Analyzing A Midsummer Night's Dream
Analyzing A Midsummer Night’s Dream
The correlations of a piece of literature with its audience are often regarded as being significant in making the prose gratifying. In order to depict whether a play is deemed enjoyable to its audience, an analysis of the play’s aspects must be undertaken with evidence and facts to support any reasoning. The underlying connections to the audience brought forth by humorous irony, relatable themes, and vivid imagery cause A Midsummer Night’s Dream to be considered a literary success.
First, humorous irony allows the plot to connect to the audience through laughter while enhancing their understanding of the play. In the play, the character Bottom states, “I see their knavery: this is to make an ass of me; / …show more content…
to fright me, if they could” (III.i.110-111). This quote depicts the scene where Puck turns Bottom’s head into that of an Equus asinus, and Bottom himself does not know that he has the head of an Equus asinus. The dramatic irony shown is due to the audience knowing him to have the head of an Equus asinus, while he does not know. In addition, Bottom’s transformation is unexpected, leading to situational irony. Bottom’s name and personality is similar to Equus asinus, portraying verbal irony since his head is physically that of Equus asinus. The irony of this quote causes the spectators to laugh at the how ridiculous the situation is, as well as how fitting the irony is for the character Bottom. Furthermore, the character Puck declares, “Lord, what fools these mortals be!” (III.ii.115). In this quote, Puck ironically believes the lovers to be fools when in fact he was foolish and made the mistake, causing the lovers to act as such. In addition, Shakespeare portrays humor in how foolish the actions of the lovers are, which causes the audience to bring aspects of the play together, increasing their overall comprehension of the comedy. This irony generates laughter in the audience due to the humor of the statement. Expert critics such as B. J. Rahn support this reasoning when stating,
A possible explanation and/or justification of directorial interpretation and audience reaction lies in the use of dramatic irony. The audience knows that the lovers’ troubles have resulted from Oberon’s benevolent desire to help lovelorn Helena, which has gone awry and that he has the power to reverse the results of Puck’s errors and takes steps to do so — like a deus ex machina. Dramatic irony inspires confidence that everything will turn out right in the end. (Rahn 1)
This quote by B. J. Rahn proves that irony causes the satisfaction of the play to increase due to the audiences having confidence that the play will not end tragically. This confidence instigates understanding of the play, and thus brings the audience to further appreciate the play. Additionally, Rahn states in his article, “The audience laughs at the anguished antics of the young lovers and at Titania and Bottom because dramatic irony provides insight into the difference between seeming and being, fantasy and reality. They know that the misalliances are all a misunderstanding that Oberon can and will put right again” (Rahn 1). Rahn furthers the reasoning that the irony is beneficial to comprehension due to the play’s humorous nature. In this quote, Rahn explains that the dramatic irony of the play is humorous because of the foolish character actions and that this irony is insightful in the plot’s aspects. The humorous ironic situations of the comedy increase the comprehension of the audience to allow for greater overall contentment. In brief, evidence from the play as well as indications from expert critics support the idea that humorous irony makes the comedy more enjoyable from a connection perspective.
