One common theme during Shakespeare 's A Midsummer Night’s Dream is that the course of true love never did run smooth. As mentioned by Lysander in act 3, that theme is occurring during the play. I have selected the painting, An English River in Autumn by Benjamin Williams Leader. For my song I have chosen “The Climb” by Miley Cyrus. While a song written in 2009 might not be the first thing that comes to mind when you hear A Midsummer Night’s Dream, they overlap in themes.
Bullying, emotional or physical abuse. In A Midsummer Night’s Dream, the characters are bullied emotional by false love. Oberon, King of the fairyland, is married to Titania. After one of Titania’s workers die, she is left custody of a young Indian boy. Oberon wants possession of the boy, so that he can become his servant.
Throughout the play, dramatic irony is used to build tension and humor in the play. During the play, A Midsummer’s Night Dream, there were also other examples of dramatic irony besides Bottom. Lysander and Hermia are in love, but when Lysander 's new love separates them, everything changed. Also, a fairy queen, Titania, falls in love with Bottom, a worker who looks different. Dramatic Irony is throughout the play to make A Midsummer’s Night Dream interesting and exciting.
Lysander references the word “beauteous” in 1.1.104 of A Midsummer Night’s Dream by William Shakespeare when describing the splendor of Hermia. This comment not only sets the tone for how Lysander loves Hermia, but also what their love is built on. Lysander’s confession, “I am beloved of beauteous Hermia” (1.1.104), is a bold one made in front of Egeus and gives insight to the budding couple’s love. By stating this, Lysander, and therefore Shakespeare, gives the reader an understanding of how language could have been used and manipulated in that time. Beauteous is a critical word used in Shakespeare’s A Midsummer Night’s Dream not only because of the literary insight it gives, but also the detail it illuminates in the flaws of Lysander
Take the donkey spell off this man, and just like you did with the couples, have him remember this night as only a dream.”(16) Oberon also controls Puck by making him take the donkey spell off of Bottom. Controlling people to feel power will make problems in the
Next, The Wife’s Lament uses alliteration of “s”, “m” sounds, assonance of “o”, “e” sounds, consonance of the “r”, “d” sounds, and repetition of “h” sounds. The alliteration of the “s” and “m” sounds represents her sorrow. She uses words like “seek service, sorrow’s” (WL 10) and “mournful, mind, mood, murder” (WL 19-20) near the beginning of the poem, because she is devastated that her husband left her. The assonance of “o” and “e” represents her tone of trying to move on. It comes from words like “overgrown” (WL 31), “weep” (WL 38), “oak tree” (WL 36), “vowed” (WL 21) near the middle of the poem.
Truly, the course of love never did run smooth as shown through the relationships of Hermia and Lysander as well as Titania and Oberon in the Midsummer Night’s dream. If one takes a closer look at Hermia and Lysander’s relationship, it starts out well, they love and care for each other but they are facing a major problem, that is, the fact that Hermia’s dad wants her to marry Demetrius instead of Lysander.”Full
He exploits one of mankind's shortcomings, love. For Puck, love is either an aggravation (played more insidious than great) or only a clever thing that humans and different creatures sufficiently inept to fall into it do to demonstrate to him a chuckling decent time. Truth be told, a standout amongst the most acclaimed citations in the play is Puck's announcement: Master, what tricks these mortals be! on the grounds that it catches the overstated absurdity of the lovers' conduct; second, since it denote the complexity between the human lovers, totally consumed in their feelings, and the magical fairies, devious and never excessively genuine. By what means can a character that is absent in the greater part of the play be viewed as the primary one?