Major themes in Larkin’s poetry with reference to “Church” and MCMXIV”

 

Philip Larkin, one of the most prominent English poets of the 20th century, is known for his contemplative and often pessimistic reflections on various aspects of life. Two of his notable poems, "Church Going" and "MCMXIV," touch upon major themes that are prevalent throughout his body of work.

In "Church Going," Larkin explores the theme of the loss of religious faith and the declining significance of religion in the modern world. The poem begins with the speaker entering an empty church out of curiosity. He wanders through the building, observing its architecture, religious artifacts, and the absence of worshippers. Larkin captures the dwindling attendance and the speaker's own skepticism about the purpose and future of such places of worship. He muses on the waning influence of religion and questions its relevance in contemporary society. Larkin's portrayal of the church as a relic of the past reflects his contemplation of the erosion of faith in an increasingly secular world.

Similarly, "MCMXIV" (1914 in Roman numerals) explores themes of nostalgia and loss, particularly in the context of World War I. The poem reflects upon the innocent pre-war era and contrasts it with the brutal realities of the conflict. Larkin vividly describes the lives of ordinary people before they were affected by the war's devastation. Through his depiction of streets, shops, and people going about their daily lives, he creates a vivid image of a peaceful and simpler time. However, the poem takes a darker turn as Larkin introduces the war memorial, highlighting the loss of innocence and the irreversible changes brought about by the conflict. The poem ultimately captures a sense of nostalgia for a lost world and mourns the loss of lives and the shattered illusions of the past.

Another recurring theme in Larkin's poetry, evident in both "Church Going" and "MCMXIV," is the contemplation of time and mortality. In "Church Going," the speaker reflects on the transient nature of human existence compared to the enduring presence of the church. The poem suggests that while individuals may come and go, the church stands as a symbol of continuity and permanence. This theme is echoed in "MCMXIV" as well, as Larkin juxtaposes the idealized past with the reality of the present. The poem highlights the passage of time and its impact on society, conveying a sense of loss and the inevitability of change. Larkin often uses imagery of decay and decline to underscore the fleeting nature of life and the ultimate futility of human endeavors.

Moreover, Larkin's poetry often contains a social and cultural critique. In "Church Going," he critiques the loss of religious faith and questions the relevance of organized religion in a modern and secular society. The poem presents the church as a relic of the past, serving as a commentary on the erosion of traditional beliefs and the changing values of contemporary society. Similarly, "MCMXIV" offers a critical perspective on the impact of war. Larkin portrays the war as a rupture in history, disrupting the idealized world of the past and exposing the harsh realities of conflict. The poem reflects on the loss of innocence, the destruction of societal structures, and the disintegration of traditional values, offering a poignant critique of the human condition.

In summary, "Church Going" and "MCMXIV" encapsulate several major themes present in Philip Larkin's poetry. These themes include the loss of religious faith, nostalgia and loss, the contemplation of time and mortality, and social and cultural critique. Through his introspective and often somber reflections, Larkin explores the complexities of human existence, the changing nature of society, and the challenges of finding meaning and purpose in a rapidly evolving world.

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Anna Fierling: A True Mother in "Mother Courage and Her Children"

Introduction:
Bertolt Brecht's play "Mother Courage and Her Children" depicts the hardships faced by Anna Fierling, also known as Mother Courage, during the Thirty Years' War. Anna Fierling is a remarkable character who embodies the spirit of a true mother. Despite her flaws and the choices she makes, her actions consistently display her fierce dedication to protecting and providing for her children. This assignment will explore the various aspects that establish Anna Fierling as a true mother.


Sacrifice and Protection:
Anna Fierling demonstrates her motherly love through her unwavering commitment to protecting her children. She is willing to sacrifice her own safety and well-being to ensure their survival. Throughout the play, Anna endures immense hardships, risks her life, and makes difficult choices to shield her children from harm.


Unconditional Love:
Anna Fierling's love for her children is unconditional, even when they disappoint or betray her. Despite the strained relationships with her three children, Eilif, Swiss Cheese, and Kattrin, she remains fiercely devoted to them. This unwavering love is evident in her constant efforts to reunite with them and provide for their needs, regardless of their actions.


Determination and Resilience:
Anna Fierling exhibits remarkable determination and resilience in the face of adversity. Despite the devastation of war and the loss she experiences, she remains resilient, pushing forward for the sake of her children. Her determination to survive and protect her family serves as a testament to her role as a true mother.


Pragmatism and Resourcefulness:

As a mother, Anna Fierling demonstrates exceptional pragmatism and resourcefulness. She utilizes her wit and street smarts to navigate through the war-torn landscape, often resorting to unconventional means to support her family. Her ability to adapt to the ever-changing circumstances showcases her resourcefulness and highlights her dedication to her children's well-being.


