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Of Revenge Essays and Research Papers

Instructions for Of Revenge College Essay Examples

Title: World Religions

Total Pages: 8 Words: 2465 Bibliography: 5 Citation Style: MLA Document Type: Essay

Essay Instructions: Please:
1.Take the concepts of revenge and forgivenss from the Islamic faith and compare and contrast them to the same concepts in Christianity. Please include descriptions of what both religions teach concerning these concepts.

2.Citations should include at least 5 scholarly sources.

Excerpt From Essay:

Essay Instructions: write a comparison or contrast essay on the novels. If you wish, however, you can limit your essay to one of the novels.
Question: the success or failure of revenge. what motivates the Monster and Heathcliff to seek revenge?. Against whom? what form does their revenge take? how long does it take? Are they successful in achieving it? Do they also hurt themselves? What does each novel suggest about revenge?.
Also some of the requirement of the papers:
1. Good introduction and thesis ( argument) good ideas about the essay.
2. why you choose this topic, developed your point and support in the body of your essay.
3. show in your essay you understand the books.

please this is the only materials you can use and no other materials can be added.
Below are the only material must be uses.
Mary Shelly, Frankenstein. Signet Classics. 780-0-.
Emily Bronte. Wuthering Heights. Bantam Classics. 0-553-21258-3.


Excerpt From Essay:

Title: comparison of two plays

Total Pages: 4 Words: 1369 References: 4 Citation Style: APA Document Type: Essay

Essay Instructions: Research Paper

3-5 Typed Pages, Double-Spaced, 12 point font, Times New Roman
MINIMUM of 3 sources!!

Make sure to include a separate Reference Page!
This is in addition to the 3-5 pages

Your research paper will be based on a comparison of the plays “Hamlet” by William Shakespeare and “Antigone” by Sophocles.

In this research paper, you should compare the plays treatment of REVENGE and JUSTICE. These two elements play quite major roles in each of the plays with each author presenting their conception of them in slightly different ways.

As a comparison essay, you should be dealing with both similarities and differences. The following is a breakdown of what you should be including:

o An introduction that presents both plays and authors as well as the point and purpose for writing.
o A thesis statement that is declarative in nature (Your thesis statement SHOULD NOT be that there are similarities and differences in the plays)
o A minimum of three supporting paragraphs that are driven by topic sentences that are thematically related to the thesis statement. (For example: In both plays, the main characters’ actions are driven by a desire for justice.)
o A conclusion that wraps up the entirety of the essay and brings the reader to a further, in-depth analysis of the concepts of revenge and justice in the plays.
o Your research should be academic in nature. This means that you should be using the library to do your research. Using the ground library or online library of the college are fine. The three sources indicated above MUST be academic sources. You are free to, and encouraged to, go to the library and ask the librarians for assistance if you are unsure of how to do academic research or are having trouble locating viable information in academic sources. (Please do NOT do a standard internet search for this assignment.)

Customer is requesting that (Bolavens) completes this order.

Excerpt From Essay:

Title: Latent essense of Revenge in Hamlet and The Revenger's Tragedy

Total Pages: 4 Words: 1455 Works Cited: 0 Citation Style: MLA Document Type: Research Paper

Essay Instructions: TEXT; Shakespeare "Hamlet"
Middltone "Revenger's Tragedy"

Before working on the paper, read following statements.

Thesis of the paper must be; "One's love for the revenged activates the actual action of revenge, indicated in "Hamlet" and "Revenger's Tragedy;" both Hamlet and Vindici love their villains."

Arguments must be supported by close readings, paying attention to word choice, mater, imagery, repetition, syntax, sound effects, tone, and rythme. (roughly one close reading per page)(close reading should be done as my paper below)(It is OK that the supports seem to be stretch);
Lines #900-908 in ?Antigone? demonstrate her determination to go to the world of death with a great honor. Antigone chooses to follow Zeus?s law rather than the king?s law, which orders her not to taking care of her brother?s dead body. Even though she rebels against the king?s law, preparing herself for denial of her life and marriage, Antigone is still attached to the world of the living, at first. However, she finally decides to break away from her life, and to marry with death.
Look at me, men of my fatherland,
setting out on the last road
looking into the last light of day
the last I will ever see?
the god of death who puts us all to bed
takes me down to the banks of Acheron alive-
denied my part in the wedding-songs,
no wedding-song in the dusk has crowned my marriage-
I go to wed the lord of the dark waters.

