Week 15 Drama 2: Understanding the Text

1. A Midsummer Night’s Dream by William Shakespeare

 

 

Introduction of the author

The most influential writer in all of English literature, William Shakespeare was born in 1564 to a successful middle-class glove-maker in Stratford-upon-Avon, England. Shakespeare attended grammar school, but his formal education proceeded no further. In 1582 he married an older woman, Anne Hathaway, and had three children with her. Around 1590 he left his family behind and traveled to London to work as an actor and playwright. Public and critical success quickly followed, and Shakespeare eventually became the most popular playwright in England and part-owner of the Globe Theater. His career bridged the reigns of Elizabeth I (ruled 1558–1603) and James I (ruled 1603–1625), and he was a favorite of both monarchs. Indeed, James granted Shakespeare’s company the greatest possible compliment by bestowing upon its members the title of King’s Men. Wealthy and renowned, Shakespeare retired to Stratford and died in 1616 at the age of fifty-two. At the time of Shakespeare’s death, literary luminaries such as Ben Jonson hailed his works as timeless.

 

Shakespeare’s works were collected and printed in various editions in the century following his death, and by the early eighteenth century his reputation as the greatest poet ever to write in English was well established. The unprecedented admiration garnered by his works led to a fierce curiosity about Shakespeare’s life, but the dearth of biographical information has left many details of Shakespeare’s personal history shrouded in mystery. Some people have concluded from this fact that Shakespeare’s plays were really written by someone else—Francis Bacon and the Earl of Oxford are the two most popular candidates—but the support for this claim is overwhelmingly circumstantial, and the theory is not taken seriously by many scholars.

 

In the absence of credible evidence to the contrary, Shakespeare must be viewed as the author of the thirty-seven plays and 154 sonnets that bear his name. The legacy of this body of work is immense. A number of Shakespeare’s plays seem to have transcended even the category of brilliance, becoming so influential as to profoundly affect the course of Western literature and culture ever after.
Written in the mid-1590s, probably shortly before Shakespeare turned to Romeo and Juliet, A Midsummer Night’s Dream is one of his strangest and most delightful creations, and it marks a departure from his earlier works and from others of the English Renaissance.


The play demonstrates both the extent of Shakespeare’s learning and the expansiveness of his imagination. The range of references in the play is among its most extraordinary attributes: Shakespeare draws on sources as various as Greek mythology (Theseus, for instance, is loosely based on the Greek hero of the same name, and the play is peppered with references to Greek gods and goddesses); English country fairy lore (the character of Puck, or Robin Goodfellow, was a popular figure in sixteenth-century stories); and the theatrical practices of Shakespeare’s London (the craftsmen’s play refers to and parodies many conventions of English Renaissance theater, such as men playing the roles of women).  The story in A Midsummer Night’s Dream seems not to have been drawn from any particular source but rather to be the original product of the playwright’s imagination.


Plot summary
Theseus, duke of Athens, is preparing for his marriage to Hippolyta, queen of the Amazons, with a four-day festival of pomp and entertainment.  Egeus, an Athenian nobleman, marches into Theseus’s court with his daughter, Hermia, and two young men, Demetrius and Lysander. Egeus wishes Hermia to marry Demetrius , but Hermia is in love with Lysander and refuses to comply. Egeus asks for the full penalty of law to fall on Hermia’s head if she flouts her father’s will. Theseus gives Hermia until his wedding to consider her options, warning her that disobeying her father’s wishes could result in her being sent to a convent or even executed. Nonetheless, Hermia and Lysander plan to escape Athens the following night and marry in the house of Lysander’s aunt, some seven leagues distant from the city. They make their intentions known to Hermia’s friend Helena, who was once engaged to Demetrius and still loves him even though he jilted her after meeting Hermia. Hoping to regain his love, Helena tells Demetrius of the elopement that Hermia and Lysander have planned. At the appointed time, Demetrius stalks into the woods after his intended bride and her lover; Helena follows behind him.

 

 Oberon, the fairy king, and Titania, his queen, who has recently returned from India to bless the marriage of Theseus and Hippolyta. Oberon and Titania are at odds over a young Indian prince given to Titania by the prince’s mother; the boy is so beautiful that Oberon wishes to make him a knight, but Titania refuses. Seeking revenge, Oberon sends his merry servant, Puck, to acquire a magical flower, the juice of which can be spread over a sleeping person’s eyelids to make that person fall in love with the first thing he or she sees upon waking. Puck obtains the flower, and Oberon tells him of his plan to spread its juice on the sleeping Titania’s eyelids. He orders Puck to spread some of the juice on the eyelids of the young Athenian man. Puck encounters Lysander and Hermia; thinking that Lysander is the Athenian of whom Oberon spoke, Puck afflicts him with the love potion. Lysander happens to see Helena upon awaking and falls deeply in love with her, abandoning Hermia. As the night progresses and Puck attempts to undo his mistake, both Lysander and Demetrius end up in love with Helena, who believes that they are mocking her. Hermia becomes so jealous that she tries to challenge Helena to a fight. Demetrius and Lysander nearly do fight over Helena’s love, but Puck confuses them by mimicking their voices, leading them apart until they are lost separately in the forest.              

