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death of a salesman3 misc10

death of a salesman3 misc10 Midsummer Night’s Dream begins in the palace of Theseus, Duke of Athens. Theseus a mythical Greek hero is about to marry Hippolyta, Queen of the Amazons, a mythical race of women-warriors. Hermia’s father, Egeus, comes before the Duke to ask that she be punished by law for disobeying him. Hermia wants to marry Lysander and Egeus wants her to marry Demetrius. The law he asks to be invoked provides that she die or enter a nunnery if she doesn’t obey her father. We learn that Demetrius, hermia’s father’s choice, has abandoned Helena. Helena still loves her unfaithful Demetrius. Lysander and Hermia plan to elope. They tell Helena, who says she’ll tell Demetrius. All four lovers will go to the woods the next night: Hermia and Lysander to elope; Demetrius to prevent this, having been warned by Helena; and Helena herself to be with Demetrius. A situation that was all right before the play began is now off balance, with the two men loving Hermia, and Helena sad and lovelorn. In William Shakespeare's tragic comedy play written in 1595, A Midsummer Night's Dream, there are two characters, who play as the leaders of both the human and magical worlds. These characters are Theseus, the Duke of Athens, and Oberon, the King of the Fairies. Both of these characters have many similarities, and many differences. These similarities and differences are apparent in the way they have shaped their personalities, relationships, and their roles in society. Shakespeare’s Theseus is really a romantic rather than a classical character. As Duke of Athens he reminds us somewhat of Henry V, King of England. He appears to be Shakespeare’s earlier conception of his ideal king. Like King Henry he is a great warrior and a ruler possessed of much dignity and majesty. He bears some resemblance to the English king also in the fact that his youth had been rather wild (Act II, Sc. 1, 76-81). That was when he was still under the influence of the fairies, an influence which passed away before the period of his life presented in the play. Here we see him as a soldier and a man of action, who wooed his wife with his sword, and `won her love doing her injuries’, and who in times of peace loved to hear the music of his hounds. His career has been one of conquest (Act V, Sc. 1, 51, 93-100), his triumphs have been celebrated in set orations prepared by great scholars who have `shivered and looked pale’ in the presence of so famous of a soldier. But he, being a man of action rather than of words, who could appreciate any service done him `when simpleness and duty tender it’, has a preference for `the modesty of fearful duty’ rather than for the rattling tongue of saucy and audacious eloquence (Act V, Sc. 1, 102). His love for Hippolyta is no romantic passion like the loves of his young Athenian friends. Indeed, although he makes love at the beginning of the play in a dignified and stately fashion, we find him later comparing together `the lunatic, the lover and the poet,’ apparently without any idea of including himself in his description (Act V, Sc. 1, 7-20). He is certainly not unimaginative, but he keeps his imagination well under control and therein differs from those who `are of imagination all compact’. He cannot believe in the visions and dreams of the lovers in the forest, in `these antique fables, nor these fairy toys’. His life has been too full of action and hard work to allow him to let his imagination run riot, but he has very true idea of `the pleasures of the imagination’. Unlike Hippolyta, to whom the Interlude is simply `the silliest stuff that ever I heard’, he can find enjoyment in the honest attempts of him `the best in this kind are but shadows and the worst are no worse if imagination amend them’. Theseus is a kind and generous and shows a strong inclination to make everyone happy in his kingdom. He proclaims a fortnight’s holiday on the occasion of his marriage. He endeavors to persuade Hermia to submit to her father’s will, and though, being himself a ruler, he naturally upholds the Athenian law, yet we feel all the time that his sympathies are with the daughter rather than with the stern parent. When Demetrius expresses his determination to be true to his first love, the Duke unhesitatingly overrides the will of Egeus. A statement such as that shows that he is a man of power and loves to be in control, just like Oberon does. Both of these characters wish to have the power in their relationships with their partners. They do not like the fact that their wives also like to have power. Oberon’s triumphant speech’s are poetic and based upon illusions, where as Theseus speaks sternly, and direct. This is apparent in his attitude throughout the play. Theseus and Oberon, both have the same roles in each of their societies. Theseus is the Duke of Athens, and has the power of the humans, whereas Oberon, the King of the Fairies, has the majesty and power in his world that Theseus has in his. The difference between the two worlds bespeaks the difference between the two characters, for Oberon is triumphant in poetry and illusion - "King of Shadows" Puck calls him, while as mere shadows Theseus disparages even the most expert purveyors if illusion (Act V, Sc. 1, 212-213). The marriage of Theseus is the framing event in the daylight world of the play. It is the first thing we hear of and the last thing that happens, but the cloth that is woven within this frame is of Oberon’s design. He and his assistant Puck move the shuttle of this loom madly between the straight uprights of Theseus’ frame. The lovers are matched as warp and woof, and Bottom’s experience runs as a strong diagonal thread knitting all sturdily. All of this comes about because Oberon can’t have something that he wants. Titania has a changeling whom she has excellent reasons for wishing to keep. The little boy’s mother was a special friend who died giving birth to this child. But Oberon must have this boy. He obtains the love juice to divert Titania’s interest from the child and he’ll only disenchant her once the changeling is securely in his own train. When we remember that this is the motive behind all that happens in the woods, Oberon comes off a little better than the two male lovers. For magnanimity of spirit and depths of emotion he’s about on par with them. However, as soon as Oberon speaks the poetry Shakespeare has given him, we too are completely in his power. His magnificent description of the occasion when he first saw "the little western flower" obliterates any lingering doubts about the petty purpose he intends it for. His poetry evokes a music that made "the rude sea" grow civil and caused the stars to shoot "madly from their spheres". This is the Oberon we remember, the King of Shadows to whom such things happen and who can thus recreate his experiences. These characters, prove to be independent in this play, they wish not to rely on anyone else but themselves .Theseus makes many comments about capturing his wife, Hippolyta, Queen of the Amazons, and shows us that he now has her power as well as his. This type of relationship is also seen in Titania and Oberon. Oberon is skilled with magic and power, and knows how to use both of these qualities. We notice Oberon’s fierce side of him when Titania, decides to keep the changeling to herself. When this happens, Oberon develops a hatred towards Titania, wanting to seek revenge because of his jealousy. He gets both; his revenge by making a fool out of Titania by making her fall in love with an ass, and overcomes his jealousy by capturing the child himself. Bibliography:

Word Count: 1400