Comedy in A Midsummer Night's Dream
"why do they run away? This is a knavery of them to make me afeard."(3.1.99) This is a quote from the Shakespearean play "A Midsummer Night's Dream." In this quote, the speaker, Bottom, is wondering why everyone is afraid of him. He doesn't realize that as a practical joke, a trickster Puck, has put an ass head on his shoulders. This makes all of his companions afraid of him so that they run away. This is an example of the comedy involved in this play. This essay will show you that A Midsummer Night's Dream is a play that is mainly composed of comedy.
The funniest part of this play seems to be when Puck, the trickster, keeps mixing up the people who he is assigned to put the love juice on. Even when he did put the love juice into the right people's eyes, they still fell in love with the wrong people sometimes. The first example of this mistake of Puck's is where he puts the love juice in Lysander's eyes, mistaking him for Demetrius. Oberon tells Puck to put the love juice in the eyes of an Athenian man, Demetrius, and to make sure that the first thing he sees after this is the woman whom he hates, but who loves him so much, Helena. Puck ends up finding Lysander and Hermia, lovers, sleeping on the forest floor. He puts the love juice in Lysander's eyes and leaves. Then along come Helena and Demetrius to this spot. They are still arguing and Demetrius leaves her with the sleeping Lysander and Hermia. Helena notices them there and tries to wake Lysander. Lysander wakes and the first thing he sees is Helena. "And run through fire for thy sweat sake. Transparent Helena! Nature shows art, That through thy bosom makes me see thy heart."(2.2.103). This is what Demetrius says to Helena when he sees her. He has fallen in love with her. This is where the comedy of this love mix up begins. Now Helena is confused and thinks that Lysander is playing a trick on her so she runs away. This is a most particularly funny part of the play and these mix ups with whom loves who seem to be the funniest pieces of the play.
Another funny section in this play is where Puck puts an ass head on the shoulders of Bottom.
The system of crime and law enforcement had hardly changed in Britain since the medieval times. Justices of the Peace or JPs were appointed by the Crown since 1361. Before the night watchmen and parish constables were introduced a primitive police force was introduced and the JPs were assisted by constables who only worked part time and were very unreliable as the pay was really bad. The early stages of the force consisted of a night watchmen and parish constables, who were prior to the creation of the main police force. Watchmen were groups of men, usually authorised by a state, government, or society, to deter criminal activity and provide law enforcement. Constables were required to apprehend anyone accused of a felony and bring criminals to a justice of the peace. They also had a general responsibility to keep the peace. There was no expectation that they would investigate and prosecute crimes because of limited responsibility and training. Night watchmen patrolled the streets between 9 or 10pm until sunrise and were expected to examine all suspicious characters. In the City of London, the City Marshall and the Beadles (Parish wardens) conducted daytime patrols. Similar to the night watchmen, primary responsibilities were to patrol and deter, drunkenness, beggars, vagrants and prostitutes and to act as a deterrent against more serious offences. Over the course of this period, the arrangements by which men served as constables and watchmen changed significantly, to incorporate how felons were detected and apprehended.
Without Act 2 Scene 2 the whole play makes no sense. This is the scene
Shakespeare’s literature exemplifies creativeness and powerful word use to create bodies of work with strong attributes that grab the reader’s attention. Midsummer’s night dream is an example of some of Shakespeare’s best work. The thesis of this essay is Hermia’s father, Esues wants his daughter to marry someone that he approves of and more importantly he wants someone for her that is respected by the rest of society to admire. This play has love, drama and characters that follow their hearts. Hermia is told she is not allowed to love or marry Lysander by her father. Her father Esues wants her to marry Demetrius. The setting of the play is taken in Athens. Athens is a place of order and royalty and a place where people are supposed to marry
The four lovers run away to the woods outside of Athens. In the woods, a world of fairies dwell. The fairy king, Oberon, stumbles across Demetrius and Helena while Helena is begging Demetrius to love her. Since Oberon is having some problems with love on his own, he tries to help Helena with her unfortunate situation. He sends his jester, Puck, to use a flower that, if its juice is dropped onto someone who’s sleeping’s eyes, will make the person fall madly in love with the first person they lie their eyes on. “Take thou some of it, and seek through this grove; A sweet Athenian lady is in love with a disdainful youth; anoint his eyes; but do it when the next thing he espies may be the lady. Thou shalt know the man by the Athenian garments he hath on.”(64) Puck, following Oberon’s orders, finds Lysander and Hermia instead of Demetrius and Helena. Anointing Lysander’s eyes, he leaves, thinking he did his bidding. Helena finds Lysander sleeping, and, wi...