Maternal Instincts:
Anna Fierling's maternal instincts are a driving force throughout the play. She possesses a keen sense of intuition, making decisions that prioritize the safety and survival of her children. Her actions, although not always perfect, are motivated by her desire to protect them from the dangers of the war, thereby reinforcing her role as a true mother.


Teachings and Life Lessons:
Anna Fierling imparts valuable life lessons and teachings to her children. Despite her often harsh and cynical demeanor, she shares her experiences and wisdom with them, intending to prepare them for the harsh realities of life. Through her guidance, she instills resilience, self-reliance, and survival skills in her children, which further solidifies her role as a true mother.


Conclusion:
Anna Fierling, or Mother Courage, exemplifies the qualities of a true mother in Bertolt Brecht's play "Mother Courage and Her Children." Her sacrifices, unconditional love, determination, pragmatism, maternal instincts, and teachings all serve as testament to her unwavering dedication to her children's well-being. Despite the challenging circumstances of war, Anna Fierling's actions consistently revolve around protecting and providing for her children. Through her character, Brecht explores the complexities of motherhood and highlights the resilience and strength of a mother's love.

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Thematic Aspects of Shakespearean Sonnets

Shakespearean sonnets, a form of poetry popularized by William Shakespeare, are renowned for their lyrical beauty and emotional depth. While adhering to a specific structure, these sonnets also explore various themes that resonate with readers across time. This assignment examines the thematic aspects commonly found in Shakespearean sonnets, shedding light on the profound ideas and emotions conveyed through these poetic works.

  1. Love and Desire: Love is perhaps the most prominent theme in Shakespearean sonnets. The sonnets explore the complexities of romantic love, encompassing themes of infatuation, desire, devotion, and heartbreak. Shakespeare delves into the depths of human emotions, portraying both the ecstasy and the anguish that love can bring.

  2. Time and Transience: The theme of time and its fleeting nature is a recurring motif in Shakespearean sonnets. The speaker reflects on the brevity of life, the inevitability of aging, and the transient beauty of youth. These sonnets often emphasize the passing of time and its effect on love, urging readers to cherish and appreciate the present moment.

  3. Beauty and Immortality: Shakespearean sonnets frequently explore the theme of beauty and its potential for immortality. The beloved's physical appearance, grace, and charm are celebrated, with the speaker often likening them to eternal beauty. Through poetic expression, Shakespeare suggests that love and art have the power to transcend time, allowing beauty to endure beyond the boundaries of mortality.

  4. Artistic Creation and Poetry: A meta-theme found in Shakespearean sonnets revolves around the act of writing poetry itself. The sonnets explore the power of language and artistic creation, highlighting the role of poetry in capturing and conveying emotions, immortalizing beauty, and expressing the depths of human experience. Shakespeare often uses the sonnets as a medium to reflect on the nature of poetry and its ability to evoke profound feelings.

  5. Nature and the Seasons: Shakespearean sonnets draw inspiration from the natural world, using it as a metaphorical backdrop for exploring human emotions. The changing seasons, the beauty of landscapes, and the cycles of nature are employed to reflect the ebb and flow of love, the passage of time, and the inevitable shifts in human relationships.

  6. Truth and Deception: The theme of truth and deception is also present in Shakespearean sonnets. The speaker grapples with questions of honesty, sincerity, and authenticity within relationships. Sonnets may explore the complexities of appearances versus reality, questioning whether love is genuine or merely an illusion.

  7. Gender Roles and Societal Expectations: Shakespearean sonnets occasionally touch upon themes of gender roles and societal expectations within romantic relationships. The sonnets reflect the cultural norms and social constraints of the Elizabethan era, highlighting the challenges and limitations imposed by society on love and personal expression.

Conclusion: Shakespearean sonnets encapsulate a diverse range of themes, offering readers an intimate glimpse into the complexities of human emotion and experience. Through themes such as love, time, beauty, artistry, nature, truth, and societal expectations, these sonnets continue to resonate with audiences, affirming their enduring relevance and artistic brilliance.

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Waiting for Godot as an Absurd Play

Samuel Becket's is the pioneer of absurdities. His masterpiece "Waiting for Godot" shows the real absurdity of life. The elements of absurdities are vividly presented here.

It is fairly definable from the word "Absurd" which refers to something that is nonsensical, worthless, meaningless, nothingness, foolish and ridiculous. So, a drama which is going to gift a long train of absurdness (boring) can be called an Absurd drama. It is the play which is constructed loosely as well as ghostly characters. Life is reflected as purposeless, aimless and meaningless.

