William Shakespeare's A Midsummer Night's Dream is very unique because there is a play within a play. Shakespeare uses the interesting qualities of the characters to narrate the play. The characters can be divided into four groups: The Athenian Court (The Duke, Hippolyta, Egeus, and Philostrate); the young lovers (Hermia, Lysander, Helena, and Demetrius); the fairy kingdom (Oberon, Titania, Puck, and the lesser fairies); and the workmen (Bottom, Quince, Flute, Snout, Starveling, and Snug). The Athenian court is the obvious upper class division of scoiety in Athens.
Theseus is head of the Athenian state and his role is to maintain justice. Hippolyta is Theseus's new bride and shows sympathy to the young lovers. Both Theseus and Hippolyta are classified as legendary characters and collectively show their maturity and commitment to marriage. Egeus is a stubborn father whose character loses worth toward the end of the plot, while Philostrate's part is short and undeveloped. Despite being a group, the young lovers are more interesting than the Athenian court.
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The male young lovers are somewhat similar in qualities. They are young and fall in and out of love quickly. For example Demetrius and Lysander both reject a girl they once loved; they fight over a one girl and then over the other. On the other hand, Hermia and Helena are not as similar because Hermia is short and Helena is tall. These characters are more interesting than the Athenian court because they provide the theme of commitment and being unfaithful. The young lovers are touched by magic by the fairy kingdom members.
A member of the fairy kingdom, Oberon is resentful and generous at that the same time. Case in point, Oberon is resentful toward Titania refuses to hand over her boy, and generous in his attempt to make things go well for the the young lovers. Titania is a strong individual and stands up for herself against Oberon. But Titania too also is generous showing love for Bottom. Lastly, Puck is as servant for Oberon and does exactly what he says. Unfortunately he does not do everything correctly. For instance, Oberon requests that Puck use magic on Demetrius to return Helena's love, however he employs the magic upon Lysander instead. Puck means well but isn't necessarily given the respect due to him.
Hermia , Lysander , Helena and Demetrius represent young love in Shakespeare’s A Midsummer Night’s Dream . They are potrayed as foolish and fickle , acting like children and requiring a parental figure to guide them . The parental figures are Hermia’s father , Egeus , and figuratively Theseus , the mortal ruler , and Oberon , the mystical ruler.
The first scene of A Midsummer Night’s Dream introduces a tangled web of lovers. Hermia presents herself for judgement as she refuses to marry Lysander, the man of whom her father approves, as she is infatuated instead with Demetrius. Meanwhile her friend Helena is besotted by Demetrius, but he loves Hermia. The scene plays out like a soap opera with dramatic relationships galore, but Shakespeare establishes greater depth with the help of allusions. The most significant references in this scene appear when Hermia and Lysander speak privately for the first time. In their brief conversation, Hermia alludes to Cupid, Venus, and Dido. The first two are gods of love, and Dido is a queen who burned herself on a pyre after being abandoned by her lover. Shakespeare uses each of these mentions of mythology to make the point that the affair between Hermia and Lysander is no passing fancy. However, when Helena enters and converses with the star-crossed lovers she makes no mention of mythology as she discusses her unrequited love for Demetrius and resulting jealousy of Hermia. The absence of allusions in Helena’s speech accentuates the divide between herself and her friend. Barbara A. Mowat speaks eloquently on this concept in the Folger Library edition introduction. As Ms. M...
A Midsummer Night’s Dream, penned by the acclaimed author William Shakespeare, demonstrates erratic relationships in the form of a romantic comedy. The play takes place in ancient Athens where Theseus, duke of Athens, and his fiancé, Hippolyta, prepare for their grand wedding. During the preparations, Theseus must settle a dispute between a man named Eugeus and his daughter, Hermia. Hermia desires to marry a charming young man by the name of Lysander, however, her father forces her to wed Demetrius. Throughout the story, Hermia and many other women, battle with their love affairs. Through these chaotic love affairs, the predominant female characters show their strengths as well as their weaknesses through various events in the play. Two
There are “the lovers”: Lysander and Hermia, Demetrius and Helena (there are other lovers, but these lovers are the main focus of the story). This is a comedy, so in the end they all end up with who they belong and live happily ever after as do all archetypal lovers in comedys. Shakespeare dives even more in archetypal depth than that. There are the clowns, or what might be called “the fools”: Quince, Snug, Bottom, Flute, Snout, and Starveling. They are poor in wealth, they are poor actors, and lack a reasonable amount of common sense, which is shown when they feel the need to explain themselves in the play. Any rational person knows that it is just a play and that the actors are not actually experiencing the events they are acting out, but they are "the fools," who are never rational. They decide it is a good idea to make sure the audience knows that it is not real, which is clearly absurd. Even within their group there is the ruler or leader of the fools, Bottom. He even gets his chance at being a more powerful ruler when Titania falls in love with him. He orders around the fairies like servants and is an ass both literally and figuratively, the kind of foolish ass of a ruler that would abuse his servants and subjects. Oberon is “the magician”, who is pulling the strings and basically conducting the whole play from the background. He decides who loves who, and orders his servant, Robin Goodfellow/Puck to conduct business for him. Puck is slightly mischievous, and although he messes up on accident, he doesn’t hesitate to sit back and laugh at the trouble he has caused, which earns him the archetype of “the
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.
