Hamlet and a Midsummer Night’s Dream

In maven of AMNDs most closedownuring passages, Lysander states (Act one scene one, line 134) The course of true bang never did encounter smooth. The conflict that is inevitably born turn up of whap is a substitution newspaper at the heart of Midsummers Nights Dream and hamlet, save is extended by Shakespe atomic number 18 non only to romanticistic kins, but to familial bonds as well. The conflict is ultimately resolved in diametrically opposing ways in each play, according to the conventions of their various(prenominal) genres.Hamlet is a disaster, and because can result only in decease, but AMND, as a comedy, practice sessions the traditional method of marriage to resolve its conflict. Shakespe atomic number 18 opens AMND with the relationship between Athenian Duke Theseus and Amazonian warrior Hippolyta, thereby framing the enfolding drama with the pictureing of a union in which womanize and military conflict argon inextricably bound Hippolyta, I wood thee with my sword/and win thy get laid doing thee injuries. (1116) Shakespeare incongruously conflates military imagery withthe vocabulary of romance, establishing the stem turn of love, initially at least, as existence fraught with conflict. This is highlighted further as the discussion of Theseus and Hippolytas forthcoming nuptials is juxtaposed with the dramatic demonstration of Hermia and Lysander, young loers forbidden to marry by Egeus, Hermias domineering father. Lysander and Hermia regulate to from Athens stoop away our eyes (1. 1. 218) and elope to the forest.Shakespeares use of the forest as a backdrop to the young lovers elopement is significant. It would befool reminded members of the Jacobean audience of Saturnalia, an ancient Roman festival in abide by of the deity Saturn, which took piazza in the forest and was famous for subverting Roman affectionate norms. A carnival atmosphere pervaded the festival, which included features much(prenominal) as get the hang wa iting on their servants tables which defied the etiquette of the time. The allusion to Saturnalia emphasises Lysander and Hermias insubordination of social restraints in eloping against her fathers wishes.Egeus attempted control of Hermia parallels Poloniuss manipulation of Ophelia in Hamlet, as in some(prenominal) plays Shakespeare depicts romantic relationships as complicatedbyfamilial pressures. The forest acts as a symbol for freedom from such conflict. off from urban civilization and its social traditions, the forest exists as a primal space where Hermia and Lysander feel their love can truly be celebrated, unrestrained by the familial politics they have left behind to that place the sharp Athenian law can non pursue us. (1. 1. 62)However, social norms are non the only things overturned in the forest. By pouring a magic potion in the lovers eyes, Puck, a mischievous fairy, swaps the object of Demetrius and Lysander affection to Helena. This comic turn sets the enfoldin g drama in motion, but also demonstrates the cruelty of volatile love, that is so easily swayed to devastating effect, as Hermia laments O spite O Hell I read you are all bent, to set against me. (3. 2. 145) Shakespeare expounds upon this radical of love in Hamlet too but with far more(prenominal) serious consequences as befits a tragedy.Whereas Hermia is firearm of the tradition of Shakespearean women who harbour 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 portrays affection as transient by dint of Pucks busybodied with Demetrius and Lysander, Laertes lectures Ophelia on loves temporary and untrus twainrthy nature forward, non permanent, sweet, not lasting. (1. 3. ) The emphatic rhythm of Laertes dialogue is created by the many a(prenominal) 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 or else her familys interference, in particular her fathers political scheming. A. C Bradley in his book Shakespearian Tragedy notes that bang-up conflict moldiness(prenominal) be drawn out accordingly, both Hamlet and AMND are over five acts long and only get resolved in the final examination scenes, each according to their genre.The conflict indispensable in Shakespeares characterization of romantic relationships is given tangible form as Lysander and Demetrius prepare to postulate 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 splay on stage, Shakespeares audience would have been aware that as a comedy, A Midsummers Nights Dream would cease in marriage rather then bloodshed.In the opening scene of the play, Lysander alludes to the may Day rituals that he had part icipated 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 ancient celebration of fertility and renewal, and the setting of the glossy 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 devastation as a result of their growing hostility unlike in AMND, the conflict indoors 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 ultimate death, but also reinforces how she is infantilised by her father, and therefor e 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 impart teach 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 spirt girl. (1. 3. 101) In Poloniuss dialogue, Shakespeare repeatedly employs images of Ophelia as a child 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 homogeneous 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 adherence to the law above all else, even to the tip of death As she is mine, I may dispose of heror to her death according to our law. (1. 1. 3) Egeus commoditises his relationship with his daughter, as he considers her a possession to be controlled and exploited. Like Polonius who commands Ophelia to set your entreatments at a higher rate (1. 3. 122), Egeuss diction is replete with the language of commerce as he tries to tidy sum 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 lifetime philosophy, as she embraces passion and resists her fathers moralistic control My person consents not to give sovereignty (1. . 82) Unlike Ophelia who submits to her fathers demands and therefore breaks off her relationship with Hamlet, Hermia prioritises romance over filial duty 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 furt her by the disparity between pragmatism and put-on, 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 bountiful 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 same 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 convey 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 disquietude for her spiritual health O Hamlet speak no more. megabyte turnest mine eyes into my very soul / and there I see such black and grained spots. (3. 4. 89) In the final scene 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 poison 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 whic h 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 essential. Puck tells the audience that they should think this and all is mended that you have but slumbered here while these visions did appear and this weak and idle theme no more yielding than a dream. Puck tells them to imagine that the complete 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 grade the conflict within H amlet as the plays catalyst towards the catastrophic ending, whilst exhibit the conflict within AMND with less seriousness, knowing hostility between characters depart 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 shall restore amends. (AMND 5. 1. 419)