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A midsummer night's dream by shakespeare essay
Comical elements in a midsummer night's dream
A midsummer night's dream by shakespeare essay
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Nick Bottom in Shakespeare's A Midsummer Night's Dream Roget’s thesaurus defines the word “ass” as “one deficient in judgment and good sense: a fool”. In William Shakespeare’s A Midsummer Night’s Dream, the ass is undeniably tied to the character of Nick Bottom on many different levels. As the play is a comedy, Bottom’s central role is to provide laughter. At the same time, however, through his role as the Ass, he acts as a sort of symbolic center-piece that ties all of the action in the play together. Throughout the play, Shakespeare has various characters making word-plays on the Ass, in relation to Nick Bottom and otherwise. These many references combined with the physical Ass’ head that Bottom receives point to the fact that the idea of the Ass, or the fool, is a central theme to the play and as the play’s fool, Nick Bottom plays a crucial part in the structure of the play. Within his character, love and foolishness are inextricably linked. It can be deduced from just one reading of the play that they figure of the Ass is very important. Not only does one of the main characters chance to have an Ass’ head for awhile, but many of the other characters mention the idea of the Ass, or the fool, in passing. The first clue is that Bottom’s very name is a synonym for another meaning of the word “ass”. This is a subtle clue to the reader to pay attention. When Puck transforms Bottom’s head in the middle of rehearsal and all of his fellows run away, Bottom is left shouting, “What do you see? You see an ass head of your own, do you?” and “I see their knavery. This is to make an ass of me, to frighten me” (Shakespeare 38). The irony of this situation is that... ... middle of paper ... ...he same time it also is a microcosm for the story of the four lovers and serves to point out the folly of their situation. This is the same way that Bottom functions as a character: in his folly he illustrates the folly of others in love, and of the human race. Nick Bottom, the Ass and the fool of the play may serve as comic relief, but in that comic relief he also serves a much larger role. He is very fitting to wear the head of the Ass and in so doing he illustrates the heights of foolishness that humans can reach, in life and in love. Perhaps he is so comical because everyone who sees him in action can relate to his idiocy. Perhaps everyone has a little bit of a Bottom in them. Works Cited Shakespeare, William. A Midsummer Night’s Dream. Russ McDonald, ed. New York, New York: Penguin Putnam Inc, 2000.
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.
the play. It looks at the person he is and the person he becomes. It
Theatre students are often told what not to prepare for an audition because some pieces have been done so many times they lose their meaning. Of Shakespeare’s entire canon, the two most often forbidden texts are Puck and Helena monologues from A Midsummer Night’s Dream. Therefore, the two roles are often the most sought-after and coveted in the play when in production. However, in the 1999 film version, Kevin Kline as Bottom gets top billing. According to the rules of Elizabethan hierarchy, Bottom, being of the merchant class, is literally at the “bottom” of the social spectrum. The Athenians and fairies rank higher on the great chain of being. Kline’s billing is not merely a result of stunt-casting: Athenian Helena is played by television star Calista Flockhart and the fairy queen, Titania, is played by Michelle Pfeiffer, both “stars” at the time. The movie is considered “The Kevin Kline Version” because, compared to the text alone, the plot changes, cinematic adjustments, and Kline’s performance flesh out Bottom’s character, creating a protagonist for an otherwise ensemble cast.
Conflict with reality and appearance brings to surface the elements of the traditional commedia dell’arte in the form of mistaken identity, which enriches the farcical plot-lines that occur in the play. The very embodiment of mistaken identity establishes that what may be seem real could be quite the opposite, however the characters in the play are unable to distinguish this as their vision becomes distorted by their fall into the deception of appearance. It is this very comedic device that enables the conflict between Roscoe (Rachel) and Alan, or Charlie and Alan’s father to occur which is a significant part of the comedic nature of the play as the unproportional situation is what sparks laughter from the audience, and so it is the presence of mistaken identity alone that conveys the play into a light-hearted comedy. Furthermore, Peter O'Neill quotes that ‘using humour can provide a degree of safety for expressing difficult ideas or opinions which could be particularly effective…’. In the circumstances of the quotation Richard Bean effectively c...