Similar to other works by Shakespeare, such as The Taming of the Shrew, A Midsummer Night’s Dream embellishes the pressures that arise between genders dealing with complicated family and romantic situations. The plot includes a duke who is going to marry a woman he conquered in battle, the king and queen of the fairies embroiled in a fight so fierce that it unbalances the natural world, and a daughter fighting with her father for her right to marry the man she chooses. The girl’s father selects Demetrius to marry his daughter, but she is in love with another man, Lysander, who loves her in return, and her friend Helena is in love Demetrius, but he wants nothing to do with her. Considering the fact that males were dominant during that era, whereas, men chased women, and women remained submissive, Shakespeare dallies with those traditional roles and there are several possible reasons why. Perhaps he made women a stronger force in his plays because he wanted to give his audience a break fr...
Theseus and Oberon are both compassionate and understanding towards the young lovers, Hermia and Lysander, and Helena and Demetrius. They are involved in a love triangle that encompasses matters of the law and love. Demetrius intends to marry Hermia, although, she shares a mutual love with Lysander; Helena loves Demetrius, although, he no longer loves her. Theseus, as the Duke of Athens, maintains the laws and standards of Athenian society. He acknowledges “the Ancient privilege of Athens” (I.1.41) that allows Egeus to “dispose of” (I.1.42) Hermia. This law permits Egeus to give his daughter to Demetrius or “to death, according to [the] law” (I.1.44). However, Theseus takes pity on Hermia and gives he...
Confronted by the "sharp" law of Athens, and not wishing to obey it, Lysander thinks of escape. But he has no idea that the wood, which he sees merely as a rendezvous before he and Hermia fly to his aunt, has its own law and ruler. As Theseus is compromised by his own law, so is Oberon. Theseus wishes to overrule Egeus, but knows that his own authority derives from the law, that this cannot be set aside when it does not suit the ruler's wishes. He does discover a merciful provision of the law which Egeus has overlooked (for Hermia to choose "the livery of a nun") but hopes to persuade Demetrius to relinquish his claim, insisting that Hermia take time before choosing her fate. The lovers' difficulties are made clear by the law of Athens, but arise from their own passions: thus, when they enter the woods, they take their problems with them. Oberon is compromised because his quarrel with Titania has caused him and her to neglect their duties: Oberon, who should rule firmly over the entire fairy kingdom cannot rule in his own domestic arrangements. We see how each ruler, in turn, resolves this problem, without further breaking of his law.
Love, lust and infatuation all beguile the senses of the characters in this dreamy and whimsical work of Shakespeare, and leads them to act in outlandish ways, which throughly amuses the reader. True love does prevail in the end for Hermia and Lysander, and the initial charm of infatuation ends up proving to have happy consequence for Helena and Demetrius as well. Even when at first the reader thinks that, in theory, the effects the potion will wear off and Lysander will once again reject Helena, Oberon places a blessings on all the couples that they should live happily ever after.
True love is shown in various places in the play. On of the earliest couples that demonstrate this is Theseus and Hippolyta. They stay true and loyal to each other, showing their desires and passion for each other. The way Theseus has portray his love to Hippolyta is by his eagerness to be wedded to her, “Another moon – but O methinks, how slow this old moon wanes!” By the end of the play, they are happil...
