A Midsummer Night’s Dream, by William Shakespeare

8. STYLE: (A Midsummer Night's Dream), In A Midsummer Night's Dream, there are three styles: iambic pentameter, rhymed verse, and catalectic Trochaic Tetrameter that make William Shakespeare unique in his writing style. I didn't know about anything first and last styles until I got help from my older sister. She told me that iambic pentameter consists of five iambs per time. The iamb is every second syllable of each word. The lines in the play don’t have regular rhythms so it is called unrhymed iambic pentameter. This is a fancy way to talk to separate upper class characters from the commoners and their differences in talking have humorous effect. The specific example of this is at Act one Scene one line

The 1500’s were a turbulent time for women. Throughout history, women were perceived as second-class citizens to men, and that the man dominates society. In A Midsummer Night’s Dream, William Shakespeare adds to this by creating female characters that further cement stereotypes. Even though Shakespeare creates emphasis on the stereotypes of females, he stresses the bond of womanhood. This bond is broken as soon as men and love come into the picture. The most important female characters in the play are Hippolyta, Titania, Hermia, and Helena. They started out as strong role models and “evened out” over the course of the play. William Shakespeare and A Midsummer Night’s Dream highlights patriarchal thinking and how female bonds can be broken,

The relationships in Shakespeare’s A Midsummer Night’s Dream are patriarchal. Even though the lovers try to go against the societal norm by running away to the forest, their inherited characteristics keep them trapped in the patriarchal way. The four lovers, Hermia, Lysander, Helena, and Demetrious, present a love that shows how the women remain loyal to their men through testing trials. Titania and Bottom have an unconventional relationship that is caused by love juice which provides the fulfillment of woman to man. Shakespeare uses the relationship between Titania and Bottom to emphasize the man’s status over a woman in a patriarchal society. To do this, he illustrates how a woman should dote upon her man by fulfilling his fantasies and

William Shakespeare’s play, A Midsummer Night’s Dream, establishes that there is natural law and social law. These two laws symbolize a balance in the world. Without one, the world would be uneven. However, evidence of King Oberon’s actions in the play demonstrate to the reader that he is a tyrant. Based on his actions, such as cheating on his significant other, toward the Indian boy, and the use of the love potion, the play displays his characteristics, thus proving the motives of King Oberon.

The works of William Shakespeare are full of intention: every word, character interaction, and bit of characterization was carefully and deliberately chosen by the bard to enrich the story he told. Each scene is the sum total of these careful and deliberate inclusions. While the scene is comprised of only about 200 lines, the first scene of the second act of A Midsummer Night’s Dream introduces many of the major players in the overall plot, and showcases some highly interesting characters and character interactions that persist throughout the play. In particular, the character of Puck and the relationship between King Oberon and Titania are highlighted and greatly developed in this section of the play.

Early in A Midsummer Night’s Dream by William Shakespeare, the fascistic use of charm, Oberon’s ability to use incantations to unsettle Theseus’ early wish for perfect harmony (1.1.11-15) and control wild forces such as nature, other fairies and mankind, foregrounds the play’s action. Modeled after the power of speech-acts (utterances considered as actions, particularly in terms of its intention, purpose or effect), the theatrical use of charm I propose here predominantly resides in the vocal chords of a dictator (Oberon); that is, it can control, decisively affect and determine. Incantations are not physical—nor do they move. This essay, therefore, is interested in the illocutionary forces of Oberon’s fascistic incantations as opposed to his tangible or finite action. If we are to dislodge charm from the event of its ephemeral potential and meditate, alternatively, on the spoken dimensionality of fascism, what can charm come to mean?

Relationships are what controls everything in a person’s life. There is even a psychological stage in human development where the average human’s biggest problem is creating relationships. This simple fact of life has been found all throughout media, history, and even daily life. It has been seen especially in plays throughout the world. In “A Midsummer Night’s Dream” by William Shakespeare a marriage between Theseus and Hippolyta is being planned and ends up coinciding with the deadline for Hermia to marry Demetrius, a man she doesn’t love. The marriage has been set up by her father, but she truly loves another man. This other man is Lysander. While Hermia is being fought over, Helena confesses her love of Demetrius although it isn’t reciprocated. And while all of these relationships are being played out and followed, the king and queen of the fairies are having a large fight. This entire play is truly controlled by these different relationships.

