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Who are the mechanics in midsummer night dream
Reality vs Illusion
Reality vs Illusion
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William Shakespeare's A Midsummer Night's Dream
There are so many references to "the eyes" in "A Midsummer Night's Dream" that one would expect there to be a solid and consistent reason for their appearance. However, this does not seem to be the case. Indeed, the images associated with the eyes are so varied, and shift so frequently, that it is practically impossible to define what it is they represent. This difficulty reflects the problem of distinguishing between what is real and what is illusion -- a central theme of the play.
Confusion and misunderstanding abound throughout "A Midsummer Night's Dream." The lovers' chase through the forest is perhaps the most obvious example. The "mechanicks'" bumbling performance of "Pyramus and Thisbe" is perhaps the most comic. However, as the play commences, it is a misunderstanding between Egeus and Hermia that threatens to throw the court into turmoil.
This particular misunderstanding revolves around Hermia's love for Lysander. Although Egeus has arranged for his daughter to wed Demetrius, it is Lysander that Hermia really wants to marry. However, Egeus refuses to ascent to their marriage, threatening to enforce on his daughter the "ancient privilege of Athens" (1.1.41) if she does not condescend to his original choice. Even though this would entail her entering a nunnery (or perhaps even being executed), Egeus' opinion cannot be swayed. His stubbornness leads Hermia to exclaim: "I would my father looked but with mine eyes" (1.1.56).
Clearly, Hermia believes that if her father could see Lysander in the same light as her, then he would quickly form a different opinion of him. In this instance, then, the eyes symbolize judgment. Theseus' response to Hermia not only ...
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...e, nor his heart to report what my dream was" (4.1.204-207). Here, he confuses the senses in his attempt to get a grip on reality, thus demonstrating the blurred boundary between reality and illusion.
Clearly, then, the eye alone cannot be trusted to provide adequate information about the nature of reality. The fluid, endlessly shifting imagery of the eyes serves to represent this problem, adding to the dreamlike quality of the play in the process. Possibly, it is left to the "poet's eye" (5.1.12) to make the distinction between reality and illusion: "The forms of things unknown, the poet's pen/Turns them to shapes, and gives to airy nothing/A local habitation and a name" (5.1.15-17).
Works Cited
Shakespeare, William. "A Midsummer Night's Dream." The Norton Shakespeare. Ed. Stephen Greenblatt. New York: W. W. Norton & Company, Inc., 1997. 814-861.
Leroy Moffit is a truck driver, and over the years as his wife Norma Jean is adapting to the changing community his adaptation to things consist of pretty much the way he drives his truck. During this time Norma Jean is left at home to fend for herself and learn the workings of nearly being a single woman. Norma Jean started to play the organ again, practice weight lifting, and take night classes. When Leroy came home after years of being saturated in his work he expected things to be like they were in the beginning of their marriage. As time goes on at home, Leroy takes notice to Norma Jean’s keen, and independent understanding of what goes on around her. He observes and is afraid to admit that she has had to be her own husband. Over the years Norma Jean developed a structured routine that does not include him. As Leroy sits around and plays with a model log cabin set Norma is constantly working to advance and adapt herself with ...
The struggle to battle with the persistent grief of self-blame and lack of identity is a constant reminder to the barriers in relationships. Leroy grieves over the fact that he has lost his identity as a father and husband. Although he often thinks of Randy, the memories of him have faded. As a result, he latches on to Norma Jean but she doesn’t respond back. This causes him to feel like a failure of a husband. Norma Jean is grieving over the emptiness in her life. It was not the life she thought she would have. Her deceased son symbolizes her emptiness because of his death. She also feels emptiness towards her husband. For example, she feels very uncomfortable around him and always tries to find something for him to do. When Leroy arrives back home from his accident Mason implies, “he thinks she’s seems a little disappointed” (Mason 220), displaying Norma Jean frustrated with his lying around doing nothing but watching television and smoking pot. In addition, Norma Jean feels emptiness towards her mother, which is presented in the way her mother criticizes her. When tragedies occur in a family and self-confidence fades it can take over your life a...
Elisa is a trapped woman. She is trapped in her “closed off” (Steinbeck 459) location of the Salinas Valley; trapped in her “blocked and heavy” “gardening costume” (Steinbeck 460); trapped behind her “wire fence” (Steinbeck 460). Elisa is trapped woman, however all of the things that keep her trapped are ultimately hers: “her wire fence” or her constricting clothing (Steinbeck 460). Elisa's inability to step beyond her boundaries ultimately leads to her continued unhappiness and feeling of entrapment in her feminine role.
1. How does the opening scene contrast with what happens at the end of the story?
She has, in a sense, taken on the masculine role in the household since Leroy has come home. She is the sole provider for the family, working behind the cosmetics counter at Rexalls. Her body building is indicative of the reversal in her role. When discussing the meaning on their names, Norma Jean tells Leroy that his name means 'the king'. He asks her if he is still king and she "... flexes her biceps and feels them for hardness." thus showing him that he is not. Furthermore, she 'drives the nail home' by telling him the meaning of her name. "Norma comes from the Normans. They were invaders." She has invaded, and taken over, his position as 'the head of the household'. At the end of the story "She turns towards Leroy and waves her arms .... she seems to be doing an exercise for her chest muscles." I believe that she was showing Leroy that she is strong enough, or has found the strength to leave him and forge a new path in life. Furthermore, I believe that she was implying that she was never going to find the strength to carry the two of them through this relationship when she stated, early in the story, "Feel this arm. It's not as hard as the other one." Norma Jean is a woman who had accepted her marriage for what it was, until her husband came home. It was than that she r...
