The fact that they are depicted in this way allows their actions to evoke human sympathy from the audience, the emotions of fear and pity, which are necessary for a good tragedy (Aristotle’s Poetics, 1982). When this is juxtaposed with the performance in A Midsummer’s Night Dream we can easily see that the characters are not played with the same level of seriousness. There are several interruptions and clarifications made during the performance and it takes away from the tragic nature the play is supposed to have. During the performance Hippolyta even says “This is the silliest stuff that ever I heard” (Shakespeare, 1993, 5.1.223). Because Romeo and Juliet and A Midsummer’s Night Dream were written and being performed around the same time, it was likely that audience members would have seen both, thus making it possible for them to see that the emotions they feel from watching the play is a direct
The fool is often the only source of humor in tragedies and is needed to lighten the otherwise dark, and depressing mood of the play. Despite the different personalities these fools or clowns can take, from one play to another, they all serve a purpose in the play. They provide pure entertainment or indirect criticism of the surrounding events. The inevitable title of the “fool” that they have (which as one can tell by the name, denoted that they are characters whom words or actions have little or no significance because they are deemed as being not as sane as other characters or rather “mad”) This puts them in a position of power and lesser consequence especially since they are automatically excused for what they do or have to say. The presence of the clown or fool figure therefore act as a voice of conscience, a merry joy-bringer to the play, or a commentator to the surrounding events.
Puck suggests to both the watchers and, consequently, to the readers, that if they did not enjoy the tale, they should pretend it was a dream, an impression so convincing that at times the audience is left confused. The lines from the last stanza communicate the ending of the play to be ironic and humorous, much in the same way as the rest of the story was told. The general plot, with certain characters implementing stresses on jokes more than others, also contributed to the humor in A Midsummer Night's Dream. Shakespeare had a way of placing puns in this play, such as when Puck states,"[a]nd, as I am and honest Puck/ Else the Puck a liar call". (G. J. Thomas R. Arp) In Shakespeare's time the Puck was a mischievous nature sprite or fairy (Teller).
However, the rather grotesque and unrealistic picture painted of him during this hyperbolic scene becomes much less otherworldly when compared to some of the things later on in the play, which exploit the smal... ... middle of paper ... ...ical dialogue of the characters, it was also present in the larger-than life, comically ridiculous and unrealistic situations the characters found themselves in. Even the play's name brings it up directly, and provides a real-life analogy, as dreams themselves are often lifelike and vivid, yet still patently inane. Shakespeare's goal was to turn reader expectations of what should happen in these sorts of scenarios on their head to provide a unique play; while he achieved that goal admirably, the play itself is still of a great enough quality in part due to his masterful craftsmanship with hyperbole and exaggeration that A Midsummer Night's Dream continues to be read happily by modern audiences. Works Cited Shakespeare, William. "Midsummer Night's Dream."
Accordingly, Spottiswoode invited Ayres, a Texas English professor, to bring some of his students to work on the 1603 First Quarto, the earliest published version of Hamlet. The First Quarto, or Q1, is probably an actor's memorial reconstruction of the play as adapted for performance, and its lean, fast-paced text seemed a good choice for exploring the staging possibilities of the Globe. After performing the play once at Winedale on August 15, Ayres' twelve students came to London for a week of work at the Globe, culminating in a performance for an invited audience on August 31. I had been associate director of Shakespeare at Winedale for the summer, and was added to the Hamlet company in London to take on the role of the Ghost. Shakespeare at Winedale is an English department summer program, founded by Ayres twenty-eight years ago, wherein students explore Shakespeare through an intensive experience of performance.
Unlike Medea and Oedipus, which contain virtually no humor whatsoever, the play Hamlet has several comedic moments. The last difference I could find is the stature of the character. In the older plays such as Oedipus, the heroes are primarily kings. Hamlet on the other hand is a prince; his stature is starting out smaller than normal. While reading Hamlet, I came to the conclusion that even though this is a tragedy, the hero's supposed flaw is not like those in classical tragedies.
In A Midsummer Night’s Dream, Shakespeare masterfully crafts a play with three very different viewpoints that can be interpreted, when woven together, in a number of ways that range from seemingly obvious interpretations to ones much more subtle. He ends the play with an apology that is just as elusive as the play’s interpretation. If one looks past the obvious, however, one can begin to piece together a possible message that mortals, no matter the power they hold on earth, are subject to far greater unseen powers whether they believe in them or not. Shakespeare’s epilogue at the end of A Midsummer Night’s Dream has haunted many critics and resulted in numerous interpretations. Through Robin, he clearly gives the audience a message, but its meaning is ambiguous.
When comparing the written story of Hamlet, by William Shakespeare, and the video representation by director Franco Zeffirelli, noticeable differences make each version unique. Reading Shakespeare 's version of Hamlet cannot have as strong of an impact as Zeffirelli 's representation because of a weak protagonist, dull scenery, and comparably subpar exposition. The characterization in both works presents a different interpretation of personalities as well as interpersonal relationships between players. Having a visual translation of the scenery helps to create a picture of where the story is actually taking place. Shakespeare 's structure of Hamlet isn 't bad, however, the reader of this play could benefit from the extra scenes of the film and more detail within conflicts that the personas endure at Elsinore Castle.
The way Shakespeare uses the setting and characters in the plays is different. In one instance, he uses some characters to make the plot. The magic and mystery that he includes, adds intrigue and they are the ‘legs’ of which he uses to make the story stand. The central theme, love, is the basis where the theme branches out to other problems, especially among the characters. His words and themes make the stories vivid and easily appealing to the imagination.