“The course of true love never did run smooth,” comments Lysander of love’s complications in an exchange with Hermia (Shakespeare I.i.136). Although the play A Midsummer Night’s Dream certainly deals with the difficulty of romance, it is not considered a true love story like Romeo and Juliet. Shakespeare, as he unfolds the story, intentionally distances the audience from the emotions of the characters so he can caricature the anguish and burdens endured by the lovers. Through his masterful use of figurative language, Shakespeare examines the theme of the capricious and irrational nature of love.

Shakespeare’s comedies, like those of most Renaissance playwrights, involve love and its obstacles. Much of the comedy in A Midsummer Night’s Dream derives from the attempt of Lysander and Hermia to remain together while overcoming the adult authority figure who attempts to hinder the love of a young couple. The overcoming of an obstacle functions as a common motif in Renaissance comedy. The audience must wonder, however, whether Lysander and Hermia, as well as Demetrius and Helena, actually love each other. While it is the love potion that alters the objects of the men’s affections, one may interpret the juice as a metaphor for lovers’ inconstancy. The juice only contains magic because the male lovers do not possess a fervent and true love. It is significant that Lysander and Demetrius change their minds about whom they love, but Hermia and Helena never waver; perhaps Shakespeare correlates faithfulness with gender. Audience members generally support the relationship between Lysander and Hermia—partly because her father does not. They are struck by his indifference to his daughter’s happiness: He prefers that she die rather than be happy with a man of whom he does not approve. Egeus, furthermore, provides no reason to Theseus as to why he does not support Lysander; it is as if he disapproves for arbitrary reasons—merely to exert his will. His abuse of paternal authority renders him absurd but dangerous nevertheless. His support for Demetrius colors the audience’s point of

What types of dream really impress you in your life? Would that be funny dreams, weird dreams, scary dreams, risque dreams, dramatic dreams, life-changing dreams, and even lucid dream stories. As a matter of fact, people’s dreams can be a kind of illusion because dreams skew their daily life into confusion—people cannot recognize reality and unreality easily. Similarly, love not only is imaginative, but also can make people get confused just like dream.

Set in Athens, the play is shown with the Greek gods and goddesses also mythical creatures. Most people think the play is about the difficulties of love, how great love is and how it’s filled with dancing and singing, fairies and enchantment. In Act 1 scene 1, for example, opens with Theseus and Hippolyta planning their upcoming wedding in four days. Love itself is shown with fantasy and magic, according

This metaphorical personification of the moon demonstrates Theseus’ eagerness for his wedding night with Hippolyta, his wife to be. During Shakespeare’s time, the moon often symbolized time, and in this case, it is used as a metaphor for the passage of time. Theseus also compares the moon to an elderly stepmother or widow taking far too long to pass away, preventing him from receiving an inheritance sooner. This creates a very harsh image for the reader, and it demonstrates that Theseus is impatient, opportunistic and aggressive. On the other hand,

“Lord, what fools these mortals be (Shakespeare, 1546)!” In the beginning of this play, Hermia refuses her fathers demands to marry Demetrius because she loves Lysander. Her disobedience enrages her father so he presents Theseus with his dilemma, which does not work as well as he had hoped (Gianakaris). Hermia is presented with two alternative options, but neither suits her well. She runs off into the woods with Lysander to get married and from this, a chain of events arises. To make matters even more complicated, Puck is sent out to get the juice of a flower that, when poured in eyelids while asleep, makes people fall in love with the first creature they see. Situations arise from this love juice, and the plot thickens. In this play, Shakespeare creates a social commentary through the use of the themes of love, magic, dreams, and art and culture.

William Shakespeare's A Midsummer Night’s Dream The focus of this discussion will be upon the language and performance possibilities of this extract from the Dream[1], following brief consideration of the manner in which the extract relates to the rest of the play in terms of plot development and the reflection of certain of the play’s themes. Performance aspects are considered alongside the distinctive features of the language, as it is suggested that the nature of the language employed governs performance. Broadly speaking, it is argued that while the language of the extract lends itself to a humorous performance on more than one level, in certain respects the humour seeks to convey a serious

Offering a unique experience, Actors from the London Stage are able to immerse the audience in a delightful presentation that is enhanced with five actors developing multiple personalities as they play multiple parts in each performance. Exactly this has been done in their performance at the UTSA Recital Hall, in “A Midsummer Night’s Dream”, by William Shakespeare.