Each story begins in the realm of the mundane with protagonists who are dissatisfied with their reality. The protagonists in both stories cross thresholds within their stories which transport them to the realm of the marvelous where their deepest desires are manifested. In Midsummer Night’s Dream the threshold is marked by the lovers entering into the forest. In Alice’s Adventures the rabbit hole can be seen as the symbolic threshold used to cross into Wonderland, despite it being ultimately classified as a dream-quest. In each of the stories the protagonists return to the realm of the mundane changed by their interactions with the marvelous.
The play A Midsummer Night’s Dream that was written by a famous writer William Shakespeare, in the play he invites the audience into a dream and blurs the reality. As many of his plays this one is not the exception, and the main theme is about love. He presents different aspects of love, in this case is a romantic comedy. The story also contains a world of fairies, creatures who take it upon themselves to guide humans in the directions they believe is necessary. This play major action takes place during the night time in the woods that appears numerous times during the play.
I have selected the character of Puck (also called as Robin Goodfellow) from the Shakespeare’s MSND. This is one of the most important characters of this play. He is the mischievous spirit who works for the Oberon (The king). Puck is the nearest thing the play has to a protagonist. His mischievous spirit overruns the atmosphere, and his activities are in charge of a significant number of the complexities that build up the fundamental plots riotously.
The dark, dense, and mysterious forest scenery creates a dreamlike setting for the nights events and characters. The fairies interactions with one another and interference with the Athenians also adds to this fairy-tale dream. The townsmen and the young lovers affected by the spell and potions believe the night’s events are too strange to be true. Surely a lowly Athenian could not have been doted on by a fairy queen while bearing a donkey head. Besides, a dream seems the only possible explanation for Lysander to not love Hermia and for Demetrius to not love Helena.
In Shakespeare’s A Midsummers Night’s Dream, magic and mystery are key components in the thriving plot through the use of having two worlds, fairy and mortals. In this play the fairies are depicted as whimsical free-spirited lovers of life who seek to help the mortals find true love. However, in the 1999 Hollywood film version of the play the fairies are portrayed as petty irritable party animals who are more mortal like than they should be. This interpretation of the play has lost the original magical and mystery aspect of the original story with the added rendition of scenes and lines in the movie. The movie version sets the scene in a modern setting in an Italian village giving it a different atmosphere.
“I do not believe that any writer has ever exposed this bovarysme, the human will to see things as they are not, more clearly than Shakespeare.” (T.S. Eliot, 1927) First things first, “bovarysme” is the literary movement for those who are fed up with the borders of the life and for those who wants to get beyond this borders. As T.S. Eliot states in his quote above, Shakespeare fits into this explanation very well because in his famous pieces, there are many samples which can support his arguments. In this essay, this argument will be discussed within the scope of Shakespeare’s “A Midsummer Night’s Dream”.
In A Midsummer’s Night’s Dream two couples face difficulties in love. These pairs are Hermia and Lysander, two Athenian youth, and Titania and Oberon, the king and queen of the fairies. The main focus of the play is the problems that these four face along with the struggles of Demetrius and Helena, but this essay will focus on the first two couples. Hermia and Lysander’s struggles with love are very similar to Titania and Oberon’s except that Hermia and Lysander, being mortals, were negatively affected by the love-in-idleness flower while Titania and Oberon, being magical being themselves, were positively affected by it. The play begins with both couples facing some sort of discord.
Michael Hoffman’s 1999 adaptation of A Midsummer Night’s Dream, among numerous alterations from Shakespeare’s original work, fundamentally challenges the audience’s former notions of Nick Bottom. Often viewed by other critics and filmmakers, and even Shakespeare himself, as a simpleton, Bottom has seldom been portrayed as anything other than a lowly beast or a foolish clown. However, in his film, Hoffman abandons commonplace interpretations in order to create a rounded and complex character through which the audience finds empathy and compassion. Hoffman achieves this task of reinvigorating Nick Bottom through his use of thematic elements, costume design, and character interactions. Through their comical ignorance, in stark contrast to the
Prior to this scene, we witness the conversation between Puck and the fairies, the latter being warned regarding the possible conflict between Oberon and Titania. The scene ends with Puck commencing his journey to find the flower. In this scene, the playwright portrays the ideas about lovers and their obsessions through language and action. Shakespeare shows in this extract that men are obsessed with their power and high status and believes that women should abide by their orders without question. This is a very patriarchal way of thinking which mirrors the era of the Elizabethan time.
When the lovers enter the forest they are no longer subject to the structure of the real world, and are instead part of a space that functions as if it were part of a dream. The passage in Act 2 Scene 2 displays this otherworldly uncertainty through Lysander's reaction to the love potion. Within the passage, Lysander believes he has awoken from his “tedious”(2.2.116) time with Hermia, and instead decides “to honour”(2.2.148) Helena. The rapid, stream of consciousness style dialogue that is present in both Lysander and Helena’s speech evokes a fluid, dream like quality within the passage. For example, as Helena says “is’t not enough...my insufficiency”(2.2.129-132), her repetition, emphasis and non-structured speech heightens the surreal quality within the passage.