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Dramatic personae of midsummer night's dream
Female characters midsummer night's dream
Dramatic personae of midsummer night's dream
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Throughout William Shakespeare’s two plays, A Midsummer Night’s Dream and Othello, characters deceive, manipulate, and cause another to transform. In A Midsummer Night’s Dream, Oberon deceives and manipulates his own wife, and Robin does the same to a stranger. In Othello, Iago deceives and manipulates a fool and his own friend. Hypocritically, Iago consoles Othello when one of his friends seems to have betrayed him: “Men should be what they seem, / Or those that be not, would they might seem none” (Oth. 3.3.131b-1320). Iago never shows his true self to Othello; he says “I am not what I am” (Oth. 1.1.65b). Iago has a supreme power of manipulation through his words and how he interprets signs. James A. Knapp thinks that “Iago’s art is not unlike Shakespeare’s. The playwright continually sets images before the audiences’ eyes with the goal of luring them into believing a fiction” (380). Shakespeare suggests that people use deception and manipulation to transform another person in order to have him or her lured under their control. According to Shakespeare, this deception and manipulation is the key to transforming another person in order to obtain a desire.
In A Midsummer Night’s Dream, Shakespeare suggests that a person can deceive his or her spouse in order to obtain what he or she desires. Since Titania stubbornly withholds the boy from Oberon, he plans to deceive her. Titania goes to sleep without any suspicion:
Quite overcanopied with luscious woodbine,
With sweet musk-roses, and with eglantine.
There sleeps Titania sometime of the night,
Lulled in these flowers with dances and delight;
And there the snake throws her enamelled skin,
Weed wide enough to wrap a fairy in;
And with the juice of this I’ll streak her eyes,
And mak...
... middle of paper ...
...the deception or manipulation.
Works Cited
Knapp, James A. “Static and Transformative Images in Shakespeare’s Dramatic Art.” Criticism 54.3 (2012): 377-389. Academic Search Complete Web. 6 Dec. 2013.
Lucking, David. “Putting out the Light: Semantic Indeterminacy and the Deconstitution of Self in Othello.” English Studies 75.2 (1994): 110-122. Academic Search Complete Web. 6 Dec. 2013.
Shakespeare, William. Othello. The Norton Shakespeare. Ed. Stephen Greenblatt et al. 2nd ed. New York: Norton, 2008. 2119-2191. Print.
Shakespeare, William. A Midsummer Night’s Dream. The Norton Shakespeare. Ed. Stephen Greenblatt et al. 2nd ed. New York: Norton, 2008. 849-896. Print.
Szakolczai, Arpad. “Image-Magic in A Midsummer Night’s Dream: Power and modernity from Weber to Shakespeare.” History of the Human Sciences 20.4 (2007): 1-26. Academic Search Complete Web. 6 Dec. 2013.
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.
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.
When considering the identity of Othello, in Shakespeare's play Othello, it is beneficial to ponder the quote "I am not what I am.". Perhaps Othello finds his identity threatened by Desdemona's reaction to his tales. In order to understand this better, it is useful to note a quote from Pam Morris: Literature and Feminism, (Blackwell, 1993) where she discusses the resolution of the Oedipal crisis.
Shakespeare, William. The Norton Shakespeare. Edited Stephen Greenblatt et al. New York: W. W. Norton & Company, 1997.
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.
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.
Jones, Eldred. "Othello- An Interpretation" Critical Essays on Shakespeare’s Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994. (page 39-55)
Berry, Edward. “Othello’s Alienation.” Studies in English Literature 30.2 (1990): 315-33. JSTOR. Web. 17 Feb. 2014.
Shakespeare, William. A Midsummer Night’s Dream. Ed. Barbara A. Mowat and Paul Werstine. New York: Washington Square Press, 2004.
Golden, Leon, “Othello, Hamlet, and Aristotelian Tragedy” Folger Shakespeare Library in association with George Washington University, http://www.jstor.org/stable/2869923.
Jones, Eldred. "Othello- An Interpretation" Critical Essays on Shakespeare's Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994.
Shakespeare, William. A Midsummer Night's Dream. The Norton Shakespeare: Greenblatt, Stephen, editor. New York: W W Norton & Company, 1997.
Considered to be the greatest playwright to ever have lived, William Shakespeare’s works continue to fascinate and entrance audiences around the world. Imbued with imagery, his comedy A Midsummer Night’s Dream is perhaps one of his more fantastic but none the less intricate plays. Presiding over the proceedings, the moon is the uniting feature of the play. With its multi-layered symbolism it is the thread that connects the different characters and weaves the tale together.
James, D.G. (Excerpt from a series of lectures delivered in 1965 at University College, London.) The Shakespeare Criticism Volume 8. Gale Research Inc., Detroit. 1989: 429-434.
- - -. Othello. 1968. Ed. Kenneth Muir. The New Penguin Shakespeare. London: Penguin Books, 1996.