Note: Sample below may appear distorted but all corresponding word document files contain proper formattingExcerpt from Essay:
"The course of true love never did run smooth" (Lysander, A Midsummer Night's Dream, Act 1, Scene 1). Shakespeare's practically promotes this concept throughout the play, further reinforcing it by using the tension that emerges from the unusual relationships between some of the characters. It is not necessarily love that creates this tension, as it is actually the difficulty related to it that appeals to individuals watching the play. When love initially experiences progress in the play, fantasy prevents characters from being happy because of it, as it is asymmetrical, with two men loving the same woman while another woman is left with no one to love her. Titania's passion for Bottom makes matters even more confusing, considering that it seems very improbable for her to really want to put across any feelings toward the unsuccessful actor. Bottom contrasts Titania through his physical ugliness and through the fact that he is not as refined as the fairy queen. The overall implausibility for such relationships to exist and the complexity of love are definitely Shakesperean in character.
The comedic elements in the play refresh the concept of love and make it less sober. Youthful love is one of the main concepts that makes love in general seem serious, given that it is irrational and sometimes foolish. Comedy takes audiences through a chain of events without allowing them to fall victim to their own mistakes, as they eventually mature as a result of the unnatural world intervening in their lives. In spite of the fact that they come across great impediments in finding their love, they come to understand what love means and, with the help of Theseus and Hippolyta, they manage to be reunited with the persons they love. Shakespeare uses comedy as a means to have people understand more complex matters that are not actually amusing. The experiences that the lovers come across while in the forest appear to be a very important part of their maturing process, especially given that they all find peace once they are no longer under the influence of Puck's magical substances. The comedic experience in the play is strongly related with the relationships that emerge between its characters and with the overall celebration atmosphere.
Shakespeare is much like Puck when considering his tendency to involve humor in any situation. He does not hesitate to have audiences confused as a result of sending mixed messages meant to have them think that they too are dreaming and that it is very likely that what they are seeing is unreal. Courtship is a consequence of people's decision to start a relationship with the individuals that they feel passionate about. Typical for Shakespeare, the Lysander-Hermia couple and the Helena-Demetrius couple come to exist because of the fact that these young people are unhesitant about acting against their parents' wishes (Meader, 1954, p. 170).
Michael Hoffman's motion picture A Midsummer Night's Dream takes Shakespeare's play even further and presents the public with a more up-to-date version of it. The film actually puts across a dreamlike world where nothing is as viewers expect it to be. In spite of his apparent clumsiness, Nick Bottom has viewers loose their interest in the love-related elements in the movie in order to appreciate the complexity of his character, this most probably being a result of the fact that Kevin Kline perfectly understood the director's perspective regarding his role. One is very probable to learn more concerning Shakespearean comedy and love as a result of watching this motion picture, as the relationship between the characters and the scene where they fight in the mud are particularly important in determining the comedic character of the film and the intricacy related to love.
"A Midsummer Night's Dream" expresses love, comedy, and courtship as concepts that can be wrongly understood by a general public. Shakespeare intended his plays to provide people with a different perspective in regard to matters that seemed unambiguous.
1. Meader, William G. Its Relation to the Tradition of Courtly Love (New York: King's Crown Press, 1954)
2. Shakespeare, William. "A Midsummer Night's Dream," Retrieved June 22, 2011, from the Complete Works of William Shakespeare Website: http://shakespeare.mit.edu/midsummer/midsummer.1.1.html
3. A Midsummer Night's Dream.…[continue]
"Shakespearean Comedy A Midsummer Night's" (2011, June 22) Retrieved December 4, 2016, from http://www.paperdue.com/essay/shakespearean-comedy-a-midsummer-night-42692
"Shakespearean Comedy A Midsummer Night's" 22 June 2011. Web.4 December. 2016. <http://www.paperdue.com/essay/shakespearean-comedy-a-midsummer-night-42692>
"Shakespearean Comedy A Midsummer Night's", 22 June 2011, Accessed.4 December. 2016, http://www.paperdue.com/essay/shakespearean-comedy-a-midsummer-night-42692
And while it may seem silly upon first reading or seeing the play, it is clear that a Midsummer Night's Dream also has quite serious ideas. Scholars have noted that the play includes a cultural critique of the Elizabethan era in which it is set (Lamb 93-124). Other critics have noted that the play may contain quite subversive ideas regarding the fluid nature of sexual identity (Green 369-370). Whatever
Shakespearean Social Comedy -- Saturnalian inversion or soulful exploration of social outsiders? Barber's book, Shakespeare's Festive Comedy argues for a socially harmonious interpretation of Shakespeare's comedic plays. In contrast, the scholar Richard A. Levine's Love and Society in Shakespeare's Comedy proposes a socially subversive reading of the Shakespearean comedy, as kind of hidden tragedies of 'outsider' figures, rather than Saturnalian revelry. This contrast between the two authors may orginate in the
Imbalance, even in love, can produce negative and unwanted effects that affect more than two people. The tempest is another Shakespearean play that is set both in the real and fantastic world. The two real are interwoven and deliberately confusing. The action of the play is swinging back and forth in time. Prospero, the Duke of Milan, is recounting for his daughter Miranda the events that led to their living
While Shakespeare attracted his fair share of criticism during his day, it is also clear that many of his contemporaries as well as the general public viewed Shakespeare's work in a positive light. For example, Callaghan (2004) points out that, "While we do not know how much Shakespeare was paid for the plays he furnished his company, it is clear that the greatest part of the handsome fortune Shakespeare had
Shakespeare's Play "All's Well that ends well" -- a Critique Conflict between generations is a theme prevalent in many of Shakespeare's tragedies, histories, and comedies. Romeo and Juliet struggle against their parents' feud and values. Hamlet battles within himself to deal with the ethics of his father's order for revenge. Hal and his biological father, Henry IV, work out an uneasy coexistence, while the Prince simultaneously resolves his relationship with his
Saturnalia and Shakespearean Comedy C.L. Barber argues that all of Shakespeare's festival comedies, such as "A Midsummer's Nights Dream" and "Twelfth Night," make us of the convention of the Roman Saturnalia. During Saturnalia in ancient Rome, the social norms of that world were turned upside down. Paupers were allowed to don the robes of the gentry, and slaves enacted the role of kings. This was not simply a fun ritual to
Clip: Oberon and Titania 1935 (clip available on You Tube) Foolish fairies and mortals: Multiple interpretations of Shakespeare's a Midsummer Night's Dream Shakespeare's A Midsummer Night's Dream has been interpreted and reinterpreted many times. One of the most popular cinematic versions, directed by Max Reinhardt in 1935, depicts the play as a fantastic spectacle. The fairy king Oberon and the fairy queen Titania are shown as otherworldly beings, flitting through the air,