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literary analysis on a midsummer nights dream
a midsummer night's dream literary analysis
Analysis of Midsummer Night's Dream
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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.
Imagination plays a key role in Midsummer Night's Dream. 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). Nearing the end of the play Theseus and Hippolyta discuss what the four lovers experienced. 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). At the end of the play the fairies arrive to bless the three couples. Puck tells us, "Now it is the time of night that the graves all gaping wide, every one lets forth his sprite, in the churchway paths to glide." "And we fairies, that do not run by the triple Hecate's team from the presence of the sun, following darkness like a dream, now are frolic. (5.1.396-404). Oberon and Titania sing, "So shall all the couples three ever true in loving be." "And the blots of Natures' hand shall not in their issue stand. Never mole, harelip, nor scar, not mark prodigious, such as are despised in nativity, shall upon their children be" (5.1.424-431).
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...a person to escape reality. Through the forest of Arden, a person has time to contemplate life. Or is life a dream, 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. No Fear Shakeaspeare A Midsummer Night's Dream. Trans. John Crowther. New York, NY: Spark, 2003. 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.
William Shakespeare has a habit of creating complicated plots, and A Midsummer Night’s Dream is no exception. Three distinct worlds are presented within the play, and the story’s theme is most prevalent when they collide or mirror one another. Shakespeare’s allusions very intentionally cast light on these themes as he uses them to develop characters, settings, and comedy. The point of that development is the effective delivery of the theme that love renders us equals.
Crowther, John, ed. “No Fear A Midsummer Night’s Dream.” SparkNotes.com. SparkNotes LLC. 2005. Web. 24 Feb. 2014.
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.
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.
In William Shakespeare’s “A Midsummer’s Night Dream” two worlds are contrasted throughout the play. The Athenian state is governed by order, law, and reason; the forest or Fairy world lies within the realm of the imagination where anything is possible. While both worlds run parallel in the play, their inhabitants are influenced by one another. Their rulers, Theseus and Oberon, play critical roles in the events of the story. Theseus acts compassionately with a sense of duty, order and respect; his initial rulings for Hermia provide the exposition for the comedy (May 75). Oberon acts compassionately as well, but acts on a whim and resorts to trickery if it suits his desires; his actions direct the complication in the plot (May 75). Their personalities are characterized by how they attempt to help the young lovers, how and why they make decisions and how they interact with their loved ones and subjects. The rulers’ similarities govern the reasons behind their actions; their differences contribute to the success of the story.
Scott, Mark W., ed. "As You Like It." Shakespeare Criticism. Vol. V. Detroit, Michigan: Gale Research Co., 1987.
Shakespeare, William. The Norton Shakespeare. Edited Stephen Greenblatt et al. New York: W. W. Norton & Company, 1997.
For example, when Demetrius goes into the forest after Hermia, Helena follows him. She informs him that she needn’t be anything more to a dog to him, and that he may treat her in such a way that he would treat a dog (2.1. 210-15). However appalled most women would be by the example, it is still important to know and understand that demeaning yourself is never ok. The most important reason teenagers should read a Midsummer’s Night Dream is to be able to understand the significance of symbolism. Oberon plans to use a flower to make his wife fall in love with the first thing she sees. He wants to distract her so that he may take the child for himself. He informs puck about the flower’s powers and asks him to put it in Demetrius’ eyes, so that he may fall in love with Helena (2.2. 265-673). Magic plays a very big factor in the play, and most of the magic is concentrated in the woods. The woods’ represents a place without rules, where anything can happen. When the characters begin to go into the woods unexplainable events take place, as a result of the lack of structure that a township provides. By entering the woods the characters leave behind rules, and tend to reveal things about themselves they wouldn’t have before. The use of symbolism makes it an essential play for teenagers to read. To teach them that you cant
Shakespeare, William. A Midsummer Night's Dream. The Norton Shakespeare: Greenblatt, Stephen, editor. New York: W W Norton & Company, 1997.
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...
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.
Shakespeare, William. Twelfth Night, Or, What You Will. Ed. Keir Elam. London: Arden Shakespeare, 2008. Print.
A Midsummer Night’s Dream portrays magic through many places in the text. Magic is a key component to the plot of the story. Magic can make a problem disappear, or it can intensify the problem. There are many reasons magic is powerful, but one of the main ones is because not everyone understands it. Magic in one way or another affects everyone in A Midsummer Night’s Dream, but the perspective with which each character views magic is different. The power of magic is something that is hard to understand, even those who use magic often cannot fully understand magic because in many ways it is irrational and inexplicable.
Shakespeare, William. The Norton Shakespeare. Edited Stephen Greenblatt et al. New York: W. W. Norton & Company, 1997.
Shakespeare, William. As You Like It. Trans. Gayle Holste. Hauppauge, NY: Barron's Educational Series, 2009. Print.