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A Midsummer Nights Dream Essay The most significant character in A Midsummer Night’s Dream is Puck who is quick-witted, fun-loving, lovely, humorous and mischievous. Puck also has an impulsive spirit, suggestive language and supernatural fancy. He appears to depict wild disparities, for instance, the unspoken evaluation of the elegant fairies and the coarse simple craftsmen. Puck is stylish, however, not as saccharine like fellow fairies. As a comedian, Puck displays some coarseness and thuds turns bottom into a fool just for enjoyment. Puck is charitable however he can perform nasty tricks. Despite the fact that majority of the elves are portrayed as ethereal and beautiful, Puck often appears as rather bizarre. One fairy states that Puck is regarded by some as some ‘hobgoblin’; this term connotes less glamour as compared to ‘fairy’. The arrogant weaver character, Nick Bottom’s comedy is amusingly overt. Being the key character within the sub-plot in which Thisbe and pyramids stories are produced by the craftsmen, Bottom controls fellow characters with some strange conviction in own capabilities as well as his humorous incompetence. Bottom regards himself as being ideal for each play part; however, he performs terribly and often makes grammatical and rhetorical speech mistakes. Bottom is humorous because he totally is not aware of his ridiculousness and hence his language is arrogant and. Such foolish pride climaxes following the transformation of Bottom’s skull into an ass’s. Following Titania’s falling in love with Bottom, Bottom Titania’s actions are not ordinary and that he deserves all this treatment. Bottom’s lack of awareness regarding the transformation of his head into an ass’s is similar to his failure to see the irrationality of the notion of Titania falling in love with him (http://www. sparknotes. com/shakespeare/msnd/themes. html). Helena the youthful woman madly smitten by Demetrius is probably the most prominent of the other actors apart from Bottom and Puck. Among Athenian devotees, Helena stands out as the individual who most considers love’s nature. This could be because as the play opens, Helena misses out on Hermia, Demetrius and Lysander’ love affair. She holds that Demetrius has some fantastic idea regarding Hermia’s prettiness that makes him not recognize Helena’s beauty. Although conscious of Demetrius’ shortcomings, and Being very faithful to him, Helena embarks on winning Demetrius’ love by informing him of Hermia and Lysander’s scheme to escape into the woods. Once inside the woods, the confusion brought in by the love portion bring out majority of Helena’s qualities. In comparison with fellow lovers, Helena is very uncertain regarding herself; she is overly concerned of her looks and she regards Lysander as scornful of her after he states that he loves her. The play removed audiences form the characters’ emotions so as to gain excitement form the afflictions and torments lovers go through. The play’s tone is very lighthearted to guarantee audiences that three will be some happy ending. Audiences may thus delight in the comedy and avoid being ensnared within the tension posed by uncertain eventualities. The subject of the complexity of love usually is analyzed through the concept of unbalanced love; romantic instances whereby an inequality or disparity obstructs harmonious relationships. A key example is the 4 youthful Athenians unbalanced love: Hermia and Lysander love each other; Helena adores Demetrius; plus Demetrius adores Hermia as opposed to Helena. This constitutes a basic numeric inequity, whereby 2 men adore a single woman thus one lady has excess lovers while the other has very few. The scheme is mainly geared towards internal equilibrium and thus a conventional happy conclusion will have been reached after the devotee’s tangle unravels into balanced pairings. Similarly, Oberon and Titania’s relationship signifies an imbalance since Oberon covets the Indian lad of Titania more that he loves Titania. Afterwards, Titania’s adoration of Bottom signifies some nature and appearance imbalance. Titania is graceful and beautiful, whereas Bottom is ugly and clumsy (http://www. sparknotes. com/shakespeare/msnd/themes. html). A Midsummer Night’s Dream employs magic to develop a strange world and also to exemplify love’s mystic power (signified by the love portion). Despite the fact that abuse of the supernatural leads to anarchy, like after Puck accidentally administers the love portion to the eyelids of Lysander, magic finally finishes the tension in the play by reinstating love’s balance among the 4 Athenian youngsters. Moreover, Puck’s ease of usage of magic to accomplish his desires, like in reshaping Bottom’s head into an ass’s and recreating Demetrius and Lysander’s voices, contrasts with the craftsmen’s gracefulness and laboriousness as they act their part. Dreams comprise a vital subject within A Midsummer Night’s Dream; the magical, bizarre events in the woods are related to dreams. Hyppolyta’s initial words signify dreams’ prevalence in the play; different other characters refer to dreams. Dreaming theme predominantly repeats itself when actors try to analyze bizarre occurrences that affect them. Bottom states that his inability to understand the supernatural occurrences affecting him is due to slumber. Shakespeare as well is concerned with dreams’ real workings; the occurrence of events with no explanation, lose of time’s usual flow sense, and the happening of the impractical. He attempts to reconstruct such an environment by fairy intervention within the magical woods. At the play’s conclusion, pluck broadens the dream theme to audiences, by informing them in case the play upsets them, they ought to bear in mind that this is nothing but some dream. Such an illusion sense plus delicate fragility proves vital to A Midsummer Night’s Dream’s atmosphere since it helps in making the play some fantastical encounter as opposed to heavy performance (http://www. sparknotes. com/shakespeare/msnd/themes. html). References SparkNotes: A midsummer night’s dream: themes, symbols, motifs. Retrieved June 2, 2009, from http://www. sparknotes. com/shakespeare/msnd/themes. html