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Examples of character analysis, 123 essays
Examples of character analysis, 123 essays
Examples of character analysis, 123 essays
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Recommended: Examples of character analysis, 123 essays
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 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 play production of the Pyramus and Thisbe is Nick Bottom. Nick Bottom is a very egocentric character, primarily because Although love is evident throughout A Midsummer Night’s Dream, Bottom embraces it in a different form. Instead of loving another character, Bottom loves himself. He is constantly interrupting the other mechanicals, he recites lines that do not relate to the current conversation whatsoever, and insists he can play every role in the play. It is clear that Bottom loves to hear himself speak. After he awakes from his encounter with Titania, he goes on to state that he wants Peter Quince to write a prologue about his “deep” vision, with the title “Bottom’s Dream” (4.1.186). Bottom is so in love with himself that he wants an entire section of the play—in which he is already the lead of—dedicated to himself. Bottom’s arrogance relates to A Midsummer Night Dream’s themes of mayhem and disorder because after Puck transforms Bottom’s head into that of an ass, his appearance strikes fear into his cast members and interrupts their play rehearsal. The players run away from Bottom, with Quince shouting of being haunted (3.1.46-47); but it is apparent that even after Puck alters him, Bottom’s arrogance is still present. When Snout asks him how he changed, Bottom responds with: “What do you see? You see an ass head of your own, do you?” (3.1.56). Even when Bottom is the one who is clearly have problems, he puts the blame on Snout, claiming that he is fine and Snout is the one with problems. Bottom believes himself to be perfect, and therefore if anything goes wrong in his life, it must be someone else’s fault. Ironically, Puck changes him into an animal that reflects both his headstrong and clueless personality. Lastly, Bottom’s ego also relates to the theme of foolishness, because it blinds him from how dreadful and unprofessional his acting skills truly are. For example, during their official performance, Bottom purposely breaks character to respond to something an audience member said (5.1.177). Bottom assumes
The characters address the audience; the fast movement from scene to scene juxtaposing past and present and prevents us from identifying with particular characters, forcing us to assess their points of view; there are few characters who fail to repel us, as they display truly human complexity and fallibility. That fallibility is usually associated with greed and a ruthless disregard for the needs of others. Emotional needs are rarely acknowledged by those most concerned with taking what they maintain is theirs, and this confusion of feeling and finance contributes to the play's ultimate bleak mood.
She always wanted to be the center of attention, she was prejudiced and believed things should stay the same, and she was very selfish. While she thinks she’s above everyone else, she feels that the world revolves around her.
A Midsummer Night’s Dream, by William Shakespeare, is a classic play that has been retold in many ways. The most recent version of this romantic comedy was done by Michael Hoffman in 1999. This portrayal follows very closely to the original play. Very few lines are taken out, and the characters stay very true to the assumed original idea. The one main difference in the original play and this movie is the depiction of the character Nick Bottom the weaver. The original play shows Bottom as the “…overconfident weaver…hilariously overt…has extraordinary belief in his own ability…totally unaware of his ridiculousness…” (Sparknotes.com). These types of characteristics would normally make readers see Bottom as a cocky, egotistical, center of attention, “ass”. In the play, this is the case. However, in the 1999 movie version, with Kevin Kline as Bottom, the audience gets a different idea of Bottom without changing his basic character traits. Hoffman achieved changing the overall perception of the character of Bottom from to a “…warm fuzzy man, a dreamer for whom we can root”, and pathetic lover, while still keeping the “ass” quality, by only changing a few small, very subtle things (Jones, 127).
