William Shakespeare's A Midsummer Night’s Dream

One of William Shakespeare’s best remembered plays for its comical and ironic tone is A Midnight’s Summer Dream. There were characters designed to be humorous and that alone. Puck and Bottom behave very much alike, and have similar roles for different people. Both Puck and Bottom are comic relief characters in one way or the other. Both of them are needed for the play, because Puck’s spirits controls the whole story, which sets the tone for it, and Bottoms comic relief for the audience and play.

8. STYLE: (A Midsummer Night's Dream), In A Midsummer Night's Dream, there are three styles: iambic pentameter, rhymed verse, and catalectic Trochaic Tetrameter that make William Shakespeare unique in his writing style. I didn't know about anything first and last styles until I got help from my older sister. She told me that iambic pentameter consists of five iambs per time. The iamb is every second syllable of each word. The lines in the play don’t have regular rhythms so it is called unrhymed iambic pentameter. This is a fancy way to talk to separate upper class characters from the commoners and their differences in talking have humorous effect. The specific example of this is at Act one Scene one line

In A Midsummer Night’s Dream, Shakespeare easily blurs the lines of reality by inviting the audience into a dream. He seamlessly toys with the boundaries between fantasy and reality. Among the patterns within the play, one is controlled and ordered by a series of contrasts: the conflict of the sleeping and waking states, the interchange of reality and illusion, and the mirrored worlds of Fairy and Human. A Midsummer Night's Dream gives us insight into man's conflict with characteristics of human behavior.

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.

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,

Not surprisingly, Hermia's inability to pull the heartstrings of her father drives her to despair. In expressing her anguish to Lysander, she advises him to look into "the tempest of [her] eyes" (1.1.131) for the source of her troubles. Here, rather than cold, clinical judgment, the eyes denote fiery, turbulent emotion. This shift in imagery can be seen to represent the contrasting character traits of Egeus and Hermia; and, on a broader level, man and woman.

Love is such an abstract and intangible thing, yet it is something that everyone longs for. In Shakespeare’s play A Midsummer Night’s Dream, the difficulty of love is explored through the obstacles that characters have to face while pursuing their loved ones. Those characters that are in love in the play were conflicted with troubles; however, the obstacles of love do not seem to stop them from being infatuated with each other. The concept of true love is examined throughout this play. By creating obstacles using authority and a higher power, Shakespeare examines the power of love. Through Hermia and Lysander’s loving words, it is reasonable to conclude that love conquers all if you believe in it.

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 the aforementioned case above to create comic relief, which can be seen when Puck turns Bottom into an Ass. This essay will advance on similarities and differences between these two characters. There is a distinctive difference between the two when it comes to intelligence as Puck is

Nick Bottom, or Bottom as he is commonly referred to, is a focal character of A Midsummer Night’s Dream by William Shakespeare that plays a part in all three storylines. Several times throughout the play, Bottom’s arrogance is highlighted. Bottom believes that he is a very good actor and director, even better than the others performing and directing the play as can be seen when Bottom tells Quince to let him play more characters in the play and when he says that the play has “things that will never please […and has] a device to make all well” (III. i. 5-8). Shakespeare also portrays Bottom as being very foolish. He even makes it a point to have Puck turn Bottom into an “ass”. Bottom’s foolishness can be seen when he is overconfident about

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.

How does the ‘play within the play’ enhance your enjoyment of the rest of A Midsummer Night’s Dream? If not, why not?

The distinction between reality and dreams can be a fine line, often confounding our perceptions of what is real and what simply appears to be. Shakespeare’s mystical play A Midsummer Night’s Dream examines this concept as the worlds of law and desire struggle against each other. The four main storylines of the play: the royal wedding, the four lovers, the fairies, and the rude mechanicals quickly become entangled in a mix of magic and love. At the head of this chaos is Puck, the fairy servant who successfully wreaks havoc on the characters of the play before restoring order by the play’s conclusion. Along the way, the audience is captivated by the drama of the intertwining storylines as they try to determine which of the play’s numerous realities

“Lord, what fools these mortals be (Shakespeare, 1546)!” In the beginning of this play, Hermia refuses her fathers demands to marry Demetrius because she loves Lysander. Her disobedience enrages her father so he presents Theseus with his dilemma, which does not work as well as he had hoped (Gianakaris). Hermia is presented with two alternative options, but neither suits her well. She runs off into the woods with Lysander to get married and from this, a chain of events arises. To make matters even more complicated, Puck is sent out to get the juice of a flower that, when poured in eyelids while asleep, makes people fall in love with the first creature they see. Situations arise from this love juice, and the plot thickens. In this play, Shakespeare creates a social commentary through the use of the themes of love, magic, dreams, and art and culture.

Quince, Bottom, and the other actors are the next characters to meander near Titania's bower. As they rehearse "Pyramus and Thisbe," Puck secretly listens, appalled by their awful acting. Deciding Bottom is the worst in the bunch, Puck gives him an ass-head. When Bottom saunters

A Midsummer’s Night Dream is a story of requited and unrequited love between two couples, conventions existing within society, supernatural enchantment and features a play within a play. The extract from Act III, Scene 1 is of pivotal importance. It is the first oie themes, symbolismccurrence of two character types converging; namely the Queen of Fairies – Titania – and Bottom, a weaver and performer. The use of distinct language techniques, diction, and contextual relationships expands on themes and symbolism introduced in earlier scenes, and which are prevalent throughout the play. Analysis of language, structure and characterisation within the extract assists in making decisions about performance possibilities, and aids in challenging audience