image of the progression of events in the Bible. This use of Christian elements in the play is not obvious upon first reading the play, but becomes undeniable as the action progresses. The motif of Christianity in other Shakespearean works is not as structured and in-depth as the motif found in the Tempest.
Prospero’s Abuse of Power in The Tempest. In William Shakespeare's The Tempest, Prospero lives with his daughter Miranda on a deserted island. On the surface, he appears to be a benevolent leader doing his best to protect and care for the inhabitants of the island, especially for Miranda. On closer inspection, however, Prospero plays God, controlling and creating each individual to fit the mold he desires.
Many of us view poverty as mainly a third world issue, because it tends to have little effect on the majority of individuals on a recurring basis. Yet, it is a difficult situation prevalent in all types of civilization, despite the overall advances in technology, medicine and education that one country may have over the other. Poverty does not necessarily have to affect a specific individual, but as a country, it affects all levels of production; even when the production of a single country begins to falter, it could potentially have major effects on others, creating a continuous cycle.“Poverty is color blind”, it does not discriminate, and is a societal problem that needs to be dealt with today (Fullerton, par. 3). If not helped or solved,
While she does have good intentions through out parts of the play and is a kind hearted woman, she never defends herself to her diabolical husband. Iago constantly makes hateful and degrading insults towards Emilia. "Come on, come on. You are pictures out of door, bells in your parlors, wild-cats in your kitchens, saints in your injuries, devils being offended, players in your housewifery, and housewives in your beds." (Act 2 scene 1 line 119) Not once does she ever defend herself. In fact, she is nothing but eager to please her husband to win his affection. "I nothing but to please his fantasy" (Act 3 scene 3 Line 343) She betrays her friendship with by stealing her handkerchief and gives it to Iago hoping to satisfy him. This utterly fails leaving Emilia with the desire to continue to try to please him. "Who would not make her husband a cuckold to make him a monarch? I should venture purgatory for 't" (Act 4, Scene 3, line 85) She is a representation of an abused woman who does not have enough self respect to defend herself. It is evident she makes herself a slave to Iago by consistently trying to make him happy despite his malevolent behaviour. Emilias lack of self confidence and passiveness proves that the women in Othello are powerless and
Shakespeare, William. "Othello". The Norton Shakespeare. Ed. Stephen Greenblatt. New York: W.W. Norton & Company, 1997.
The Tempest. Arden Shakespeare, 1997. Print. Third Series Smith, Hallet Darius. Twentieth Century Interpretations of The Tempest; A Collection of Critical Essays, Englewood Cliffs, NJ: Prentice-Hall, 1969.
Novak, Maximillian, and George R. Guffey, eds. The Tempest, or The Enchanted Island. Works of John Dryden vol. X. Berkeley: U of California P, 1970. 1-103.
Andrews Honors Program. She did her honors thesis on the history of this specific story, and her findings included that “The Duchess of Malfi is arguably one of the more famous and studied of the non-Shakespearean revenge tragedies” (5). Webster’s play would not have been so well-known today if he chose to make this a typical love story. He took elements of all sorts of horrors such as plotting against family, friends deceiving one another, the vengeance of corruption, the madness of murder, and he even was sure to include a variety of different forms of sexual inappropriateness. None of these things were extra effects; each played an important part to his theme of destruction, not only of the court, but of the individuals who lived
Shakespeare, William, and Robert Woodrow Langbaum. The Tempest: With New and Updated Critical Essays and A Revised Bibliography. New York, NY, USA: Signet Classic, 1998. Print.