Hamlet and a Midsummer Night’s Dream

In one of AMNDs most overthrowuring passages, Lysander states (Act one scene one, song 134) The drift of true love never did run smooth. The conflict that is inevitably born away of love is a central theme at the heart of Midsummers Nights hallucination and juncture, still is extended by Shakespe are not only to romantic relationships, only if to familial bonds as well. The conflict is in the end resolved in diametrically opposing ways in to each one play, according to the conventions of their respective genres. small town is a tragedy, and t here(predicate)fore can way out only in death, but AMND, as a comedy, uses the usageal manner of marriage to resolve its conflict. Shakespeare opens AMND with the relationship between Athenian Duke Theseus and Amazonian warrior Hippolyta, thereby framing the enfolding drama with the depiction of a union in which romance and military conflict are inextricably bound Hippolyta, I wood thee with my sword/and won thy love doing thee in juries. (1116) Shakespeare incongruously conflates military imagery withthe manner of babbleing of romance, establishing the theme of love, initially at least, as being fraught with conflict. This is highlighted further as the discussion of Theseus and Hippolytas forthcoming nuptials is juxtaposed with the dramatic introduction of Hermia and Lysander, young lovers forbidden to bind by Egeus, Hermias domineering father. Lysander and Hermia decide to from Athens turn away our mettles (1. 1. 218) and elope to the lumber.Shakespeares use of the forest as a backdrop to the young lovers elopement is significant. It would have reminded members of the Jacobean sense of hearing of Saturnalia, an ancient romish festival in honour of the deity Saturn, which took place in the forest and was famous for subverting Roman fond norms. A carnival atmosphere pervaded the festival, which included features such as masters waiting on their hand housemaidens tables which defied the etiquette of the time. The allusion to Saturnalia emphasises Lysander and Hermias defiance of social restraints in eloping against her fathers wishes.Egeus attempted chair of Hermia parallels Poloniuss manipulation of Ophelia in hamlet, as in both plays Shakespeare depicts romantic relationships as complicatedbyfamilial pressures. The forest acts as a token for freedom from such conflict. Away from urban civilization and its social traditions, the forest exists as a primeval space where Hermia and Lysander feel their love can truly be celebrated, unhindered by the familial politics they have left behind to that place the sharp Athenian law cannot give chase us. (1. 1. 62)However, social norms are not the only things overturned in the forest. By pouring a charming potion in the lovers eyes, Puck, a mischievous fairy, swaps the target area of Demetrius and Lysander affection to Helena. This comic turn sets the enfolding drama in motion, but also demonstrates the cruelty of fickle love, th at is so easily swayed to devastating effect, as Hermia laments O outrage O Hell I see you are all bent, to set against me. (3. 2. 145) Shakespeare expounds upon this theme of love in Hamlet too but with far more serious consequences as befits a tragedy.Whereas Hermia is part of the tradition of Shakespearean women who defy their controlling fathers to marry their lovers, Ophelia proves far more susceptible to Polonius and Laertes bullying as they are successful in thwarting her relationship with Hamlet. Just as Shakespeare exhibits affection as transient through Pucks meddling with Demetrius and Lysander, Laertes lectures Ophelia on loves temporary and untrustworthy genius forward, not permanent, engaging, not lasting. (1. 3. ) The emphatic rhythm of Laertes dialogue is created by the many caesuras that break up this line each word drumming itself into Ophelias psyche. Ironically, it isnt the trifling of Hamlets favour (1. 3. 6) that breaks Ophelias heart, and ultimately her sanity, but rather her familys interference, in particular her fathers political scheming. A. C Bradley in his give-and-take Shakespearian Tragedy notes that good conflict essential be drawn out accordingly, both Hamlet and AMND are over five acts long and only get resolved in the final scenes, each according to their genre.The conflict inherent in Shakespeares portrayal of romantic relationships is given tangible operate as Lysander and Demetrius prepare to fight over the woman they profess to love if thou say so withdraw and prove it to. (3. 2. 255) Despite the threat of violence about to unfold on stage, Shakespeares audience would have been aware that as a comedy, A Midsummers Nights Dream would culminate in marriage rather then bloodshed.In the opening scene of the play, Lysander alludes to the May Day rituals that he had participated in And in the wood a league without the town, where I did meetto do observance to a morn of May (1. 1. 165) The May Day rites were an ancien t celebration of fertility and renewal, and the setting of the lustrous forest reinforces this atmosphere, even throughout Lysander and Demetriuss altercation, emphasising that the conflict would, in the end, be resolved happily. In stark contrast, Hamlet and Laertes fight over Ophelias grave.Shakespeare uses the graveyard setting to foreshadow the mens death as a result of their growing hostility unlike in AMND, the conflict within a tragedy cannot end in marriage it must end in death I thought thy bride-bed to have decked, sweet maid, and not have strewed thy grave. (5. 1. 