Mechanicals in A Midsummer Night's Dream by William Shakespeare

A Midsummer Night’s Dream by Shakespeare detailed the story between warring characters. From couple conflicts to love quadrilaterals and the interference of outsiders, the story played out as a comedy, with Helena on the receiving end of a running joke. Introduced in Act One as the jealous friend of Hermia, as she was in love with Demetrius, who decided to marry Hermia despite Hermia’s love for Lysander. Hermia appears rather guilty as she confirms her distaste to Demetrius to her friend. However, her father disapproves of her relationship with Lysander. Despite her co-dependent aspirations, Helena exemplifies progressive ideals that counter the societal norms of Midsummer’s era.

A Misummer Night’s Dream is a comedy play written by William Shakespeare. In this play there are multiple themes however the most evident theme is love. Why is love an evident theme? It is an evident theme because the play commences with two Greek mythology characters─ the Duke of Athens, Theseus and Amazon queen Hippolita planning their marriage. However as Theseus plans his marriage he has to help Egeus persuade his daughter Hermia to marry Demetrius. Unfortunately both the Duke and Egeus failed to persuade Hermia into marrying Demetrius so the fairies (another set of characters. The fairies in this play consisted of goddess of chastity and Queen of fairies, Titania and King of fairies Oberon and his assistance Robin Goodfellow) decide

If there was no such thing as sympathy, empathy, or love in our world, it would be a hard place to live. If there was no hard law or reason in our world, it would be a crazy place to live. Neither of these worlds would be anybody’s first choice as a home - it's just common sense take away either of these two fundamental aspects of life, and everything is immediately chaos. In fact, it is only in a world such as ours, where legal and human emotion work together, that we are happy. In William Shakespeare's A Midsummer Night's Dream, Shakespeare recognizes this truth and uses the two settings to represent the city of Athens as law, order, civility, and judgment, while the woods represent chaos, incivility, dreams, and love.

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.

The story of A Midsummer Night's Dream was mainly about love and its abnormal dealings. In the play, Shakespeare tried to show that love is unpredictable, unreasonable, and at times is blind. The theme of love was constantly used during the play and basically everything that was said and done was related to the concept of love and its unpredictable ness. Shakespeare made all of the characters interact their lives to be based on each other’s. At first, everything was very confusing, and the characters were faced with many different problems. In the end, however, they were still able to persevere and win their true love, the love they were searching for in the first place.

Helena puts forth the evocative themes of “hate” and “mock[ery],” clearly exhibiting that she feels quite a lot of emotion towards the way that Lysander and Demetrius are acting. Helena’s evidently very low self-esteem causes her to believe that Demetrius and Lysander are “joining in souls” or teaming up on her to make fun of her, when they are contrarily being quite affectionate. This clearly exemplifies how dramatic irony, a common theme throughout the play, can actually intend to teach the lesson that love is very complex and quite magical, conveyed by the fairies. Similarly to Helena, Bottom, a farcical member of the mechanicals that gets comeuppance for his high self-esteem by being turned into an ass by Puck, is also unaware of the reality of his situation. When Bottom comes to the realization that he has undergone some sort of change, he is still completely uninformed about his true state of being, but yet the audience knows exactly what has occurred. Bottom infers, “This is to make an ass of me” (3.1.99). It is very ironic that Bottom thinks they are “mak[ing] an ass of [him],” when in reality he has literally been transformed into an ass. This random, confusing aspect of the play symbolizes the randomness and complexity of love. Additionally, later in the scene, Titania admires Bottom’s appearance, demonstrating the blindness of love. Shakespeare evidently utilizes the comedic device of

William Shakespeare starts with a seemingly unresolvable conflict in A Midsummer Night’s Dream. The main characters are lovers who are either unrequited in their love or hassled by the love of another. These lovers are inevitably paired. How does Shakespeare make this happen? He creates many subplots that, before long, are all snarled up into a chaotic knot. So, what actions does Shakespeare take to resolve these new quandaries? He ends up trusting a single key entity with his comedy. It’s only then that he introduces a special character into his world: a mischievous fairy whom is known by the name of Puck. Puck is the catalyst for all these subplots and, indeed, for the entirety of Shakespeare’s A Midsummer Night’s Dream. Try to take Puck

Midsummer Night’s Dream mainly depicted the baffling journey of four Athenian young lovers, and a frivolous group of actors who unwittingly interacted with the Duke, Duchess, and somehow fairies. Being that the story took place in an eerie forest in Athens, there was a fight betwixt the fairy king himself and his lovely wife Titania, which had an impact on the environment. To win back the devotion of his wife Oberon showed her how fortuitous she was by making her fall in love with a weaver who was transformed into

