Peter G. Philias assumes that Shakespeare’s Midsummer Night’s Dream is a play that lives off seemingly incompatible contradictions:
A Midsummer Night’s Dream and The Tempest,a play it prefigures in important ways, share the distinction of illustrating better than any other plays Shakespeare’s device of juxtaposing extremes for the purpose of indicating a golden mean.
Bipolar oppositions that can immediately be recognized are civilization and nature, which are juxtaposed in the confrontation of the court of Athens and the forest. In addition, man and woman are working against each other in the unequal couples of Theseus and Hippolyta, Oberon and Titania, and arch-conservative Egeus and his daughter Hermia. Concentrating on the opposition between town - the court of Athens - and wilderness - the forest - this essay is dedicated to an examination of the underlying force that drives the development of the plot: opposition. Furthermore, the essay will examine two filmic versions ofA Midsummer Night’s Dreamfrom different times, and compare their representation of the opposing forces. Max Reinhardt’s (1935) and Michael Hoffmann’s (1999)A Midsummer Night’s Dreamhave been chosen as the two different movie versions of the play that can stand as representatives for different time periods and different approaches towards Shakespeare on film. The comparative analysis of the films will be based on the results of the play’s analysis, which will deal with the primary opposition established in the play - the opposition between the court of Athens, the realm of law and order, and the forest, the realm of dreams and chaos - and its reflection in the relationship between man and woman, which also exhibits strong traits of a polarized, oppositional relationship.
The basic assumption on which the paper is based is that the 1935 movie version of the play subverts the play’s concepts of the orderly town and the chaotic wilderness. In the film, the court of Athens is in a state of disorderly flux - from carnival to a brief display of authority and back to carnival - whereas, paradoxically, the wilderness is governed by a sense of order. The characterization of Oberon as a haughty king who maintains order does not permit a portrait of the woods as ultimately unruly and chaotic.
Inhaltsverzeichnis (Table of Contents)
- 1. Introduction
- 2. Binary Pairs
- 2.1. Binary Pairs in A Midsummer Night's Dream
- 2.2. Binary Pairs in Max Reinhardt's Midsummer Night's Dream
- 2.3. Binary Pairs in Michael Hoffmann's Midsummer Night's Dream
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This essay examines the contrasting forces of order and chaos in Shakespeare's A Midsummer Night's Dream, focusing on the binary oppositions presented in the play. It analyzes how these oppositions are manifested in the relationships between men and women, and how they are visually represented in two film adaptations: Max Reinhardt's 1935 version and Michael Hoffman's 1999 version. The essay aims to understand how these contrasting representations shape the overall interpretation of the play.
- The opposition between civilization (Athens) and nature (the forest).
- The contrasting relationships between men and women.
- The concept of order versus chaos and how it shapes the plot.
- The different interpretations of the play's themes in film adaptations.
- The interplay between reason and emotion in driving the narrative.
Zusammenfassung der Kapitel (Chapter Summaries)
1. Introduction: This introductory chapter establishes the central thesis that Shakespeare's A Midsummer Night's Dream thrives on juxtaposing seemingly incompatible contradictions to illustrate a "golden mean." It highlights the key binary opposition between civilization (the Athenian court) and nature (the forest), further explored through the strained relationships of several couples: Theseus and Hippolyta, Oberon and Titania, and Egeus and Hermia. The chapter introduces the comparative analysis of two film adaptations, Max Reinhardt's (1935) and Michael Hoffmann's (1999), to understand how different cinematic interpretations handle these oppositions. The chapter posits that Reinhardt's version subverts the expected order/chaos dynamic, while Hoffman's adheres more closely to the play's original presentation.
2. Binary Pairs: This chapter delves into the core concept of binary pairs as the driving force of the play's plot. It begins by analyzing the initial pairings introduced: Theseus and Hippolyta, representing a union forged through conquest, and Hermia and Lysander, whose relationship is challenged by Egeus and Demetrius. The chapter argues that the underlying conflict is the constant tension between "doting" and "reason" in romantic relationships, which is further complicated by societal expectations. It extends beyond romantic entanglements to show how the conflict between reason and emotion affects the characters' interactions within the larger societal structure. The chapter rejects the notion of reducing the play to merely a love story, suggesting its thematic scope expands into broader considerations of societal structures and the complexities of human interactions.
Schlüsselwörter (Keywords)
A Midsummer Night's Dream, Shakespeare, binary oppositions, civilization vs. nature, order vs. chaos, reason vs. emotion, male vs. female relationships, film adaptations, Max Reinhardt, Michael Hoffman, contrasting interpretations.
Frequently Asked Questions: A Midsummer Night's Dream - A Comparative Analysis of Contrasting Forces
What is the main focus of this essay?
This essay examines the contrasting forces of order and chaos in Shakespeare's A Midsummer Night's Dream, primarily through the lens of binary oppositions. It analyzes how these oppositions are manifested in relationships and visually represented in two film adaptations: Max Reinhardt's 1935 version and Michael Hoffman's 1999 version.
What are the key binary oppositions explored in the essay?
The essay explores several key binary oppositions, including civilization (Athens) versus nature (the forest), men versus women in their relationships, order versus chaos in shaping the plot, and reason versus emotion in driving the narrative. The contrasting interpretations of these oppositions in the two film adaptations are also a central theme.
Which film adaptations are analyzed, and how are they compared?
The essay compares and contrasts the 1935 film adaptation by Max Reinhardt and the 1999 adaptation by Michael Hoffman. The analysis focuses on how each director visually represents the binary oppositions present in Shakespeare's play and how these representations shape the overall interpretation of the themes.
What are the chapter summaries?
Chapter 1 (Introduction): Introduces the central thesis focusing on the play's use of juxtaposing contradictions to illustrate a "golden mean," highlighting the civilization/nature opposition and introducing the comparative analysis of the two film adaptations. It suggests contrasting approaches to the order/chaos dynamic in Reinhardt's and Hoffman's versions. Chapter 2 (Binary Pairs): Delves into binary pairs as the driving force of the plot, analyzing pairings like Theseus/Hippolyta and Hermia/Lysander. It discusses the tension between "doting" and "reason" in relationships, extending beyond romantic entanglements to explore societal structures and human interactions, rejecting a solely romantic interpretation of the play.
What are the key themes of the essay?
Key themes include the exploration of binary oppositions (civilization vs. nature, order vs. chaos, reason vs. emotion, male vs. female relationships), contrasting interpretations of Shakespeare's A Midsummer Night's Dream in film adaptations, and the interplay between societal structures and individual relationships.
What are the keywords associated with this essay?
Keywords include: A Midsummer Night's Dream, Shakespeare, binary oppositions, civilization vs. nature, order vs. chaos, reason vs. emotion, male vs. female relationships, film adaptations, Max Reinhardt, Michael Hoffman, contrasting interpretations.
What is the overall objective of this analysis?
The essay aims to understand how the contrasting representations of binary oppositions in Shakespeare's play and its film adaptations shape the overall interpretation of the play's themes and complexities.
- Quote paper
- Silja Rübsamen (Author), 2002, Structure and Chaos: Binary Pairs in Shakespeare's "A Midsummer Night's Dream", Munich, GRIN Verlag, https://www.grin.com/document/55908
