Hippolyta Plot

Firstly let us consider conflict. In each act of the play, we see the overpowering desire to belong leading to a climax of conflict

protagonists and antagonists, the plot structure and events of the story and the way he

The creative response I have written is a modern parody adaption of act two, scene two and act three, scene two. The theme I have focused on is the complexities of love and the motif of love out of balance which is portrayed throughout the play. I have specifically chosen these scenes to focus on the romantic entanglement between Hermia, Helena, Lysander and Demetrius. In these scenes Puck uses a magical love potion to create disturbance and chaos amongst these characters romances.

shall firstly do a summery of the play and give a basic image of what

The protagonist in the story is Paris I found this the main character because the story is mostly about him and what he does in the myth. The antagonist was Zeus I found him to be the antagonist because if he invited Eris to the wedding then Eris wouldn't get made and through the Apple of Discord into the crowd of Greek Olympians.

“What cheer Hippolyta,” you have asked?Hermia’s situation connects to mine. When you told Hermia “But earthlier happy is the rose distilled Than that which, withering on the virgin thorn,” you offended not only her but me and all women. You don’t see us as equals and says that it’s better to marry, have children, than to stay a virgin our whole life. But, what’s the point of getting tied down if it’s without with true love? Moreover, it’s because I’m a woman that I’m able to understand her feelings. Theseus, as much as I don’t agree with your views, I can’t deny that I have no love for you. I am willingly marrying you. But, I hope that I can win your heart and have you see women in another perspective.

As the passage of time marks its quick ascent, the sudden shift from winter to spring and youth into age is marked by the passage of Autolycus as he enters the play singing. “When the daffodils begin to peer, with heigh, the doxy over the dale, why, then comes in the sweet o’ the year, for the red blood reigns in the winter pale” (Act IV, Scene 3, Lines 1-4). Autolycus not only signals the shift from tragedy to comedy, but emphasizes the juxtaposition from winter to spring; a time of rebirth. Therefore, Autolycus serves as the epitome of transformations as the play sharply diverges from the common, albeit serious, tales of tragedy to a shift of miraculous harmony.

Throughout the play there are many themes leading up to and causing the chief event.

central to the play. I am going to look at only the first act of the

3. The exposition of the story is when hermia's dad tells the king that she disobeyed him because she refused to marry demetrius. The rising action is when Hermia runs away into the woods with Lysander (the man Hermia loves). The climax is when puck puts magical juice into Lysander and Demetrius eyes to where both of them love Helena and then Lysander and Demetrius fight over Helena and Hermia gets mad at Helena for stealing her man. The falling action is when Puck fixes the 2 men to where Lysander is back loving Hermia and Demetrius is in love with Helena. The denumont of the story is when the two couples get married.

The fairies and the fairy realm have many responsibilities in this play. The most important of which is that they are the cause of much of the conflict and comedy within this story. They represent mischievousness and pleasantry which gives the play most of its emotion and feeling. They relate to humans because they make mistakes but differ in the fact that they do not understand the human world.

A Midsummer Night 's Dream is a play about love. All of its action—from the escapades of Lysander, Demetrius, Hermia, and Helena in the forest, to the argument between Oberon and Titania, to the play about two lovelorn youths that Bottom and his friends perform at Duke Theseus 's marriage to Hippolyta—are motivated by love. But A Midsummer Night 's Dream is not a romance, in which the audience gets caught up in a passionate love affair between two characters. It 's a comedy, and because it 's clear from the outset that it 's a comedy and that all will turn out happily, rather than try to overcome the audience with the exquisite and overwhelming passion of love, A Midsummer Night 's Dream invites the audience to laugh at the way the passion of love can make people blind, foolish, inconstant, and desperate. At various times, the power and passion of love threatens to destroy friendships, turn men against men and women against women, and through

The play starts with a citizen and his wife disturbing the play “ A London Merchant”. They complain about how they want to see a new kind of play where middle class citizens are not misrepresented. The wife suggests for there to be a grocer in the play that kills a lion with a pestle. The citizen also suggests that his apprentice, Rafe, play this character. This new play takes place in the interrupted play of A London Merchant, where Jasper is in love with his master’s daughter, Luce. Luce also likes Jasper but she arranged to with Humphrey, a man who is pretentious and false, by her father. In order to be able to stay with Jasper she sets up a trap for Humphrey. She tells him that in order to win her heart, a man would have to have the guts to run away with her and elope. Knowing that Humphrey would tell her father and her father would have no objections, she would ditch Humphrey and run away with Jasper. When Jasper seeks help from his mother, Mrs. Merrythought, he is rejected because she favors his brother Michael. The mother decided to leave her husband, a drunk and partier, with nothing but Michael and jewels, but along the way she looses the jewelry in the forest. Around the same time, Jasper and Luce take their plan into action. Jasper knocked out Humphrey and runs a way with Luce. Jasper ends up finding the jewelry his mother had lost. Rafe, the grocer takes it upon himself to aid the damsel in distress, Mrs. Merrythought. The citizen and his wife demand that Rafe have more Chivalric and exotic adventures so Rafe goes on to rescue patients from an evil Barber named Barbaroso. He even goes on to travel to Moldavia, where the princess falls in love with him. Back in Jaspers story, things don’t go as planned. The merchant and Humphrey catch them. Luce is taken back and is locked in her room. Jasper feigns his death and manages to free Luce by

There are three distinct levels of action during the play. Firstly, we as the audience see the characters play out the main narratives. Secondly, Shakespeare introduces a play-within-a-play during which the audience observes the mechanicals acting out their tragedy, and thirdly, as part of an epilogue, we are addressed directly by Puck. These differing levels of viewing the play encourages the audience to reflect upon, and compare, the interplay between the levels of address; when the three levels are compared to each other a deeper reading of the play becomes possible, even though the structure is irrational with regards to rational narrative structures. The dramatic conflict is resolved after the fourth act, begging the question of why Shakespeare opted for a play-within-a-play for his final act. The effect of “Nature” (V.i. 278) is contrasted between the main

Throughout A Midsummer Night’s Dream, while the story involving Lysander, Demetrius, Hermia, Helena, Oberon and Titania is developing, the rustic gentlemen (Bottom and his friends) are shown rehearsing for a play that they will perform in honor of the upcoming wedding of Theseus (the Duke of Athens) and Hippolyta. The play, “Pyramus and Thisby,” is based on a story that was told by the ancient Roman writer Ovid and retold by Chaucer. The “Pyramus and Thisby” play is not performed until the fifth and final act of A Midsummer Night’s Dream. By then, as Barton points out, the major problems of Lysander, Demetrius and the rest have all been neatly resolved. As such, the “Pyramus and Thisby” play-within-a-play “seems, in effect, to take place beyond the normal, plot-defined boundaries of comedy” (Barton 110).