 

When Titania wakes, the first creature she sees is Bottom, the most ridiculous of the Athenian craftsmen, Titania passes a ludicrous interlude doting on the ass-headed weaver. Eventually, Oberon obtains the Indian boy, Puck spreads the love potion on Lysander’s eyelids, and by morning all is well. Theseus and Hippolyta discover the sleeping lovers in the forest and take them back to Athens to be married—Demetrius loves Helena, and Lysander loves Hermia. After the group wedding, the lovers watch Bottom and his fellow craftsmen perform their play, a fumbling, hilarious version of the story of Pyramus and Thisbe. When the play is completed, the lovers go to bed; the fairies briefly emerge to bless the sleeping couples with a protective charm and then disappear. Only Puck remains, to ask the audience for its forgiveness and approval and to urge it to remember the play as though it had all been a dream.

2.The Aegean Sea  is an elongated embayment of the Mediterranean Sea located between the Greek and Anatolian peninsulas, i.e., between the mainlands of Greece and Turkey. In the north, it is connected to the Marmara Sea and Black Sea by the Dardanelles and Bosporus. The Aegean Islands are within the sea and some bound it on its southern periphery, including Crete and Rhodes.

In ancient times, there were various explanations for the name Aegean. It was said to have been named after the Greek town of Aegae, or after Aegea, a queen of the Amazons who died in the sea, or Aigaion, the "sea goat", another name of Briareus, one of the archaic Hecatonchires, or, especially among the Athenians, Aegeus, the father of Theseus, who drowned himself in the sea when he thought his son had died.


The Venetians, who dominated many Greek islands in the High and Late Middle Ages, popularized the name Archipelago (Greek for "main sea" or "chief sea"), a name that held on in many European countries until the early modern period.

In some South Slavic languages the Aegean is often called White Sea (Бело море, Belo more in Serbian and Macedonian and Бяло море Byalo more in Bulgarian).




3.The Real Inspector Hound is a one-act play modeled after the parlor mystery genre that was extremely popular at the time. Written between 1961-62, it is considered one of Tom Stoppard’s early works. The play is actually a play-within-a-play: the main characters are theater critics watching a play, and the plot consists of both the narrative arc of the critics, and the narrative arc of the play they are reviewing.


Influenced by Czech and Polish absurdists, Stoppard’s play belongs to the Theater of the Absurd. It examines ideas of fate, free will, illusion, and communication, among others. It was first performed at the Criterion Theatre on June 17, 1968. The producers of Christie’s The Mousetrap were upset that The Real Inspector Hound revealed, in a way, the twist to their play (which was supposed to be a well-guarded secret), but they couldn’t publicly object without drawing more attention to the twist ending of The Mousetrap.



4. Cupid  is the god of desire, erotic love, attraction and affection. He is often portrayed as the son of the love goddess Venus and the war god Mars, his Greek counterpart is Eros.

Although Eros is in Classical Greek art as a slender winged youth, during the Hellenistic period, he was increasingly portrayed as a chubby boy. During this time, his iconography acquired the bow and arrow that represent his source of power: a person, or even a deity, who is shot by Cupid's arrow is filled with uncontrollable desire. Cupid is winged, allegedly, because lovers are flighty and likely to change their minds, and boyish because love is irrational. His symbols are the arrow and torch, "because love wounds and inflames the heart."Cupid carries two kinds of arrows, one with a sharp golden point, and the other with a blunt tip of lead. A person wounded by the golden arrow is filled with uncontrollable desire, but the one struck by the lead feels aversion and desires only to flee.In myths, Cupid is a minor character who serves mostly to set the plot in motion. . Although other extended stories are not told about him, his tradition is rich in poetic themes and visual scenarios, such as "Love conquers all" and the retaliatory punishment or torture of Cupid.

In art, Cupid often appears in multiples as the Amores, or amorini in the later terminology of art history, the equivalent of the Greek erotes. Cupids are a frequent motif of both Roman art and later Western art of the classical tradition. In the 15th century, the iconography of Cupid starts to become indistinguishable from the putto.

Cupid continued to be a popular figure in the Middle Ages, when under Christian influence he often had a dual nature as Heavenly and Earthly love. In the Renaissance, a renewed interest in classical philosophy endowed him with complex allegorical meanings. In contemporary popular culture, Cupid is shown drawing his bow to inspire romantic love, often as an icon of Valentine's Day.