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midsummer night's dream compare and contrast
midsummer night's dream compare and contrast
a midsummer nights deam the character of puck
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William Shakespeare starts with a seemingly unresolvable conflict in A Midsummer Night’s Dream. The main characters are lovers who are either unrequited in their love or hassled by the love of another. These lovers are inevitably paired. How does Shakespeare make this happen? He creates many subplots that, before long, are all snarled up into a chaotic knot. So, what actions does Shakespeare take to resolve these new quandaries? He ends up trusting a single key entity with his comedy. It’s only then that he introduces a special character into his world: a mischievous fairy whom is known by the name of Puck. Puck is the catalyst for all these subplots and, indeed, for the entirety of Shakespeare’s A Midsummer Night’s Dream. Try to take Puck out of the play. Is there anyway for the play to survive? No, without the character of Puck, A Midsummer Night’s Dream would be very different from the play as it is today. The progression of A Midsummer Night’s Dream depends on Puck in many ways. Working backwards, there are two major instances throughout the play that would be forever changed with the loss of Puck. What would happen if Puck were only there for the beginning of the play? Half of the comedic quality of the play would disappear without Puck’s farcical reaction to Bottom. For who, but Puck, would see Bottom and dislike his attitude enough to give him the head of an ass? Taking away this disfigurement would also cause King Oberon to feel less sympathetic towards his Titania when she falls in love with a mere mortal, instead of the monster. Though this would have cost the play its comedic tone, there is a question of even greater import. Where would the play go without Puck altogether? King Oberon, in a power struggle with his l... ... middle of paper ... ...s character. Therefore, Puck is the single most important character to the development of the plot of A Midsummer Night’s Dream. The significance of this character has kept it alive for around 400 years. Most recently, the character has been revived in J. K. Rowling’s Harry Potter series. Some say that the character of Dobby the house-elf is reminiscent of the legends of Puck which Shakespeare based his Puck on (Wright). However, there is a character that more thoroughly echoes Puck than Dobby. That character is that of Hogwarts’ resident poltergeist: Peeves. He resembles Puck in not only personality, but also in situation. They both play harmless pranks on unsuspecting individuals within their respective domains. They also both have an authority figure who has powerful influence over them. Clearly, Rowling was paying homage to Shakespeare when developing Peeves.
The first of the villains is Puck from A Midsummer Night’s Dream; he is clever, reckless, and very mischievous, these characteristics tend to get him into trouble. Sometimes referred to as Robin or Robing Goodfellow, Puck is a trickster by nature and loves to play pranks on others, by this, he and Bottom actually progress the three central stories of the play. Puck is introduced first and creates drama in the lovers’ story by messing up who loves whom. Puck also turns Bottoms head into an ass and makes Titania fall in love with him so he might bring the Indian boy/slave for Oberon, the fairy king. Puck introduces himself in Act two, Scene one by saying, “ I am that merry wanderer of the night./I jest to Oberon and make him smile/When I a fat and bean-fed horse beguile,/Neighing in likeness of a filly foal:/And sometime lurk I in a gossip's bowl,/In very likeness of a roasted crab,/And when she drinks, against her lips I bob/And on her wither'd dewlap pour the ale./The wisest aunt, telling the saddest tale,/Sometime for three-f...
The use and misuse of magic has an important role in A Midsummer Night’s Dream. As a reoccurring theme, Puck’s use of magic creates humor, conflict and balance in 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.
William Shakespeare’s play A Midsummer Night’s Dream utilizes the technique of multiple characters playing leading roles. The fairy character Puck stands out as a dominant and leading role in the play. Puck is the best fit for the role of the protagonist because he is mischievous and therefore, has the ability to change the outcome of the play through his schemes and actions. As the protagonist, Puck is responsible for creating the major conflict that occurs between the four lovers throughout the play. This is important because the play focuses on the lives and relationships of the lovers. In addition, because of Puck’s interaction with these characters, his actions throughout the play, alters the final outcome. Finally, Puck’s relationship with all the mortals in the play, his connection to his fellow fairies, and the bond he has with his boss, King Oberon make him the best choice for a protagonist.
The comedic play, A Midsummer Night’s Dream, written by William Shakespeare around 1594, is the story of events surrounding the marriage of the Duke of Athens, Theseus, and his wife, Hippolyta. There are the adventures of four Athenian lovers, Lysander, Demetrius, Helena, and Hermia. There are also group of six workmen who are also amateur actors trying to get picked to perform on Theseus’s wedding day. Most of the story takes place in an forest outside of Athens. Nick Bottom is a weaver who is chosen to play Pyramus in the production for the royal couple’s wedding. Puck, also known as Robin Goodfellow, is Oberon, the king of the fairies and the forest’s, fairy helper. Out of all the characters two of the more fascinating ones were Bottom and Puck.
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.
