The Play “A Midsummer Night’S Dream” By William Shakespeare

Bottom makes more remarks to being an ass, but because he is a fool, he never realizes that he is an ass literally. Puck's prank had a bonus when Titania wakes to Bottom's singing and falls instantly in love, due to the potion, with him. Puck's enjoyment in trickery and Bottom's stupidity combine and make bad go to worse in this scene, but then again, this whole scene was to further the action of the

The artificial love given by Titania to Bottom demonstrates how magic can duplicate the realist atmosphere given from true love as both of those involved are unable to recognise that it is false. True love can cloud judgement and Shakespeare shows how artificial love can do the same, Titania is convinced Bottom is beautiful even though he has the head of a donkey 'Thou art as wise as thou art beautiful'. Bottom responds to the beautiful, magical fairy queen's devotion as nothing out of the ordinary and that all of the trappings of her affection, including having servants attend him, are his proper due. His unawareness of the fact that his head has been transformed into that of an ass parallels his inability to perceive the absurdity of the idea that Titania could ever truly fall in love with him.

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,

A Midsummer Night’s Dream is a masterful piece of literature that both directly and indirectly comments on the reality of control and power in Western cultures. Shakespeare’s ability to depict human nature gives us insight into how English society functioned in his lifetime, but more importantly allows us to analyze our own perspective of ourselves and the world around us. One way Shakespeare articulates his ideas is through well constructed metaphors and similies, resulting in more powerful writing. One very significant metaphor is spoken by Theseus early on in Act 1, scene 1. Egeus has brought his daughter, Hermia, to the royal court to for Theseus’s opinion on Hermia’s marriage. Egeus has arranged for Hermia to marry Demetrius, a very worthy suitor, but Hermia is truly in love with another man, Lysander. This dilemna is explained to Theseus and he states, “To you your father should be as a god;/ One that composed your beauties, yea, and one/ To whom you are but as a form in wax/ By him imprinted and within his power/ To leave the figure or disfigure it” (I.i.51-55). In summary, Theseus is defending Egeus by saying Hermia was created by Egeus and his will determines her fate. Behind this metaphor is a simple idea that proves how a desire to control can have many unintended consequences as well as negative effects. In order to understand this concept more effectively, it is crucial to analyze how influence is structured socially. The quote demonstrates

They are the former couple’s inverse, and the play’s characters lives all change because of Oberon and Titania.

I will roar, that I will do any / man’s heart good to hear me, (I.ii.62-63)”. Bottom glorifies himself as the center of the play, and petitions to play every role in the production, much like a self-centered ass. The qualities that Bottom portrays of selfishness and self-preservation are the qualities conditioning him as a modern day jackass. After Puck, a scheming fairy, magically transforms Bottom’s head to that of a donkey; Bottom’s reality rises. The nature of his reality begins bubbling to the surface, as his metamorphosis from ‘so called’ ass to physical ass occurs.

A fool shows up in Act ll scene I, named Puck. He has a notoriety amongst the fairies. He is one of the more critical characters all through the play. He is best

Shakespeare presents the male characters within the play as either being fickle or faithful, he does this using many techniques. By putting each male character under a situation can express both their faithfulness and their fickleness, also by giving evidence to represent how they are either fickle and faithful allows us as a reader to figure it out at our own accord.

Throughout time arranged marriages were the norm in several societies. In the comedy, A Midsummer Night’s Dream by William Shakespeare, Hermia is in love with Lysander, but her father wants her to marry Demetrius. She escapes into the woods with Lysander. Just like Hermia, many people around the world are forced to marry someone that their parents choose for them. Love marriage vs. Arranged marriage is always a debated topic. While there are instances of love marriages working out, there are arranged marriages which are successful too. Both have their pros and cons. And it is just the world around us which makes us support or be against a love marriage. Arranged marriages are based on the understanding of two families. The parents of the bride or groom get to pick their future partner. On the other hand, love marriages are more of an independent choice between the bride and groom. Giving them the freedom to marry someone they know and admire. There are different customs and traditions that are followed in different societal set-ups. Arrange marriages lack love and respect between husband and wife. Arranged marriages are a social injustice. They deprive individuals of their choice. Marriage is a commitment of two people who have made a vow to love each other till death. In the essay I will be debating the pro’s and con’s of arranged and love marriages.

