Drawing on the works of Freud and other psychologists, but basing its argument on the language and dramatic structure of the plays themselves, Dream in Shakespeare presents a coherent and innovative reading of the plays and their developing concept of dream. Skip to main content.
From Metaphor to Metamorphosis. Description Reviews. Dream is a central image for Shakespeare, encompassing at once the terrors of the irrational and the creative powers of the imagination—one's deepest fears and highest aspirations.
Used in the early plays as a verbal or structural device, dream becomes, in the tragedies and late romances, a transforming experience which leads the dreamer toward a moment of self-awareness. Kenan, Jr. She lives in Cambridge, MA.
Imagination in Shakespeare's "A Midsummer Night's Dream", Act 5 / Scene 1
As fresh and perceptive as it was forty years ago, Dream in Shakespeare is one of those few critical monographs so beguiling that when one finishes reading it, one cries to dream again. It will remind you of what Garber has always been so very good at doing: taking something that we thought we knew and showing us how much more interesting and surprising in fact it is.
Bodman Professor of English, Yale University. Bottom returns, and the actors get ready to put on "Pyramus and Thisbe. The performers are so terrible playing their roles that the guests laugh as if it were meant to be a comedy, and everyone retires to bed. Afterwards, Oberon, Titania, Puck, and other fairies enter, and bless the house and its occupants with good fortune.
After all the other characters leave, Puck "restores amends" and suggests that what the audience experienced might just be a dream. It is unknown exactly when A Midsummer Night's Dream was written or first performed, but on the basis of topical references and an allusion to Edmund Spenser 's Epithalamion , it is usually dated or early Some have theorised that the play might have been written for an aristocratic wedding for example that of Elizabeth Carey, Lady Berkeley , while others suggest that it was written for the Queen to celebrate the feast day of St.
John , but no evidence exists to support this theory. In any case, it would have been performed at The Theatre and, later, The Globe. Though it is not a translation or adaptation of an earlier work, various sources such as Ovid 's Metamorphoses and Chaucer 's " The Knight's Tale " served as inspiration. According to Dorothea Kehler, the writing period can be placed between and , which means that Shakespeare had probably already completed Romeo and Juliet and was still in contemplation of The Merchant of Venice.
The play belongs to the early-middle period of the author, a time when Shakespeare devoted primary attention to the lyricism of his works. The play was entered into the Register of the Stationers' Company on 8 October by the bookseller Thomas Fisher , who published the first quarto edition later that year.
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The title page of Q1 states that the play was "sundry times publickely acted" prior to Prior to the Christian St. It was the first festive day and night when Adonis was allowed to depart the underworld to spend six months with his paramour, Aphrodite. It was considered a time to celebrate the first bliss of new and reunited lovers. The wedding of Theseus and Hippolyta and the mistaken and waylaid lovers, Titania and Bottom, even the erstwhile acting troupe, model various aspects and forms of love.
It was written for a wedding, and part of the festive structure of the wedding night. The audience who saw the play in the public theatre in the months that followed became vicarious participants in an aristocratic festival from which they were physically excluded. My purpose will be to demonstrate how closely the play is integrated with a historically specific upper-class celebration. David Bevington argues that the play represents the dark side of love. He writes that the fairies make light of love by mistaking the lovers and by applying a love potion to Titania's eyes, forcing her to fall in love with an ass.
Fantasy vs. Reality in a Midsummer Night's Dream Essay
Hermia and Lysander are both met by Puck, who provides some comic relief in the play by confounding the four lovers in the forest. However, the play also alludes to serious themes. At the end of the play, Hippolyta and Theseus, happily married, watch the play about the unfortunate lovers, Pyramus and Thisbe, and are able to enjoy and laugh at it. There is a dispute over the scenario of the play as it is cited at first by Theseus that "four happy days bring in another moon". It is possible that the Moon set during the night allowing Lysander to escape in the moonlight and for the actors to rehearse, then for the wood episode to occur without moonlight.
Theseus's statement can also be interpreted to mean "four days until the next month". Another possibility is that, since each month there are roughly four consecutive nights that the moon is not seen due to its closeness to the sun in the sky the two nights before the moment of new moon, followed by the two following it , it may in this fashion indicate a liminal "dark of the moon" period full of magical possibilities. This is further supported by Hippolyta's opening lines exclaiming "And then the moon, like to a silver bow New-bent in heaven, shall behold the night of our solemnities.
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The play also intertwines the Midsummer Eve of the title with May Day , furthering the idea of a confusion of time and the seasons. This is evidenced by Theseus commenting on some slumbering youths, that they "observe The rite of May". Maurice Hunt, Chair of the English Department at Baylor University , writes of the blurring of the identities of fantasy and reality in the play that make possible "that pleasing, narcotic dreaminess associated with the fairies of the play".
