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.The comedy is at its silliest, and the characters are at their most extreme: Helena and Hermia nearly come to blows as a result of their physical insecurities, and Lysander and Demetrius actually try to have a duel.The plot is at its most chaotic, and, though there is no real climax in A Midsummer Night's Dream, the action is at its most intense.With the falling action of Acts IV and V, however, matters will sort themselves out quickly and order will be restored.Like Act III, scene i, Act III, scene ii serves a mainly developmental role in the plot structure of A Midsummer Night's Dream, focusing on the increasing confusion among the four Athenian lovers.Now that both men have been magically induced to switch their love from Hermia to Helena, the vanities and insecurities of both women become far more pronounced.Helena's low self-esteem prevents her from believing that either man could really be in love with her.Hermia, who is used to having both men fawn on her, has her vanity stung by the fact that they are suddenly cold and indifferent toward her.She reveals a latent insecurity about her short stature when she assumes that Helena has used her height (“her personage, her tall personage”) to win Lysander's love, and her quick temper is revealed in Helena's fear that Hermia will attack her (III.ii.293).The men's exaggerated masculine aggression leads them to vow to protect Helena from the dreaded Hermia—a ridiculous state of affairs given that they are two armed men whereas Hermia is a tiny, unarmed woman.Their aggression betrays Helena, however, as the men refocus it on their competition for her love.The potion is responsible for the confusion of the lovers' situation; thus, Shakespeare links the theme of magic to the motif of imbalanced love, which dominates the scene.Had the love potion never been brought into play, the Athenian lovers would still be tangled in their romantic mess, but they would all understand it, whereas the fairies' meddling has left both Hermia and Helena unable to comprehend the situation.Additionally, Puck's magical ventriloquism is what prevents Lysander and Demetrius from killing each other at the end of the scene.Thus, magic both brings about their mutual hostility (to this point, Lysander has not been antagonistic toward Demetrius) and resolves it.Act IV, scene iSummaryAs the Athenian lovers lie asleep in the grove, Titania enters with Bottom, still with the head of an ass, and their fairy attendants.Titania tells Bottom to lie down with his head in her lap, so that she may twine roses into his hair and kiss his “fair large ears” (IV.i.4).Bottom orders Peaseblossom to scratch his head and sends Cobweb to find him some honey.Titania asks Bottom if he is hungry, and he replies that he has a strange appetite for hay.Titania suggests that she send a fairy to fetch him nuts from a squirrel's hoard, but Bottom says that he would rather have a handful of dried peas.Yawning, he declares that he is very tired.Titania tells him to sleep in her arms, and she sends the fairies away.Gazing at Bottom's head, she cries, “O how I love thee, how I dote on thee!” and they fall asleep (IV.i.42).Puck and Oberon enter the glade and comment on the success of Oberon's revenge.Oberon says that he saw Titania earlier in the woods and taunted her about her love for the ass-headed Bottom; he asked her for the Indian child, promising to undo the spell if she would yield him, to which she consented.Satisfied, Oberon bends over the sleeping Titania and speaks the charm to undo the love potion.Titania wakes and is amazed to find that she is sleeping with the donkeylike Bottom.Oberon calls for music and takes his queen away to dance.She says that she hears the morning lark, and they exit.Puck speaks a charm over Bottom to restore his normal head, and he follows after his master.As dawn breaks, Theseus, his attendants, Hippolyta, and Egeus enter to hear the baying of Theseus's hounds.They are startled to find the Athenian youths sleeping in the glade.They wake them and demand their story, which the youths are only partly able to recall—to them, the previous night seems as insubstantial as a dream.All that is clear to them is that Demetrius and Helena love each other, as do Lysander and Hermia.Theseus orders them to follow him to the temple for a great wedding feast.As they leave, Bottom wakes.He says that he has had a wondrous dream and that he will have Peter Quince write a ballad of his dream to perform at the end of their play.AnalysisBarely 300 lines long, Act IV is the shortest and most transitional of A Midsummer Night's Dream's five acts.The first three serve respectively to introduce the characters, establish the comic situation, and develop the comedy; Act IV ends the conflict and leads to the happy ending in Act V.What is most remarkable, perhaps, is the speed with which the conflict is resolved and the farce comes to an end; despite the ubiquity of chaos in Act III, all that is necessary to resolve matters is a bit of potion on Lysander's eyelids and Oberon's forgiveness of his wife.The climactic moment between Titania and Oberon, during which she agrees to give him the Indian boy, is not even shown onstage but is merely described.Though Demetrius's love of Helena is a by-product of the magic potion rather than an expression of his natural feelings, love has been put into balance, allowing for a traditional marriage ending.As is often the case with Shakespeare, the dramatic situation is closely tied to the circumstances of the external environment; just as the conflict is ending and a semblance of order is restored among the characters, the sun comes up [ Pobierz całość w formacie PDF ]
