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William Shakespeare’s characters act like fools very often in the play “A Midsummer Night’s Dream.” Many times they would come across an easy problem and make a big deal about it, or choose to make a decision that doesn’t even make sense for them to consider. The most foolish characters in the play are Bottom, Puck, Helena, and Egeus. Shakespeare wrote about the foolish behavior of humans to show how silly people can be in a way that makes people laugh, but is actually pretty accurate. Bottom was brainless and had a funny role in the play. He wanted every part in the play he and a group of craftsman put together for Theseus’s wedding celebration. If that wasn’t it, he also was running around as a donkey for a portion of the play, after
The initial aspect one notices about Nick Bottom's personality is his enthusiasm for acting. From the introduction of the Mechanicals (1.2) when Peter Quince is assigning the roles of the play (The Most Lamentable Comedy and Most Cruel Death of Pyramus and Thisbe) to each of the characters, Bottom enthusiastically volunteers to play every role as they are being assigned to the other characters. This eagerness is clearly demonstrated when the second and third characters of their play (Thisbe and the Lion) are assigned. Bottom jumps in to each conversation, saying, "An I may hide my face, let me play Thisbe too." (1.2. 45), and "Let me play the Lion too.
One of William Shakespeare’s best remembered plays for its comical and ironic tone is A Midnight’s Summer Dream. There were characters designed to be humorous and that alone. Puck and Bottom behave very much alike, and have similar roles for different people. Both Puck and Bottom are comic relief characters in one way or the other. Both of them are needed for the play, because Puck’s spirits controls the whole story, which sets the tone for it, and Bottoms comic relief for the audience and play.
In William Shakespeare’s A Midsummer Night’s Dream, there are endless images of water and the moon. Both images lend themselves to a feeling of femininity and calm. In classical mythology, the image of water is often linked with Aphrodite, goddess of passion and love. Born of the foam of the sea, Aphrodite was revered as an unfaithful wife to her husband Hephaestus (Grant 36). This may have a direct coloration to the unfaithful nature of the four lovers, Hermia, Helena, Lysander, and Demetrius, while in the woods. Perhaps more important, however, is Aphrodite’s link to the other Olympian maiden goddesses. As Aphrodite was attributed with love and beauty, Athena was the protector of war and arts, and finally, Artemis was the goddess of the woods and wild things (Hamilton 31). Artemis was brother of Apollo, god of the sun, and therefore she was the goddess of the moon. Through out literature it seems imagery of the moon and water can be used nearly interchangeably because they both imply feminine powers; water is representative of life and motion and the moon is representative of Artemis directly. Shakespeare seems to have been quite aware of the duties and powers of this ancient goddess.
The first part of the scene features the two characters Theseus and Hippolyta. Th... ... middle of paper ... ... ies and involves them in the play.
Bottom appears again in III.i as the group of mechanicals gathers in the wood to rehearse. He tells Quince that the play needs a prologue to explain that the dangers in the play (Pyramus drawing his sword to kill himself, and the lion) are not real. After the group decides that the moonshine by which Pyramus and Thisby meet and the wall which separates the lovers must be played by people, the group proceeds with their rehearsal. Bottom bungles his first line, and Quince corrects him. Flute, playing Thisby to Bottom's Pyramus, doesn't do much better, to Quince's dismay. Puck, who has been watching, intervenes to change Bottom's head into the head of an ass. When the others see this, they run off, frightened. Bottom thinks they are playing a trick on him, trying to scare him, so he begins singing to show them he is not afraid. His song is interrupted by Titania, who has just woken up, having been anointed with the love juice by Oberon. Titania swears she is in love with Bottom, a man with the head of an ass, and he replies ''Methinks, mistress, you should have little reason for that" (III.ii.142-43). When Titania tells Bottom that he is both wise and beautiful, he assures her that he is not. Nevertheless, he seems to accept her affection and follows her with little objection.
He doesn't realize that as a practical joke, a trickster Puck, has put an ass head on his shoulders. This makes all of his companions afraid of him so that they run away. This is an example of the comedy involved in this play. This essay will show you that A Midsummer Night's Dream is a play that is mainly composed of comedy. The funniest part of this play seems to be when Puck, the trickster, keeps mixing up the people who he is assigned to put the love juice on.
Hermia , Lysander , Helena and Demetrius represent young love in Shakespeare’s A Midsummer Night’s Dream . They are potrayed as foolish and fickle , acting like children and requiring a parental figure to guide them . The parental figures are Hermia’s father , Egeus , and figuratively Theseus , the mortal ruler , and Oberon , the mystical ruler.
Shakespeare wrote his acclaimed comedy A Midsummer Night’s Dream more than a thousand years after Apuleius’ Roman novel, The Golden Ass. Although separated by thousands of years and different in terms of plot and setting, these works share the common theme of a confused and vulnerable man finding direction by relying on a supernatural female. One of A Midsummer Night’s Dream’s many subplots is the story of Bottom, a comical figure determined to be taken seriously in his production of a Pyramus and Thisbe. As Bottom becomes caught up in a quarrel between the king and queen of the fairies, the commanders of the enchanted forest where Bottom and his players practice, the “shrewd and knavish sprite” Puck transforms his head into an ass’ s and leads him to be enthralled in a one night stand with the queen, Titania. (2.1.33) Apuleius’s protagonist Lucius endures a similar transformation, after his mistress’s slave girl accidentally bewitches him into a donkey, leaving him even without the ability to speak. Although Lucius’ transformation lasts longer and is more severe, he and Bottom both undergo similar experiences resulting from their animal forms. Lucius’ suffering ultimately leads him to salvation through devotion the cult of Isis, and Bottom’s affair with Titania grants him clarity and a glimpse into similar divine beauty. Ultimately, both asinine characters are saved through their surrender to the goddesses.