Second, relatable themes bring about ideas that may be similar to prior experiences or observations of the audience allowing for greater enjoyment of the play through understanding and experience. In the play, the character Lysander states, “The course of true love never did run smooth” (I.i.134). This quote represents the theme that true love is difficult and has its challenges. The depicted theme appeals to experiences of love faced by the audience or previously known to the audience. By appealing to the audience’s experiences of love, Shakespeare connects to their mentality increasing enjoyment of the play. Furthermore, the character Helena states, “Love looks not with the eyes, but with the mind;/And therefore is wing'd Cupid painted blind:” (I.i.234-235). Helena portrays that love is blind and lovers do not see each other’s flaws. This theme entices the audience through their prior observations of love and lovers leading to a greater understanding of the play. Expert critics such as B. J. Rahn support this reasoning when stating, “Like Act III, the play within the play in Act V embodies a warning that meddling with love affairs can lead to pain and suffering; plus it simultaneously completes the satire on romantic love. Its reiteration of theme renders it an essential part of the drama and not an ‘add on’ to fill out the text” (Rahn 1). Input from the expert B. J. Rahn proves that the theme is critical in the viewers’ understanding of the play. Rahn shows that observations of the theme in action within the play are the connection that allows the theme to be relatable to the readers. This mentally links the audience to the theme and plot, increasing the enjoyment of the play through understanding. Additionally, Professor Maggie Berdine states in her article that, “Nothing is more common than the observation that A Midsummer Night's Dream is a play ‘about love’, about lovers' lunacy, where ‘reason and love keep little company together nowadays’, where the follies of imagination-dominated Demetrius and Lysander are reduced to their essential absurdity by the passion of Titania for an ass” (Berdine 1). Berdine depicts in this quote the theme that love and reason are separate from each other. Berdine suggests that observations of the theme in use obtained from the play expand the audience’s comprehension of the plot by simplifying observations from the real world. In summary, relatable themes in the play such as those involving love may increase the audience’s connection with the plot due largely to former experiences of each audience member.
Third, vivid imagery allows the audience to better visualize essential parts of the plot in an easy manner which increases the comprehension of the viewers and readers.
In the play, the character Titania states, “Come, sit thee down upon this flowery bed,/While I thy amiable cheeks do coy, / And stick musk-roses in thy sleek smooth head,/And kiss thy fair large ears, my gentle joy” (IV.i.1-4). The vivid imagery displayed by this quote such as “thy fair large ears” allows viewers to mentally visualize and understand the forced love that Titania has for Bottom, in addition to the physical representations on stage if the play is watched rather than read. Furthermore, the character Oberon states, “Where oxlips and the nodding violet grows, / Quite over-canopied with luscious woodbine, / With sweet musk-roses and with eglantine:” (II.i.250-252). This quote depicts the essential imagery as to where the love potion comes from. Oberon’s quote shows readers and spectators of the play alike to envision the described, magical location since there is no visual depiction of it in the play. Thus, the vivid imagery aids in enhancing comprehension through the audience’s mental visualizations appropriated to the play. Expert critics such as Anne Barton support this reasoning when stating, “Images of sleep and dreams, shadows and illusions, have been used so constantly in the course of the comedy, examined and invested with such body and significance that they cannot be regarded now as simple terms of denigration and dismissal” (Barton 1). Barton describes that the images in the play are critical to a viewer’s understanding. Furthermore, Barton supports this by referring to the detailed dreams and illusions that were essential to the comprehension of the plot. Additionally, B.J. Rahn states in his article, “Comparing her to a goddess, Demetrius uses clichéd imagery in a catalogue of Helena’s features beginning with her eyes, ‘O Helen, goddess, nymph, perfect, divine!/To what, my
love, shall I compare thine eyne?’ (III, ii, 137-38). Demetrius focuses firmly on her physical beauty with no reference to heart and soul” (Rahn 1). Vivid imagery cited from the play by critic B. J. Rahn is used to suggest that the love potion on Demetrius is not true love on his part. This aspect of the plot, which is important to grasping the rest of the play, cannot be comprehended by the audience without vivid imagery. The imagery of the play is proven to be essential to the comprehension and thus the enjoyment of the comedy. To conclude, A Midsummer Night’s Dream contains vivid imagery, which progresses comprehension through visualization.
Overall, A Midsummer Night’s Dream is a literary success because of the play’s connection with its audience through humorous irony, relatable themes, and vivid imagery. Humorous irony relates to the play’s viewers by causing them to laugh while increasing their understanding of the play’s plotline. Relatable themes connect with the audience through their past experiences. Vivid imagery gives viewers visualization that furthers their overall comprehension. In summary, the correlating characteristics of the plot with the audience are what cause A Midsummer Night’s Dream to be an enjoyable play.
