The multiplex plots of A Midsummer Night"s Dream, which have caused a lot of confusion among readers of the play, are all essential parts of the play in that they all contribute to solving in a festive mood the problems which arise from a confrontation of two parties having different opinions concer...
The multiplex plots of A Midsummer Night"s Dream, which have caused a lot of confusion among readers of the play, are all essential parts of the play in that they all contribute to solving in a festive mood the problems which arise from a confrontation of two parties having different opinions concerning marriage. When the opposition continues without being settled the one party who has advantage over the other usually resorts to authority, forcing the other either to obey or run away. This, however, is not a solution in the true sense of the word, especially in a comedy in which the playwright should come up with a bright idea to get rid of the conflicting element unsuitable for the genre, justifying the reconciliation of the ending in a satisfactory manner. To find a more fundamental solution Shakespeare in this play starts with delaying the usual commonplace one by letting the characters fly into other situations where another urgent problem is waiting for them, which they either consciously or unconsciously disregarded during the confrontation. To the lovers facing new problems in the new situation, the former opposition, by being compared with new bigger one, melts away and goes out of their mind, cancelling itself as a problem. This process continues until there is no further need to illuminate a problem from new perspectives, and every problem is cancelled of itself as a problem. Seen in this respect, the multiplex plots of the play are, far from being redundant, essential and necessary parts of the playas a whole, and anyone of them should not be put aside with ease as a foil or a frame for other more important one. The problem of love and marriage to be solved by Shakespeare with multiplex plots in this play is concerned with its illusory nature. When people fall in love with each other their love comes partly from the illusion of the object of love, not the object itself. When a man or a woman sticks to this illusion and believes it as a reality of it, disregarding others" different opinion about it, they come to be opposed to the society and escape into the other world within the very society. This is, in a sense, like an actor living the life of a character, leaving behind all that belongs to him in the real world. Just as the actor"s role is not fixed, so is it possible for the lovers to change their roles. Once they come into the role-changing situation, the former confrontation between love and society no longer exists. So their role-playing experience in the woods does the function of deconstructing the lovers" assertion of themselves as a fixed lover unbreakable by any threat from outside. The Athenian amateur actors rehearsing "Pyramus and Thisbe" further illustrate by their botched action how role-playing takes place and what it means to them and to the lovers playing, in a sense, the role of lovers in the outside world. The fact that the play with so many plots "closes on a kind of nothing" does not mean that it does not say anything at all. Rather it means the play says through and through what it tries to say, leaving no incongruities and contradictions unsettled. This is why we should give rethinking to the multiplex plots of A Midsummer Night"s Dream.
The multiplex plots of A Midsummer Night"s Dream, which have caused a lot of confusion among readers of the play, are all essential parts of the play in that they all contribute to solving in a festive mood the problems which arise from a confrontation of two parties having different opinions concerning marriage. When the opposition continues without being settled the one party who has advantage over the other usually resorts to authority, forcing the other either to obey or run away. This, however, is not a solution in the true sense of the word, especially in a comedy in which the playwright should come up with a bright idea to get rid of the conflicting element unsuitable for the genre, justifying the reconciliation of the ending in a satisfactory manner. To find a more fundamental solution Shakespeare in this play starts with delaying the usual commonplace one by letting the characters fly into other situations where another urgent problem is waiting for them, which they either consciously or unconsciously disregarded during the confrontation. To the lovers facing new problems in the new situation, the former opposition, by being compared with new bigger one, melts away and goes out of their mind, cancelling itself as a problem. This process continues until there is no further need to illuminate a problem from new perspectives, and every problem is cancelled of itself as a problem. Seen in this respect, the multiplex plots of the play are, far from being redundant, essential and necessary parts of the playas a whole, and anyone of them should not be put aside with ease as a foil or a frame for other more important one. The problem of love and marriage to be solved by Shakespeare with multiplex plots in this play is concerned with its illusory nature. When people fall in love with each other their love comes partly from the illusion of the object of love, not the object itself. When a man or a woman sticks to this illusion and believes it as a reality of it, disregarding others" different opinion about it, they come to be opposed to the society and escape into the other world within the very society. This is, in a sense, like an actor living the life of a character, leaving behind all that belongs to him in the real world. Just as the actor"s role is not fixed, so is it possible for the lovers to change their roles. Once they come into the role-changing situation, the former confrontation between love and society no longer exists. So their role-playing experience in the woods does the function of deconstructing the lovers" assertion of themselves as a fixed lover unbreakable by any threat from outside. The Athenian amateur actors rehearsing "Pyramus and Thisbe" further illustrate by their botched action how role-playing takes place and what it means to them and to the lovers playing, in a sense, the role of lovers in the outside world. The fact that the play with so many plots "closes on a kind of nothing" does not mean that it does not say anything at all. Rather it means the play says through and through what it tries to say, leaving no incongruities and contradictions unsettled. This is why we should give rethinking to the multiplex plots of A Midsummer Night"s Dream.
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