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Shakespeares use of imagery
Shakespeares use of imagery
The role of imagination in literature
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William Shakespeare often compares imagination and reality in his plays. He explores this comparison through the role and purpose of the forests in Midsummer Night's Dream and As You Like It. Midsummer Night's Dream focuses on imagination and escape, while As You like It focuses on reality and self discovery. The forest in Midsummer Night's Dream represents imagination. Puck, a fairy servant and friend of Oberon, watches six Athenian men practice a play to be performed for Theseus' wedding in the forest. Puck turns Nick Bottom's head into that of an ass. The other players see Bottom and run away screaming. He follows them saying, "Sometime a horse I'll be, sometime a hound, a hog, a headless bear, sometime a fire, and neigh, and bark, and grunt, and roar, and burn, like horse, hound, hog, bear, fire, at every turn" (3.1.110-113). Puck chases the players, making them think a wild animal is chasing them. In our daily lives, people on often think in a logical and down to earth manner, but the mind wanders when a person is emotional, especially when feeling fear. Fear can cause a person mind to become unhinged. When the mind wanders, the imagination kicks in. One thing can become another--a harmless bush can become a crouching lion. Nearing the end of the play, Theseus and Hippolyta discuss how unrealistic the four lovers experience is. Theseus states, "I never may believe these antique fables, nor these fairy toys. The lunatic, the lover, and the poet are of imagination all compact" (5.1.2-3 and 5.1.7-8). Theseus does not believe in fairy tales, that what the four lovers said is not true. In his view, the lunatic, the lover, and the poet have wild imaginations. A lover's emotions can be out of control. When a person is emotional,... ... middle of paper ... ... reality. Through the forest of Arden, a person has time to contemplate life. Reality is a dream dictated by imagination. As Puck put it, "If we shadows have offended, think but this, and all is mended--that you have but slumbered here while these visions did appear. And this weak and idle theme, no more yielding but a dream…" (5.1.440-445). Works Cited Shakespeare, William. A Midsummer Night's Dream. Comp. Folger Shakespeare Library. New York, NY: Simon & Schuster Paperbacks, 2009. Print. Shakespeare, William. As You Like It. Comp. Folger Shakespeare Library. New York, NY: Simon & Schuster Paperbacks, 2009. Print. Shakespeare, William. As You Like It. Trans. Gayle Holste. Hauppauge, NY: Barron's Educational Series, 2009. Print. Shakespeare, William. No Fear Shakeaspeare A Midsummer Night's Dream. Trans. John Crowther. New York, NY: Spark, 2003. Print.
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.
Clark, W.G., and W. Aldis Wirhgt, eds. The Complete Works of William Shakespeare. Vol 2. USA: Nd. 2 vols.
In conclusion, in A Midsummer Night’s Dream, Shakespeare effectively uses the motifs of the seasons, the moon, and dreams to show that love, irrationality, and disobedience directly cause chaos. By calling to mind the seasons in unnatural order, describing the moon behaving strangely, and discussing the dualistic, irrational nature of dreams, Shakespeare effectively evokes a sense of chaos and disorder. Linking each of these motifs to the themes of love, irrationality, and disobedience allows Shakespeare to illustrate the disarray that is bound to result from any romance.
Shakespeare, William. Romeo and Juliet. Ed. Stephen Greenblatt et al. The Norton Shakespeare. New York: W.W. Norton & Company Inc., 1997. Print.
Set and Costume Design for A Midsummer Night's Dream by William Shakespeare. Elizabethans were extremely conscious of the parallels between humans. life and the natural world and I believe that the natural world, often perceived to be well-balanced and harmonious is an example of the human world as similarly it can also suffer discord and unrest. Evidently, the woods demonstrate several factors as a place. of mystery, magic and action in which the fairies feel at home.
Shakespeare, William, and Russ McDonald. A Midsummer Night's Dream. New York, NY: Penguin, 2000. Print.
Shakespeare, William. A Midsummer Night’s Dream Mowat, Barbra and Werstine, Paul Ed. Washington Square Press, New York: 1993
Shakespeare, William. “A Midsummer Night’s Dream”. The Pelican Shakespeare. New York: Penguin Books Inc. 2000.
Shakespeare, W. (1998). As You Like It. (c. 1600) A. Brissenden (Ed.) Oxford: Oxford University Press
Schanzer, Ernest. "_A Midsummer-Night's Dream." 26-31 in Kenneth Muir, ed. Shakespeare: The Comedies: A Collection of Critical Essays. Englewood Cliffs: Prentice-Hall, 1965.
Shakespeare, William. A Midsummer Night's Dream. The Norton Shakespeare: Greenblatt, Stephen, editor. New York: W W Norton & Company, 1997.
Shakespeare, William. Twelfth Night, Or, What You Will. Ed. Barbara A. Mowat and Paul Werstine. New York: Simon & Schuster Paperbacks, 2009. Print.
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.
Ronk, Martha Clare, Locating the Visual in As You Like It.Shakespeare Quarterly 52, Issue 2, 2001.
Shakespeare, William. A Midsummer Night’s Dream. Ed. Barbara A. Mowat and Paul Werstine. New York: Washington Square Press, 2004.