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MAJOR IDEAS IN MND--APPEARANCE VS. REALITY

PREFATORY REMARKS

Note that the play may have a frame story technique in which what happens in Act I and Act V constitutes the frame, and the central acts fill in the "pictures." In this kind of literature, the relationship between the frame and the picture allows for the development of various kinds of irony. Works you may know that use the frame are:


1. The Book of Job
2. Chaucer's General Prologue to the "Canterbury Tales"
3. Coleridge's Rime of the Ancient Mariner

As you examine the passages below, note their "location" relative to the frame/picture technique, and note too the following themes that demonstrate Bloom's hypothesis that Shakespeare "invented personality":


The following themes are important in the play:


1. relationship between the world of the city and the world of the forest-FRAME
2. the function of Bottom and his players--note an important Biblical allusion
3. the role of imagination in human affairs, especially of the heart
4. the importance of mistaken identity
5. the role of pain and misfortune in the play--relate to paradox and irony
6. different kinds of characters: mortal and immortal--how does one know the other
7. Shakespeare's use of " sleep," "dream" and "dreaming" in other plays. Note what play links the words:


A COMPARATIVE APPROACH:

In addition to these, note that one way to approach the study of a Shakespeare play is to compare it to other works by Shakespeare to look for common themes. For our play, the following might be useful:


1. the sonnets--are there any that reflect themes in MND
2. Romeo and Juliet--find a passage that links supernatural elements to MND
3. Hamlet--find a passage that links supernatural elements to MND.


ACT ONE:

i, ll. 1ff.-----idea of dreaming bewitched fantasy

i, ll. 130 ff.-----commentary on love's difficulty, by Hermia and Lysander

i, ll. 235ff.-----power of love, Helena's soliloquy--transposing power of love


Conclusion--we are about to be in contact with a higher reality:

The contrast apparently happens when we move from the dream into the center of the picture: metaphorically the woods:


In The Republic, Plato notes regarding the soul and the state:

What is the relationship between the diagram and the frame narrative? Where would you assign the various characters places on the diagram?


ACT TWO:

i,ll. 40---what Puck can do to confuse the locals --("Imaginative" figments explain accidents, but of what kind?

i,ll. 85ff---Titania and Oberon's dialogue on "disturbing the macrocosm"-- Compare Romeo and Juliet: I,iv:

However, there can be opposites at work as in III,ii,395 to which we can compare HAMLET...


i,ll. 240 ff.---relationship of the lovers / Heaven and hell/ Demetrius and Helena


ii,ll. 65---the "misannointing" of Lysander by Puck--the pain of mocked: line 123


ACT THREE:

i,ll. 30 ff.-----Bottom's problem with the rehearsal and the ASS-HEAD REGARDING THE PLAY WITHIN THE PLAY:--

One of the important 'sources' for MND is from the Fourth Book of Ovid's Metamorphoses concerning the tale of Pyramus and Thisbe. Note the genre and form of the tale; then determine why Shakespeare chose it for the "play within the play." What changes did he make and why:

The Story of Pyramus and Thisbe

Questions:

1. What is the reality behind the appearance?

2. Who is the only character in the play who ‘sees’ the other reality, the ‘Betty and Barney Hill”in the play?


i,ll. 135 ff.---Titania and Bottom in love--"Wisdom and Beauty"--What is the wisdom of Bottom?

ii,ll. 115---What is the wisdom of Puck?


ii,ll. 125ff.----painful results of the "misannointing" Helena is mocked: ll. 146, 170, 285


ii,ll. 375--415:----symbol of Athens and the forest and dreams -what is an indication that the world of the forst is coming to an end?


ii,ll. 400----nature of the spirit world and compare Hamlet: (II,ii)


SO COMEDY AND TRAGEDY ARE A MATTER OF PERSPECTIVE: ARISTOTLE:

ARISTOTLE on the nature of tragedy:

Tragedy is an imitation of an action that is serious, complete, and possessing magnitude...in the mode of action; not narrated; and effecting pity and fear [what we call catharsis] of such emotions.

(Tragedy involves...)

reversal: change from one state of affairs to its exact opposite.
recognition: change from ignorance to knowledge...on the partof those who are marked for good fortune or bad

(On tragic character...)

Good men ought not to be shown passing from prosperity to misfortune, for this does not inspire either pity or fear, but only revulsion; nor evil men rising from ill fortune to prosperity...neither should a wicked man be seen falling from prosperity into misfortune...We are left with the man whose place is between these extremes. Such is the man who on the one hand does not fall into misfortune through vice or depravity. He falls because of some mistake ...[This is often mistranslated as the tragic flaw.]


ARISTOTLE on the nature of comedy:

As for Comedy, it is (as has been observed) an imitation of men worse than the average; worse, however, not as regards any and every sort of fault, but only as regards one particular kind, the Ridiculous, which is a species of the Ugly. The Ridiculous may be defined as a mistake or deformity not productive of pain or harm to others; the mask, for instance, that excites laughter, is something ugly and distorted without causing pain. Though the successive changes in Tragedy and their authors are not unknown, we cannot say the same of Comedy; its early stages passed unnoticed, because it was not as yet taken up in a serious way.


SUMMARY OF ACTS ONE T0 THREE:

1--LOVE CAN TRANSPOSE PAIN TO PLEASURE TO PAIN TO ........?........

2--HOW CAN WE RECOGNIZE THAT ANOTHER REALITY EXISTS?

3--THE LINE BETWEEN COMEDY AND TRAGEDY IS THIN

4--BOTTOM IS THE KEY CHARACTER--HIS LITERALISM MAKES THE
SUPERNATURAL WORLD CREDIBLE

5--THE IMAGINATION IS NECESSARY FOR HUMANITY

6--REASON AND PASSION ARE BOTH NEEDED FOR HUMANITY


ACT FOUR:

The process of restoration to normality begins:


i, ll. 45---misannointing is corrected , and the characters respond....

That we speak of, is wisdom among them that are perfect: not the wisdom of this world neither of the rulers of this world (which go to nought) but we speak the wisdom of (God, which is in secret and lieth hidden, which God ordained before the world unto our glory; which wisdom none of the rulers of the WORLD knew. For had they known it. they would not have crucified the Lord of glory. But as it is written: the eye hath not seen, and the ear hath not heard, nether have entered into the heart of man, the things which God hath prepared for them that love him. But God hath opened them unto us by his spirit. For the spirit searches all things, yes the bottom of God's secrete. (I Corinthians ii. )


ACT FIVE:

Act V takes us to the play within the play, (Pyramus and Thisby) and the city:

i, ll. 90---the play within the play and the relationship between comedy and tragedy


i, ll. 390--the problem of the two endings?


How has the frame narrative enhanced our understanding of Shakespeare's intentions?