In the absurd theater irrational experiences of life are presented instead of logical construction and rational ideas.

Waiting for Godot is considered as a absurd not only for its loosely constructed plot, but also for the characters who are just like puppet. The theme of the play is mysterious. The characters, presented here without any purpose of life. They are just passing their time and waiting for someone who is not to be sure to come. They just do things. The dialogues of the play are purely absurd which have no direction to the past or future. We find the characters who are babbling throughout play inadequately.  So, absurdities prevail in everywhere and it has become more acute when we see that time is changeless. But, a change is noticeable that now the tree has sprouted four or five leaves.

"Nothing happens, nobody comes, nobody goes, its awful"

The beginning, middle and the end of the play cannot be located it as a good play, but absurd.

Another reason which can be noted for its absurdity is the difference from poetic stage. Either dream and emotions or poetic language is absent here. The situation is constant and changeless enigmatic vein prevails throughout the play. No specific rules are followed in the mixture of tragic and comic elements. In the act-I it is very difficult for the characters to detect what action should be taken for their constant life. A bundle of hesitations have riddled their mind. They want to leave each other but do not dare to abandoned that place. Estragon does not want to pay heed what Vladimir is saying. But, Vladimir is saying continuously and Estragon is also cannot forsake his words. They were passing their lives with a transparent deception. Godot is mystery and remain the top quest of the readers. Their waiting is endless which seems to be absurd. The fact which is important that they are not unconscious about the absurdity and the whole world is waiting for things, which are absurd and mystery.

"Waiting for Godot" is the play which is extinction of any female character. Vladimir and Estragon, who are susceptive about their identity, wait for the ultimate extinction in a frustrated way. All the things are presented here as meaningless and purposeless which produce absurdness.

Absurdity gets its full extent when the play has got its finishing touch. Waiting for uncertain possibility continues, human communication remains unsolved, the problem of existence remains meaningless and purposeless. The conversation between the two tramps remain in jargon really humbug and bunkum speech. So, all this things untidily make the play absurd.
 

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Summary of Madame Bovary by By Gustave Flaubert

 “An infinity of passion can be contained in one minute, like a crowd in a small space.”

Gustave Flaubert is the name of the 19th century French novelist. He has occupied a vast area in the field of literature by writing some exclusive and comprehensive creations. He is popularly well-known as a novelist speciallly for writing Salammbo and Sentimental Education. At the same time he is famous for his famous novel Madame Bovary that dug in to all sorts interesting themes in complex ways. The novel was first published in 1856. 

Madame Bovery is an autobiographical novel. The personal feelings and emotion are found in this novel. The title of this novel has been named according to the name of its heroine. It is a heroine dominated novel.

At the very beginning of the novel we come to know that one night, a messenger comes to call Charles to the house of a Monsieur Rouault, who has broken his leg. There, Charles meets Rouault’s daughter, the young and pretty Emma Rouault. She fascinates him with her beauty, elegance and artlessness. Charles, who for weeks has been trying to work up the courage to ask Emma, finally proposes, and Emma accepts.

After the wedding Emma’s relationship with her mother-in-law isn’t off to a good start. Charles feels like a new person after his wedding night. Emma’s initial enthusiasm for Charles wanes rather quickly, as she finds that life with him doesn’t correspond to her romantic childhood dreams of happiness and passion.

“She was the lover in every novel, the heroine in every play, the ‘vague she’ in every volume of poetry.”

Emma is bored with her monotonous life. She wants travel, explore foreign places and instill some romance into her marriage. Once she was invited by the Marquis d’Andervilliers to Vaubyessard. She spends the evening dancing with various partners and pretty much forgets that she came with Charles. Charles, on the other hand, is only too glad finally to return to Tostes.

Emma is terribly bored, longs to return to the world of the ball, and devours novels and women’s magazines. Her feelings for her husband have turned into mild disdain. She despises him for his mediocrity and lack of vision and ambition.

“But she – her life was cold as a garret whose dormer-window looks on the north, and ennui, the silent spider, was weaving its web in the darkness in every corner of her heart.”

A year comes and goes. Emma falls ill; a deep melancholy and despair strike her down. Charles suspects that there’s a physical reason for it, but she refuses any medication. He thinks that maybe a change of location might help. When they leave to the village, Emma is pregnant.

There is an important character whose name is Leon Dupuis. When Charles and Emma visit the village, Emma starts talking to the young Leon Dupuis, who works as a clerk in the village. They get on extremely well, and their conversation flows easily from topic to topic. Both are fascinated with and drawn to all things new, and it almost seems like they have found soul mates in each other.