In William Shakespeare’s “A Midsummer Night’s Dream” two worlds are distinctly contrasted throughout the play. These worlds serve to be the extremes both in thought and action. One world is the Athenian state; which is governed by order, law and reason; whereas, the forest or fairy world lies within the domain of imagination, where anything is possible. While both worlds are paralleled in the play, they have complex interactions in which the characters succumb to influences to influences from both of them. The ruler’s of these two worlds, Theseus in Athens and Oberon in the Fairy world, play critical roles in the events of the story in which their actions and decisions transform the lives of the young lovers. Theseus’ initial rulings for

In the play a Midsummer Night’s Dream written by William Shakespeare, there is a character named Bottom he is an ordinary man who has a magic spell cast on him where he now has an asses head. Bottom has many complex characteristics and feelings as he is a dynamic character set in the play. Egocentric, having or regarding the self or the individual as the center of all things; an egocentric philosophy that ignores social causes. Bottom is a character in which being selfish or egocentric shawn through.

Shakespeare’s language usage in Midsummer Night’s Dream is full of strong metaphors to help emphasis important laws on human nature. A perfect example of a metaphor Shakespeare uses to shake up our understanding on people is when Hermia states, “That he hath turn’d a heaven unto a hell!” while exchanging words with Helena. This metaphor was used by Hermia in an attempt to explain the strength of her love for Lysander and to ease Helena’s uneasy mind. Her uneasy mind was apparent upon the initial greeting offered by Hermia. Instead of a formal greeting back, Helena begins complaining about how lovely Hermia’s features are. Concluding her rant, Helena asks Hermia for advice on how to win over Demetrius. Hermia, seeing Helena in clear distraught, attempts to ease her mind by telling Helena of her and Lysander’s plans to leave Athens. Upon doing so, she directly relates Athens to a “paradise” she once knew. The restrictions within Athens, preventing her from loving Lysander, has turned this “paradise” unto a “hell”. This is made clear to the reader when Hermia says, “Before the time I did Lysander see, / Seem 'd Athens as a paradise to me”. Hermia’s love for Lysander simply trumped her love for Paradise and in having to decide between the two, Hermia chooses Lysander. Throughout the rest of Midsummer Night’s Dream, Shakespeare consistently uses powerful metaphors, such as the one Hermia gave, within the dialect of the characters to draw conclusions on the chaotic and foolish

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?

First, Puck and Bottom portray different personalities and encompass opposing roles. While both Bottom and Puck are confident and outgoing in their ventures through the fairy and mortal worlds, Bottom is audacious and bold with his actions. Throughout the play, Bottom dominates conversations

Written in the mid 1590’s, A Midsummer Night’s Dream is one of William Shakespeare’s most delightful and eccentric pieces of work (The Life of William Shakespeare). While some of Shakespeare’s contemporaries disregarded the play as “insipid” and “ridiculous”, this romantic comedy has been successful in the theater from its first production to the present day” (Worthen 186). Shakespeare lived during the Elizabethan age, and during this era, learning and literature were thriving in London under Queen Elizabeth’s rule (The Elizabethan Age). The culture and conventions of Shakespeare’s time surface through his choice of characterization and plot. For example, many of the characters in the play distinctly represent English craftsperson’s whose names indicate their skill and position in society - Bottom the weaver and Starveling the tailor, for example. Such depiction “…roots the play firmly in Shakespeare’s contemporary culture, as does the folkloric background embodied in the fairies (Cobweb, Mustardseed), and in the characterization of the sprightly Puck…a familiar figure of English folklore” (Worthen 186). Furthermore, the play reveals the revolutionary insolence of young lovers against arranged relationships/marriages, which was a common imposition in Shakespeare’s time. Despite the fact that England was ruled by a female monarch, women remained powerless over the direction of their lives. This play illustrates the patriarchal paradigm of domination and submission which