The correlations of a piece of literature with its audience are often regarded as being significant in making the prose gratifying. In order to depict whether a play is deemed enjoyable to its audience, an analysis of the play’s aspects must be undertaken with evidence and facts to support any reasoning. The underlying connections to the audience brought forth by humorous irony, relatable themes, and vivid imagery cause A Midsummer Night’s Dream to be considered a literary success.
First, humorous irony allows the plot to connect to the audience through laughter while enhancing their understanding of the play. In the play, the character Bottom states, “I see their knavery: this is to make an ass of me; / …show more content…
to fright me, if they could” (III.i.110-111). This quote depicts the scene where Puck turns Bottom’s head into that of an Equus asinus, and Bottom himself does not know that he has the head of an Equus asinus. The dramatic irony shown is due to the audience knowing him to have the head of an Equus asinus, while he does not know. In addition, Bottom’s transformation is unexpected, leading to situational irony. Bottom’s name and personality is similar to Equus asinus, portraying verbal irony since his head is physically that of Equus asinus. The irony of this quote causes the spectators to laugh at the how ridiculous the situation is, as well as how fitting the irony is for the character Bottom. Furthermore, the character Puck declares, “Lord, what fools these mortals be!” (III.ii.115). In this quote, Puck ironically believes the lovers to be fools when in fact he was foolish and made the mistake, causing the lovers to act as such. In addition, Shakespeare portrays humor in how foolish the actions of the lovers are, which causes the audience to bring aspects of the play together, increasing their overall comprehension of the comedy. This irony generates laughter in the audience due to the humor of the statement. Expert critics such as B. J. Rahn support this reasoning when stating,
A possible explanation and/or justification of directorial interpretation and audience reaction lies in the use of dramatic irony. The audience knows that the lovers’ troubles have resulted from Oberon’s benevolent desire to help lovelorn Helena, which has gone awry and that he has the power to reverse the results of Puck’s errors and takes steps to do so — like a deus ex machina. Dramatic irony inspires confidence that everything will turn out right in the end. (Rahn 1)
This quote by B. J. Rahn proves that irony causes the satisfaction of the play to increase due to the audiences having confidence that the play will not end tragically. This confidence instigates understanding of the play, and thus brings the audience to further appreciate the play. Additionally, Rahn states in his article, “The audience laughs at the anguished antics of the young lovers and at Titania and Bottom because dramatic irony provides insight into the difference between seeming and being, fantasy and reality. They know that the misalliances are all a misunderstanding that Oberon can and will put right again” (Rahn 1). Rahn furthers the reasoning that the irony is beneficial to comprehension due to the play’s humorous nature. In this quote, Rahn explains that the dramatic irony of the play is humorous because of the foolish character actions and that this irony is insightful in the plot’s aspects. The humorous ironic situations of the comedy increase the comprehension of the audience to allow for greater overall contentment. In brief, evidence from the play as well as indications from expert critics support the idea that humorous irony makes the comedy more enjoyable from a connection perspective.
