Here is the synopsis of our sample research paper on The Tragedy Of Cymbeline / Nature of Evil. Have the paper e-mailed to you 24/7/365.
Essay / Research Paper Abstract
An 8 page paper analyzing the extent to which Shakespeare sidesteps the issue of evil in this seldom-produced play. The paper shows that by refusing to set any ground rules for social behavior early on, Shakespeare creates an atmosphere of amorality throughout the work. Bibliography lists six sources.
Page Count:
8 pages (~225 words per page)
File: D0_Tragcym.doc
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Unformatted sample text from the term paper:
a new genre, the romance. While romances may have been new to Shakespeare, they certainly were not new in the annals of English literature; in fact, most of the earliest
extant English prose takes the form of the romance, and Shakespeare was not only trying to capitalize on a popular trend but attempting to give it his own unique slant
by dealing with issues common to tragedy in an essentially light-hearted vein. One of these issues is that of good and evil, and we will see that his treatment of
it in Cymbeline was not particularly successful. The word "romance" in Shakespeares time did not mean what we consider it to mean today. For writers from the middle ages
onwards, as J.A. Cuddon explains, a "romance" was a popular work, generally "concerned with characters (and thus with events) who live in a courtly world somewhat remote from the everyday.
This suggests elements of fantasy, improbability, extravagance, and naivet?. It also suggests elements of love, adventure, the marvelous, and the mythic. For the most part the term is used rather
loosely to describe a narrative of heroic or spectacular achievements, of chivalry, of gallant love, of deeds of derring-do" (Cuddon, 801). This comes close to describing Cymbeline -- possibly too
close. Certainly the setting Shakespeare has created for the play is much like the fairy-tale world of As You Like It; it purports to claim ancient Britain as its setting,
but Shakespeare has dealt with ancient Britain realistically in several of the tragedies, and the world of Cymbeline is nothing like any of the quasi-realistic settings he has created before.
He seemed to understand implicitly what the essential components of a romance were, and he dutifully made sure all of them occur in this play -- but there are too
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