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A midsummer night's dream by shakespeare essay
Comical elements in a midsummer night's dream
A midsummer night's dream by shakespeare essay
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Nick Bottom in Shakespeare's A Midsummer Night's Dream Roget’s thesaurus defines the word “ass” as “one deficient in judgment and good sense: a fool”. In William Shakespeare’s A Midsummer Night’s Dream, the ass is undeniably tied to the character of Nick Bottom on many different levels. As the play is a comedy, Bottom’s central role is to provide laughter. At the same time, however, through his role as the Ass, he acts as a sort of symbolic center-piece that ties all of the action in the play together. Throughout the play, Shakespeare has various characters making word-plays on the Ass, in relation to Nick Bottom and otherwise. These many references combined with the physical Ass’ head that Bottom receives point to the fact that the idea of the Ass, or the fool, is a central theme to the play and as the play’s fool, Nick Bottom plays a crucial part in the structure of the play. Within his character, love and foolishness are inextricably linked. It can be deduced from just one reading of the play that they figure of the Ass is very important. Not only does one of the main characters chance to have an Ass’ head for awhile, but many of the other characters mention the idea of the Ass, or the fool, in passing. The first clue is that Bottom’s very name is a synonym for another meaning of the word “ass”. This is a subtle clue to the reader to pay attention. When Puck transforms Bottom’s head in the middle of rehearsal and all of his fellows run away, Bottom is left shouting, “What do you see? You see an ass head of your own, do you?” and “I see their knavery. This is to make an ass of me, to frighten me” (Shakespeare 38). The irony of this situation is that... ... middle of paper ... ...he same time it also is a microcosm for the story of the four lovers and serves to point out the folly of their situation. This is the same way that Bottom functions as a character: in his folly he illustrates the folly of others in love, and of the human race. Nick Bottom, the Ass and the fool of the play may serve as comic relief, but in that comic relief he also serves a much larger role. He is very fitting to wear the head of the Ass and in so doing he illustrates the heights of foolishness that humans can reach, in life and in love. Perhaps he is so comical because everyone who sees him in action can relate to his idiocy. Perhaps everyone has a little bit of a Bottom in them. Works Cited Shakespeare, William. A Midsummer Night’s Dream. Russ McDonald, ed. New York, New York: Penguin Putnam Inc, 2000.
the play. It looks at the person he is and the person he becomes. It
In conclusion I think that the stage directions and dramatic irony are significant to the play, and without them there would be no need for a lot of the events that happen in the play.
Egocentrism in Nick Bottom & Mrs. Turpin Many of the characters we read about this semester were written to be self-centered, such as the characters of Nick Bottom in A Midsummer Night’s Dream, and Mrs. Turpin in Revelation. Although their personalities are extremely different, both characters believe that the world revolves around themselves and that everyone else only exists to make them look better. They believe everything that happens relates back to them and they both fail to realize how unaware they are of their own personalities. In William Shakespeare’s play, A Midsummer Night’s Dream, the lead of Peter Quince’s production of the Pyramus and Thisbe is Nick Bottom. Nick Bottom is a very egocentric character, primarily because he does not understand the meaning of working on a team.
Theatre students are often told what not to prepare for an audition because some pieces have been done so many times they lose their meaning. Of Shakespeare’s entire canon, the two most often forbidden texts are Puck and Helena monologues from A Midsummer Night’s Dream. Therefore, the two roles are often the most sought-after and coveted in the play when in production. However, in the 1999 film version, Kevin Kline as Bottom gets top billing. According to the rules of Elizabethan hierarchy, Bottom, being of the merchant class, is literally at the “bottom” of the social spectrum. The Athenians and fairies rank higher on the great chain of being. Kline’s billing is not merely a result of stunt-casting: Athenian Helena is played by television star Calista Flockhart and the fairy queen, Titania, is played by Michelle Pfeiffer, both “stars” at the time. The movie is considered “The Kevin Kline Version” because, compared to the text alone, the plot changes, cinematic adjustments, and Kline’s performance flesh out Bottom’s character, creating a protagonist for an otherwise ensemble cast.