The character of Bottom in Shakespeare’s A Midsummer Night’s Dream is frequently foolish, but he is not a fool. His exuberance and energy are allied to practicality and resourcefulness, with an alarming lack of self-consciousness. He, at any rate, is not at all tongue-tied before the duke, as Theseus has known others to be. We do laugh at Bottom in many situations, but should note that these are situations in which any man might seem ridiculous: amateur theatricals are almost a byword for unintended comedy, whether in planning (1.2) rehearsal (3.1) or performance (5.1); any artisan afflicted with an ass's head and appetites, and beloved of the fairy queen would have difficulty retaining his dignity.
Throughout history literature has changed into many different forms and styles, it has also stayed the same in many different ways, literary techniques and elements are key to a good piece of writing, a perfect example that shows us just this is in, A Midsummer Nights Dream, where we will further explore the different literary elements that were used most notably the plot. The plot of a story lays out the foundation and the background for the entire play to come, we'll compare and contrast this element and look at the different sub elements which are produced. We will define similarities and difference in these elements form both the play o the film. Taking a look at things such as climax, play incidents, and the conflict will all give us a better understanding of how it affects the similarities and difference of the film versus the play.
In A Midsummer Night’s Dream, the characters are all different, from their names, to their personalities and what they do. Some are mischievous, some are in love, and some are sneaky. Each character is in love with another character and some are even trying to steal one and other away from the person they love. Puck and Bottom are the most personable characters in the story, but they are not involved in the dramatic events.
In A Midsummer Night's Dream, playwright William Shakespeare creates in Bottom, Oberon, and Puck unique characters that represent different aspects of him. Like Bottom, Shakespeare aspires to rise socially; Bottom has high aims and, however slightly, interacts with a queen. Through Bottom, Shakespeare mocks these pretensions within himself. Shakespeare also resembles King Oberon, controlling the magic we see on the stage. Unseen, he and Oberon pull the strings that control what the characters act and say. Finally, Shakespeare is like Puck, standing back from the other characters, acutely aware of their weaknesses and mocks them, relishing in mischief at their expense. With these three characters and some play-within-a-play enchantment, Shakespeare mocks himself and his plays as much as he does the young lovers and the mechanicals onstage. This genius playwright who is capable of writing serious dramas such as Hamlet and Julius Caesar is still able to laugh at himself just as he does at his characters. With the help of Bottom, Oberon, and Puck, Shakespeare shows us that theatre, and even life itself, are illusions that one should remember to laugh at.
In Elizabethan times, the role of a fool, or court jester, was to professionally entertain others, specifically the king. In essence, fools were hired to make mistakes. Fools may have been mentally retarded youths kept for the court’s amusement, or more often they were singing, dancing stand up comedians. In William Shakespeare’s King Lear the fool plays many important roles. When Cordelia, Lear’s only well-intentioned daughter, is banished from the kingdom Fool immediately assumes her role as Lear’s protector. The fool is the king’s advocate, honest and loyal and through his use of irony sarcasm and humour he is able to point out Lear’s faults. Functioning much as a chorus would in a Greek tragedy, the fool comments on events in the play, the king’s actions and acts as Lear’s conscience. As he is the only character who is able to confront Lear directly without risk of punishment, he is able to moderate the king’s behaviour.
The fairies and the fairy realm have many responsibilities in this play. The most important of which is that they are the cause of much of the conflict and comedy within this story. They represent mischievousness and pleasantry which gives the play most of its emotion and feeling. They relate to humans because they make mistakes but differ in the fact that they do not understand the human world.
William Shakespeare, born in 1594, is one of the greatest writers in literature. He dies in 1616 after completing many sonnets and plays. One of which is "A Midsummer Night’s Dream." They say that this play is the most purely romantic of Shakespeare’s comedies. The themes of the play are dreams and reality, love and magic. This extraordinary play is a play-with-in-a-play, which master writers only write successfully. Shakespeare proves here to be a master writer. Critics find it a task to explain the intricateness of the play, audiences find it very pleasing to read and watch. "A Midsummer Night’s Dream" is a comedy combining elements of love, fairies, magic, and dreams. This play is a comedy about five couples who suffer through love’s strange games and the evil behind the devious tricks. This play begins as Theseus, the Duke, is preparing to marry Hippolyta. He woos her with his sword. Hermia is in love with Lysander. Egeus, Hermia’s father, forbids the relationship with Lysander and orders her to marry Demetrius. Demetrius loves Hermia, but she does not love him. On the other hand, Helena is in love with Demetrius. To settle the confusion, Theseus decides that Hermia must marry Demetrius or become a nun. In retaliation to her father’s command, Hermia and Lysander run away together. Amidst all the problems in the human world, Titania and Oberon, the fairy queen and king, continually argue about their various relationships that they have taken part in. (Scott 336) Titania leaves Oberon as a result of the arguments. Oberon is hurt and wants revenge on Titania. So he tells Puck, Oberon’s servant, to put a magic flower juice on her eyelids while she is sleeping. This potion causes the victim to desperately in love with the first creature that they see. Oberon’s plan is carried out, but the potion is also placed on Lysander’s eyes. Lysander awakes to see Helena, who is aimlessly walking through the woods, and instantly falls in love with her. She thinks that he is making fun of her being in love with Demetrius, so she leaves and Lysander follows. This leaves Hermia to wake up alone. Puck now has journeyed to the area where several actors are rehearsing. He uses his magic to turn one of them into a donkey, in hopes that Titania will awake to see it.