Paul as well as those of Erasmus that bring to focus various dimensions that are aligned around Shakespeare’s perception of comic faith in the play. The characters of Bottom, Theseus and lovers give out an insight to epistle paradoxes on religious faith coupled with a slight touch of romantic faith which is set out in thee wholesome imaginative experience. Celebration of limitations sits as the precursor for comic happiness in the play; there is an epistemological appeal that focuses on the mannerisms of characters. Most obvious of all allusions of comic faith in the play is Pauline and sets out the central attention that is meant to be captures. Upon waking up from his dream, Bottom has a delightful monologue that sets out a clear difference between ridicule and the sublime of the play, “I have had a most rare vision. I have had a dream, past the wit of man to say what dream it was. Man is but an ass of he go about to expound this dream. Methought I was – there is no man can tell what. Methought …I had – But man is but a patched fool if he will offer to say what methought I had. The eye of man hath not heard, the ear of man hath not seen, man’s hand is not able to taste, his tongue to conceive, nor his heart to report what my dream was (Shakespeare and Foakes 203).” Herein we see Bottom considering himself as an ass and he fails to expound further on the meaning of his dream whole his hands
...nces like to have a clear hero of their stories. The combination of the director’s artistic vision, cinematic choices, and Kline’s performance singles out Bottom as the main-character. The film’s time is not spent mostly on Bottom’s story; actually, the Athenian lovers take up the most actual screen time. Bottom represents the bridge between the real world of the merchants and lovers and the fantastical fairy kingdom. He comes from the lowest class of society and rises to be something the queen of the fairies loves and values. In a world in which no one breaks from the Chain of Being, Bottom is able to venture into a world grander than his own for a short time. When he returns, he holds the nobility he gained from his experience within, transcending all classes to become the perfect hero for our modern conception of the play, hilariously valiant and imperfect.
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.
A Midsummer Night’s Dream is a Shakespearian comedy where Shakespeare shows many forms of passion. There are many passions shown many times in this play that would change the whole story if they were taken out. It is a trait that can reveal a person’s strong inner emotions such as in this story, friendship, love and jealousy. Helena shows a deep passion for friendship with Hermia when she thinks she has been betrayed, Titania passionately loves Bottom, and Oberon genuinely shows jealousy towards the Indian boy Titania tended to.
...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 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. Next, the misuse of magic causes conflict among the four Athenian lovers.
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.
Despite his personality that one could call funny, ignorant and stupid, we find that Bottom is a gallant ladies’ man. He cares about the sexes, and any sort of violence or fear (the killing of the lion is an example). He would literally aggravate his voice when playing the lion so that he won’t scare the ladies. Some of of the people described him as a shallow, thick skin person but ironically he is far from being that. In fact, he is the one who naturally takes command, uses his brain in creative ways in order to present the play. It is not surprising to find him to be the leader of the group, he is an artist who has a vision. although he is the nucleus of comedy in the play, he also emphasizes on more serous themes such as imagination and reality. He has the skills to present the play in away that complement reality and imagination all in one. Even though some may find the play comedic and absurd, it is fair to mention al the work that went behind it. How not to scare the audience, how to act specifically in order to imitate animals while still remaining close to reality etc. opposing characters like Lysander, Helena, Hermia and Demetrius, Bottom knows that reason and love aren’t often compatible and this the reason why he wasn’t surprised to be receive such love from a fairy Queen
Everything is a game to crafty little Puck. Yet once he realizes that he has
The absurdity of the queen of the fairy prince, Titania, falling madly in love with the character, Nick Bottom, who has the head of an ass is enough to entertain readers of all ages (Clatanoff 7). Nick Bottoms, is also a peculiar name for a character by the exceptional, dramatic English Poet, William Shakespeare. Curiosity led my interest and made me fascinated in this character when I heard his name in Act I Scene 2 of, A Midsummer’s Night Dream. Strangely enough, the name matched an outlandish character for such a story. In this paper, I will aspect a look of who Bottom’s character actually was, a strange turn of events of the character and how his ending came in the production.
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...
All of these reasons helped contribute to their practicality, at least in Shakespeare’s eyes. Shakespeare had other ideas in mind for the Rude Mechanicals, like providing humor to alleviate tension in the storyline. 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.