A mixture of positive and negative words in lines#900-908 implies that Antigone is right between the world of death and the world of the living at that time. For example, the words ?death? and ?alive? emerge together in one sentence as below:
the god of death who puts us all to bed
takes me down to the banks of Acheron alive-

As this sentence has words of opposite meanings, Antigone lives in two opposite world; the world of death and that of the living. Antigone has gone ?down to the banks of Acheron,? between the living and the dead: she is neither dead nor alive. She does not go into the Acheron, land of the dead. It is also expressed in a different way in the later lines:
I have no home on earth and none below,
not with the living not with the breathless dead.

These lines imply that if Antigone is in the cave in which she cannot get in touch with the living people though she can remain physically alive, then Antigone is neither in the world of death nor in the world of the living, right between the death and life.
At this point, however, Antigone still hesitates to go to the Acheron. Antigone is attached to the world of the living. The word, ?fatherland? which is mentioned in the first line, has a notion of home which evokes a sense of nostalgia. Therefore, the word, ?fatherland? implies that she is still looking for her home in the world of living. The word, ?last,? which is reiterated three times, gives readers a strong sense of Antigone regretting her final parting from the world of living. She is very nostalgic up to this point of the lines.
In the latter part of the lines, there are combinations of positive and negative words, and these combinations of the words suggest that Antigone has despaired for the world of living, and that, for Antigone, the end of life, death, turns to honorable happiness. As indicated below, words which have positive connotations and those which have negative connotations are connected each other:
no wedding-song in the dusk has crowned my marriage-
I go to wed the lord of the dark waters.

?Dusk,? which is associated with the notion of a beginning of the end, is connected to the honorable word, ?crowned.? ?Wed,? which is a suggestive word of beginning of happiness, is connected to the word, ?dark,? which evokes the notion of night, ends of things. The Dusk-crowned combination suggests that Antigone puts honor on the meaning of her death. Her death is one with great honors, because her death is a consequence of her following the Zeus? law. The wed-dark combination suggests that she found her happiness in the end of her life; therefore, she decides to go into the Acheron positively.
Given that, I would like to conclude that these lines are expressing the determination of Antigone?s later suicide, and her death is highly honored as the word, ?crowned? indicates.

"Mid-summer Night Dream"
Helena?s lines in ?A Midsummer Night Dream? which indicated below demonstrate doubleness and untrustworthiness of human words. In the literal context of the lines, Helena accuses Lysander?s change of his heart and courtship to two women, Hermia and Helena, but further, there is also a connotation that not men and women never keep their words.
You do advance your cunning more and more.
When truth kills truth, O devilish-holy fray!
These vows are Hermia?s. Will you give her o?er?
Weigh oath with oath, and you will nothing weigh.
Your vows to her and me, put in two scales,
Will even weigh; and both as light as tales.
Here, Helena implies doubleness in human mind by indicating the notion of ?two? in each line. As underlined above, in each line except line 131, there are repetitions of words as ?more and more,? ?truth kills truth,? and ?oath with oath,? which suggest twoness, or direct indications of twoness such as ?two? and ?both,? so that here Helena insistently emphasizes the notion of ?two.? Moreover, though in line 131, there is no indication of twoness, the name ?Hermia,? one person, in line 131 is divided up into two parts, ?her and me? in line 133. This division of a name of a person indicates that the twoness/doubleness emphasized by Helena in these lines deals with the inner face of an individual person.
Moreover, the word ?oath? reiterated twice evokes a connotation of sincerity; however, the notion of the doubleness contradicts the concept of sincerity, one genuine human feeling and accordance to it. This contradiction of doubleness and oath, sincerity, suggests that the oaths made by men and women in the ?A Midsummer Night Dream? fall into contradictions. Therefore, the words ?devilish-holy fray,? a combination of two extreme opposite concepts, ?devil? and ?holiness,? in line 129 imply the contradiction caused by doubleness.
On the contrary, the prior statement of Lysander below emphasizes on oneness of his oath.
So that but one heart we can make of it:
Two bosoms intercained with an oath,
So then two bosoms and single troth.
For lying so, Hermia, I do not lie.
Here Lysander notes the notion of oneness by saying, ?one heart,? ?an oath,? and ?single troth.? Nevertheless, ?lying? and ?lie? in the following line implies his falseness, though the word ?lying? here means ?to lay down? in the literary context.
Line 131 indicates that oaths, the words and promise by men and women, turn to nothing.
Weigh oath with oath, and you will nothing weigh.
Grammatically, the latter part of the line, ?you will nothing weigh,? should be, ?you will weigh nothing,? because any predicate, ?nothing? in this case, usually comes after verbs; however, this line changes the grammatical order and ?weigh? comes in very last of the line. Then, the whole line is formed to start and end with ?weigh,? and is split up into two parts by a comma. Further, the word ?weigh? evokes the concept of measurement or judgment. Therefore, this structure of the line itself expresses the form of ?two scales;? former part of the line before comma, ?Weigh oath with oath,? is one scale and the other is the latter after the comma, ?and you will nothing weigh.? Then, the objects measured in these scales are ?oath? in former part and ?nothing? in latter part. The result of the measurement is in line 133, ?even weigh,? which means ?oath? and ?nothing? are even; therefore, oaths means nothing; every man and woman never keeps their words.
Now therefore, the notions of doubleness/twoness imply the untrustworthiness of human words, and oaths turning to nothing prove that men and women never keep their words.

