Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Literary Analysis of a Midsummer Night Dream
Central theme of a midsummer night's dream
Comedic devices in a midsummer night's dream
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Literary Analysis of a Midsummer Night Dream
In Shakespeare’s’ play, A Midsummer Night’s Dream, one of the rather prominent characters – although he is not a lead – is Nick Bottom. Bottom, appearing in several scenes throughout the play, is undeniably a unique character not only because of his comedic attributions, but because he is the only character who interacts with both the human world and the fairies. Bottom also offers insight on mans conflict with the emotional characteristics of human behavior. For example, Athens represents the logical side whereas the fairy world represents the more irrational side, and the character of Bottom brings these two elements to the play in various ways. Although A Midsummer Night’s Dream has many serious elements, there is a comic element that is evident and consistent. This essay analyzes the character Bottom and embarks upon an exploration on how his character injects comic relief throughout the entirety of the play, whilst simultaneously functioning as a catalyst of themes. When the audience first meets Bottom, he is in the midst of being casted for the play “Pyramus and Thisbe” (1.2) which will be performed for Theseus and Hippolyta on their wedding day. Prior to this introduction of Bottom, it follows a long woeful rant by Helena about her misfortune. However, after this emotionally draining scene, it becomes evident that Bottom serves as a comedic device intended to lighten the mood of the play. Bottom attributes comic relief to the audience, as his character wants to play every part in the play there is: “And I may hide my face, let me play Thisbe too. I’ll speak in the monstrous little voice: Thisne, Thisne!” (1.2.43). He goes on to say he would like to play the lion as well, as he feels like he can sweep from one emotion to th... ... middle of paper ... ...simpler terms, Bottom realizes that something profound has taken place that he can’t necessarily explain, so he decides to inform people of this “strange dream” in the form of a ballad entitled “’Bottom’s Dream’, because it hath no bottom…” This ballad symbolizes the “bridge” or connection that allows the audience to understand that is happening in both Athens and the fairy world. Although Bottom is foolish, vain, and arrogant, his character also portrays a man who is lovable and gentle. The comedy therein lies amongst the differences and circumstances between his personality and his experiences. The importance of Bottom throughout A Midsummer Night’s Dream is for comic relief, as he is naïve, dumb, and at times ridiculous. Shakespeare, William. A Midsummer’s Night Dream, The Norton Shakespeare Ed. Stephen Greenblatt. New York: W. W. Norton & Company, Inc., 1997.
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).
In Shakespeare’s Midsummer’s Night Dream he entices the reader using character development, imagery, and symbolism. These tools help make it a wonderful play for teens, teaching them what a well-written comedy looks like. As well as taking them into a story they won’t soon forget.
...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.
...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.
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
Considered to be the greatest playwright to ever have lived, William Shakespeare’s works continue to fascinate and entrance audiences around the world. Imbued with imagery, his comedy A Midsummer Night’s Dream is perhaps one of his more fantastic but none the less intricate plays. Presiding over the proceedings, the moon is the uniting feature of the play. With its multi-layered symbolism it is the thread that connects the different characters and weaves the tale together.
Schanzer, Ernest. "_A Midsummer-Night's Dream." 26-31 in Kenneth Muir, ed. Shakespeare: The Comedies: A Collection of Critical Essays. Englewood Cliffs: Prentice-Hall, 1965.
Shakespeare, William. A Midsummer Night's Dream. The Norton Shakespeare: Greenblatt, Stephen, editor. New York: W W Norton & Company, 1997.
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.
Shakespeare, William. Twelfth Night, Or, What You Will. Ed. Barbara A. Mowat and Paul Werstine. New York: Simon & Schuster Paperbacks, 2009. Print.
In the first part of the play Egeus has asked the Duke of Athens, Theseus, to rule in favor of his parental rights to have his daughter Hermia marry the suitor he has chosen, Demetrius, or for her to be punished. Lysander, who is desperately in love with Hermia, pleads with Egeus and Theseus for the maiden’s hand, but Theseus’, who obviously believes that women do not have a choice in the matter of their own marriage, sides with Egeus, and tells Hermia she must either consent to marrying Demetrius, be killed, or enter a nunnery. In order to escape from the tragic dilemma facing Hermia, Lysander devises a plan for him and his love to meet the next evening and run-off to Lysander’s aunt’s home and be wed, and Hermia agrees to the plan. It is at this point in the story that the plot becomes intriguing, as the reader becomes somewhat emotionally “attached’’ to the young lovers and sympathetic of their plight. However, when the couple enters the forest, en route to Lysander’s aunt’s, it is other mischievous characters that take the story into a whole new realm of humorous entertainment...
Shakespeare, William. A Midsummer Night's Dream. Comp. Folger Shakespeare Library. New York, NY: Simon & Schuster Paperbacks, 2009. Print.
Shakespeare, William. A Midsummer Night’s Dream. Ed. Barbara A. Mowat and Paul Werstine. New York: Washington Square Press, 2004.
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...