241) Throughout the play Ophelia is referred to by language such as maid, emphasising her youth and her innocence. This heightens the tragic impact of her decline and eventual death, but also reinforces how she is infantilised by her father, and therefore controlled.When Polonius finds out that Ophelia has been conducting a romance with Hamlet, he insists that she no longer have contact with the prince I will ascertain you. Think yourself a baby. (1. 3. 105) Polonius convinces Ophelia that she has been naive and stupid to believe Hamlets professions of love Affection? Pooh You speak like a green girl. (1. 3. 101) In Poloniuss dialogue, Shakespeare repeatedly employs images of Ophelia as a minor to portray how her father psychologically controls her, by making her dependent on his commands, as a young child would I shall obey, my lord. (1. 3. 136) In AMND Shakespeare constructs a similar conflict around a father-daughter relationship, as Egeus wants his daughter Hermia, to marry Demetrius and not her lover, Lysander. Shakespeare draws upon ancient Greek mythology to portray his characters and their respective philosophies. Egeus displays Apollonian attributes as he paternalistically favours a strict devotion to the law above all else, even to the point of death As she is mine, I may influence of heror to her death according to our law. (1. 1. 3) Egeus commoditises his relationship w ith his daughter, as he considers her a possession to be controlled and exploited. similar Polonius who commands Ophelia to set your entreatments at a higher rate (1. 3. 122), Egeuss diction is replete with the language of vocation as he tries to trade his daughter and she is mine, and all my rights of her I do estate unto Demetrius. (1. 1. 97) Hermia, however, embodies the Dionysian spirit philosophy, as she embraces passion and resists her fathers moralistic control My mortal consents not to give reign (1. . 82) Unlike Ophelia who submits to her fathers demands and therefore breaks off her relationship with Hamlet, Hermia prioritises romance over filial obligation as she spiritedly defies Athenian law Oh hell to choose love by anothers eyes (1. 1. 140) The conflicts that are engendered by love are complicated even further by the inconsistency between reality and illusion, which is a central theme in both plays. In both Hamlet and A Midsummer Nights Dream, eyes are used as a symbol of the merging of reality and that which seems to be reality ie.Illusion seems madam? Nay it is. I know not seemsno, nor the baccate river in the eye, nor the dejected haviour of the visage. (1. 2. 75) The juxtaposition by Hamlet of his father, Old Hamlet, and Claudius invokes similar language with reference to the eye what devil wast that thus has cozened you at hoodman-blind? / Eyes without feeling, feeling without eyes, /ears without hands or eyes (3. 4. 78). Shakespeare elects to gravel the inherent tragic conflict in love by using the language of eyes Ha Have you eyes?You cannot call it love. (3. 4. 68)Here the Gertrudes love for Claudius is presented through the eyes of Hamlet as being stewed in corruption (3. 4. 95) and the maternal bonds between her and Hamlet cause her to regret her actions and fear for her religious health O Hamlet speak no more. Thou turnest mine eyes into my very soul / and there I see such black and grained spots. (3. 4. 89) In the final sc ene of the play, all characters must face their spiritual destiny in their death, showing how conflict in Hamlet results only in death.Conflict of reality and illusion is also symbolised through reference to the eye in AMND, as Puck pours the embitter into Lysander and Demetriuss eyes it is then that comic drama enters the scene as loves object is subverted Methinks I see things with parted eye (4. 1. 188) The illusion of the lovers exchanged allegiances is representative of the conflict that can result from reality being destabilized especially where love is concerned Have you not set Lysander, as in scorn/ to follow me, praise my eyes and face? (3. 2. 23) Eventually, love is restored to the couples and Theseus bids that these couples shall be eternally knit (4. 1. 180) and here illusion is replaced with reality which results in the marriage of the couples, in accordance with the comic convention. The significance of Pucks last speech, which is spoken to the audience, is essentia l. Puck tells the audience that they should think this and all is mended that you have but slumbered here magical spell these visions did appear and this weak and idle theme no more yielding than a dream. Puck tells them to hypothesise that the entire play wasnt real, so where in Hamlet reality wins out in the end, in AMND the art of illusion leaves the play on a cliff hanger and the audience must decide whether or not reality exists. This is all part of the comic convention. In conclusion, Shakespeare presents parallel conflicts in both plays, each resulting from conflicted relationships, but they are resolved in accordance with the two plays genres. He concludes all conflict in Hamlet with death and tragedy and all conflict in AMND with laughter and comedy.Elizabethan and modern day audiences would commit the conflict within Hamlet as the plays catalyst towards the catastrophic ending, whilst viewing the conflict within AMND with slight seriousness, knowing hostility between c haracters will ultimately dissolve. Shakespeare appears to be using the themes within Hamlet, such as death and madness, to present conflict between people as an inevitable part of peoples lives, whilst the farcical nature of the battles within AMND suggest conflict is fleeting and avoidable. So, good night unto you all. / Give me your hand if we be friends, and robin redbreast shall restore amends. (AMND 5. 1. 419)