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.The comedy is at its silliest, and the characters are at their most extreme: Helena and Hermia nearly come to blows as a result of their physical insecurities, and Lysander and Demetrius actually try to have a duel.The plot is at its most chaotic, and, though there is no real climax in A Midsummer Night's Dream, the action is at its most intense.With the falling action of Acts IV and V, however, matters will sort themselves out quickly and order will be restored.Like Act III, scene i, Act III, scene ii serves a mainly developmental role in the plot structure of A Midsummer Night's Dream, focusing on the increasing confusion among the four Athenian lovers.Now that both men have been magically induced to switch their love from Hermia to Helena, the vanities and insecurities of both women become far more pronounced.Helena's low self-esteem prevents her from believing that either man could really be in love with her.Hermia, who is used to having both men fawn on her, has her vanity stung by the fact that they are suddenly cold and indifferent toward her.She reveals a latent insecurity about her short stature when she assumes that Helena has used her height (“her personage, her tall personage”) to win Lysander's love, and her quick temper is revealed in Helena's fear that Hermia will attack her (III.ii.293).The men's exaggerated masculine aggression leads them to vow to protect Helena from the dreaded Hermia—a ridiculous state of affairs given that they are two armed men whereas Hermia is a tiny, unarmed woman.Their aggression betrays Helena, however, as the men refocus it on their competition for her love.The potion is responsible for the confusion of the lovers' situation; thus, Shakespeare links the theme of magic to the motif of imbalanced love, which dominates the scene.Had the love potion never been brought into play, the Athenian lovers would still be tangled in their romantic mess, but they would all understand it, whereas the fairies' meddling has left both Hermia and Helena unable to comprehend the situation.Additionally, Puck's magical ventriloquism is what prevents Lysander and Demetrius from killing each other at the end of the scene.Thus, magic both brings about their mutual hostility (to this point, Lysander has not been antagonistic toward Demetrius) and resolves it.Act IV, scene iSummaryAs the Athenian lovers lie asleep in the grove, Titania enters with Bottom, still with the head of an ass, and their fairy attendants.Titania tells Bottom to lie down with his head in her lap, so that she may twine roses into his hair and kiss his “fair large ears” (IV.i.4).Bottom orders Peaseblossom to scratch his head and sends Cobweb to find him some honey.Titania asks Bottom if he is hungry, and he replies that he has a strange appetite for hay.Titania suggests that she send a fairy to fetch him nuts from a squirrel's hoard, but Bottom says that he would rather have a handful of dried peas.Yawning, he declares that he is very tired.Titania tells him to sleep in her arms, and she sends the fairies away.Gazing at Bottom's head, she cries, “O how I love thee, how I dote on thee!” and they fall asleep (IV.i.42).Puck and Oberon enter the glade and comment on the success of Oberon's revenge.Oberon says that he saw Titania earlier in the woods and taunted her about her love for the ass-headed Bottom; he asked her for the Indian child, promising to undo the spell if she would yield him, to which she consented.Satisfied, Oberon bends over the sleeping Titania and speaks the charm to undo the love potion.Titania wakes and is amazed to find that she is sleeping with the donkeylike Bottom.Oberon calls for music and takes his queen away to dance.She says that she hears the morning lark, and they exit.Puck speaks a charm over Bottom to restore his normal head, and he follows after his master.As dawn breaks, Theseus, his attendants, Hippolyta, and Egeus enter to hear the baying of Theseus's hounds.They are startled to find the Athenian youths sleeping in the glade.They wake them and demand their story, which the youths are only partly able to recall—to them, the previous night seems as insubstantial as a dream.All that is clear to them is that Demetrius and Helena love each other, as do Lysander and Hermia.Theseus orders them to follow him to the temple for a great wedding feast.As they leave, Bottom wakes.He says that he has had a wondrous dream and that he will have Peter Quince write a ballad of his dream to perform at the end of their play.AnalysisBarely 300 lines long, Act IV is the shortest and most transitional of A Midsummer Night's Dream's five acts.The first three serve respectively to introduce the characters, establish the comic situation, and develop the comedy; Act IV ends the conflict and leads to the happy ending in Act V.What is most remarkable, perhaps, is the speed with which the conflict is resolved and the farce comes to an end; despite the ubiquity of chaos in Act III, all that is necessary to resolve matters is a bit of potion on Lysander's eyelids and Oberon's forgiveness of his wife.The climactic moment between Titania and Oberon, during which she agrees to give him the Indian boy, is not even shown onstage but is merely described.Though Demetrius's love of Helena is a by-product of the magic potion rather than an expression of his natural feelings, love has been put into balance, allowing for a traditional marriage ending.As is often the case with Shakespeare, the dramatic situation is closely tied to the circumstances of the external environment; just as the conflict is ending and a semblance of order is restored among the characters, the sun comes up [ Pobierz całość w formacie PDF ]