 

Charles and Emma’s first child named Berthe is born and Emma soon grows tired of her and gives her over to a nursemaid in the village. Leon feels more and more drawn to Emma, who to him seems to be so different from all the other people in the village. One day, Emma receives a visit from the cunning shopkeeper Lherueux, who shows her his goods and assures her that he can get whatever luxury item she desires. Heartbroken by Emma’s apparent indifference, Leon decides to leave the village to finish his studies in Paris. He says,

“Ah, good-day! What! you here?”

One day, a Monsieur Rodolphe Boulanger appears at their house to ask Charles to bleed one of his farmers, who suffers from tingling sensations. When Rodolphe sees Emma, he is struck by her looks. The experienced womanizer decides to seduce her. He gathers that her life with her boring husband must be devoid of passion and excitement, and he starts to execute his plan carefully.

At an agricultural fair, Rodolphe seeks out her company and then leads her into a room in the town hall, from which they watch the ceremony. After the encounter, he stays away for weeks. As expected, his absence kindles Emma’s passion. When he finally arrives again at her house, he plays the desperate, unrequited love. He tells her that he believes fate has brought them together.

Emma still resists Rodolphe’s advances but is secretly desperate to have some time along alone with him. The opportunity comes when the naive Charles gives his consent to Emma going horseback riding with Rodolphe. She finally has a lover like all the heroines in her romantic novels. Over the next days and months, Rodolphe and Emma meet regularly, and Emma, recklessly, even starts visiting Rodolphe in his house early in the mornings.

Emma becomes obsessed with Rodolphe. To please and excite him, she dresses in the latest fashion and jewelry from Lherueux. According to Emma’s wish, he agrees to her plan to run away together. At their last meeting before their agreed departure, Rodolphe promises Emma that he will be at the coach, but in reality, he already knows that he won’t go through with the plan. He spills a drop of water on the paper so Emma will think he cried when he wrote it – and sends it to her.

When Emma receives the letter, she breaks down. For the first time in her life, she considers suicide, and a long illness follows. Charles is worried sick about her – and for more than a month doesn’t leave her side.

“She wished at the same time to die and to live in Paris.”

Faced with severe money troubles, Charles takes out a loan with Lheureux with extortionate repayment conditions. Emma starts to improve slowly and begins to turn back to her religious upbringing. When Emma is finally well enough, Homais suggests that Charles take her to Rouen for a day to visit the opera, and Charles agrees – anything to cheer up Emma.

Leon follows Emma and Charles to their hotel, planning to seek her out in the morning. Emma pretends reluctance but eventually agrees to a meeting in the cathedral the next day. Leon persuades her to join him in a carriage, and they set off on a tour around the city – with the curtains drawn. Whenever the driver tries to stop, the only thing he hears is Léon’s command to “keep moving!”

Lherueux starts to hassle her to pay back the money she and Charles have borrowed. When she tells him that she doesn’t have the money at the moment, he suggests that she sell a property that used to belong to Charles’s father. With her power of attorney, she agrees to the sale, but instead of taking her money to pay off the bills, Lherueux proposes that she might want to keep hold of it and pay back the money in six months’ time. Emma agrees and continues to live beyond her means, spending money and visiting Leon regularly. But their feelings for each other begin to grow stale.

“Never touch your idols: the gilding will stick to your fingers.”

The next day, the bailiff and two witnesses come to Emma and Charles’s house to value their possessions. Emma tries to convince Leon to get a loan of 3,000 francs for her. He is unsuccessful.

At the end of her tether, Emma goes to the apothecary’s house and begs the young clerk Justin, who is secretly in love with her, to let her in. She claims she requires rat poison and, unable to deny her anything, he lets her in without telling Homais. She opens the cupboard, grabs a bottle of arsenic and drinks it. She returns home, writes a letter to Charles – who by now knows that the house is up for auction. The poison works slowly, and Emma is in agony for hours. All of Charles’s attempts to rescue her fail, and after a grueling struggle, she dies.

“To please her, as though she were still alive, he adopted her predilections, her ideas… He put cosmetics on his  moustache , and, like her, signed notes of hand. She corrupted him from beyond the grave.

Charles is inconsolable. He stops working and keeps Emma’s bedroom almost as a shrine. The very same day, Berthe finds him sitting on the bench in the garden – dead.

Eventually, we can comment that Gustave Flaubert’s Madame Bovary is a tragic novel as we have seen the tragic death of our beloved heroine.
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Summary of Heart of Darkness

 Joseph Conrad has introduced here the deep and dark forest of Congo. In this setting, people are also dark. There is not the slightest touch of civilization. The full primitiveness is there. Even the white people who have gone there to civilize that area have also become primitive in this dark setting as if the white people have lost their civilized value when they are placed in the dark and with the dark. This very dark setting can again be categorized into two steps as the geography is concerned. One is the outer station and the other is the inner station. Both the place are dark, but the inner is darker than the outer one darker in two. According to the depth of the jungle and also according to the evil acts.

