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Metaphor in Shakespeare
Shakespeare's use of imagery in his plays
Shakespeares use of imagery
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Sometimes people just become so obsessed with something that it drives them crazy until it overtakes their life. In A Midsummer Night’s Dream, by William Shakespeare, Oberon, Helena and Titania all became drowned in an obsession. They had an obsession too. One was obsessed with getting something from another, one wanted the unconditional love of someone that did not love them, and another wanted to keep their love pampered with all the things in the world. Consequently, once they had finally gotten whatever it was they wanted, they realized how empty and meaningless life began to feel after.
Oberon wanted only one thing, and seemingly all of his purpose revolved around forcefully getting the little Indian boy from his wife, Titania. He was speaking to her in the woods after their paths crossed unintentionally. He was confused as to why she would not simply give him what he wanted. He said, “Why would Titania want to argue with her Oberon? All I am asking for is to have that little human boy as part of my crew” (Shakespeare 2.1.2. 41-41). An old friend of hers died giving birth to him and Titania swore to care for him accordingly. Oberon simply wanted the boy for himself, but she
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She planned to tell Demetrius of the duo’s exploits to earn some of his attention, despite the fact that Hermia was her friend. “He will run after her. If he is grateful to me for this information, it will be worth my pain in helping him pursue my rival Hermia” (1.1.3. 21-21)She loved him so much, she would even rat out her friend to get his approval. Once she had his love, she felt like she had all that she wanted and, therefore, she felt like she had nothing else to pursue. Like she had no
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.
Exerting the type of power that is influenced by malicious intentions can cause one to make decisions that are not beneficial to others. A Midsummer Night’s Dream is written within a time period and setting that favors men instead of woman. In other words, men have all the authority to control the events that occur in their own lives as well as the lives of others whom are considered insignificant. The plot displays the catalysts that ignite many characters’ desire for control that is misused by higher status people. Shakespeare’s use of characterization demonstrates how the wanting of control causes the characters to act irrationally through the misuse of power. Shakespeare’s use of setting, plot and characterization causes the ordeals that the characters ultimately face. In turn, the deceitful choices of a few individuals with status impacts whether the lives of lower status people are enhanced.
Oberon is making a spectacle of Titania and Bottom. It is ridiculous that she is in love with him because he is from such a lower class than her, he is human and she is a fairy, and he has the head of an ass. She is also a queen and he is an uneducated working man and a match like this would never happen. Bottom has such a problem with language.
“The course of true love never did run smooth” ~William Shakespeare. In the play A Midsummer Night’s Dream, Theseus and Hippolyta plan their wedding, which includes a play by the craftsman. While the other characters are trying to figure out their love for one another, the fairies interfere. Throughout the play the characters alternate lovers often. Although they bicker at one another, everyone finds their way to their true soul mate. The characters in William Shakespeare’s A Midsummer Night’s Dream are successful, after many trials and tribulations, in acquiring their desired relationships.
Staying true to one's love is so very important when one believes in their true love with every fibre of their being. Hermia and Lysander are so in love that nothing else seems to matter. They want to be together at all costs and they will not let anything get in their way, this is true especially for Hermia. In this example she is defending her true love and standing up for herself, “I do entreat Your Grace to pardon me./ I know not by what power I am made bold,/ Nor how it may concern my modesty/ In such a presence here to plead my thoughts;/ But I beseech Your Grace that I may know/ The worst that may befall me in this case/ If I refuse to wed Demetrius” (Shakespeare 1.1: 58-64). This shows that although she has no way of controlling what happens to her future she still wants to let others know of her convictions. No woman in that time period would ever attempt to defy the command of her father and the law, but in this case Hermia's true love has taken over. She wants the world to know that her and Lysander share this same true love. She is willing to sacrifice her life and become a nun or even face the ultimate finale of death in order to get what she wants at this point. Lysander also came up with an idea to temporarily get them out of this situation, “A good persuasion. Therefore, hear me, H...
William Shakespeare has a habit of creating complicated plots, and A Midsummer Night’s Dream is no exception. Three distinct worlds are presented within the play, and the story’s theme is most prevalent when they collide or mirror one another. Shakespeare’s allusions very intentionally cast light on these themes as he uses them to develop characters, settings, and comedy. The point of that development is the effective delivery of the theme that love renders us equals.
Despite what many people think, Romeo and Juliet is not a love story; rather a story of desperation and obsession. People have been reading Shakespeare for hundreds of years and several people have mistaken it for a love story, due to the fact that Romeo loves Juliet so much he is willing to kill himself when he finds her supposedly dead; she does the same when she wakes up to find him dead. But in fact, Romeo is more taken aback by her beauty than he is in love with her. Juliet is intrigued by the fact someone could love her because her parents are very unsupportive of her. When the two find each other, they immediately become obsessed, mistaking this for love at first sight.
