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Act Two, Scene One ? ?A Midsummer Night?s Dream?, 2002.
A detailed analyis of act two, scene one of William Shakespeare's "A Midsummer Night's Dream.
2,815 words (approx. 11.3 pages), 0 sources, £ 57.95
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Abstract
The paper discusses why Act two Scene one of Shakespeare's "A Midsummer Night's Dream" is a very important scene. In it all the major and minor themes of the play as a whole can be found, through a detailed analysis of the characters, their speech and the imagery the scene contains. Among other things, jealousy, the supernatural/natural world and love in all its different forms are explored in this essay. The paper contains a thorough analysis of the characters, imagery and ideas all contained within the scene, which can be applied to to the rest of the play as a whole.
From the Paper
"Cupid?s ?fiery shaft? renders the idea/theme of love as a fiery, passionate and heated affliction, that literally pierces the heart in a shower of flames. This idea foretells the lovesick hysteria that is soon to enfold the young Athenians, and can especially be seen in Helen as she traipses after the desperate Demetrius. The ?shaft? itself is contrasted with the description of the moon, which is ?chaste? and ?watery?, a hazy image in comparison to Cupid?s blazing arrow. The sing-song alliteration mirrors the maiden?s carefree state, in which she carries on unscathed by Cupid?s plan. The notion of love as an infliction (albeit a desirable infliction) is stressed once more by Oberon?s description of the ?love-in-idleness? as ?a little western flower? which has been turned ?purple with love's wound?."
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?A Midsummer Night?s Dream?, 2002.
A look at the themes of lunacy, love, and poetry in William Shakespeare?s ?A Midsummer Night?s Dream? .
1,090 words (approx. 4.4 pages), 1 source, MLA, £ 26.95
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Abstract
This paper examines how William Shakespeare?s play, ?A Midsummer Night?s Dream?, is full of memorable characters and how they exhibit, among other things, lunacy, lovesickness, and poetry. It analyzes the characters of Bottom, Helena, and Puck, and how they contribute to the play. It demonstrates how Bottom is portrayed as a hilarious lunatic, Helena as a fool in love, and Puck as a mischievous poet.
From the Paper
"Helena proves to be the most loving character in the play. She is in love with Demetrius and there is absolutely nothing that will change her mind. She demonstrates strength of character that can only be achieved through the emotion of love. Whether or not this is wise, is another question. Regardless, she illustrates the power of love and how love is one human emotion that is very difficult to control. For example, she is aware that he loves someone else, but yet she still professes her love to him. This is amazing considering the fact that he is sometimes cruel to her. For instance, when he tells her that he is ?sick when I do look on thee? (II.i.213), she simply responds that she is ?sick when I look not on you? (II.i.214). She illustrates how we can hear the most hurtful thing from the one we love and not be moved away from our affection."
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Puck of ?A Midsummer Night?s Dream?, 2002.
This paper discusses the character ?Puck? in Shakespeare?s ?A Midsummer Night?s Dream.?
1,575 words (approx. 6.3 pages), 5 sources, APA, £ 35.95
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Abstract
This paper examines the Shakespearean character ?Puck? in the play ? A Midsummer Night?s Dream.? It describes him as the head fairy and protagonist in the play and the reason this play is so magical. The paper describes the use of language in order to set apart the fairies from the ?mortals?.
From the Paper
"'Spirits and fairies cannot be represented, they cannot even be painted, -- they can only be believed'" (Bloom 87). This could be the opening line of Shakespeare?s ?A Midsummer Night?s Dream,? for as we watch the play unfold, we are taken out of the world of today, and into a magical world full of romance, magic, and farce, and Puck is a major player in the story that unfolds."
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"A Midsummer Night?s Dream", 2004.
A look at the themes of dream and reality in Shakespeare's "A Midsummer Night?s Dream".
1,587 words (approx. 6.3 pages), 4 sources, MLA, £ 35.95
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Abstract
William Shakespeare?s play, "A Midsummer Night?s Dream", creates a dream world fused with reality. Shakespeare successfully makes the world of Puck and other sprites realistic by employing powerful, vivid text in the play. The paper explains that, through his creative use of language, Shakespeare creates a world of illusion where things are not what they seem, and imagination pushes the limits of fact. The result of powerful language aided by our own imagination allows this enchanted world to appear real in the moonlit forest. It examines how the text of the play is constructed in such a way that we not only visualize the setting of the play, but we also come to know each character.
From the Paper
"The interplay between Puck, Lysander, and Demetrius demonstrates the contrast between mortals and fairies. Puck successfully misguides the two men until they become confused and lose their sense of direction. Puck has an added measure of fun when he tells Demetrius to follow his voice. While Lysander tries to follow that voice, he describes Pucks? nature almost perfectly. He states that the villain is ?much lighter-heeled? Shakespeare (III.ii.416) than he is and though he followed the voice fast, ?faster he did fly? (III.ii.417). Similarly, Demetrius encounters the same type of confusion with Puck."
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"A Midsummer Night?s Dream" by William Shakespeare, 2002.