The Much darker action is there in the inner station than that of the outer the darker the setting, the viler the theme in the outer station. Marlow needs rivets to the ship but didn't get a single. He is told by the station in charge that there is no rivet in the station, where there are too many. Moreover, the conspiring conversation that Marlow hears in the dark night symbolically represents the evil of the time and of the place. Everything is like a muddle there. And, in the inner station, there is much more corruption and greed for wealth and power.

It is the inner station wherever individual like Kurtz being announced as associate nursing ivory supply agent rejects to provide the expensive ivories and starts his own ivory business. Not only that, but he also starts to practice his evil power over the natives. He becomes so powerful over the natives that he is almost a god to them. And, I the most striking thing is his main motto for going to the Dark Continent was to civilize the area, but in spite of doing so, he himself has turned into a primitiveness person. No doubt, it is a unique style to produce such a theme of primitiveness with evil power, greed, and corruption in such a dark area. If the total area is the body of darkness, the inner station is the “Heart ” the centre of all the evils that “Darkness ” associate.

In Heart of Darkness, the jungle or the forest has been presented as a matter of the profound dark setting. The jungle and all that it signifies in this novella is a symbol of evil, I the major thematic issues. The jungle has been described as “lurking death ”profound darkness and evil. The vegetation imagery means much more than female menace, it means the truth the darkness, the evil, the death, which lies with us, which we must recognize in order to be truly alive.
Heart of Darkness Summary,Theme and Setting
The jungle, here, is like a cage that society has made for Kurtz. Cannibalism and sexual perversion exist in the jungle, and behind every bush, death is lurking. This deep jungle setting also indicates the mystery of human life, which remains as the unfolded riddle to us. We understand that Kurtz is staying in the inner station, in the dark centre, only because of the fact that he is greedy for wealth and power.

But one general issue also pinches our mind. Example being originated and brought up in a materially civilized society. Kurtz, in his early life, was supposed to get the material comfort, which now, he is deprived of. the weather for which he stays in the dark African forest cannot give him any sort of material comfort and security. Then, whey is he staying here in the deep jungle with the uncivilized native Africans? Is it mainly because of the power that he can practice here? Or, is there something else behind the surface facts?

He is so greedy that even after his death, his mouth remains open-open for hunger open to greed. Why does a man become so? all these are unanswered questions. And, these are the mysteries of life in the HEART OF DARKNESS. We, the readers, are simply amazed to get a such a devilish thematic effect in such a mysterious setting In fact, in Heart of Darkness, darkness its heart give an idea, which associates and relates the themes with the symbolic aspects of the difference of the story.
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Women Figures in " The Waste Land "by T.S.Eliot

T.S Eliot is one of the most important poets of modern English poetry. His masterpiece The Waste Land, published in 1922 is one of the most important poems of modernist poetry. Through The Waste Land, Eliot has depicted the reality of the society. The poem has been structurally divided into five parts namely “The Burial of the Dead”, “A Game of Chess”, “The Fire Sermon”, “Death by Water” and “What the Thunder Said”. Apart from the fourth part, “Death by Water”, Eliot has used the women as the dominant image throughout the poem.

The poem is introduced through a quotation alluded from the Satyrican of Petronius written in a Latin language. The introduction tells a story of Appollo who is mythological figure that gave a woman an immortal life .She didn’t ask for youth, so she wasn’t given eternal youth. She lived and became very old, weak and fearful creature. When the old woman was asked about her wish, she said (I wish to die) Eliot opens his poem by this story to show that the modern man is living a death –in-life like this woman.

The second woman is Madam Sosostris; she is a fortune teller and an image that he borrows from the classical works. In the past people believe in superstitions details and they used to visit this woman to prophesy but for good reasons since they thought it would help them know how to get water from the Nile River to irrigate their land. In modern life she is speaking about death by water and not as a source of life.

Belladonna, which means "beautiful lady", refers in this case to the Virgin Mary.  In other words, Eliot associates the image of a beautiful woman with the spiritual beauty of Christ's Mother. There was a painting of virgin Marry drown by Leonardo da Vinci a very famous Italian painter and she is a symbol of purity and sublime qualities of the woman of the past that are not in the women of the present.

