When one reads Shakespeare’s A Midsummer Night’s Dream, it becomes obvious to him/her that two of the play’s strongest and most important characters are Bottom, the weaver-turned-aspiring actor who is eventually transformed into a donkey, and Puck, a whimsical, and often mischievous, fairy who takes a central role in the story’s events. Because of Puck’s involvement in major turning points of the play, it can easily be argued that he is the protagonist. Puck’s spirit dominates every facet of Midsummer’s personality, demonstrating the comedic nature of Shakespeare’s writing and handling, lightheartedly, the otherwise serious ideas of love and marriage. In addition to this, a comparison of Puck and Bottom reveals the differences in how they contribute to the play as a comedy, with the fairy causing many of the amusing events of the story, and the weaver reacting to many events of the play in ways that are often outlandish or ridiculous.
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Bottom, on the other hand, makes for a weaker choice for the protagonist because his path in life is shaped by others’ actions (rather than his own), such as when Puck turns Bottom into a donkey and the weaver simply decides that he is fine living with Titania for the rest of his life. It is this passiveness, which is not seen in Puck, that makes Bottom (despite often stealing the show) the less important character. Additionally, Puck exemplifies the qualities of a powerful protagonist by guiding the audience through the play (and eventually ending it) through a few wall-breaking moments, which,
The initial aspect one notices about Nick Bottom's personality is his enthusiasm for acting. From the introduction of the Mechanicals (1.2) when Peter Quince is assigning the roles of the play (The Most Lamentable Comedy and Most Cruel Death of Pyramus and Thisbe) to each of the characters, Bottom enthusiastically volunteers to play every role as they are being assigned to the other characters. This eagerness is clearly demonstrated when the second and third characters of their play (Thisbe and the Lion) are assigned. Bottom jumps in to each conversation, saying, "An I may hide my face, let me play Thisbe too." (1.2. 45), and "Let me play the Lion too.
William Shakespeare’s play A Midsummer Night’s Dream utilizes the technique of multiple characters playing leading roles. The fairy character Puck stands out as a dominant and leading role in the play. Puck is the best fit for the role of the protagonist because he is mischievous and therefore, has the ability to change the outcome of the play through his schemes and actions. As the protagonist, Puck is responsible for creating the major conflict that occurs between the four lovers throughout the play. This is important because the play focuses on the lives and relationships of the lovers. In addition, because of Puck’s interaction with these characters, his actions throughout the play, alters the final outcome. Finally, Puck’s relationship with all the mortals in the play, his connection to his fellow fairies, and the bond he has with his boss, King Oberon make him the best choice for a protagonist.
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.
The character of Bottom in Shakespeare’s A Midsummer Night’s Dream is frequently foolish, but he is not a fool. His exuberance and energy are allied to practicality and resourcefulness, with an alarming lack of self-consciousness. He, at any rate, is not at all tongue-tied before the duke, as Theseus has known others to be. We do laugh at Bottom in many situations, but should note that these are situations in which any man might seem ridiculous: amateur theatricals are almost a byword for unintended comedy, whether in planning (1.2) rehearsal (3.1) or performance (5.1); any artisan afflicted with an ass's head and appetites, and beloved of the fairy queen would have difficulty retaining his dignity.
A Midsummer Night’s Dream is one of Shakespeare’s most popular and frequently performed comical plays (Berardinelli). The play transformed into a cinematic production by Michael Hoffman has not changed in its basic plot and dialogue, but the setting and some character traits have. The play setting has been gracefully moved from 16th century Greece to 19th century Tuscany (Berardinelli). The addition of bicycles to the play affects the characters in that they no longer have to chase each other around the woods, but can take chase in a more efficient fashion. As far as characters are concerned, Demetrius is no longer the smug and somewhat rude character we find in act 1, scene 1 (Shakespeare pg. 6, line 91), but rather a seemingly indifferent gentleman placed in an unfortunate circumstance set to delay his wedding to Hermia. Perhaps the most noticeable change in the character set from stage to film occurs in the characters of Puck and Nick Bottom.
Throughout A Midsummer Night’s Dream by William Shakespeare, there are multiple analyses that one can follow in order to reach a conclusion about the overall meaning of the play. These conclusions are reached through analyzing the play’s setting, characterization, and tone. However, when one watches the production A Midsummer Night’s Dream directed by Michael Hoffman, a completely different approach is taken on these aspects, leading to a vastly different analysis of the work. Though there are many similarities between the original written play A Midsummer Night’s Dream by William Shakespeare and the on-screen production of the aforementioned play which was directed by Michael Hoffman, there are differences in setting and
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, Shakespeare mocks himself and his plays as much as he does the young lovers and the mechanicals onstage. This genius playwright who is capable of writing serious dramas such as Hamlet and Julius Caesar is still able to laugh at himself just as he does at his characters. With the help of Bottom, Oberon, and Puck, Shakespeare shows us that theatre, and even life itself, are illusions that one should remember to laugh at.