Meaning of Grades;
A Range (A-, A, A+)
An original and lively thesis that is at least partially successful. Thesis is argumentative and controversial, sensitive to the text and its contexts, working against a strong counterargument into the heart of the text and enriches the reader's appreciation of its artistic significance. Inventive or even simply sound choice and use of secondary materials. Strong evidence of having considered and re-considered both text and paper drafts. Plentiful and to-the-point close readings (but no lengthy quotations). Lively and grammatically correct prose. Strong sense of paragraphing, structure, logic and audience. Proper manuscript format, including notes and works cited list.

Stylistic Suggestions;
--Avoid beginning clauses with unattached pronouns. Not "This is because..." but "This condition is because . . ."
--Prefer the simple present to the present progressive. Not "He is running" but "He runs."
--Cut out phrases whose absence will not change the meaning of the sentence. Not "This type of/kind of/sort of action" when "this action" will do.
--Watch out for words that have lost their meaning and/or resonance due to overuse, misuse, or lack of precision. "The book was interesting." "The essay was descriptive." "The performer had a unique style." "War is the ultimate solution." "He is a nice man."
--Do not needlessly separate the subject from the predicate.
Needful: "Joe Ross, my boss, lives in Seattle."
Needless: "Frank, when his brother was killed, turned himself in."
--Use the possessive case before the gerund.
Not "Jim hitting the field goal won the game."
But "Jim's hitting the field goal won the game."
--Prune intensifiers. They usually mean that the following word is not the one that precisely fits your meaning. Not "The book was extremely dull." But "The book was tedious or stupefying or soporific." P.S., do not intensify absolute words like unique, enigmatic, ultimate, etc. You cannot have "a touch of pregnancy" or be suffering from "a mild case of death." So too are words like "unique" absolute: something is either unique or it is not, period.
--Make each sentence as brief as it can be while expressing what you want it to.
--If you have a choice, choose the concrete word over the abstract word. Not "He wanted a man with more strength." But "He wanted a man with more brawn."
--Make sure each word you choose is the most appropriate, the most precise. Otherwise, you are letting words choose the meaning rather than your choosing the meaning and finding the word that fits.
--Never needlessly use the passive voice.
--Never needlessly split infinitives.
Not "to quickly run" but "to run quickly"
--Try to make your prose "verb-centered" rather than "noun-centered." Not "He is a sculptor" but "He sculpts."
--Vary sentence construction and length. Use simple sentences, for example, to begin or conclude points, compound sentences to draw together two or more ideas, and complex or complex/compound sentences to explain the relationship between ideas. Most well-developed paragraphs contain all four types of sentences.
--Avoid clich?s, truisms, trite expressions, familiar metaphors, mixed metaphors, adages, and worn-out images. Ex. My "tried and true" at the beginning of this handout.
--Remember, you are inventing language and knowledge every time you write. You are creating some thing new. Make it beautiful and meaningful.
--Finally, remember that you do not know what you think about something until you have written, and rewritten and rewritten about it. You cannot be a great writer without being a great thinker: learning to write can make you smarter, honest.