The game of Chess is an allusion to a significant work of art, drama written by Thomas Middleton who is a dramatist of the early 17th century. The game of Chess is known with another significant title which is Women Beware Women as Eliot states has a scene where a mother in law is distracted by a game of chess while her daughter-in-law is being raped in the other room.

Two figures of women Dido and Cleopatra are suggested here as a juxtaposition to the modern situation reminding people of the kind of women who were in love and who would kill themselves for the sake of their lovers

Philomel is another women figure in the classical work of Ovid. The reason he chose her because in the mythological story is raped by a powerful barbarous king Tereus and he was her sister's husband, then Procne transferred her into a nightingale. The myth says that the voice of the nightingale was always heard by the people; so they learned a lesson that this should not happen and this evil wrong thing that happened to her should not happen and they learn a lesson from the experience she went through.

Eliot is drawing a picture of all women, of their suffering, how they feel although they have luxury and all the background you have seen before but they feel lonely.  and isolated and the loneliness they feel is disturbing, the woman he described wants the company she is afraid from being alone, she needs someone. Bad is repeated to emphasize that she really feels bad about the situation. It suggests that even the word thinking a meaningless word and this is a link with the earlier suggestion that modern man can’t say anything because he knows nothing but a broken image; they are saying nothing because they know nothing.

Ophelia, a character alluded from Shakespeare's Hamlet. He makes a comparison between Ophelia who gone mad from the shock when she knew that her lover has killed her father, with the modern woman who doesn’t react under any conditions. Ophelia represents a sensitive woman who stands in a great contrast with the rich woman and Lil who are insensitive and cold in their relations with their husbands.

In conclusion, Eliot draws all these kinds of women figures from the past in comparison to situations that is happening in the present time. That the modern men need to wake up and beware of his surroundings.

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Short notes of the Characters of A midsummer Night's Dream

Characterization of A Midsummer Night’s Dream

Puck

Also known as Robin Goodfellow, Puck is Oberon’s jester, a mischievous fairy who delights in playing pranks on mortals. Though A Midsummer Night’s Dream divides its action between several groups of characters, Puck is the closest thing the play has to a protagonist. His enchanting, mischievous spirit pervades the atmosphere, and his antics are responsible for many of the complications that propel the other main plots: he mistakes the young Athenians, applying the love potion to Lysander instead of Demetrius, thereby causing chaos within the group of young lovers; he also transforms Bottom’s head into that of an ass

Oberon

The king of the fairies, Oberon is initially at odds with his wife, Titania, because she refuses to relinquish control of a young Indian prince whom he wants for a knight. Oberon’s desire for revenge on Titania leads him to send Puck to obtain the love-potion flower that creates so much of the play’s confusion and farce.

Titania

The beautiful queen of the fairies, Titania resists the attempts of her husband, Oberon, to make a knight of the young Indian prince that she has been given. Titania’s brief, potion-induced love for Nick Bottom, whose head Puck has transformed into that of an ass, yields the play’s foremost example of the contrast motif.

Lysander

A young man of Athens, in love with Hermia. Lysander’s relationship with Hermia invokes the theme of love’s difficulty: he cannot marry her openly because Egeus, her father, wishes her to wed Demetrius; when Lysander and Hermia run away into the forest, Lysander becomes the victim of misapplied magic and wakes up in love with Helena.

Demetrius

A young man of Athens, initially in love with Hermia and ultimately in love with Helena. Demetrius’s obstinate pursuit of Hermia throws love out of balance among the quartet of Athenian youths and precludes a symmetrical two-couple arrangement.

Hermia

Egeus’s daughter, a young woman of Athens. Hermia is in love with Lysander and is a childhood friend of Helena. As a result of the fairies’ mischief with Oberon’s love potion, both Lysander and Demetrius suddenly fall in love with Helena. Self-conscious about her short stature, Hermia suspects that Helena has wooed the men with her height. By morning, however, Puck has sorted matters out with the love potion, and Lysander’s love for Hermia is restored.

Helena

A young woman of Athens, in love with Demetrius. Demetrius and Helena were once betrothed, but when Demetrius met Helena’s friend Hermia, he fell in love with her and abandoned Helena. Lacking confidence in her looks, Helena thinks that Demetrius and Lysander are mocking her when the fairies’ mischief causes them to fall in love with her.

Egeus

Hermia’s father, who brings a complaint against his daughter to Theseus: Egeus has given Demetrius permission to marry Hermia, but Hermia, in love with Lysander, refuses to marry Demetrius. Egeus’s severe insistence that Hermia either respect his wishes or be held accountable to Athenian law places him squarely outside the whimsical dream realm of the forest.

Theseus

The heroic duke of Athens, engaged to Hippolyta. Theseus represents power and order throughout the play. He appears only at the beginning and end of the story, removed from the dreamlike events of the forest . 

