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University Degree: Other Play Writes

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  1. Shakespeares Henry V and Aphra Behns The Rover were both written for an Elizabethan audience and concern many dominant notions of what it means to be a man. The dramatists explore not only masculinity but the extent to which men play different roles

    His responsibility as king means he has to make sacrifices and face inner struggles in order to be successful: 'I and my bosom must debate a while' (4.1.31). No longer having the privileges of private men means he has to adhere to morals, as shown in his refusal to pardon the traitors and Bardolph. His only soliloquy evokes sympathy as it identifies Henry's feelings of isolation: 'must kings neglect that private men enjoy?'(4.1.230). He feels guilty about his father's actions and expresses how much he suffers, which emphasises a view of masculinity that it is not acceptable to express emotions in public; men have to keep a stiff upper lip.

    • Word count: 1921
  2. Do you agree with Juliet Dusinbierres claim that Renaissance Drama is feminist-in-sympathy? Include a Discussion of TWO or more of the set plays.

    This is seen in Act 1 Scene 3 when the Duchess says: Shall this move me? If all my royal kindred Lay in my way unto my marriage, I'd make them my low footsteps; and even now, Even in this hate, as men in some great battles, By apprehending danger, have achieved Almost impossible actions (I have heard soldiers say so), So i through fights and threatening will assay This dangerous venture. Let old wives report I winked and chose a husband, Cariola, To thy known secrecy I have given up More than my life - my fame (1:3:48-58)7 The

    • Word count: 1819
  3. Re-Imagining Cleopatra

    However it does allow for acceptance on the various ways one can reiterate on who the real person Cleopatra may have been. Boccaccio portrays Cleopatra in an ill manner; his view on her is not at all in her favor from the passage On famous Women Boccaccio states that, "Cleopatra was Egyptian woman, known the world over. Although she came to power through a long line of kings going back to Ptolemy the Macedonian, son of Lagus, and she was the daughter of Ptolemy Dionysius or, as some to say, of King Mineus, nevertheless, she gained her kingdom through crime.

    • Word count: 1482
  4. Why did the Tamburlaine plays have such extraordinary appeal for sixteenth-century audiences?

    This has often been taken to refer to Tamburlaine's execution of the governor of Babylon in the final act of Part II, but the assumption cannot be verified.' (pp. 69, V. Thomas and W. Tydeman, 1994) Also 'in 1588 Robert Greene...could allude to Marlowe 'daring God out of heaven with the Atheist Tamburlan', a far less ambiguous reference to the scene in which Tamburlaine...orders the destruction of the Koran and defiantly daring Mahomet to come down and punish his impiety.'

    • Word count: 2231
  5. Examine the relationship between speech and power in Christopher Marlowe's Tamburlaine and Thomas Kyd's The Spanish Tragedy

    His generous offerings, promises of safety and comfort and declarations of love lead Zenocrate change her opinion of him, from that of a 'shepherd' (1.2.7)1 to a 'lord' (1.2.34) within the space of just twelve lines of speech. Within, therefore, thirty-four lines of Tamburlaine appearing on stage, he has already commanded the respect of royalty; a trait which will reoccur throughout the play. Tamburlaine's rhetoric is one of the principle reasons for his successes. Elizabethan authors and playwrights often tried to recreate the rhetorical style of the classical authors such as Homer and Ovid, to make their own works more respected.

    • Word count: 3936
  6. "The tragedy of the revenger is that he can only play by the rules set by his adversary, that is, turn tyrant to punish tyranny" To what extent is the true of Middleton's The Revenger's Tragedy?

    In terms of a revenge plot, this appears very straightforward - an 'eye for eye' (Exodus 21:24) vengeance, but this becomes more complex with the sacrifices that Vindice has to make. Initially, he must find an entrance into court which is achieved by becoming pander to the Duke's son, Lussurioso. Having previously left the court after his father's death, merely becoming involved in this society again is a compromise, exposing him to the corruption he so readily criticises. Perhaps the audience is supposed to be impressed at Vindice's restraint, being so close to an enemy and not striking immediately, though it is this determination which ultimately turns him villain from hero.

    • Word count: 3101

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