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Use of magic and fairies in a midsummer nights dream
Use of magic and fairies in a midsummer nights dream
Annotated bibliography fairy tales
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The Fairies of A Midsummer Night’s Dream A fairy is a type of spiritual being living in the supernatural or mythical creature in European mythology. Shakespeare’s era influenced the perspective of fairies in his romantic comedy A Midsummer Night’s Dream. “Shakespeare’s delineation of these little creatures is one of the most remarkable triumphs of his dramatic art” (Rolfe). The role of the fairies is to generate conflict as well as the resolution in the romantic comedy. They do this by twisting humans in the play while remaining distant from them. Based off their role we can look into the characters of Titania, Oberon, and Puck. To begin, the quality of Shakespeare’s fairies are much like those described by the Hellenic Greek authors. The background of the fairies shows that they are very miniature, “they creep into acorn cups to hide them there” (2.2.1). They live in command under Oberon and Titania, king and queen of the fairies. Shakespeare’s fairies can move around with intense pace. Oberon jester, Puck says “I go, look how I go, swifter than arrow from Tatar’s bow” (3.2.4). The fairies also have a forceful influence on nature. Along with being influenced by nature, the fairies are night …show more content…
creatures and leaves the human world before sunrise, hence the midsummer night’s dream. How the conflict started, while meeting Titania, it seems she was having marriage problems with Oberon.
The have a disagreement over a changeling, a human child stolen by the fairies. Oberon wants the changeling to become one of his servants, but Titania refuse because she agreed to raise the boy after his mother died. Disagreeing about the changeling, Oberon comes up with a plan to swipe the changeling by putting love juice in Titania’s eyes while she sleeping. When she wakes up she will fall in love with the first person she sees. While she’s busy in love, that gives Oberon the chance to get the changeling and use him for his own purposes. While planning, Oberon notices in the woods how Demetrius mistreats Helena, so he decides Demetrius also needs some of the love
juice. Puck is a troublesome, fun loving spirit who serves under Oberon. He mistakenly creates conflict with the lovers during the play. It starts when Oberon tells Puck to get some of the love juice and is ordered to sprinkle on an “Athenian” man who is in the woods so he will fall in love with Helena. Puck accidently sprinkle Lysander instead of Demetrius, which makes Lysander fall in love with Helena. During the whole controversy, Puck decides to have some fun by harassing bottom by turning him into an ass. It woke up Titania during the whole process, one look at bottom and she fell in love. Meanwhile the love triangle between Helena, Lysander, and Demetrius unfolds, so Puck has to fix things even though he finds this hilarious. Everything goes back to normal and during the epilogue, Puck closes the play by saying “if we shadows offended, think but this, and all is mended- That you have but slumbered here while these visions appear” (5.1.18)
There are “the lovers”: Lysander and Hermia, Demetrius and Helena (there are other lovers, but these lovers are the main focus of the story). This is a comedy, so in the end they all end up with who they belong and live happily ever after as do all archetypal lovers in comedys. Shakespeare dives even more in archetypal depth than that. There are the clowns, or what might be called “the fools”: Quince, Snug, Bottom, Flute, Snout, and Starveling. They are poor in wealth, they are poor actors, and lack a reasonable amount of common sense, which is shown when they feel the need to explain themselves in the play. Any rational person knows that it is just a play and that the actors are not actually experiencing the events they are acting out, but they are "the fools," who are never rational. They decide it is a good idea to make sure the audience knows that it is not real, which is clearly absurd. Even within their group there is the ruler or leader of the fools, Bottom. He even gets his chance at being a more powerful ruler when Titania falls in love with him. He orders around the fairies like servants and is an ass both literally and figuratively, the kind of foolish ass of a ruler that would abuse his servants and subjects. Oberon is “the magician”, who is pulling the strings and basically conducting the whole play from the background. He decides who loves who, and orders his servant, Robin Goodfellow/Puck to conduct business for him. Puck is slightly mischievous, and although he messes up on accident, he doesn’t hesitate to sit back and laugh at the trouble he has caused, which earns him the archetype of “the
A Midsummer Night's Dream by William Shakespeare: Oberon is the Root of All Problems in the Play “We can't solve problems by using the same kind of thinking we used when we created them.” – Albert Einstein Oberon is one of the most important characters in the play A Midsummer Night's Dream by William Shakespeare and is the answer to the question of why there are so many problems in the play. Not only is Oberon the King of the Fairies, but he is the husband of Titania and the master of Puck. Oberon’s character is multifaceted, although it is evident that he will do anything for a good laugh. At times, Oberon is extraordinarily nice, generous, and compassionate.
William Shakespeare’s writings are famous for containing timeless, universal themes. A particular theme that is explored frequently in his writings is the relationship between men and women. A Midsummer Night’s Dream contains a multitude of couplings, which are often attributed to the fairies in the play. Each of these pairings has positive and negative aspects, however, some relationships are more ideal than others. From A Midsummer Night’s Dream the optimal pairings are Lysander and Hermia, Demetrius and Helena, and Oberon and Titania; while the less desirable pairings are Theseus and Hippolyta, Hermia and Demetrius, Lysander and Helena, and Titania and Bottom. Throughout A Midsummer
The fairies and the fairy realm have many responsibilities in this play. The most important of which is that they are the cause of much of the conflict and comedy within this story. They represent mischievousness and pleasantry which gives the play most of its emotion and feeling. They relate to humans because they make mistakes but differ in the fact that they do not understand the human world.
Shakespeare’s use of magic is extensive; it can be noticed in all the play of the Midsummer Night’s Dream. Did you notice all the types of magic the fairies used? They use the magic to manipulate humans or to control the weather. It is amazing all the magic that they used and its effects on humans. In this essay we will describe all the types of magic along this play.