Hippolyta

The legendary queen of the Amazons, engaged to Theseus. Like Theseus, she symbolizes order.

Nick Bottom

The overconfident weaver chosen to play Pyramus in the craftsmen’s play for Theseus’s marriage celebration. Bottom is full of advice and self-confidence but frequently makes silly mistakes and misuses language. His simultaneous nonchalance about the beautiful Titania’s sudden love for him and unawareness of the fact that Puck has transformed his head into that of an ass mark the pinnacle of his foolish arrogance.

Peter Quince

A carpenter and the nominal leader of the craftsmen’s attempt to put on a play for Theseus’s marriage celebration. Quince is often shoved aside by the abundantly confident Bottom. During the craftsmen’s play, Quince plays the Prologue.

Francis Flute

The bellows-mender chosen to play Thisbe in the craftsmen’s play for Theseus’s marriage celebration. Forced to play a young girl in love, the bearded craftsman determines to speak his lines in a high, squeaky voice.

Robin Starveling

The tailor chosen to play Thisbe’s mother in the craftsmen’s play for Theseus’s marriage celebration. He ends up playing the part of Moonshine.

Tom Snout

The tinker chosen to play Pyramus’s father in the craftsmen’s play for Theseus’s marriage celebration. He ends up playing the part of Wall, dividing the two lovers.

Snug

The joiner chosen to play the lion in the craftsmen’s play for Theseus’s marriage celebration. Snug worries that his roaring will frighten the ladies in the audience.

Philostrate

Theseus’s Master of the Revels, responsible for organizing the entertainment for the duke’s marriage celebration.

Peaseblossom, Cobweb, Mote, and Mustardseed

The fairies ordered by Titania to attend to Bottom after she falls in love with him. 

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Themes of A Midsummer Night's Dream by William Shakespeare

Love

The dominant theme in A Midsummer Night's Dream is love, a subject to which Shakespeare returns constantly in his comedies. Shakespeare explores how people tend to fall in love with those who appear beautiful to them. People we think we love at one time in our lives can later seem not only unattractive but even repellent. For a time, this attraction to beauty might appear to be love at its most intense, but one of the ideas of the play is that real love is much more than mere physical attraction.

At one level, the story of the four young Athenians asserts that although "The course of true love never did run smooth," true love triumphs in the end, bringing happiness and harmony. At another level, however, the audience is forced to consider what an apparently irrational and whimsical thing love is, at least when experienced between youngsters.

Marriage

A Midsummer Night's Dream asserts marriage as the true fulfillment of romantic love. All the damaged relationships have been sorted out at the end of Act IV, and Act V serves to celebrate the whole idea of marriage in a spirit of festive happiness.

The triple wedding at the end of Act IV marks the formal resolution of the romantic problems that have beset the two young couples from the beginning, when Egeus attempted to force his daughter to marry the man he had chosen to be her husband.

The mature and stable love of Theseus and Hippolyta is contrasted with the relationship of Oberon and Titania, whose squabbling has such a negative impact on the world around them. Only when the marriage of the fairy King and Queen is put right can there be peace in their kingdom and the world beyond it.

Appearance and Reality

Another of the play's main themes is one to which Shakespeare returns to again and again in his work: the difference between appearance and reality. The idea that things are not necessarily what they seem to be is at the heart of A Midsummer Night's Dream, and in the very title itself.

A dream is not real, even though it seems so at the time we experience it. Shakespeare consciously creates the plays' dreamlike quality in a number of ways. Characters frequently fall asleep and wake having dreamed ("Methought a serpent ate my heart away"); having had magic worked upon them so that they are in a dreamlike state; or thinking that they have dreamed ("I have had a dream, past the wit of man to say what dream it was"). Much of the play takes place at night, and there are references to moonlight, which changes the appearance of what it illuminates.

The difference between appearances and reality is also explored through the play-within-a-play, to particularly comic effect. The "rude mechanicals" completely fail to understand the magic of the theatre, which depends upon the audience being allowed to believe (for a time, at least) that what is being acted out in front of them is real.

When Snug the Joiner tells the stage audience that he is not really a lion and that they must not be afraid of him, we (and they) laugh at this stupidity, but we also laugh at ourselves — for we know that he is not just a joiner pretending to be a lion, but an actor pretending to be a joiner pretending to be a lion. Shakespeare seems to be saying, "We all know that this play isn't real, but you're still sitting there and believing it." That is a kind of magic too.