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The use and misuse of magic has an important role in A Midsummer Night’s Dream. As a recurring theme, Puck’s use of magic creates humor, conflict and balance in the play. The magic of Puck changes the head of Bottom into that of a donkey. Puck’s own use of magic adds more humor to the already comical and over-confident character of Bottom. Puck’s magic also creates a great deal of humor in the dealings of Bottom and Titania.
To emphasize, in Act III, the reader is presented with the play’s most extraordinary contrast, the relationship between Titania and Bottom. “What wakes me from my flow’ry bed?” (III.i.131). Titania is awoken by the so-called melodic singing of Bottom. In the present scene, both characters are under some particular sort of spell. Titania’s eyes were anointed with the nectar of the love flower, thus causing her to fall in love with the next living thing she encounters. In the meantime, Puck pulled a prank on Bottom, turning his head into that of an ass. Both characters of the play are interpreted as complete opposites. Titania, characterized as the beautiful, graceful fairy queen; Bottom is portrayed as overdramatic, self centered, and as of now, not keen on the eyes. However, the love nectar never fails and seems to bring the two into a state of lust. The contrast between the two is overwhelming. An important scene in the pl...
First of all, in the play, “A Midsummer Night’s Dream” by William Shakespeare, Bottom is my favorite character because he is funny. Bottom is the kind of guy who like attention and would do almost anything to get it. I think this is very funny. He tries to take and play every...
Shakespeare’s A Midsummer Night’s Dream is often read as a dramatization of the incompatibility of “reason and love” (III.i. 127), yet many critics pay little attention to how Shakespeare manages to draw his audience into meditating on these notions independently (Burke 116). The play is as much about the conflict between passion and reason concerning love, as it is a warning against attempting to understand love rationally. Similarly, trying to understand the play by reason alone results in an impoverished reading of the play as a whole – it is much better suited to the kind of emotive, arbitrary understanding that is characteristic of dreams. Puck apologises directly to us, the audience, in case the play “offend[s]” us, but the primary offence we can take from it is to our rational capacity to understand the narrative, which takes place in a world of inverses and contrasts. The fantastical woods is contrasted to the order of the Athenian law, and Elizabethan values of the time are polarised throughout the narrative, such as Helena’s feeling ugly even though she is tall and fair. A Midsummer Night’s Dream is thus not solely a comedic meditation on the nature of the origin or meaning of love, it also cautions against trying to rationalise the message of the play. Puck, who by his very nature cannot exist in rational society, propels the action of A Midsummer Night’s Dream. He is a manifestation of mischief and the unpredictability of nature, which governs not only the fantastical woods outside of Athens, but also the Athenians themselves when it comes to love. Yet, it is Puck, and thus nature, which rectifies the imbalance of the lovers in the beginning of the play. Rationalising, o...
The Role Of Puck in A Midsummer Night's Dream & nbsp; The role and character of Puck, or Robin Goodfellow, in A Midsummer Night's Dream, is not only entertaining, but quite useful. & nbsp; William Shakespeare seems to have created the character of Puck from his own childhood. In Shakespeare's time it was believed that fairies and little people did exist. Whenever something went wrong around the farmyard or house or village, incidents such as buckets of milk ‘accidentally' spilling over, or tools suddenly disappearing, or doors opening for no reason, it was blamed on ‘ those damn little people are amazing! i.e. a sym & nbsp; The idea of Puck's character is a lovely one. One can't help but be attracted to him and his innocent, little pranks. He is also known by the name Robin Goodfellow. The audience can only see this ‘Robin Goodfellow' side of. Puck when he is trying to fix something he disrupted, hence the name Goodfellow. & nbsp; When compared to Oberon, King of the Fairies and Titania, Queen of the Fairies and the remaining fairies of the play, Puck does not seem to fit in as well. well. While Oberon and Titania belong to the forest and the world of dainty fairies, a small village setting seems more appropriate for Puck. He is the type of fairy that likes to be around mortals and cause them trouble, as opposed to the snare. to other fairies. This is why Puck's little job with a love potion and a young couple is perfect for him and perfect for the job. & nbsp; Puck is a likable character who tends to create mischief around himself.