Comparing the Uses of the Supernatural in Shakespeare’s Comedies and Tragedies
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This 7 page report discusses the ways in which in much of Shakespeare’s work, the supernatural -- in the form of ghosts, fairies, strange creatures, and unnatural weather phenomena -- exist as much as a character in the play as any of the flesh and blood characters. In several of Shakespeare’s other works, the function of the supernatural is a more subtle occurrence but one that has an even more profound impact on the plays’ characters and the outcomes of events. This paper looks at the different applications in Shakespeare’s romances compared to tragedies. Plays discussed are: “Macbeth,” “Antony and Cleopatra,” “The Winter’s Tale,” and “The Tempest.” No secondary sources.
Filename: BWshuper.wps

CORIOLANUS BY WILLIAM SHAKESPEARE
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This 8 page paper examines why Coriolanus by Shakespeare is one of the worst plays by Shakespeare. Examples, quotes given. Bibliography lists 5 sources.
Filename: MBclanus.rtf

Doubling of Parts in Shakespeare’s “The Two Noble Kinsmen” and “King Henry VIII”
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This is a 6 page paper describing the opportunities available for the doubling of parts in the William Shakespeare’s “The Two Noble Kinsmen” and “King Henry VIII”. The Shakespearean plays “The Two Noble Kinsmen” and “King Henry VIII” both provide ample opportunities for actors to assume multiple roles. In a relatively small and often touring company of a dozen or so players, the plays both call for up to thirty different parts. While men are mostly distinguished by their beards and women (portrayed by men) are distinguished by their slight builds, smooth faces and dresses, the plays both call for additional demands on dual roles. Luckily, in “The Two Noble Kinsmen” many of the characters introduced in the first scene are robed and veiled allowing for an easy transition back stage into other characters. In “King Henry VIII” many more male characters are needed in addition to the regular group of attendants and guards. Shakespeare provides the audience with detailed descriptions of the lords and dukes’ distinct cloaks or jackets which allow the actors to only place on one garment to assume a particular role. Skilful planning must take place and while many characters enter and exit, both plays only largely require a maximum of a dozen players on the stage at any one time. Bibliography lists 4 sources.
Filename: TJdoubl1.rtf