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Describe the role of nick bottom
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Nick Bottom, the weaver, first appears in I.ii, with the other mechanicals, or clowns (Quince, Snug, Flute, Snout, and Starveling), as they are sometimes called. It is often noted that the mechanicals' names reflect their work. "Bottom," critics explain, refers to the bottom, or skein, around which yarn is wound. Bottom directs Quince to tell the group which play they will be performing and to tell everyone which parts they will be playing. Quince assigns the role of Pyramus to Bottom. Bottom seems enthusiastic about playing this part, and he volunteers also to play the role of Thisby and that of the lion. Quince convinces him, however, that he "can play no part but Pyramus" (I.ii.85). Bottom appears again in III.i as the group of mechanicals gathers in the wood to rehearse. He tells Quince that the play needs a prologue to explain that the dangers in the play (Pyramus drawing his sword to kill himself, and the lion) are not real. After the group decides that the moonshine by which Pyramus and Thisby meet and the wall which separates the lovers must be played by people, the group proceeds with their rehearsal. Bottom bungles his first line, and Quince corrects him. Flute, playing Thisby to Bottom's Pyramus, doesn't do much better, to Quince's dismay. Puck, who has been watching, intervenes to change Bottom's head into the head of an ass. When the others see this, they run off, frightened. Bottom thinks they are playing a trick on him, trying to scare him, so he begins singing to show them he is not afraid. His song is interrupted by Titania, who has just woken up, having been anointed with the love juice by Oberon. Titania swears she is in love with Bottom, a man with the head of an ass, and he replies ''Methinks, mistress, you should have little reason for that" (III.ii.142-43). When Titania tells Bottom that he is both wise and beautiful, he assures her that he is not. Nevertheless, he seems to accept her affection and follows her with little objection. Bottom is next seen seated upon Titania's ''flowery bed'' as she caresses him, adorns his head with flowers, and kisses his "fair large ears" (IV.i.l-4). Bottom is busy instructing the fairies to fetch him honey and scratch his ears. When Bottom and Titania fall asleep, Oberon reverses the effect of the love juice on Titania. As Titania wakes up saying that she thought she had been in love with an ass, she sees Bottom lying next to her and exclaims "O, how mine eyes do loathe his visage now!" (IV.
When Oberon ordered Puck to anoint Demetrius, he anointed Lysander, therefore causing chaos among the lovers! Puck was the one making his own choices based on his knowledge. Secondly, when Titania ordered the fairies to serve Bottom, she was under the love potion. Since she madly pursued Bottom, she didn’t truly know what she was doing, which caused chaos!. Though it may seem like Bottom and Oberon were controlling, they are both at the
She demonstrates one of her strengths when she defends her young Indian boy from Oberon. Oberon pleads, “I do but beg a little changeling boy to be my henchman” and Titania replied, “And for her sake I do rear up her boy, and for her sake I will not part with him…We shall chide downright if I longer stay” (II.i.123-150). With her promise to protect the Indian boy, Titania, willing to fight Oberon over the ownership of her new son, keeps the young changeling boy safe. Willing to fight her husband in order to keep a young boy safe shows immense courage and strength that Titania possess. She also shows great strength when she put aside her anger against Oberon and invites him into the forest. Titania graciously ask Oberon, “If you will patiently dance in our round and see our moonlight revels, go with us” (II.i.145-146). Though angry with Oberon, Titania demonstrates great strength by graciously inviting him to stay with her in the forest and dance with the other fairies even after their fight over the Indian boy. By protecting the Indian boy and offering kindness during times of anger, Titania exemplifies what it means to have
...age. Instead of laughing at Bottom, the film generates a feeling of sorrow for his character. When the wine is poured on him when the craftsmen first meet, Bottom takes an obvious emotional blow, so one can see how he would artificially inflate himself with the false perception of being a wonderful actor. When chosen to perform for Thesseus’s wedding, the players are very nervous and turn to Bottom for comfort. They look up to and respect Bottom for his confidence and acting ability, but Bottom later makes a fool of himself in the play by over dramatizing the part of Pyramus, especially when he performs the death of Pyramus. Michael Hoffman’s adaptation of A Midsummer Night’s Dream brings a classical play to a modern audience and makes it an exciting and humorous experience. This is accomplished most notably with the direction he gives to the two characters discussed. The animated humor of Bottom and the slightly more subtle badgering of other characters brought forth by Puck creates a certain amount of attachment to the movie by the viewer. The cinematic version of Shakespeare’s play is well adapted to a modern audience, especially through the characters of Puck and Nick Bottom.
The magic of Puck changes the head of Bottom into that of a donkey. Puck’s own use 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. The contrasted humor is clearly shown as Titania weaves flowers into the hair of Bottom’s donkey like head. Titania is a beautiful and delicate creature, while Bottom is completely grotesque. Magic creates an unreal image of Bottom, which in turn creates a comical contrast between Bottom and Titania. As part of the already comical sub-plot, Bottom’s altering through magic adds even more humor to the overall play.