About thesis;
An essay is an analytic or interpretive literary composition usually dealing with its subject from a limited or personal point of view. That, at least, is what my dictionary says. There are, of course, other ways to describe what an essay is, does, should be, resembles, etc. Because all the papers from this part of the course will be essays, we need to clear up exactly what this term entails. An essay is not an essay without a thesis. A thesis is an argument: in the context of this course, an argument is an interpretive response to a given text or group of texts. A thesis is never a matter of observation, but rather an uncovering of the significance of your observations. Another way to put it is that a thesis is a synthesis of the whole, explicitly supported by your analysis of the particulars. This is all a bit abstract. Let's form some guidelines.
1) Place your thesis in the first paragraph. Remember that in an English paper the thesis should always enrich a reader's general understanding of the literary work in question. For example, if you were to argue that such and such a character is morally good or bad, you would also need to explain to the reader why this is an important judgment, how an understanding of Mr. Such and Such as a good or bad person affects our understanding of the work in which he appears.
2) The first paragraph should also indicate to the reader how you expect to support your argument and/or what areas of the text you want to explore.
3) Your support is crucial. You cannot persuade a reader by mere assertion ("many readers find Mr. Such and Such a kind and decent character, but I don't"). In general, move your argument from a common ground of observation to your interpretation. In other words, your thesis is always general, synthetic, and abstract, while your support is always specific, analytic, and concrete.
4) The thesis must be kinetic. As your essay is the development of an argumentative idea, your thesis cannot be static. A static thesis would be one that argues, for example, Mr. Such and Such is a bad character. On this page he does a bad thing, and them he does another bad thing on this page, and finally he does a really bad thing on the last page. Ergo, Mr. Such and Such is a bad character. This argument is static because it depends on addition to prove its point. In other words, the thesis doesn't go anywhere. A kinetic thesis, as the name suggests, moves. The points you raise are like building blocks: you could not change the order. A kinetic thesis develops during the course of the essay and is only completed in the conclusion.
5) FIRST SENTENCE RULE: As an aid to both yourself and the reader, make sure that the first sentence of each paragraph in the body of the essay explicitly connects your thesis with the paragraph idea. This tactic will help you to avoid needless plot summary. It will also insure that your thesis is kinetic. If you find your first sentences using words like "another" or "again" or "also", you probably do not have a kinetic thesis, but a static one.
6) When you quote a passage in an essay, you are implicitly asking the reader to look at the language therein. Do not use quotations to review the plot. A quotation should be followed by an interpretation (at least as long as the quotation itself) of the sounds, tone, word choices, and rhythm of that quotation. If you find yourself ending a paragraph with a quotation, you probably have not commented upon the essay well enough.
7) Use the historical present tense throughout your essay. Understand that events in a book are, in reality, timeless. Hence the events are always happening.
8) SO WHAT? SCHOOL OF COUCH POTATODOM: In reference to rule #1, ask yourself why your argument is important. How does it relate to the whole text? Get that reader off the sofa; tell him why he should care.
9) ARGUE THE OPPOSITE SCHOOL OF THE DEVIL: A test every thesis should undergo--state the exact opposite of your thesis. Could this opposing point of view be argued reasonably. If it could, then you probably have an arguable thesis, and that's good. If the opposite of your thesis could not be argued reasonably, then your thesis is probably either not pointed enough or it is an observation and not an interpretation.
10) Remember to cite references correctly.
11) Remember that apostrophes exist.
12) Proofread at least twice.
13) Read your papers out loud to someone to catch the glitches of the dumb pen.

If need be, draw upon the following paper (which is your service product but not satisfy my needs because of lack of provokative thesis and no support by close readings);

Revenge Explored in Hamlet and
The Revenger?s Tragedy

William Shakespeare and Thomas Middleton explore the depth and range of the human psyche in their plays, Hamlet and The Revenger?s Tragedy. Through the characters of Hamlet and Vindici, they indicate different motivations for their feelings of vengeance, illustrating the complexity of human nature in relation to revenge. Though both plays operate under the same theme of vengeance, they are quite different in terms of how each author portrays each protagonist. Hamlet, because he relates his father?s death to the state of the world, represents a larger social connotation of mankind while Vindici and his goofy actions represent a play that shocks rather than provokes thought.
Both Hamlet and Vindici respond to injustices that they have witnessed, which is the murder of the beloved. Hamlet, at the same time he is motivated by revenge, is also motivated by his melancholy. At times, therefore, he creates a great conflict within himself as he tries to deal with his mission set forth by the ghost. his mother?s sudden remarriage to Claudius, which presents another element of revenge also troubles him. Throughout the play, he struggles always and endlessly with his emotions and his religious beliefs, which prevent him from acting. Hamlet regards King Hamlet?s death as a matter of the universe; therefore, it influences his thoughts and perceptions of the world around him. For example, rather than think about the state of affairs at court, he would rather his:
O that this too too sallied flesh would melt,
Thaw, and resolve itself into a dew!
Or that the Everlasting had not fix?d
His canon ?gainst [self-]slaughter! O God, God,
How [weary], stale, flat, and unprofitable
Seem to me all the uses of the world!
(Shakespeare I.ii.129-34).