Fairies, mortals, magic, love, and hate all intertwine to make A Midsummer Night’s Dream by William Shakespeare a very enchanting tale, that takes the reader on a truly dream-like adventure. The action takes place in Athens, Greece in ancient times, but has the atmosphere of a land of fantasy and illusion which could be anywhere. The mischievousness and the emotions exhibited by characters in the play, along with their attempts to double-cross destiny, not only make the tale entertaining, but also help solidify one of the play’s major themes; that true love and it’s cleverly disguised counterparts can drive beings to do seemingly irrational things.
As we enter the forest we see a similar class system, with the other fairies serving under king Oberon, and queen Tatiania. Just as the artisans work for the nobles, putting on a play for their amusement, the lower fairies such as Puck, Peaseblossom, and Cobweb. The fairies speak in their own verse, tetrameter. “Captain of our fairy band, Helena is here at hand.” – MND (3.2.11). Shakespeare also uses the fairies to show a much darker message in a lighter tone. The idea of social mobility is explored when we see Tatiania, the fairy queen, falling for Bottom. Obviously, the delicate fairy queen is dramatically unsuited to the clumsy, monstrous craftsman. By depicting the scene as ridiculous, Shakespeare mocks the very notion of social class mobility. Concealed by the comedic effect of the fairy queen falling in love with one of the artisans is a much deeper and darker note. The only way to move through the social class is by entering the realm of the forest, where the world is only loosely governed by the ruling
Fairies and the remaining fairies of the play, Puck does not seem to fit in as
In A Midsummer Night’s Dream, the King of the Fairies is a powerful man named Oberon. Oberon is married to Titania, Queen of the Fairies, who received an Indian boy from her dear friend who passed away. Oberon desperately wants the Indian boy to be one of his followers, but the boy is one of Titania followers and she will not give him up. This is when Oberon decides to use magic, in an attempt to win the Indian boy. Oberon uses the magic of a flower, to make his wife, Titania fall in love with the next creature she sees. Oberon says, “Fetch me that flower; the herb I shew'd thee once: / The juice of it on sleeping eye-lids laid / Will make or man or woman madly dote / Upon the next live creature that it sees” (2.1.175-178). Oberon then black mails Titania and tells her that she will love the donkey forever unless she gives over the Indian boy. Although many would consider this bad, Oberon uses his magic because he can and he feels he needs to.
In William Shakespeare’s A Midsummer Night’s Dream, Shakespeare uses various instances of language to distinguish between certain classes of the various characters. While fairies and mortals are vaguely similar in decision-making, they differ through speech. Typically, mortals speak more literally, while fairies speak with rhyme and rhythm. In addition, the nobles in this play speak with a rich vocabulary and dense sentence structure, while the rustics speak with simple phrases. Shakespeare utilized the language to create varying social situations similarly to how we utilize language with different tones of voice or pauses in speech.
He is ordered to sprinkle the magic love juice in the “Athenian man’s” eyes to fix the main characters’ love problem by Oberon. Through miscommunication and unclearness of the direction, Puck accidently puts the love juice into a different Athenian man’s eyes making the love relationship more complicated. He finds this out through Oberon when he comments, “What hast thou done? Thou hast mistaken quite, and laid the love juice on some true love’s sight. Of thy misprision must perforce ensue some true love turned, and not a false turned true” (III.ii.90-94). When the fate of the lovers completely changes, he creates the main conflict in the story because without him, the plot would have ended with one single drop of love juice fixing the star-crossed-ness between the lovers. However, with the mistake that Puck makes while trying to achieve the solution it develops the conflict continuing the story line. Thus, making Puck an important character because he is the one who expands the major
The concept of contrast plays an important role throughout Shakespeare’s A Midsummer Night’s Dream. Shakespeare provides many examples of contrast signifying it as a motif. He groups the ideas of contrast together into those of some of the most important roles in the play. Helena is portrayed as tall and Hermia is short. Titania is a beautiful fairy who falls in love with Bottom, who is portrayed as graceless. Moreover, the main sets of characters even have differences. Fairies are graceful and magical creatures, yet tradesmen are clumsy and mortal. Additionally, the tradesmen are always overjoyed while the lovers are always serious with their emotions. Contrast layers throughout the whole play, as examples are shown in nearly every scene. Contrast becomes a constant, important motif to Shakespeare’s playwrite.
Titania is a fairy who happens to be married to the king of the fairies. She has mixed views on love, however throughout the story her love interests are often changed.
In A Midsummer Night’s Dream by William Shakespeare, Oberon is the king of the fairies. He does and gets what he wants, no matter what he has to do to get it. During the thick of the play, Oberon hears two of the major characters, Demetrius and Helena, arguing. Helena wants Demetrius to love her, but he loves her best friend Hermia. He feels bad for Helena and orders his servant, Puck, to use a magic potion to enchant Demetrius into loving her. Titania, the queen of fairies, is in possession of a young Indian boy, and Oberon wants custody of him. He puts her under the same magic potion, causing her to fall in love with the first thing she sees and forget about the fight over the Indian boy. Shakespeare ultimately makes the case that trying
In order to understand the title I have given this literary analysis we must first revisit what J.R.R. Tolkien considers a Faerie story. He viewed most fantasy stories or even worse “fairy” stories written as stories that attempted to trick the audience into this other world, a world filled with illusions, created by a magician who manipulates the primary world that we live in. In his essay “On Fairy Stories,” he attempts to distinguish and defend the genre of fairy stories from what most understand as fantasy writing or quite literally a story about fairies. He structures his essay in a manner that distinguishes itself from other genres such as “traveller’s tales,” science fiction (i.e. Star Wars – more on that later), beast tales and dream stories.