However, the ideal relationships are not immune to experiencing unharmonious periods. Despite this, the ideal couples eventually found harmony which allowed them to experience a joyous ending. Lysander and Hermia have a harmonious relationship in that they display similar desires and mindsets. In the beginning, after declaring their love for one another Lysander and Hermia devise a plan to run away and elope (A Midsummer Night’s Dream 1.1.156-178). Even when they are not of the same mindset Hermia and Lysander find an amicable solution. After becoming lost in the forest, Lysander’s desire is for them to sleep together, Hermia refuses for fear of the disgrace that would be placed upon her if for some reason they did not become married. Even though Lysander is a reluctant he respects her wishes (A Midsummer Night’s Dream 2.1.47-67). On the other hand, the relationship between Oberon and Titania in spite of being plagued by dysfunction comes to a harmonious agreement. At the beginning Titania and Oberon are quarreling over the control of an Indian changeling boy (A Midsummer Night’s Dream 2.1.18-31). While under the influence of an enchantment that Oberon had placed on her Titania relinquishes the control of the changeling boy to Oberon (A Midsummer Night’s Dream 4.1.56-60). After the enchantment is removed from her Titania no longer has feelings of defiance toward Oberon (A Midsummer Night’s
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.
Robin is the most notable fairy in the play and is the servant of the fairy king, Oberon. Along with Oberon, Robin is the most comedic and protagonistic character in this play. He is responsible for the essential events that occur in the woods whether on purpose or just on accident. He recognizes himself as a protagonist. "Thou speakest aright. I am that merry wanderer of the night." He purposely turns Bottom into an ass just merely for his own enjoyment and to help Oberon receive the Indian boy. Oberon is Robin's driving force and reason for his actions. If Robin did not have the influence of Oberon and the orders from him he may not have been such a vital fairy in this 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.
... featured one last time in the epilogue to this scene, where he tells the audience that if they do not enjoy the play, they should think of it as nothing more than a dream. If the audience does enjoy the play, they should give Puck "their hands," or applaud. Thus Puck is cleaning up for more than the fairies problems in the last soliloquy, as he cleans up for the entire play as well. Both of the fools were necessary in this play. Puck's tricks and loyalty makes Oberon's goals and the happiness of the lovers possible. Bottom's foolishness provides for comedy for both the characters in the play and the audience, and it’s his transformation which enables Oberon to obtain the boy from Titania. Puck, Oberon's fool, and Bottom, the fool of the play, both provide comedy and some-what intelligent observations, which make them an important part of A Midsummer Night's Dream.
At the start of the play they are arguing over a changeling boy who Oberon wants for himself but Titania wont give to him. Oberon decides to get revenge on her by putting a love spell on her eyes and making her fall in love with a monster. “I’ll watch Titania when she is asleep,/ And drop the liquor of it in her eyes:/”. Titania falls in love with a man who’s head Puck turns into a donkey but after a few days Oberon decides that he wants peace between the two of them and that he misses Titania so he breaks the spell and there fighting is resolved. This shows that even though Titania and Oberon fight and argue over things some of the time they love each other therefore proving that “the course of true love never did run
...uch like Helena, who overlooks Demetrius’ shortcomings, Titania looks past Bottom’s very apparent ignorance out of love.
This mix-up creates lots of animosity among the characters more so the two ladies who now feel betrayed by one another. Therefore, we observe that the supernatural flower or the magic created another conflict in the play. Puck takes great enjoyment in this battle as seen in the phrases, “Shall we their fond pageant see? / Lord, what fools these mortals be!” (115-116). Nevertheless, again, everything is restored back before the play comes to an end. Puck uses the supernatural powers to make Lysander fall for Hermia again as Demetrius remains in love with Helena.
Bottom, a mechanical, into a donkey and makes Tatania fall in madly in love with him.
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...
With that in mind, Titania being in love with a donkey-headed Bottom while under the effects of the potion simplifies the theme. In addition, Shakespeare may have decided to use Bottom and Titania as the principal characters of this portion since they contrast greatly. As a result, it would strengthen the theme even more, as it demonstrates the theme with a ludicrous example. The craftsmen’s play is another display of such an example. In “Pyramus and Thisbe”, the climax occurs when Pyramus, finds Thisbe’s bloodied cloak and kills himself out of despair, only to have Thisbe return and kill herself as well after discovering his corpse. “...Since you have shore With shears his thread of silk. Tongue, not a word: Come trusty sword; Come, blade, my breast imbue.” Not only does this epitomize A Midsummer Night’s Dream’s theme, it also serves a comedic role, as one would not normally destroy oneself in