Order and Disorder

A Midsummer Night's Dream also deals with the theme of order and disorder. The order of Egeus' family is threatened because his daughter wishes to marry against his will; the social order to the state demands that a father's will should be enforced. When the city dwellers find themselves in the wood, away from their ordered and hierarchical society, order breaks down and relationships are fragmented. But this is comedy, and relationships are more happily rebuilt in the free atmosphere of the wood before the characters return to society.

Natural order — the order of Nature — is also broken and restored in A Midsummer Night's Dream. The row between the Fairy King and Queen results in the order of the seasons being disrupted:

The spring, the summer,

The chiding autumn, angry winter change

Their wonted liveries, and the mazèd world

By their increase knows not which is which.

Only after Oberon and Titania's reconciliation can all this be put right. Without the restoration of natural order, the happiness of the play's ending could not be complete

Magic

The fairies’ magic, which brings about many of the most bizarre and hilarious situations in the play, is another element central to the fantastic atmosphere of A Midsummer Night’s Dream. Shakespeare uses magic both to embody the almost supernatural power of love (symbolized by the love potion) and to create a surreal world. Although the misuse of magic causes chaos, as when Puck mistakenly applies the love potion to Lysander’s eyelids, magic ultimately resolves the play’s tensions by restoring love to balance among the quartet of Athenian youths. Additionally, the ease with which Puck uses magic to his own ends, as when he reshapes Bottom’s head into that of an ass and recreates the voices of Lysander and Demetrius, stands in contrast to the laboriousness and gracelessness of the craftsmen’s attempt to stage their play.

Dreams

As the title suggests, dreams are an important theme in A Midsummer Night’s Dream; they are linked to the bizarre, magical mishaps in the forest. Hippolyta’s first words in the play evidence the prevalence of dreams (“Four days will quickly steep themselves in night, / Four nights will quickly dream away the time”), and various characters mention dreams throughout (I.i.7–8). The theme of dreaming recurs predominantly when characters attempt to explain bizarre events in which these characters are involved: “I have had a dream, past the wit of man to say what / dream it was. Man is but an ass if he go about t’expound this dream,” Bottom says, unable to fathom the magical happenings that have affected him as anything but the result of slumber.

Shakespeare is also interested in the actual workings of dreams, in how events occur without explanation, time loses its normal sense of flow, and the impossible occurs as a matter of course; he seeks to recreate this environment in the play through the intervention of the fairies in the magical forest. At the end of the play, Puck extends the idea of dreams to the audience members themselves, saying that, if they have been offended by the play, they should remember it as nothing more than a dream. This sense of illusion and gauzy fragility is crucial to the atmosphere of A Midsummer Night’s Dream, as it helps render the play a fantastical experience rather than a heavy drama.

Jealousy

The theme of jealousy operates in both the human and fairy realms in Midsummer Night’s Dream. Jealousy plays out most obviously among the quartet of Athenian lovers, who find themselves in an increasingly tangled knot of misaligned desire. Helena begins the play feeling jealous of Hermia, who has managed to snag not one but two suitors. Helena loves Demetrius, who in turn feels jealous of his rival for Hermia’s affections, Lysander. When misplaced fairy mischief leads Lysander into an amorous pursuit of Helena, the event drives Hermia into her own jealous rage. Jealousy also extends into the fairy realm, where it has caused a rift between the fairy king and queen. As we learn in Act II, King Oberon and Queen Titania both have eyes for their counterparts in the human realm, Theseus and Hippolyta. Titania accuses Oberon of stealing away with “the bouncing Amazon” (II.i.). Oberon accuses Titania of hypocrisy, since she also loves another: “How canst thou thus for shame, Titania, / Glance at my credit with Hippolyta, / Knowing I know thy love to Theseus?” (II.i.). This jealous rift incites Oberon to command Puck to fetch the magic flower that eventually causes so much chaos and confusion for the Athenian lovers

Mischief

In Midsummer, mischief is primarily associated with the forest and the fairies who reside there. Accordingly, the fairies of traditional British folklore are master mischief makers. The trickster fairy Puck (also known as Robin Goodfellow) is the play’s chief creator of mischief. Puck’s reputation as a troublemaker precedes him, as suggested in the first scene of Act II, where an unnamed fairy recognizes Puck and rhapsodizes about all the tricks Puck has played on unsuspecting humans. Although in the play Puck only retrieves and uses the magical flower at Oberon’s request, his mistakes in implementing Oberon’s plan have the most chaotic effects. Puck also makes mischief of his own accord, as when he transforms Bottom’s head into that of ass. Puck is also the only character who explicitly talks about his love of mischief. When in Act III he declares that “those things do best please me / That befall prepost’rously” (III.ii.), he effectively announces a personal philosophy of mischief and an appreciation for turning things on their head.

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