Chocolate Box Girls: Summer's Dream

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Dismissive – he is mean to Hermia when the potion makes him fall in love with Helena. He forgets her and leaves her in possible danger in the woods at midnight. Slights, William W. E. (1988). "The Changeling in A Dream". SEL: Studies in English Literature 1500–1900. Rice University. 28 (2, Elizabethan and Jacobean Drama): 259–72. doi: 10.2307/450551. eISSN 1522-9270. ISSN 0039-3657. JSTOR 450551. Green, Douglas E. (1998). "Preposterous Pleasures: Queer Theories and A Midsummer Night's Dream". In Kehler, Dorothea (ed.). A Midsummer Night's Dream: Critical Essays. Garland reference library of the humanities. Vol.1900 (reprinted.). Psychology Press. pp.369–400. ISBN 978-0-8153-3890-1.

In 1972, Ralph Berry argued that Shakespeare was chiefly concerned with epistemology in this play. The lovers declare illusion to be reality, the actors declare reality to be illusion. The play ultimately reconciles the seemingly opposing views and vindicates imagination. [47] Also in 1972, Thomas McFarland argued that the play is dominated by a mood of happiness and that it is one of the happiest literary creations ever produced. The mood is so lovely that the audience never feels fear or worry about the fate of the characters. [48] Summer is obsessed with becoming a big time star as a successful ballet dancer. This had been her wish for a long time and it consumed her both day and night. Summer is, just like so many other young girls, trying to be what society dictates as beautiful today, meaning unless you are a size one or two you simply are not considered beautiful. She believed that to achieve her goal as a professional dancer, she must have "the perfect body", otherwise her dreams of becoming a world-famous dancer would never happen. While trying to achieve this goal she finds the rest of her life simply falling apart. [2] Plot Summary [ edit ]Helena - her best friend, but Helena betrays her by telling Demetrius that she is eloping with Lysander During the years of the Puritan Interregnum when the theatres were closed (1642–1660), the comic subplot of Bottom and his compatriots was performed as a droll. Drolls were comical playlets, often adapted from the subplots of Shakespearean and other plays, that could be attached to the acts of acrobats and jugglers and other allowed performances, thus circumventing the ban against drama. When the theatres re-opened in 1660, A Midsummer Night's Dream was acted in adapted form, like many other Shakespearean plays. Samuel Pepys saw it on 29 September 1662 and thought it " the most insipid, ridiculous play that ever I saw..." [55]

Dent also denied the rationality and wisdom typically attributed to Theseus. He reminded his readers that this is the character of Theseus from Greek mythology, a creation himself of "antique fable". [41] Theseus' views on art are far from rational or wise. He cannot tell the difference between an actual play and its interlude. The interlude of the play's acting troop is less about the art and more of an expression of the mechanicals' distrust of their own audience. They fear the audience reactions will be either excessive or inadequate, and say so on stage. Theseus fails to get the message. [42] Suspicious - when Lysander and Demetrius tell her they love her she thinks it’s a cruel joke. What’s more, she suspects that her best friend, Hermia is in on it. Evans, G. Blakemore; Tobin, J. J. M., eds. (1997). "A Midsummer Night's Dream". The Riverside Shakespeare. Vol.1 (2nd, illustrateded.). Boston: Houghton Mifflin. pp.256–83. ISBN 978-0-395-85822-6. This section needs additional citations for verification. Please help improve this article by adding citations to reliable sourcesin this section. Unsourced material may be challenged and removed. ( April 2021) ( Learn how and when to remove this template message)

Singh, Jyotsna G. (2019). Shakespeare and Postcolonial Theory. Bloomsbury Publishing. ISBN 978-1-4081-8526-1 . Retrieved 14 April 2020.

The Maryland Shakespeare Players at University of Maryland staged a queer production in 2015 in which the lovers were same-sex couples and the mechanicals were drag queens. [76] Buchanan, Judith (2005). "Historically Juxtaposed Beans (I): A Midsummer Night's Dream on Film". In Buchanan, Judith (ed.). Shakespeare on Film. Harlow: Pearson Education. pp.121–49. ISBN 978-0-582-43716-6. Geraldine: Oh well, it does state in the script that Oberon’s bad mood affects the weather, so if it were to rain I would simply blame the fairies. O'Donovan, Gerard (30 May 2016). "Russell T Davies made Shakespeare engaging, fresh and funny". The Telegraph. Archived from the original on 5 August 2016 . Retrieved 1 April 2017.The Sacred World • World of Awakening • World of Binding • World of Birthright • World of Blazing • World of Conquest • World of Crests • World of Dawn • World of Holy War • World of Mystery • World of Mystery Renewed • World of Origin • World of Radiance • World of Shadows • World of Thracia • World of Zenith ( Askran Kingdom • Dökkálfheimr • Emblian Empire • Hel • Jötunheimr • Ljósálfheimr • Múspell • Nifl • Niðavellir • Vanaheimr) In 1967, John A. Allen theorised that Bottom is a symbol of the animalistic aspect of humanity. He also thought Bottom was redeemed through the maternal tenderness of Titania, which allowed him to understand the love and self-sacrifice of Pyramus and Thisbe. [43] In 1968, Stephen Fender offered his own views on the play. He emphasised the "terrifying power" [43] of the fairies and argued that they control the play's events. They are the most powerful figures featured, not Theseus as often thought. He also emphasised the ethically ambivalent characters of the play. Finally, Fender noted a layer of complexity in the play. Theseus, Hippolyta, and Bottom have contradictory reactions to the events of the night, and each has partly valid reasons for their reactions, implying that the puzzles offered to the play's audience can have no singular answer or meaning. [44] Ball, Robert Hamilton (2016) [first published 1968]. Shakespeare on Silent Film: A Strange Eventful History. Routledge Library Editions: Film and Literature. Vol.1. London: Routledge. ISBN 978-1-138-99611-3.