An examination of the dream theme of Shakespeare's "A Midsummer Night?s Dream".
920 words (approx. 3.7 pages), 0 sources, MLA, £ 22.95
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Abstract
Dreaming and what happens during the period of slumber are two important themes that emerge from the Shakespearean comedy ?A Midsummer Night?s Dream?. This paper discusses the difference between actual dreams and the surreal situation in order to grasp the meaning and significance of ?dreaming? in the play.
From the Paper
"A Midsummer Night?s dream, as the name suggest, is full of instances of fantasy and illusion which makes it on the one hand, a beautiful magical tale while on the other a comic story where surrealism outweighs every other force. While many would think that love is the dominant theme of the play, the playwright it appears had another theme in mind when he created this story. Shakespeare has given dreams a more dominant role to play in the plot because it is during the period of slumber that magical things happen to the characters, which completely change the course of the play."
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?Midsummer Night?s Dream?, 2002.
A discussion of the importance of imagery in William Shakespeare's "Midsummer's Night's Dream".
600 words (approx. 2.4 pages), 1 source, MLA, £ 14.95
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Abstract
This paper discusses the importance of imagery and patterns in William Shakespeare?s "Midsummer Night?s Dream". The writer shows examples from the play to illustrate how imagery is presented such as the fact that the story is set in Athens, a mystical place filled with opportunity for imagery.
From the Paper
"One of the first patterns to emerge from the play is the pattern of control. It is not uncommon in plays from this era to view control issues, however, this play works to create a pattern of the need to control causing strife for the characters in the play. The refusal to marry Demetrius and instead she wishes to marry Lysander, tells the reader that she and her father will have a battle of wills and control."
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Transformations in "A Midsummer Night's Dream", 2002.
This paper examines the recurring changes of the moon and the transformation of the characters in "A Midsummer Night's Dream".
1,465 words (approx. 5.9 pages), 4 sources, £ 33.95
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Abstract
This paper analyzes one of William Shakespeare?s most celebrated comedic plays, "A Midsummer Night?s Dream". The author examines how the throughout the play the characters attempt to find a way to understand the mechanism of love in a rational way and experience self-alterations that they believe to be a dream in the end. The paper also looks at how the recurring reference to the ever-changing moon parallels the transformation of the characters in "A Midsummer Night?s Dream".
From the Paper:
"A Midsummer Night?s Dream" brilliantly expresses the profound human uncertainty about love. Dream world and reality merge undetectably so that the characters are not sure themselves in which sphere they move, nor whether what they have experienced has been imagination or truth. What seems to be a fantasy or a dream for the characters in "A Midsummer Night?s Dream" is actually reality. However, the dreamlike atmosphere of the play accentuates the fact that the lovers appear to be quite removed from any criteria applicable to reality."
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William Shakespeare's "A Midsummer Night's Dream", 2006.
This paper analyzes the use of comedy in William Shakespeare's "A Midsummer Night's Dream" as presented in the play-within-a-play, 'The Most Lamentable Comedy and Most Cruel Death of Pyramus and Thisby', in Act V.
1,495 words (approx. 6.0 pages), 3 sources, MLA, £ 34.95
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Abstract
This paper describes William Shakespeare's "A Midsummer Night's Dream as preposterous, and arsy-versy. The author points out that, by using the rude mechanicals, Shakespeare seems to be arguing that arsy-versy can turn even the most lamentable tragedy into a roaring comedy. The paper relates that an example of arsy-versy of one of the rude mechanicals is called Snug the Joiner, whose rhetoric is so slow and disjointed that he asks for his lines written in advance. The author also then discusses Titania as an example of preposterousnous, explaining that she is the fairy goddess who falls deeply in love with Bottom despite his having an ass for a head of which he is unaware. The paper concludes that the backwards reaction to the events of the play-within-the-play points to Shakespeare's message that people are insensitive to their own follies and yet are very perceptive of the same follies found in others.
From the Paper
"As the play begins, the preposterousness of the presentation is immediately shown in the prologue, which the rude mechanicals took great care to write so as not to offend the court. Peter Quince's delivery of the prologue presents a message opposite from the intended one. "If we offend, it is with our good will," he says, unfortunately telling the court that his intent is to offend. "All for your delight," he later says, "we are not here". The players then continue to present their play in a rather backwards manner; by making it crystal clear to the court that what they see in front of them isn't real."
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"A Midsummer Night's Dream", 2002.
An examination of the themes of magic and imagination in Shakespeare's play "A Midsummer Night's Dream".
1,900 words (approx. 7.6 pages), 5 sources, £ 49.95
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Abstract
Specifically, this paper presents a thesis that magic and imagination drive the events of the story in "A Midsummer Night's Dream" more than in any other Shakespearean play, thus making "A Midsummer Night's Dream" Shakespeare's only play of pure fantasy.
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"A Midsummer Night's Dream", 2006.
This paper discusses and analyzes the play "A Midsummer Night's Dream" by William Shakespeare.