Similar to other works by Shakespeare, such as The Taming of the Shrew, A Midsummer Night’s Dream embellishes the pressures that arise between genders dealing with complicated family and romantic situations. The plot includes a duke who is going to marry a woman he conquered in battle, the king and queen of the fairies embroiled in a fight so fierce that it unbalances the natural world, and a daughter fighting with her father for her right to marry the man she chooses. The girl’s father selects Demetrius to marry his daughter, but she is in love with another man, Lysander, who loves her in return, and her friend Helena is in love Demetrius, but he wants nothing to do with her. Considering the fact that males were dominant during that era, whereas, men chased women, and women remained submissive, Shakespeare dallies with those traditional roles and there are several possible reasons why. Perhaps he made women a stronger force in his plays because he wanted to give his audience a break fr...
In Shakespeare’s Midsummer’s Night Dream he entices the reader using character development, imagery, and symbolism. These tools help make it a wonderful play for teens, teaching them what a well-written comedy looks like. As well as taking them into a story they won’t soon forget.
Shakespeare’s A Midsummer Night’s Dream is often read as a dramatization of the incompatibility of “reason and love” (III.i. 127), yet many critics pay little attention to how Shakespeare manages to draw his audience into meditating on these notions independently (Burke 116). The play is as much about the conflict between passion and reason concerning love, as it is a warning against attempting to understand love rationally. Similarly, trying to understand the play by reason alone results in an impoverished reading of the play as a whole – it is much better suited to the kind of emotive, arbitrary understanding that is characteristic of dreams. Puck apologises directly to us, the audience, in case the play “offend[s]” us, but the primary offence we can take from it is to our rational capacity to understand the narrative, which takes place in a world of inverses and contrasts. The fantastical woods is contrasted to the order of the Athenian law, and Elizabethan values of the time are polarised throughout the narrative, such as Helena’s feeling ugly even though she is tall and fair. A Midsummer Night’s Dream is thus not solely a comedic meditation on the nature of the origin or meaning of love, it also cautions against trying to rationalise the message of the play. Puck, who by his very nature cannot exist in rational society, propels the action of A Midsummer Night’s Dream. He is a manifestation of mischief and the unpredictability of nature, which governs not only the fantastical woods outside of Athens, but also the Athenians themselves when it comes to love. Yet, it is Puck, and thus nature, which rectifies the imbalance of the lovers in the beginning of the play. Rationalising, o...
Puck causes the disruption initially, when he intervenes in the lovers' business. Jester and jokester, Puck, otherwise known as Robin Goodfellow, is like a wild, untamed memb...
Fairies, mortals, magic, love, and hate all intertwine to make A Midsummer Night’s Dream by William Shakespeare a very enchanting tale, that takes the reader on a truly dream-like adventure. The action takes place in Athens, Greece in ancient times, but has the atmosphere of a land of fantasy and illusion which could be anywhere. The mischievousness and the emotions exhibited by characters in the play, along with their attempts to double-cross destiny, not only make the tale entertaining, but also help solidify one of the play’s major themes; that true love and it’s cleverly disguised counterparts can drive beings to do seemingly irrational things.
Puck, or Robin Goodfellow, is established in the play as the jester to the King of Fairies, Oberon. He first appears in Act 2, Scene 1 when he and another fairy discuss the disagreement between Oberon and Titania are having. The fairy gives us some indication of Puck's character as she describes how Puck “frights the maidens of the villagery” and “Misleading the night wanderers” (Act 2.1, line 35). When Titania refuses to give up the boy servant that Oberon wants, he comes up with a plan to steal the child, and enlists Puck's help to do so. Oberon is fully aware of Puck’s desire to have a good time at the expense of others, but trusts him with the task of retrieving the flower to make Titania fall in love with “Lion, Bear, Wolf, or Bull.” (Act 2.1, line 180) The idea here is to convince Titania to hand over the changeling boy while she is infatuated with a beast. Being attracted to mischief, Puck seems excited to be tasked to this adventure, and claims to return “Within forty minutes” (Act 2.1, line 176) so that they can get started on their plan.
To emphasize, in Act III, the reader is presented with the play’s most extraordinary contrast, the relationship between Titania and Bottom. “What wakes me from my flow’ry bed?” (III.i.131). Titania is awoken by the so-called melodic singing of Bottom. In the present scene, both characters are under some particular sort of spell. Titania’s eyes were anointed with the nectar of the love flower, thus causing her to fall in love with the next living thing she encounters. In the meantime, Puck pulled a prank on Bottom, turning his head into that of an ass. Both characters of the play are interpreted as complete opposites. Titania, characterized as the beautiful, graceful fairy queen; Bottom is portrayed as overdramatic, self centered, and as of now, not keen on the eyes. However, the love nectar never fails and seems to bring the two into a state of lust. The contrast between the two is overwhelming. An important scene in the pl...
Magic affects both the plot and the environment of William Shakespeare’s play “A Midsummer Night’s Dream,” as it influences the thoughts and actions of the characters through most of the play. Through its power, magic confuses the characters and creates conflicts between them, but it also solves the conflicts. The character’s use and misuse of magic lead to some of the ridiculous moment of the play.
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.