CLASSIFICATION Fairy characters are very important figures in Shakespeare’s comedy. Inhabitants of the play’s fairy world call themselves spirits, ghosts, or shadows, what makes their kind unclear and hard to define. The fairies of A Midsummer Night 's Dream are seen to be what Oberon calls them: " spirits of another sort." However, Shakespeare 's fairies in A Midsummer Night’s Dream match the category of trooping fairies. They seem to be elemental creatures, nature ones. The most frequent type of fairy around the world – forest fairies. They inhabit a moonlight forest were they love, fight, play and helpfully sort the poor young lovers out before sending them off, back to their own civilized world. Shakespeare’s fairies are night creatures and leave the outer world at sunrise: “And we fairies, that do run, / From the presence of the sun, / Following darkness like a dream” (Act V, scene I). Nocturnal hours traditionally were the ones …show more content…
The emphasizing of those features strongly influenced the image of the fairy tribe in A Midsummer Night’s Dream, but it stays in a contradiction to fairy folk tradition in England. In folk tales beauty wasn’t presented as characteristic feature of fairy people. They were usually described as either similar to humans or weird deformed creatures.
In tradition numerous members of the fairy race were marked by certain abnormalities of their bodies – such as having one nostril, cow tails, or deer 's hooves. The ugliness of their children was the main cause of their custom of kidnapping human offspring. In some legends they were beautiful from the front, but hollow in the back. Most of them were rather personifications of imperfection. The delightful ones usually had evil intentions, so good appearance didn’t come together with kindness like Shakespeare tries to present in his
With the characters, I found interesting facts of characters in the story. Many children fairies portray common archetypes of each character. For example, the main character,
The woman warns him, “Do not be deceived by appearances, for beauty is found within.” The prince, however, remains unconvinced and orders her away a second time. It is then that the woman transforms herself into a lovely enchantress and as punishment turns the prince into a monstrous beast. Beauty and the Beast is a story in which the central theme is appearance: it opens with the prince’s failure to look past an exterior and ends with Belle’s success at looking through the exterior. Similarly, in The Odyssey, appearance plays a large role.
Questions: 2.) In this section, the Wife of Bath comments on the different answers given to the Knight, and her comments give insight to her opinions and views of women. For example, the text states, “Others assert we women find it sweet when we are thought dependable, discreet and secret, firm of purpose and controlled, never betraying things that we are told. But that’s not worth the handle of a rake; women conceal a thing? For Heaven’s sake!”
SYMBOLISM IN HANSEL AND GRETEL A fairy tale is a type of a short fairytale that typically features European folkloric fantasy characters, such as dwarves, elves, witches and usually magic or enchantments . One such fairytale is HANSEL AND GRETEL (German: ' ' Hänsel und Gretel ' ').
How To Read Literature Like a Professor Summer Assignment Chapter 8 A work of literature that reflects a fairy tale is the teen fiction book Fairest by Gail Carson Levine. This book tells the story of a girl who finds herself unattractive with her fair skin, black hair, red lips and uses a manipulative talking mirror to enhance her beauty and in the process makes a prince love her. When she loses her glamour from the magic those around her feel betrayal and she nearly dies from poisoning but her prince forgives her tearfully. Throughout the story we get to see why she used magic to look pretty and learn to sympathize with her.
The term fairy tale should literally refer to stories about fairies but is “normally used to refer to a much wider class of narrative, namely stories about an individual, almost always young, who confronts strange or magical events.” Buttercup is eighteen when she developes into “the most beautiful woman in a hundred years” and twenty one once she reunites with Westley. It is not revealed if Westley and Buttercup lived “happily ever after”. The abrupt ending to the tale has the group fleeing from Humperdinck and his men and “the night behind them was filled with the crescendoing sound of pursuit.” Goldman labeled this as “a ‘Lady or the Tiger?’ type effect”, referencing the short story by Frank R Stockton.
Dragons, witches, princesses, and knights. These are the imaginary friends in so many children's lives. For young adults, those fairy tale characters give way to darker characters and more realistic situations. However, what do they all have in common? They live in stories.
In today 's society a “fairy” is thought of as a tiny, sweet, playful person with wings and magical dust. This was not the idea of a fairy for people in Elizabethan England. A fairy in that time was a “..life-sized creature, fiendish and malicious..” There wasn 't only one model of a fairy: there was the mermaid who would send sailors to their deaths; giants and hags; fairy aristocrats who spend their time dancing, hunting and feasting; and the ordinary goblin. The main concern of a fairy is the workings of the household.
These stereotypes have always existed but have been passed down to us, precisely, by these stories. They target the most impressionable part of society, children. The purpose of these tales is to teach children how to behave and in which social norms they must fit into. “Fairy tales are a child's world of imagination and pleasure, but
The rich and beautiful fairy represents the worthy and undesirable women. She is beautiful, yet powerful. She owns her own tent in the woods that the royal could not afford, which makes her rich, however women were not supposed to own anything in medieval times, which makes her powerful. She lured Lanval to her, unlike normal fairy tales, where the male lures the female. Lanval also follows her commands rather than the woman following the males’ orders.
Being a fairy is considered higher than a job like Bottom’s. Being an artisan is just the same as being any old commoner. These two are virtually the same, but also different in the way they make the people of the audience think. Both characters have dreams that they wake up from. This makes the audience think they are in a dreamlike state.
Today, men and women have equal rights, but that does not mean life has always been simple for both genders. When Shakespeare writes A Midsummer Night’s Dream, there are roles, behaviors, and expectations for the dominant men and submissive women. This literature portrays the major changes in the lives of both sexes throughout the years, which shows the advances women gain with time. The gender issue of men being dominant and women being submissive used in the drama, A Midsummer Night’s Dream, shows the differences in the roles, behaviors, and expectations appropriate for each gender and is an example of an outdated stereotype.
Furthermore, another aspect worth considering is the impact the depiction of such hostile behavior in fairy tales has on female readers. Girls most certainly notice (whether they do it consciously or subconsciously) that fairy tales glorify and reward beauty (Lieberman 385). When they identify with the beauties, girls tend to become suspicious of their less beautiful peers; and in case they identify with the plainer characters,
“And though she be but little, she is fierce” -William Shakespeare. In today’s day and age, one of the greatest topics of debate is gender roles. It is evident everywhere, from cyberspace to the streets of home, from online petitions to marches across the country such as the Women’s March. Shakespeare lived in the Elizabethan Era of England, where Queen Elizabeth I, the virgin queen ruled.
“A ‘fairy-story’ is one which touches on or uses Faerie, whatever its own main purpose may be: satire, adventure, morality, fantasy. Faerie itself may perhaps most nearly be translated by Magic — but it is magic of a peculiar mood and power, at the furthest pole from the vulgar devices of the laborious, scientific, magician. There is one provision: if there is any satire present in the tale, one thing must not be made fun of, the magic itself. That must in that story be taken seriously, neither laughed at nor explained away.” - J.R.R. Tolkien 's 1939 essay "On Fairy Stories"