...and ready to be rediscovered again. Early in the story Henry offers Elisa to a dinner in town and half heartedly suggests going to a local fight. Elisa not keen of fights refuses. In retrospect to her inner ambitions Steinbeck tactfully portrays the message that the only way to follow “the bright direction” Elisa strongly wants is to be willing to fight for it. Nonetheless, don’t be fooled to believe any such inspirations to be acquired will come to you. But Elisa verily on the edge at the end of the story asks Henry about the fights and he suggests if she wants to go. She refuses, Steinbeck again symbolically suggesting she is unwilling to fight for what she wants. So her chrysanthemums will remain out of reach until she decides to do so.
Elisa Allen is working on her garden and she sees her husband, Henry, speaking with two men about selling his steers. The garden bed and the house are called to attention and it is pointed out that they are very clean and organized. Once the strangers leave, Henry comes over to her and politely praises her on how lovely the garden looks and then wishes that she would attend to the orchards in the same way. She at first is egger to help but realizes that he was joking. Henry says they should celebrate by going to town and jokingly suggests seeing a fight, to which Elisa turns down. Henry leaves and a wagon pulls up with a charming, yet uneducated, tinker. They joke about the ferocity of the dogs. He asks for work to pay to feed his self and Elisa denies that there is work for him to do. He notices the chrysanthemums and tells her that he has a client that wants to raise some. She suddenly is excited and begins to ready some plants for him to take with him, and she instructs him on how to take care of them. She expresses her passion and her connection to the flowers in a seductive manner, even to the point of wanting to have physical contact with the tinker. She refrains from touching. The tinker points out that it’s hard to feel that way when hungry. Elisa gives in and finds something for him to work on. As the tinker works, Elisa expresses her opinion that women can do that same kind of work he does, to which he says it would be to lo...
First, the story that is told by Leroy reveals just how little he understands Norma Jean. He is lost in life at this point. The accident that has taken away his livelihood has also disrupted Norma Jean’s comfortable existence. After traveling for fifteen years he enjoys being home with Norma but “… he can’t tell what she feels about him” (805). Leroy “… thinks she seems a little disappointed about…” finding him at home all the time (805). He slowly begins to notice small details about Norma Jean. These revelations added together lead Leroy, and the reader, to understand that Norma Jean is preparing to leave the marriage.
This frustration is evident when Elisa is first introduced. Her figure is described as "blocked and heavy" because she is wearing heavy gloves, heavy shoes, a "man's black hat," and a big apron that hides her printed dress (Steinbeck 330). Her home has the masculine qualities of being "hard-swept" and hard-polished" (Steinbeck 330). Elisa is bored with her husband and with her life (McMahan 455). Obviously, Elisa is unhappy with the traditional female role and is attempti...
Throughout A Midsummer Night’s Dream the theme of conflict with authority is apparent and is the cause of the problems that befall the characters. It also is used to set the mood of the play. The passage below spoken by Theseus in the opening of the play clearly states this theme.
Elisa’s character undergoes a complete transformation of femininity, due to her conversation with the tinker. The story initially describes Elisa’s appearance using words associated with manliness, as Steinbeck states, her face is “strong, eager, and handsome,” and her figure is “blocked and heavy” (228). Furthermore, she wears a man's hat, heavy leather gloves, and a big apron that hides her printed dress (228). As a result, she is depicted as a woman with greater masculine qualities than feminine qualities. However, as soon as she encounters the tinker and notices his interest in Chrysanthemums, “the irritation melted from Elisa’s face” (232), and eventually reveals her womanly side. After the tinker left, she “scrubbed herself with a little block of pumice, legs and thighs, loins and chest and arms, until her skin was scratched and red” (236). She then bathes and puts on a dress to make herself look more feminine (237). For the first time, Elisa feels valued and special by the tinker. As a result, she puts more effort into beautifying herself than the house or garden. Therefore, one can see that although Elisa is i...
Hermia is the daughter of Egeus. She is a tiny woman that possessed sparkling eyes and a lovely voice. Hermia is very adamant about what she wants from the balance of the play. She has only eyes for Lysander and is very faithful, even when faced with the obstacles of death or the nunnery. Throughout the play Hermia emotions were confused at times. She even says "Am I not Hermia? Are you not Lysander? (Act III Scene 2 Line 292). We see at this point that she is confused and her feelings are hurt. At that very moment I think she feels like she has lost part of herself, a part that she has given to Lysander. So when Lysander returns to her, she is her self once again.
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.
There are some suggestive elements that portray her marriage with parallel qualities of her repressive life. As she dresses for a dinner out to town, she is transformed into a beautiful and confident woman, leaving behind the manly clothing and handsome face. However, her husband does not acknowledge her femininity and desire to receive a compliment or gesture of love. Palmerino’s analysis on the story adds that “ she is mired in a mismatched marriage…. and ultimately any possibility for progression.” (166) The condition of the marriage between Elisa and Henry, reflect the same emotions that Elisa feels about being confined to the duties conventional for a woman. Henry and Elisa’s marriage lacks the sexual, emotional and spiritual fulfillment that Elisa needs. In this story, Steinbeck allows the audience to interpret the characterization that he gives to settings, development of the plot and the characters, in such a way that the portrayal can be subjective to each reader. In Steinbeck’s The Chrysanthemums, use of literary techniques and the male-dominated condition that society was at that time, create the perfect combination for a plethora of
Shakespeare, William. A Midsummer Night’s Dream. Ed. Barbara A. Mowat and Paul Werstine. New York: Washington Square Press, 2004.