This also seems to be the axis around which the plot conflicts in the play occur.
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Hunt suggests that it is the breaking down of individual identities that leads to the central conflict in the story. Victor Kiernan, a Marxist scholar and historian, writes that it is for the greater sake of love that this loss of identity takes place and that individual characters are made to suffer accordingly: "It was the more extravagant cult of love that struck sensible people as irrational, and likely to have dubious effects on its acolytes. It is driven by a desire for new and more practical ties between characters as a means of coping with the strange world within the forest, even in relationships as diverse and seemingly unrealistic as the brief love between Titania and Bottom: "It was the tidal force of this social need that lent energy to relationships.
The aesthetics scholar David Marshall draws out this theme even further by noting that the loss of identity reaches its fullness in the description of the mechanicals and their assumption of other identities. In describing the occupations of the acting troupe, he writes "Two construct or put together, two mend and repair, one weaves and one sews. All join together what is apart or mend what has been rent, broken, or sundered.
Further, the mechanicals understand this theme as they take on their individual parts for a corporate performance of Pyramus and Thisbe. Marshall remarks that "To be an actor is to double and divide oneself, to discover oneself in two parts: both oneself and not oneself, both the part and not the part. It seems that a desire to lose one's individuality and find identity in the love of another is what quietly moves the events of A Midsummer Night's Dream.
Dreaming with Shakespeare During a Summer of Chaos
As the primary sense of motivation, this desire is reflected even in the scenery depictions and the story's overall mood. Green explores possible interpretations of alternative sexuality that he finds within the text of the play, in juxtaposition to the proscribed social mores of the culture at the time the play was written. He writes that his essay "does not seek to rewrite A Midsummer Night's Dream as a gay play but rather explores some of its 'homoerotic significations' Green does not consider Shakespeare to have been a "sexual radical", but that the play represented a "topsy-turvy world" or "temporary holiday" that mediates or negotiates the "discontents of civilisation", which while resolved neatly in the story's conclusion, do not resolve so neatly in real life.
Slights albeit all the characters are played by males. Male dominance is one thematic element found in A Midsummer Night's Dream. Upon their arrival in Athens, the couples are married. Marriage is seen as the ultimate social achievement for women while men can go on to do many other great things and gain social recognition.
In reference to the triple wedding, he says, "The festive conclusion in A Midsummer Night's Dream depends upon the success of a process by which the feminine pride and power manifested in Amazon warriors, possessive mothers, unruly wives, and wilful daughters are brought under the control of lords and husbands. A connection between flowers and sexuality is drawn.
Shakespeare Dream Quotes: Quotes About Dreams
The juice employed by Oberon can be seen as symbolising menstrual blood as well as the "sexual blood shed by 'virgins'". While blood as a result of menstruation is representative of a woman's power, blood as a result of a first sexual encounter represents man's power over women. There are points in the play, however, when there is an absence of patriarchal control.
Tennenhouse contrasts the patriarchal rule of Theseus in Athens with that of Oberon in the carnivalistic Faerie world. The disorder in the land of the fairies completely opposes the world of Athens. He states that during times of carnival and festival, male power is broken down. For example, what happens to the four lovers in the woods as well as Bottom's dream represents chaos that contrasts with Theseus' political order.
However, Theseus does not punish the lovers for their disobedience. According to Tennenhouse, by forgiving the lovers, he has made a distinction between the law of the patriarch Egeus and that of the monarch Theseus , creating two different voices of authority. This distinction can be compared to the time of Elizabeth I , in which monarchs were seen as having two bodies: the body natural and the body politic.
Elizabeth's succession itself represented both the voice of a patriarch as well as the voice of a monarch: 1 her father's will which stated that the crown should pass to her and 2 the fact that she was the daughter of a king. Dorothea Kehler has attempted to trace the criticism of the work through the centuries. The earliest such piece of criticism was a entry in the diary of Samuel Pepys. He found the play to be "the most insipid ridiculous play that ever I saw in my life".
He was preoccupied with the question of whether fairies should be depicted in theatrical plays, since they did not exist. He concluded that poets should be allowed to depict things which do not exist but derive from popular belief. And fairies are of this sort, as are pigmies and the extraordinary effects of magick. Charles Gildon in the early 18th century recommended this play for its beautiful reflections, descriptions, similes, and topics.
Gildon thought that Shakespeare drew inspiration from the works of Ovid and Virgil , and that he could read them in the original Latin and not in later translations. Horace Howard Furness , defending the play in , felt that the apparent inconsistency did not detract from the play's quality. William Duff , writing in the s, also recommended this play. He felt the depiction of the supernatural was among Shakespeare's strengths, not weaknesses.