A Midsummer Night’s Dream is one of Shakespeare’s most popular and frequently performed comical plays (Berardinelli). The play transformed into a cinematic production by Michael Hoffman has not changed in its basic plot and dialogue, but the setting and some character traits have. The play setting has been gracefully moved from 16th century Greece to 19th century Tuscany (Berardinelli). The addition of bicycles to the play affects the characters in that they no longer have to chase each other around the woods, but can take chase in a more efficient fashion. As far as characters are concerned, Demetrius is no longer the smug and somewhat rude character we find in act 1, scene 1

In the play, A Midsummer Night’s Dream, written by William Shakespeare, a literary technique known as “doubling” is used to convey entertainment, mystery and reality as the story line for Lysander and Demetrius, Helena and Hermia, Oberon and Theseus, and Titania and Hippolyta. ”Doubling” shows indistinguishable personalities of each character but completely contrapositive background stories and actions. Lysander and Demetrius are completely identical except for their personality, actions, and the fact that Egeus and Theseus do not approve of Lysander as Hermia’s spouse. Helena and Hermia are very alike except for the minor differences in their appearances. The third doubling relationship is shown in between the rulers of the different worlds who are Oberon and Theseus as well as Titania and Hippolyta. Throughout the play, three pairs of people who are all tantamount to each other in appearance but completely different in actions continue to have comedic and humorous scenes while hidden clues along the way disclose information to unveil a delightful and realistic story.

Shakespeare’s usage of metaphor and simile in A Midsummer Night’s Dream is best understood as an attempt to provide some useful context for relationships and emotions, most often love and friendship, or the lack thereof. One example of such a usage is in Act 3, Scene 2 of the play. Here, the two Athenian couples wake up in the forest and fall under the effects of the flower, thus confusing the romantic relationships between them. Hermia comes to find her Lysander has fallen for Helena. Hermia suspects that the two have both conspired against her in some cruel joke, and begins lashing out against Helena. She says “We, Hermia, like two artificial gods, / Have with our needles created both one flower, / Both one sampler sitting on one cushion, / Both warbling of one song, both in one key; / As if our hands, our sides, voices, and minds, / Had been incorporate. So we grew together, / Like a double cherry, seeming parted; / But yet a union in partition / Two lovely berries moulded on one stem: / So, with two seeming bodies, but one heart; / Two of the first, like coats in heraldry, / Due but to one, and crowned with one crest.” (Shakespeare 2.3.206-13). Shakespeare writes this list of vibrant metaphors to establish the prior relationship between these two characters and to make it evident how affected Helena is by this unexpected turn of events, as well as to add a greater range of emotion to the comedy, thereby lending it more literary and popular appeal.

Shakespeare’s A Midsummer Night’s Dream is a play that utilises comedy to convey complex ideas that are seen throughout the play, concepts like the jealousy Helena has towards Hermia, Egeus’s strong hostility towards Hermia and Lysander’s relationship and unrequited love. He uses comical tools like unconscious irony and hyperbole to turn rather difficult topics into humorous representations of them. Events like how Puck thinks Titania had fallen in love with him, not knowing he was bearing the head of an ass, are portrayed in a humorous way so the viewer understands the meaning, but sees it as a light- hearted narrative. Shakespeare carefully uses comedy that does not overpower the meaning of the play, but puts a completely different perspective on some of the themes.

Where Shakespeare's tragedies will tell the story, chiefly, of a single principal character, this is rarely the case with his comedies. The comedies are more social and deal with groups of characters. In the case of A Midsummer Night’s Dream, the principal groups are, at first, introduced severally. Though, one group may interact with another (as when Puck anoints Lysander's eyes, or Titania is in love with Bottom) they retain separate identities.

A Midsummer Night 's Dream is a play about love. All of its action—from the escapades of Lysander, Demetrius, Hermia, and Helena in the forest, to the argument between Oberon and Titania, to the play about two lovelorn youths that Bottom and his friends perform at Duke Theseus 's marriage to Hippolyta—are motivated by love. But A Midsummer Night 's Dream is not a romance, in which the audience gets caught up in a passionate love affair between two characters. It 's a comedy, and because it 's clear from the outset that it 's a comedy and that all will turn out happily, rather than try to overcome the audience with the exquisite and overwhelming passion of love, A Midsummer Night 's Dream invites the audience to laugh at the way the passion of love can make people blind, foolish, inconstant, and desperate. At various times, the power and passion of love threatens to destroy friendships, turn men against men and women against women, and through

The supernatural world is rather distinct to that of the human world entrenched in societal standards and boundaries. Shakespeare’s play, ‘A Midsummer Night’s Dream’, explores this concept, particularly through the use of Puck. In agreement to Harold Bloom’s statement, the following essay will analyse how Puck is significant because, by being so disparate, he is able to show the limitations of the human. This will be done through, first, exploring a definition of the human in relation to the supernatural. Subsequently, the essay will use a Freudian lense to analyse the morality of Puck and, lastly, the essay will focus on Puck’s physical characteristics as well as his ability to span across boundaries in the play and the metatheatrical realm.