The Supernatural in William Shakespeare's A Midsummer Night's Dream

William Shakespeare is a successful playwright as he uses the style of history, tragedy and comedy which is an entertaining aspect that is in all his plays.

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.

In A Midsummer Night’s Dream, Shakespeare makes heavy use of hyperbole, the twisting of reality into something greater than what it actually is, in both the dialogue and the ridiculous, larger-than-life nature of the situations that occur to provide a basis for the conflict between reality and illusion, blurring the line that separates the two concepts.

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.

Love is a very common theme that is seen in literature, and love is one of the most powerful things that can be felt for someone or something. Love can drive a person to do incredible or horrible things, and we see many forms of love that take place in A Midsummer Night’s Dream. This is demonstrated in the book by many characters including Hermia and Lysander who demonstrate true love. Titania and Bottom show magical love. In the play, love is also the cause of a few broken hearts. While there is no one common definition of love that suits all of the characters, the romantic relationship in the play all leans to one simple rule laid out by Lysander, “The course of true love never did run smooth.”

In this essay I am going to explore the use of the supernatural in the

In many of Shakespeare’s literary works one can find multiple themes that reflect or question our reality. He accomplishes this by using figurative language such as metaphors and similes. Shakespeare’s Midsummer Night’s Dream encompasses many themes and apply them to certain characters or through communication between multiple characters. Helena portrays themes of love, betrayal, jealousy, and gender norms in Midsummer Night’s Dream presenting them through her speech and behavior. She depicts the challenges of a woman and also the flaws of human nature. In Act 2 scene 1 and Act 3 scene 2 Helena uses a metaphor twice which emulates these themes presenting us a broader understanding of her representation within the play and the play as a whole. Following are lines from Helena.

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

The supernatural was a popular element in many of the plays written in Shakespeare's time (including Hamlet) and everyone of Shakespeare's time found the supernatural fascinating. Even King James I took a special interest in supernatural and written a book, Daemonologie, on witchcraft. It must be remembered that, in Shakespeare's day, supernatural referred to things that were "above Nature"; things which existed, but not part of the normal human life and unexplainable. The play Macbeth involves many supernatural actions that act as a catalyst for suspense and thrill, insight into character, foreshadowing of future events as well as making connections with the theme.

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.

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

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.

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

Some people believe in magic, while others do not. Magic alters something or someone using supernatural forces. In William Shakespeare’s A Midsummer Night’s Dream, magic is a secret, mysterious force. Characters are influenced into love by the power of a magic potion. Titania, the queen of the fairies, falls in love with Nick Bottom, a mechanical actor, who is a non-magical character. Lysander, one of the four lovers, falls in love with Helena after being desperately in love with Hermia. Finally, Demetrius falls in love with Helena, whom he hated before, changing the entire love triangle within the play. Magic influences the characters in the play because it clouds their judgement by making them fall in love with someone who they did not think of loving before.

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.