Helena was the younger sister of Hermia. It often bothered her that her sister got all the attention, and she even want it. Helena was madly in love with Demetrius, However Demetrius was arranged to marry Hermia. Helena truly believe she was not good enough, and could not understand why Demetrius did now want
The source of Oberon and Titanias argument is an orphan boy. He was a child of a human friend of Titania whom she made a promise to look after. This situation represents a power struggle between the two couples because they are equally matched. Oberon is powerful while Titania is not docile. At the end of the day, Oberon is a man that is willing to help others and a husband that wants his wife all to himself. He is jealous that the boy has the full attention of his wife and this jealousy allows Titania to be in control of the relationship. Obviously by not giving up on the boy, she has the upper hand in the relationship, but a hard headed man who knows what he wants always finds a way to get it and there is no boundary. This is why Oberon
Love plays a very significant role in this Shakespearian comedy, as it is the driving force of the play: Hermia and Lysander’s forbidden love and their choice to flee Athens is what sets the plot into motion. Love is also what drives many of the characters, and through readers’ perspectives, their actions may seem strange, even comical to us: from Helena pursuing Demetrius and risking her reputation, to fairy queen Titania falling in love with Bottom. However, all these things are done out of love. In conclusion, A Midsummer Night’s Dream displays the blindness of love and how it greatly contradicts with reason.
As one can see, Oberon is the origin all of the complications in the play. He failed to realize that his careless and greedy actions devastated an abounding number of people. Without the interference of Oberon, there would have been no love confusion between the Hermia, Helena, Demetrius, and Lysander. Also, Titania and Nick Bottom would not have been humiliated and the Rude Mechanicals would have more time with Bottom to rehearse. The majority of these problems were caused by Oberon’s fatal and careless mistake of creating the love juice. As many examples throughout the play show, Oberon’s mischief and love juice cause misunderstanding, misery, and unnecessary complications.
Due to this, Helena easily gives up her friends in their times of need. Helena mentions, “I will go tell [Demetrius] of fair Hermia’s flight” (1.1.252). Rather than letting her friends be happy, Helena wants Demetrius to trust her. Thus, she is willing to give up her friends because she is selfish. Because of this, Helena also spends less time focusing on her relationship and spends more time on other’s relationships. She outs Lysander and Hermia and tries to ruin their relationship instead of trying to improve her relationship with Demetrius. Helena says, “Pursue her. And, for this intelligence/If I have thanks, it is a dear expense./But herein mean I to enrich my pain,/To have his sight thither and back again” (1.1.254-257). Helena should be focusing on her own problems and her own relationship with Demetrius instead of hurting her friends. Helena just wants what Hermia has because she is selfish. Lastly, Helena runs away from her problems. When she finds that both Demetrius and Lysander love her she believes they are mocking her. She cries to them, “You are both rivals and love Hermia, And now both rivals to mock Helena” (3.2.158-159). When Helena finally has love she is too blinded to see it. She cannot believe that two men would truly love her, so she runs away. Hence, Helena is incapable of making reasonable decisions because of her
In Mary Shelley’s Frankenstein, one of the main themes surrounds the idea of defining obsession and classic obsessive behaviors. Obsession itself is a force of devastation for one’s social, personal, mental, and physical life. At one point, obsession must be a passion, of which has amazing side effects. The synonym, passion, may resemble obsession in the beginning, though the main difference between the two is that obsession consumes the life that it holds. In the end, obsession ruins us.
The relationship between Demetrius and Hermia is problematic, in that Demetrius is seeking the affections of Hermia, while she is in love with Lysander. However, Hermia’s father approves of Demetrius and tries to force her to marry him, but Hermia refuses because of her love for Lysander (A Midsummer Night’s Dream 1.1.22-82). Lysander points out the flaw in the situation through this comment, “You have her father 's love, Demetrius –/Let me have Hermia 's. Do you marry him,” (A Midsummer Night’s Dream 1.1.93-94). The second flawed relationship is between Lysander and Helena, as a result of an enchantment put on Lysander that made him fall in love with Helena. Helena does not want the affections of Lysander, but rather the love of Demetrius, and believes that Lysander is taunting her. In addition, this relationship creates tensions because Hermia is in love with Lysander (A Midsummer Night’s Dream 2.2.109-140). Both relationships are not desirable due to a lack of mutual admiration and the creation of non-peaceful and unsatisfying
Reason and love in A Midsummer Night’s Dream Shakespeare’s A Midsummer Night’s Dream is often read as a dramatization of the incompatibility of “reason and love” (III.i. 127. Yet many critics pay little attention to how Shakespeare manages to draw his audience into meditating on these notions independently (Burke 116). The play is as much about the conflict between passion and reason concerning love, as it is a warning against attempting to understand love rationally. Similarly, trying to understand the play by reason alone results in an impoverished reading of the play as a whole – it is much better suited to the kind of emotive, arbitrary understanding that is characteristic of dreams. Puck apologises directly to us, the audience, in case the play “offend[s]” us, but the primary offence we can take from it is to our rational capacity to understand the narrative, which takes place in a world of inverses and contrasts.