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Shakespeare's use of language
Shakespeare language techniques
Shakespeare's use of language
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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. The four plot levels in William’s Shakespeare’s A Midsummer Night’s Dream coincide with each other throughout …show more content…
The real world of Athens is where the beginning of the play takes place, as a group of mortals are gathered and discussing the young, Athenian lovers. Shakespeare manipulates the use of the forest to contrast Athens to the dream world of the fairies. As more characters are under the spell of love, the characters of the varying plot levels begin to congregate to the forest. Both settings prove to powerful in varying aspects. The king and queen of Athens are in the process of getting married, which brings a powerful feeling of emotion and joy to Athens, while Titania and Oberon, the king and queen of the fairies, are also dealing with conflict that leaves those in the forest susceptible to the magical pranks of the …show more content…
Bottom obviously has the most literal transformation from man to a man with the head of a donkey. The pranks of the fairies negatively impact Bottom, but he does experience love for a short time before he transformed back into a complete human. Helena and Demetrius both experience the transformation from a quarrelsome pair to a married couple. Helena experiences less transformation since she begins the play infatuated with Demetrius, while Demetrius initially hates Helena but loves her eventually. This validity of this transformation is questioned since it was heavily influenced by magic. Helena is a worthy woman, but Demetrius may only love her because of the flower. Finally, Titania and Oberon experience a similar transformation to the previously mentioned couple. The relationship between the two at the beginning of the play transforms into an intense romance once the magic of the play takes it’s
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
Before the symbolism of the woods and the land of fairies, the main sources of the conflict between reality and unreality, is intact, there are small hints slowly leading to that direction in the opening scene of Act I, scene i. When Egeus approaches Theseus to aid him with his daughter’s infatuation with Lysander instead of Demetrius, he claims that Lysander has “bewitch'd the bosom of my child” (Shakespeare I.i.28) and “stolen the impression of her fantasy,” (Shakespeare I.i.33) and in essence complains that Lysander has stolen Hermia’s rationality and sense of reality.
The play begins in the Athenian world, a place void of nature, with four lovers—Hermia, Demetrius, Lysander, Helena—plagued by their inability to rationalize love in a world of rules and regulations. As Act 2 opens, Shakespeare transports not only the audience, but the lovers to a magical and enchanted forest. The forest creates a perfect setting for these four characters to fight, frolic, and fantasize over their love for each other. However, the aura of the woods would not be truly alive without the forces of fairies.
The main theme of love in Shakespeare's A Midsummer Night's Dream is explored by four young lovers, who, for the sake of their passions, quit the civilized and rational city of Athens, and its laws, and venture into the forest, there to follow the desires of their hearts - or libidos as the case may be. In this wild and unknown wilderness, with the heat and emotion commonly brought on by a midsummer night, they give chase, start duels, profess their love and hatred and otherwise become completely confused and entangled in the realities and perceptions of their own emotions. What better opportunity for Shakespeare to introduce a world of fairies then this? Shakespeare's fairies live in this wild forest were they love, fight, play and helpfully sort the poor young lovers out before sending them off, back to their own civilized world. Like many of the other elements in this play Shakespeare gives his fairies a healthy mix of illusion and reality. The Fairies use illusion in their exploits and Shakespeare uses them in the Dream in such a way that one might ask: are they even real or are they themselves an illusion?
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.
Throughout A Midsummer Night’s Dream by William Shakespeare, it becomes clear that there are two main settings that will host the major events of the play. As the play progresses, the drastic differences between Athens and the forest become clearer and clearer: Athens represents an orderly, hierarchical society where the law is strictly enforced and unchanged, while the forest represents a dream-like fantasy land that distorts the reality once known by those who enter. It is no coincidence that Shakespeare creates these two environments with characteristics that immensely contrast each other; the differences play a key role in producing the interactions that are
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
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.
When Hermia and Lysander run off into the woods, where Helena follows for she hopes that she can change Demetrius’ mind upon choosing Hermia as his wife and Demetrius also follows knowing that Hermia and Lysander have run there. In these woods live a group of fairies and a group of men who are practicing for a play they are to perform. In the group of fairies there includes the fairy king Oberon, his queen Titania, and his servant Puck. Oberon and Titania are not on the best of terms over an Indian prince given to Titania by the prince’s mother. With this Oberon sends Puck to go forth and retrieve a flower that is spread over a sleeping persons eyelids, when the person awakes they will fall in love with the first person that is seen upon awakening. When Puck retrieves the flower Oberon tells him to spread the flower over Titania’s eyes, but also to spread it on Demetrius’ eyes after seeing how he treats Helena. Puck spreads the flower on Titania’s eyes, but accidentally spreads the flower on Lysander’s eyes thinking this is the Athenian man that Oberon was referring to.
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.
Shakespeare, William. A Midsummer Night's Dream. Comp. Folger Shakespeare Library. New York, NY: Simon & Schuster Paperbacks, 2009. Print.
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
This makes Lysander fall in love with Helena. He then rightfully applies it to Demetrius who also falls in love with Helena. Lysander is corrected and again falls in love with Hermia. Meanwhile a group of craftsmen are rehearsing to perform a play for Theseus and Hippolyta’s wedding. One of them, Bottom, is enchanted by Puck and his head transforms into donkey form. Titania sees Bottom upon awakening and falls in love with him. Finally Puck, takes the adopted child, lifts the enchantment off of Titania, turns Bottom back to normal, and leaves the four lovers dreaming in order to awaken normally with everyone loving who they are meant to by means of a magical fog. Theseus, Hippolyta and the four young lovers are married with the craftsmen performing at the wedding. Puck leaves the play in mystery exclaiming that everything could have been a
3. The exposition of this story begins with the introduction of the setting which is in Athens. We are introduced to a wealthy soon to be wed couple, Theseus and Hippolyta. The reader learns of a love triangle between Hermia, Lysander, and Demetrius. Hermia loves Lysander, but her father wants her to marry Demetrius. Helena is a friend of Hermia and loves Demetrius, but he doesn’t love her. As the rising action begins, Hermia and Lysander make a plan to run away from Athens so they can marry each other. Helena hears of their plans and tells Demetrius. In the forest, were the star-crossed couple planned to meet, the audience is introduced to a group of fairies. The Fairy Queen and King, Titania, and Oberon, are in a feud. Oberon is seeking revenge, so he sends Puck to give Titania a potion to make her fall in love with the first thing she sees. The King hopes she ends up falling for an ugly beast. Shortly after, Oberon finds a sad Helena who is broken hearted over Deterius rejection. He orders Puck to give the potion to Demetrius as well so he will fall in love with Helena. Also in the forest, a group of peasants who are rehearsing a play are
The first interpretation of the title of the play that comes to my mind was the magical dream-like night in the woods, when Robin Goodfellow and Oberon, the king of the fairies, used several kinds of love potions, and messed everything up. When the lovers awoke in the morning they thought all of the ridiculous things that had happened or been said the night before had just all been a dream. However, if Oberon had been more specific in his directions to Robin, "a sweet Athenian lady is in love with a disdainful youth. Anoint his eyes... thou shalt know the man by the Athenian garments he hath on," all of this could have been avoided and everything would have been fine (page 53). This gives insight to the thematic nature of the work by setting a magical like atmosphere for the lovers to be in.