1,050 words (approx. 4.2 pages), 2 sources, MLA, £ 25.95
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Abstract
The writer of this article studies various acts of Shakespeare's play "A Midsummer Night's Dream". The paper provides a view of one of Shakespeare's most famous and most loved works. In particular, the paper looks at how an all-male cast affects three pivotal scenes and explains how this staging tactic demands that audiences respond in a particular way. The writer explains that using only men in all the roles would have been common in Shakespeare's time, but today, it seems to take away from the impact and humor of the play.
From the Paper
"Clearly, the implications and consequences of the play are different when all the cast members are one gender. Some of the passion goes out of the play, and some of the scenes may even seem ridiculous or far-fetched. Personally, the play is funny and emotional, and some of that might just seem like farce to the audience when the cast was all male. It might seem more like "The Bird Cage" or other gay films. Giving hints of femaleness may work with some of the cast, but in other scenes, giving hints may simply take away the dramatic effect and lessen the impact of the play. The femaleness of the female characters is very important to the play, but it can be overcome with actors who believe in what they are doing and deliver their lines with conviction. Tongue-in-cheek lines will ruin the entire meaning and impact of the play."
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Comedy in "A Midsummer Night's Dream", 2006.
An analysis of William Shakespeare's use of comedy in his play "A Midsummer Night's Dream".
1,487 words (approx. 5.9 pages), 1 source, MLA, £ 34.95
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Abstract
This report looks at Shakespeare's play "A Midsummer Night's Dream" from the perspective of how the author uses comedy in the play to achieve plot and character development. It primarily looks at Shakespeare's ironic references but also considers more serious themes in the play. For example, when Shakespeare refers to the players as asses in the work, this highlights the ridiculousness and humorous aspects of the scene. The paper concentrates on such scenes, around the general theory that Shakespeare used comedy to further some contrast to the serious scenes in the play.
From the Paper
"In the first scene of Shakespeare's A Midsummer Night's
Dream, the character Helena, after the other characters have gone offstage, continues to speak to the audience about her conception of love. She seems to contradict herself, first saying that love is born of the mind and then stating its blindness and irrationality. This
is showing some humor already in that there is a willful contradiction for the audience. More seriously, her idea of love is one that is mixed up in power and revenge, and these themes come into play later on in the work, when Oberon and Titania have their own schemes of power and revenge in the forest."
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Shakespeare's "A Midsummer's Night Dream", 2007.
This paper compares and contrasts Shakespear's original version of "A Midsummer's Night Dream" with the film version.
990 words (approx. 4.0 pages), 2 sources, MLA, £ 24.95
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Abstract
The paper discusses how both the film and the original version of William Shakespeare's romantic comedy "A Midsummer's Night Dream" use the same words to tell a tale of temporarily thwarted young love. Yet, there are many differences the paper illustrates. The paper explains that because the film uses visual images to illustrate the words of the Shakespearean play and makes use of selective cutting to emphasize certain scenes over others, the film offers a more selective view of dreams and dreaming as opposed to the play that is viewed in its complete and uncut form.
From the Paper
"The nature of cinema allows the director of "A Midsummer's Night Dream" to make the fairies, such as Titania, Oberon, and Puck seem much more fantastical in contrast to the earth-bound mortals. The fairies float; strange, beautiful lights surround them. Yet in this rendition, they lose some of the earthier, humorous, and more interesting mortal qualities in contrast to the warring fairy characters in the play."
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"A Midsummer Night's Dream": The Film, 2001.
Reviews Michael Hoffman's film adaptation of William Shakespeare's, "A Midsummer Night's Dream".
1,207 words (approx. 4.8 pages), 2 sources, MLA, £ 28.95
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Abstract
This is a film review of Michael Hoffman's 1999 portrayal of William Shakespeare's play, "A Midsummer Night's Dream". This essay isolates the weaknesses in Hoffman's art, arguing that Hoffman takes so many liberties in filming his adaptation, that the final product is void of anything Shakespearean, save the original language. The paper also highlights several moments of cinematic genius and mentions the excellent acting by Kevin Kline.
From the Paper
"Kevin Kline?s Nick Bottom is the film?s sole redeeming character. Klines shines as Bottom, combining joy and apprehension throughout his oscillating plots. Delivering one of his better performances, Kline plays Nick Bottom as a tragic-comic champion-a despondent drudge with big stage aspirations. The play-within-a play subplot works well with Hoffman?s rough mechanicals. When Bottom is transformed into an ass, the object of Queen Titania?s affection, it is poignant to note how his moment of grandeur renders him completely oblivious to his physical state. Bottom alone gives flight to the central idea that love is both maddening and redeeming, and the comedy seems to soar whenever Kline appears."
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Film Adaptation of "A Midsummer Night's Dream", 2002.
Comparison of Shakespeare's original play "A Midsummer Night's Dream" with the 1999 film adaptation by Michael Hoffman.
1,150 words (approx. 4.6 pages), 3 sources, £ 30.95
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Abstract
This paper looks at and compares Shakespeare's play, A Midsummer Night's Dream, with Michael Hoffman's 1999 film adaptation. Looking at how specific differences such as language and scenes differ from interpretations, and how if there is any suggestive influence that enables us to better understand the original play.
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