Second, relatable themes bring about ideas that may be similar to prior experiences or observations of the audience allowing for greater enjoyment of the play through understanding and experience. In the play, the character Lysander states, “The course of true love never did run smooth” (I.i.134). This quote represents the theme that true love is difficult and has its challenges. The depicted theme appeals to experiences of love faced by the audience or previously known to the audience. By appealing to the audience’s experiences of love, Shakespeare connects to their mentality increasing enjoyment of the play. Furthermore, the character Helena states, “Love looks not with the eyes, but with the mind;/And therefore is wing'd Cupid painted blind:” (I.i.234-235). Helena portrays that love is blind and lovers do not see each other’s flaws. This theme entices the audience through their prior observations of love and lovers leading to a greater understanding of the play. Expert critics such as B. J. Rahn support this reasoning when stating, “Like Act III, the play within the play in Act V embodies a warning that meddling with love affairs can lead to pain and suffering; plus it simultaneously completes the satire on romantic love. Its reiteration of theme renders it an essential part of the drama and not an ‘add on’ to fill out the text” (Rahn 1). Input from the expert B. J. Rahn proves that the theme is critical in the viewers’ understanding of the play. Rahn shows that observations of the theme in action within the play are the connection that allows the theme to be relatable to the readers. This mentally links the audience to the theme and plot, increasing the enjoyment of the play through understanding. Additionally, Professor Maggie Berdine states in her article that, “Nothing is more common than the observation that A Midsummer Night's Dream is a play ‘about love’, about lovers' lunacy, where ‘reason and love keep little company together nowadays’, where the follies of imagination-dominated Demetrius and Lysander are reduced to their essential absurdity by the passion of Titania for an ass” (Berdine 1). Berdine depicts in this quote the theme that love and reason are separate from each other. Berdine suggests that observations of the theme in use obtained from the play expand the audience’s comprehension of the plot by simplifying observations from the real world. In summary, relatable themes in the play such as those involving love may increase the audience’s connection with the plot due largely to former experiences of each audience member.
Third, vivid imagery allows the audience to better visualize essential parts of the plot in an easy manner which increases the comprehension of the viewers and readers.
In the play, the character Titania states, “Come, sit thee down upon this flowery bed,/While I thy amiable cheeks do coy, / And stick musk-roses in thy sleek smooth head,/And kiss thy fair large ears, my gentle joy” (IV.i.1-4). The vivid imagery displayed by this quote such as “thy fair large ears” allows viewers to mentally visualize and understand the forced love that Titania has for Bottom, in addition to the physical representations on stage if the play is watched rather than read. Furthermore, the character Oberon states, “Where oxlips and the nodding violet grows, / Quite over-canopied with luscious woodbine, / With sweet musk-roses and with eglantine:” (II.i.250-252). This quote depicts the essential imagery as to where the love potion comes from. Oberon’s quote shows readers and spectators of the play alike to envision the described, magical location since there is no visual depiction of it in the play. Thus, the vivid imagery aids in enhancing comprehension through the audience’s mental visualizations appropriated to the play. Expert critics such as Anne Barton support this reasoning when stating, “Images of sleep and dreams, shadows and illusions, have been used so constantly in the course of the comedy, examined and invested with such body and significance that they cannot be regarded now as simple terms of denigration and dismissal” (Barton 1). Barton describes that the images in the play are critical to a viewer’s understanding. Furthermore, Barton supports this by referring to the detailed dreams and illusions that were essential to the comprehension of the plot. Additionally, B.J. Rahn states in his article, “Comparing her to a goddess, Demetrius uses clichéd imagery in a catalogue of Helena’s features beginning with her eyes, ‘O Helen, goddess, nymph, perfect, divine!/To what, my
love, shall I compare thine eyne?’ (III, ii, 137-38). Demetrius focuses firmly on her physical beauty with no reference to heart and soul” (Rahn 1). Vivid imagery cited from the play by critic B. J. Rahn is used to suggest that the love potion on Demetrius is not true love on his part. This aspect of the plot, which is important to grasping the rest of the play, cannot be comprehended by the audience without vivid imagery. The imagery of the play is proven to be essential to the comprehension and thus the enjoyment of the comedy. To conclude, A Midsummer Night’s Dream contains vivid imagery, which progresses comprehension through visualization.
Overall, A Midsummer Night’s Dream is a literary success because of the play’s connection with its audience through humorous irony, relatable themes, and vivid imagery. Humorous irony relates to the play’s viewers by causing them to laugh while increasing their understanding of the play’s plotline. Relatable themes connect with the audience through their past experiences. Vivid imagery gives viewers visualization that furthers their overall comprehension. In summary, the correlating characteristics of the plot with the audience are what cause A Midsummer Night’s Dream to be an enjoyable play.