Who Is A Dynamic Character In A Midsummer Night's Dream

first person they lay their eyes on, after waking up. In act three of the play, Titania is

Bottom is the first fool or idiot to appear in the play. His first appearance is in Act I, scene ii, when the mechanicals got together. He is part of the groups called mechanicals, who are basically tradesmen who planned to put on a play for the

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.

Shakespeare's Midsummer Night's Dream is one of the most popular play. The comedy is famous with fancy weave motifs of ancient mythology, literature and English folklore. It gives the impression of a completely unique combination of real and fantastic, funny and serious, poetry and humor. In this play there are two main lines – real and fantastic. Classical ideals are valued above contemporary folk narratives.

1. Why is Bottom worried about the ladies in the audience? What solution does he offer?

The world of A Midsummer Night dream is constructed of three different social classes, these being, royalty, nobility and commoners. As well as social classes there are also two being types- humans and fairies. Bottom and puck are two characters of different class and Being -type, Bottom a commoner and Puck a fairy. Although it doesn't seem like it there are many similarities and differences between the two. There are also many instances where Shakespeare uses this to enhance the comic nature of the play, which can be seen when Puck turns Bottom into an Ass.

Despite his arrogance and foolishness, Bottom is quite friendly and is well-received by the mechanicals. When Bottom is missing, the mechanicals worry that the play will no longer be good if he is not there and begin complimenting his appearance and saying that he is “the best wit of any handicraft man in Athens” (IV. ii. 7) Bottom’s openness to the faeries shows how friendly and outgoing he is as well.

”(1.2.22) When he speaks about letting the audience look into their eyes, he basically states that people are not typically rational when in live, and stay depending on superficial qualities to determine their emotions. However he may speak his case, it becomes known that Bottom is not much of a tyrant but rather a lover. Bottom goes on to prove that at the same time, a person can be a lover as well as a tyrant. When he is turned into an ass and gives Titania’s bower, it’s a great example of how graciously he was able to quickly and gradually adapt through whatever is thrown at him in life.

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.

Nick Bottom belongs at the very bottom of social hierarchy, hence his last name and attitude in ‘A Midsummer Night’s Dream’. In act 4, scene 1, Bottom is with Titania, and ordering her servants around, saying to them things like, “Scratch my head, Peaseblossom. Where’s Monsieur Cobweb?”. Because Bottom begins the play on the bottom of the social hierarchy, even his transformation to a place of power proves that he deserves his name, as he acts without kindness or generosity towards others. William Shakespeare paradoxically shows that being at the top or bottom of the social hierarchy can make one have an “ass”-like behavior. He gains a bossy attitude and commands those lower in hierarchy to do his biddings, yet in reality, he is the one

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.

In Act II, Scene I, ll. 49, Oberon says to Titania, “Tarry, rash wanton. Am not I thy lord?” In this line, Oberon’s authoritative nature demands complete compliance to his demands despite her personal beliefs. However, when Titania commands Bottom to stay, she does so with the same tone and expectations. Here, we begin to see a relationship where the “Athenian Law” is almost gender-reversed, demonstrating that women are capable of having the same flaws and character traits.

In a Mid Summer Night's Dream, the character Nick Bottom is given a rather prominent role in the several scenes he appears in, although he is not a lead character in the play. Bottom is unique from all the other characters of the play not only because of the considerable contribution his character brings to the comedic value of the play, but because he is the only character able to enter fully in to both the human world and the world of the fairies. In this paper I will examine the character of Nick Bottom, and provide some analysis into the motives behind this humorous character's strange ways.

What literary criticism lens is most effective in creating meaning and entertainment throughout Shakespeare’s A Midsummer Night’s Dream? The play, A Midsummer Night’s Dream, has several characters involved in a love triangle. Many scenes in the story involves power being used or taken away and use of money. Throughout the play, readers and viewers experiences Hermia’s power is being taken away by her father, Eugues,which is her kindred, not letting her marry the man she truly loves,Lysander. Later throughout the story, Robin, character from the story contains a enthrall love juice that has power and makes another character from the story, Titania, fall in love with a donkey.The marxist literary criticism lens is the most effective in creating meaning and entertaining readers and viewers in Shakespeare’s A Midsummer Night’s Dream.

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.