The relationship between Demetrius and Hermia is problematic, in that Demetrius is seeking the affections of Hermia, while she is in love with Lysander. However, Hermia’s father approves of Demetrius and tries to force her to marry him, but Hermia refuses because of her love for Lysander (A Midsummer Night’s Dream 1.1.22-82). Lysander points out the flaw in the situation through this comment, “You have her father 's love, Demetrius –/Let me have Hermia 's. Do you marry him,” (A Midsummer Night’s Dream 1.1.93-94). The second flawed relationship is between Lysander and Helena, as a result of an enchantment put on Lysander that made him fall in love with Helena. Helena does not want the affections of Lysander, but rather the love of Demetrius, and believes that Lysander is taunting her. In addition, this relationship creates tensions because Hermia is in love with Lysander (A Midsummer Night’s Dream 2.2.109-140). Both relationships are not desirable due to a lack of mutual admiration and the creation of non-peaceful and unsatisfying
Puck, or Robin Goodfellow, is established in the play as the jester to the King of Fairies, Oberon. He first appears in Act 2, Scene 1 when he and another fairy discuss the disagreement between Oberon and Titania are having. The fairy gives us some indication of Puck's character as she describes how Puck “frights the maidens of the villagery” and “Misleading the night wanderers” (Act 2.1, line 35). When Titania refuses to give up the boy servant that Oberon wants, he comes up with a plan to steal the child, and enlists Puck's help to do so. Oberon is fully aware of Puck’s desire to have a good time at the expense of others, but trusts him with the task of retrieving the flower to make Titania fall in love with “Lion, Bear, Wolf, or Bull.” (Act 2.1, line 180) The idea here is to convince Titania to hand over the changeling boy while she is infatuated with a beast. Being attracted to mischief, Puck seems excited to be tasked to this adventure, and claims to return “Within forty minutes” (Act 2.1, line 176) so that they can get started on their plan.
The first example of conflict with authority in the play is the premiere example and sets up the conflict for the rest of the play. This example that occurs during the play is in the opening scene of act 1. Here we see Theseus warning Hermia not to disobey her father and advising her that Egeus created her and can "discreate" her if he chooses. Hermia is reminded that Athenian law provides that a father shall have total control of his daughter’s life until the daughter is married. Even though Hermia does not want to marry Demetrius, the law says she has no choice and must conform to her father’s wishes. If Egeus’s authority hadn’t been the supreme authority, than Hermia and Lysander wouldn’t have had to flee Athens for their love.
In William Shakespeare’s book, A Midsummer Night’s Dream, magic is a powerful and useful tool for the characters that have the capability to use it. Some of the characters abuse the power of magic, while others are more responsible in how they use it. Oberon is one the characters that abuses the power of magic. Oberon’s magic has an immense impact on the plot of A Midsummer Night’s Dream. More specifically, Oberon’s magic affects his own life, the lives of other characters, and all the characters in the story experience his magic differently. We will see that even the person who has power to use the magic can become surprised by it. Magic, the ultimate supernatural power, is often unpredictable and inexplicable.
William Shakespeare, born in 1594, is one of the greatest writers in literature. He dies in 1616 after completing many sonnets and plays. One of which is "A Midsummer Night’s Dream." They say that this play is the most purely romantic of Shakespeare’s comedies. The themes of the play are dreams and reality, love and magic. This extraordinary play is a play-with-in-a-play, which master writers only write successfully. Shakespeare proves here to be a master writer. Critics find it a task to explain the intricateness of the play, audiences find it very pleasing to read and watch. "A Midsummer Night’s Dream" is a comedy combining elements of love, fairies, magic, and dreams. This play is a comedy about five couples who suffer through love’s strange games and the evil behind the devious tricks. This play begins as Theseus, the Duke, is preparing to marry Hippolyta. He woos her with his sword. Hermia is in love with Lysander. Egeus, Hermia’s father, forbids the relationship with Lysander and orders her to marry Demetrius. Demetrius loves Hermia, but she does not love him. On the other hand, Helena is in love with Demetrius. To settle the confusion, Theseus decides that Hermia must marry Demetrius or become a nun. In retaliation to her father’s command, Hermia and Lysander run away together. Amidst all the problems in the human world, Titania and Oberon, the fairy queen and king, continually argue about their various relationships that they have taken part in. (Scott 336) Titania leaves Oberon as a result of the arguments. Oberon is hurt and wants revenge on Titania. So he tells Puck, Oberon’s servant, to put a magic flower juice on her eyelids while she is sleeping. This potion causes the victim to desperately in love with the first creature that they see. Oberon’s plan is carried out, but the potion is also placed on Lysander’s eyes. Lysander awakes to see Helena, who is aimlessly walking through the woods, and instantly falls in love with her. She thinks that he is making fun of her being in love with Demetrius, so she leaves and Lysander follows. This leaves Hermia to wake up alone. Puck now has journeyed to the area where several actors are rehearsing. He uses his magic to turn one of them into a donkey, in hopes that Titania will awake to see it.