Fantasy vs. Reality in A Midsummer Night's Dream Shakespeare weaves a common thread throughout most of his comedies, namely the theme of fantasy vs. reality. His use of two distinct settings: one signifying the harsh, colorless world of responsibility and obligation and one suggesting a world of illusion where almost anything is possible, a place where all conflicts are magically resolved. Midsummer Night's Dream is a vivid example of Shakespeare's use of this plot device. The setting of the forest and the events that occur there represent a complete departure from the physical existence into a world where love at first sight is the norm.
It is as if the lover’s all had the same dream. Looking at the play as a whole, it would seem that those with powerful imaginations like the poet, lover, and lunatic transcend logic and reason. They see beyond what is there. Shakespeare, who’s imagination “bodies forth/the forms of things unknown” (Norton 5.1.14-15) has written A Midsummer Night’s Dream (Norton 845). This doesn’t seem very different from when Bottom says that he wants to have his vision turned into a ballad.
Lastly, in contrast to the witches in Macbeth, the fairies don’t seem to possess an evil side, hence signifying the love and romance that surrounds the play. On this basis, Shakespeare uses the fairies to create an ambiance of affection; as their wits disregard the play to be more comedic than tragic. Nonetheless, Shakespeare connects the fairies to comedy within the play for the fact that the characters are in a dream world which frustrated lovers find happiness against all odds through the juice of a tree and further lovers suicides can be laughed at because they are part of badly told tale. In context to the play, the fairies significance is somewhat vital for the reason that their actions and decisions determine the course of the play. Furthermore, the opening scene is somewhat significant for the reason that it tells the reader the play is a fairy story, thus the role of the fairies is then imperative to some extent.
In A Midsummer Night's Dream, the nighttime forest, by disrupting and transforming vision, forces introspection and improvisation that help the four lovers on their way to self-understanding. The darkness of the night setting seems particularly important in a play (and a culture) where the language of love relies so heavily on sight imagery. Fairy magic literalizes the connection between love and sight: appropriately, Oberon's love juice is applied to the eyes. In the language of the play, to look on or at someone is the most common metonymic expression for falling in love with a new person, or for spending time with the one you already love. Lysander steels himself and Hermia against the trial of separation with a call to "starve our sight / From lover's food till morrow deep midnight" (1.1, ll.
The king forces him to drink wine (which Hop Frog always has an adverse reaction to drinking) and becomes very upset at him. Hop Frog is saved only by the intercession of Trippetta, a woman from Hop Frog's own land and his only true friend. Trippetta succeeds, but only after suffering great humiliation at the hands of the king. Nevertheless, Hop Frog gives the eight an idea for their masquerade disguises. After tarring them, covering them with flax, and chaining them together, they have the rough appearance of eight orangutans, and Hop Frog leads them into the masquerade.
“Is she a Capulet? / O dear account! My life is my foe’s debt” (I.v.131-132). When Juliet learns the identity of the object of her love, she exclaims, “Prodigious birth of love it is to me/ That I must love a loathed enemy” (I.... ... middle of paper ... ...oison to Romeo, Romeo convinces the druggist to sell it anyway, here again rashly going against the norm without taking time to consider consequences. The substantial events that inspire the conclusion of Romeo and Juliet are the Capulet ball, the quarrel experienced by Tybalt and Romeo, and Friar John’s plague.
Lust and jealousy cause the undoing of the marriage feast, for the Centaurs' theft of women provokes a battle. Thanks to the fairy intervention, all in Shakespeare's play are happy with their spouses: but how might the wedding have been marred if Demetrius and Lysander both still loved Hermia? "These are the forgeries of jealousy" (II.i.81) cries Titania to Oberon, and their contention, likewise a result of lust and jealousy and unbridled nature, luckily enters the play only peripherally. Theseus' law, and fairy medicine, overrules the lusty, animal side of love and prevents such violence from marring, indeed unmaking, the comedy. "The riot of the tipsy Bacchanals, / Tearing the Thracian singer [Orpheus] in their rage" (V.i.48-9) is an alternate selection, but one just as significant.
Masking what could happen when this forbidden girl was struck upon his world. Fate continues later, sending plagues to stop mail and important letters, bestowing hotheaded cousins into the path of shrouded happiness. In a final play-written act, death and life pass by one another so closely- heavily laden trains touching in passing. Romeo kisses the very lips of life as he knows it, as Juliet wakes from a temporary death to find it draped across her chest; a morbid pall. Fate took its deft hands and played puppet master, influencing every thought, action and feeling had by Romeo, Juliet, and the rest of the cast.
In today’s society as well as in the literary works of the great William Shakespeare, love is all-powerful in many ways. It can bring out the worst in a person just as easily, if not easier, as it can bring out the absolute best in a person. Love is a “one extreme or the other” type of emotion. In conclusion, love an evil appear to be complete opposites but, when looked into deeply, people will be able to see one does not exist without the other. Works Cited Garrard, Eve.
Jekyll and Mr. Hyde is good versus evil as well as our bad side triumphing over your good side. Even if some critics may think that your bad side almost always triumphs because of movies or any other place that has happened, the yin and yang symbol is of perfect balance, and someone cannot possibly have a double-sided appearance where the two sides are opposite. It is clear to see that in Robert Louis Stevenson’s writing, a person can have two opposite personalities, the yin and yang symbol is not evenly balanced, and your bad side can triumph your good side. As Robert states, “All human beings are commingled out of good and evil” Hopefully those critics may now understand not to believe what they see or may hear about when dealing with good versus evil and evil triumphing over