In the lines above, there indicates the fact that Hamlet?s entire world had crumbled because of what has happened.
Hamlet is also motivated by an outside force, which is the ghost. The presence of the ghost guarantees that hamlet will find no rest from his sorrow or his shock until he avenges his father?s death. The presence of the ghost adds a supernatural element to Hamlet that The Revenger?s Play does not have. This element allows us to believe Hamlet when he compares the rankness in Denmark to the fallen state of the world. The ghost heightens Hamlet?s inner conflict not only because it exists but because of its request. Hamlet?s religious upbringing has taught him that murder is wrong and Hamlet tries to get out off killing Claudius by wasting time trying to determine of the ghost is legitimate or simply a ?goblin damned? (Shakespeare i.iv.44). Even when hamlet decides that the ghost is good, he experiences difficulty following his orders. The ghost in Hamlet opens the play up to spirituality and thus spiritual conflicts.
In contrast, Vindici has no inner conflicts nor does have anyone or anything prodding him to action. He is the mastermind behind his plan and he returns to court with one plan in mind, which is vengeance. He states in the opening lines of the play that the Duke poisoned his wife ?Because thy purer part would not consent/Unto his palsy-lust, for old men lustful? (Middleton I.i) and because of this the Duke must pay. While Hamlet searches for meaning on a deeper level, Vindici simply waits for opportunity.
Hamlet?s famous tragic flaw of delaying what he must do is a stark contrast to Vindici?s eagerness to get the job done. Vindici returns to the Duke?s court, assumes the personality of Piato, and cleverly executes his plan. This is significant to understanding the meaning behind both plays. Clearly, Shakespeare wanted us to witness Hamlet?s inner turmoil. The desire for vengeance conflicting with the desire to remain moral is something to which everyone can relate. With Vindici, we do not see hesitation or fear. In short, Hamlet?s hesitation makes him more realistic and believable. Moreover, Shakespeare presents us with a ruthless and illegitimate king with the character of Claudius. Middleton?s Duke, while he did a bad thing, does not evoke the same type of disgust.
Many have claimed that Hamlet?s problem is that he thinks too much. With every opportunity he has to kill Claudius, he finds a reason not to. Hamlet thought he could muster the courage to kill Claudius after gauging his response to the Mousetrap play, but this was not the case. When he finds Claudius alone in his room, he has the chance to kill him, but decides against it because Claudius is praying. Hamlet says, ?Am I then revenged/To take him in the purging of his soul,/When he is fit and seasoned for his passage?? (Shakespeare III.iii.89-91). This act might send Claudius straight to heaven, so he passes on the chance. Hamlet then decides that it would be better to wait for a more favorable time to kill Claudius, such as ?When he is drunk asleep, or in his rage,/Or in th? incestuous pleasure of his bed? (III.iii.94-5). This logic is weak, but it works for Hamlet. What it reveals to us is that Hamlet does not really want to kill Claudius.
While Hamlet?s hesitation makes him more believable, Vindici?s decision to kill Lussurioso makes him a more evil character than Hamlet could ever think of being. Vindici also becomes more obsessed and conceited with his mission as the play progresses. For instance, he claims to Lussurioso that he is ?covetous/To know the villain? (Middleton IV.ii) and then tempts his own fate when he tells him ?He shall surely die that did it? (IV.ii). We also see how the play becomes a farce when Vindici dresses up the Duke?s body in Piato?s clothing. Vindici revels in his revenge, claiming that it ?hits,/Past the apprehension of indifferent wits? (V.i). He rejoices and says, ?No power is angry when the lustful die;/When thunder claps, heaven likes the tragedy? (V.iii). In contrast to Hamlet, Vindici becomes more detestable and ends up like Iago delighting in his evil desire.
Given these explanations, I would like to conclude that while Hamlet and The Revenger?s Tragedy reveal the complexity of the human psyche with how it copes with matters of revenge, it is clear that each playwright had different goals in mind while crating their characters. Shakespeare attempted to make Hamlet more like every man with his conflicting emotions. With Hamlet, Shakespeare comments on the human condition as a whole, emphasizing a complex cerebral creature that cannot overcome his conscience. Middleton, on the other hand, presents us with a different creature--one which not only overcomes his conscience but also does so to the point of shock and horror.

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