Not a sign of sensitivity would have resided in him. Despite critics which only view Bottom as “an ass and nothing but as ass” (Weiss), there were some who believed different. The way Hoffman portrays Bottom’s reaction to certain events, such as bottles of wine being dumped on him, the viewers can clearly see his embarrassed, and terrified look. “In the film, Hoffman abandons the caricature and clown in order to present Bottom...as a human being who is sympathetic to a realm of experience…” (Riga). Nick Bottom, portrayed by Kevin Kline in Hoffmans 1999 A Midsummer Night’s Dream, is almost the complete opposite to what Shakespeare had made of
adds to the comedy of the rest of play. It is obvious to the audience
Which once again brings out the themes of love and fate. Romeo is blaming this tragic turn of events on fate.
In Bottom, Shakespeare pokes fun at the quirks in himself and in all plays and actors. By doing this, he makes light of the quirks in us all. To begin, the name "Bottom" has negative undertones, like "bottom of the heap," "bottom of the totem pole," and of course, one's behind. Bottom is a metaphorical ass that becomes a literal ass within the play. Bottom's name tells us not to take him too seriously. Additionally, neither William Shakespeare nor Nick Bottom were born to be aristocrats, both had ambitions beyond their particular position in life. It is Bottom's fate to be a weaver, y...
In his song “Tip Drill,” rapper Nelly is accompanied by the St. Lunatics relaying a theme of misogyny, portraying all women as pretentious and existing purely to satisfy men sexually. The song repeats the line: “it must be your ass cause it ain’t your face" throughout the entire song, referring to the woman as a “tip drill.” According to an online slang dictionary, the term “tip drill” is applicable to women with unattractive faces but large backsides, which is supposed to compensate for their unattractiveness. Because she is ugly, Nelly considers himself as doing her a favor by giving her money and having sex with her, suggesting her as desperate for sex and lesser than other women due to her looks. Sex has become a game, and this woman has become objectified to the point where he is not even sweet-talking her, but rather very plainly telling her that it is solely the size of her bum that makes her passable.
The Scarlet Letter, by Nathaniel Hawthorne, is a cult classic. And with good reason. Anyone who simply believes that the title of this book just signifies that the protagonist wears a scarlet “A” on her dress in punishment of her adultery is ignorant. Obviously this paper would not be required if such were true. Instead, The Scarlet Letter is extremely ambiguous. One can argue that the scarlet letter is a character itself. I intend to flesh this out in literary, historic, and symbolic terms.
plot of the play. After all, in Act Four we not only have the 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.
...scene and the misogynistic views of such as Iago, 'How if she be black and witty'' with the later scene of Act IV Scne iii and Desdemona's refusal to say the word 'whore', 'I cannot say whore/It does abhor me', then the dark baseness of the male world is seen in opposition and dark contrast to the innocence and naivety of Desdemona.
Feste is able to prevent any delusions of grandeur by a reminder that foolishness is a condition common to all mankind whether one is king or servant. It is Malvolio's vanity that convinces Feste to take part in the joke played on the steward. As "Sir Topas", and Malvolio's `prosecutor` Feste attempted to help Malvolio realize that there was "no darkness but ignorance".
Although she uncontrollable, wild, and self-willed, she looks and feels the scarlet letter by herself not by other people’s thinking. Hester is a kind, and friendly. The A is an angel for her. She is the reason Hester lives bravely and strongly. ‘‘And there stood the minister, with his hand over his heart; and Hester Prynne, with the embroidered letter glimmering on her bosom; and little Pearl, herself a symbol, and the connecting link between those two’’ (Hawthorne 106). Her being encourages Hester and Dimmesdale to face the cruel society. The A becomes the sincerest and noblest symbol of love in her eyes. Hawthorne expresses those Puritan in the town prejudge Hester for her scarlet letter. Nevertheless, Pearl perceives that her mother is generous and beautiful. Hawthorne condemns Puritan’s fool through the description of link between Pearl, scarlet letter, and