Rhetorical Devices In Midsummer Night's Dream

Titania is uncertain whether her vision is a dream or reality, because dreams are soon

Before the symbolism of the woods and the land of fairies, the main sources of the conflict between reality and unreality, is intact, there are small hints slowly leading to that direction in the opening scene of Act I, scene i. When Egeus approaches Theseus to aid him with his daughter’s infatuation with Lysander instead of Demetrius, he claims that Lysander has “bewitch'd the bosom of

In William Shakespeare's play A Midsummer Night’s Dream, it shows the element of wordplay comedy. Wordplay is a literary technique in which the words are used become the main idea of the phrase, primary for the purpose of the intended effect of amusement. For example when Shakespeare writes; Quince refers to the play of Pyramus and Thisbe as, “ the most lamentable comedy”(1.2.11). This is an oxymoron which is a combination of contradictory or incongruous words. Lamentable is defined as deplorably bad or unsatisfactory. What Peter Quince means in the quote is that the play that he is directing is going to be dreadfully tragic. Their response can be best described as an oxymoron because they used contradicting words. Because of the nature of the purpose of wordplay comedy, this situation makes the audience laugh. This use of comedy allows Shakespeare to incorporate characterization into the play. Peter Quince's behavior implies that he is ignorant. When Peter Quince does his intro to the possible actors for the

"Bottom, you've been transformed," (Shakespeare 38). During this part of the scene, Nick Bottom's head was turned into that of a donkey. It was an example of irony. Irony is when the exact opposite of what you expect to happen actually occurs. There are three different types of irony: situational, verbal, and dramatic. In the play, A Midsummer Night's Dream by William Shakespeare, there are many instances of irony.

3. The exposition of the story is when Hermia's father tries to make her marry Demetrius, but she does not love him and refuses. She Is given four days to decide if she wants to marry him or die, so she makes a plan to run away from the city with her true love Lysander. The rising action is when the fairies begin to fight over the boy raised in the woods. So the Oberon makes the plan to put something into Titania's eyes to trick her into loving the beast.

In this passage, Demetrius is confessing that his love to Hermia is no longer and Helena is his true love now. Shakespeare is constantly emphasizing the unpredictability of love. This example goes deeper to show how love can change as one grows up and matures. Although Demetrius does not actually start loving Helena instead of Hermia because of this, it is still a good example of love changing with age. Demetrius uses a lot of figurative language to compare Hermia to something in the past he has grown out of.

Egeus’ connotative and figurative language in this excerpt is a little odd to me. He speaks of Lysander to the Duke negatively when everything Lysander is doing for his daughter is wonderful. He is taking wonderful things that people do when they’re in love and twisting it to make it seem like Lysander is committing a crime. During the time that this was written, women had to listen to their fathers and obey everything they were told to do. Because Egeus already had given his daughter away to Demetrius, it was a low kind of crime that Lysander would come and do this with Hermia, his daughter.

• “The course of true love never did run smooth.” (Shakespeare 15) Act 1 Scene 1 This quote in “A midsummer night’s dream” means that love isn’t always easy. Its saying the love doesn’t come on a silver platter and that there are always problems in a relationship. This quote is said by Lysander to Hermia, trying to comfort her.

In his comedic play, A Midsummers Night Dream (1595), William Shakespeare utilizes the enchanting adventures of young Athenian lovers and a group of low-class rudimentary actors and their shared experiences with supernatural creatures to portray the opportunity of being in command of their destiny. By presenting conflicts to these three diverse realms, Shakespeare allows these characters to connect despite their hierarchical distinctions to reveal their determination to conquer their adversity. He uses dramatic irony, metaphor, and symbolism to heighten the audience's awareness of their self-determination and their firm control on their future. Shakespeare inspires the public by instilling in them that despite their challenging circumstances, they can still be masters of their own fate, bestowing a feeling of newfound hope and freewill.

An example of his use of similes is “...and his eyes have all the seeming, of a demon's that is dreaming…”.

“This Fond Chase” Commentary The excerpt “...this fond chase” which is written in “A Midsummer Night’s Dream” portrays Helena’s character. William Shakespeare employs literary devices such as hyperbole, repetition and a simile to let the reader understand this passage in a better way. Helena’s soliloquy, “...this fond chase” reveals Helena to consider herself unattractive when frustrated about Demetrius not paying as much attention to her as he is to Hermia, who Demetrius is currently in love with.

In the book A Midsummer Night’s Dream by William Shakespeare Hermia's father is wanting to make her marry a person that she doesn't love. Egeus is ok with killing Hermia for wanting to make her own decisions. Many parents would not be that harsh on their own child, but some parents have a say between yes or no of who their child has relationships with. Parents should have some control over their children’s choices. Some birthgiver think that their kids are mature enough to dress properly.

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.

“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.

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.