...es serious issues to be comical, the ability for Francis to fool and deceive both his guvnors up till the end of play seems almost humorous, arousing the comedic nature of the play. However, it is the mistreatment of Alfie that limits the comedy in the play from conflict, the more mature audience would feel outraged by the treatment of the 80 year old war veteran who is smacked over the head with an 'autographed cricket bat'. This is insensitive as it shows an elder being treated like an object to whack, and thus many may find some aspects of conflict in a severity light instead of in comedic nature.
Which once again brings out the themes of love and fate. Romeo is blaming this tragic turn of events on fate.
In his song “Tip Drill,” rapper Nelly is accompanied by the St. Lunatics relaying a theme of misogyny, portraying all women as pretentious and existing purely to satisfy men sexually. The song repeats the line: “it must be your ass cause it ain’t your face" throughout the entire song, referring to the woman as a “tip drill.” According to an online slang dictionary, the term “tip drill” is applicable to women with unattractive faces but large backsides, which is supposed to compensate for their unattractiveness. Because she is ugly, Nelly considers himself as doing her a favor by giving her money and having sex with her, suggesting her as desperate for sex and lesser than other women due to her looks. Sex has become a game, and this woman has become objectified to the point where he is not even sweet-talking her, but rather very plainly telling her that it is solely the size of her bum that makes her passable.
...erpreted as dark and significant to the period. The comedy Wilde achieves is at the expense of the characters who are seemingly intelligent adding to the ironic structure that much of the comedy is based on. Many of the comic elements of the play are shown through human reactions to Victorian repression and the effect it has on the men and women of the time. Love seems to be nonexistent within the finds of the fierce and brutal Aristocracy when so many of the qualities they value are not based on human qualities but that of the class’s social norms. Wildes Characters are at often times not subtle about their distaste in marriage and love, Algernon is no exception to this “In aried lie, three is company, two is none” showing that they all have distorted views on many of the social practices that make them morally sound, thus adding to the satire elements of the play.
The Scarlet Letter, by Nathaniel Hawthorne, is a cult classic. And with good reason. Anyone who simply believes that the title of this book just signifies that the protagonist wears a scarlet “A” on her dress in punishment of her adultery is ignorant. Obviously this paper would not be required if such were true. Instead, The Scarlet Letter is extremely ambiguous. One can argue that the scarlet letter is a character itself. I intend to flesh this out in literary, historic, and symbolic terms.
plot of the play. After all, in Act Four we not only have the lovers
adds to the comedy of the rest of play. It is obvious to the audience
In Bottom, Shakespeare pokes fun at the quirks in himself and in all plays and actors. By doing this, he makes light of the quirks in us all. To begin, the name "Bottom" has negative undertones, like "bottom of the heap," "bottom of the totem pole," and of course, one's behind. Bottom is a metaphorical ass that becomes a literal ass within the play. Bottom's name tells us not to take him too seriously. Additionally, neither William Shakespeare nor Nick Bottom were born to be aristocrats, both had ambitions beyond their particular position in life. It is Bottom's fate to be a weaver, y...
Feste is able to prevent any delusions of grandeur by a reminder that foolishness is a condition common to all mankind whether one is king or servant. It is Malvolio's vanity that convinces Feste to take part in the joke played on the steward. As "Sir Topas", and Malvolio's `prosecutor` Feste attempted to help Malvolio realize that there was "no darkness but ignorance".
...scene and the misogynistic views of such as Iago, 'How if she be black and witty'' with the later scene of Act IV Scne iii and Desdemona's refusal to say the word 'whore', 'I cannot say whore/It does abhor me', then the dark baseness of the male world is seen in opposition and dark contrast to the innocence and naivety of Desdemona.
Although she uncontrollable, wild, and self-willed, she looks and feels the scarlet letter by herself not by other people’s thinking. Hester is a kind, and friendly. The A is an angel for her. She is the reason Hester lives bravely and strongly. ‘‘And there stood the minister, with his hand over his heart; and Hester Prynne, with the embroidered letter glimmering on her bosom; and little Pearl, herself a symbol, and the connecting link between those two’’ (Hawthorne 106). Her being encourages Hester and Dimmesdale to face the cruel society. The A becomes the sincerest and noblest symbol of love in her eyes. Hawthorne expresses those Puritan in the town prejudge Hester for her scarlet letter. Nevertheless, Pearl perceives that her mother is generous and beautiful. Hawthorne condemns Puritan’s fool through the description of link between Pearl, scarlet letter, and