Law and Order in London in the Late 19th Century At the beginning of the nineteenth century 60% of Britain's population lived in the countryside, this meant there wasn't any need for police officers as people were living far apart and away from shops and financial areas. Crime was minimal, apart from small crimes like petty thieving and crimes over land etc. But as technology developed the Industrial Revolution began, steam powered factories were built all over the country, a new industrial development. The factories were mainly built in urbanized areas like London, Birmingham and Glasgow, but for the factories to be run effectively workers were needed.
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.
of the Capulet’s orchard. This is a brave thing to do, for, if he had
Act 3 Scene 5 of William Shakespeare's Romeo and Juliet There are several strong cases for Act 3 scene 5 being the pivotal, most important and significant scene in the play. To begin with, it is the last time that Romeo and Juliet are together, alive and well, after this scene Romeo goes to Manchua, and returns only to be near Juliet to die. Until this scene the audience will be convinced that Juliet has a very strong relationship with Nurse, they are obviously a lot closer than Juliet and her mother are, and Juliet relies on Nurse for advice and support. During Art three scene five, the audience's perception of Nurse changes, and Juliet no longer looks to her for support.
would find a stream, now it is a mystery whether it is true or not but
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...
In A Midsummer Night’s Dream, the main conflict is between love and social relations. The play revolves around the magical power of love which transforms many lives. As a result of this, it gets the reader’s emotionally involved through ways of reminding us of love’s foolishness and capabilities, as well as violence often followed alongside of lust. This play shows passion’s conflict with reason. For example, the father presented in the play Egeus, represents tradition and reason while Hermia represents passion for love and freedom. Egeus wants Hermia to marry Demetrius and accuses Lysander of “bewitching” Hermia with love charms and songs. This is one way love’s difficulties are presented in the play between father and daughter. Additionally, Helena recognizes love’s difficulties when Demetrius falls in love with her best friend Hermia. Helena argues that strong emotions such as love can make extremely unpleasant things beautiful. This is another way the play presents love’s difficulties between lovers and capricious emotions.
Love, lust and infatuation all beguile the senses of the characters in this dreamy and whimsical work of Shakespeare, and leads them to act in outlandish ways, which throughly amuses the reader. True love does prevail in the end for Hermia and Lysander, and the initial charm of infatuation ends up proving to have happy consequence for Helena and Demetrius as well. Even when at first the reader thinks that, in theory, the effects the potion will wear off and Lysander will once again reject Helena, Oberon places a blessings on all the couples that they should live happily ever after.
referred to as a gangster smile. He has a gun in his hand, which shows
Love is a powerful emotion, capable of turning reasonable people into fools. Out of love, ridiculous emotions arise, like jealousy and desperation. Love can shield us from the truth, narrowing a perspective to solely what the lover wants to see. Though beautiful and inspiring when requited, a love unreturned can be devastating and maddening. In his play, A Midsummer Night’s Dream, William Shakespeare comically explores the flaws and suffering of lovers. Four young Athenians: Demetrius, Lysander, Hermia, and Helena, are confronted by love’s challenge, one that becomes increasingly difficult with the interference of the fairy world. Through specific word choice and word order, a struggle between lovers is revealed throughout the play. In A Midsummer Night’s Dream, Shakespeare uses descriptive diction to emphasize the impact love has on reality and one’s own rationality, and how society’s desperate pursuit to find love can turn even strong individuals into fools.
The principal proficient policemen, in England, known as 'Peelers' or 'Bobbies', were set up in London in 1829 by Robert Peel, the then Home Secretary, after 'The Metropolitan Police Act' of 1829. It was the begin of a battle to enhance open law. As indicated by ("The History of Modern Policing") article During the early history of policing, singular subjects were to a great extent in charge of keeping up lawfulness among themselves. The individuals who filled in as constables and judges of the peace did as such intentionally and were not regularly paid for their administrations. Shire reeves, or sheriffs,