On Friday we'll revisit the philosophy of making (aesthetics), see the rest of your plates, and start talking about the upcoming essay assignment.
-Finish reading MND. Pay special attention to pp. 70-71 and 85-86 for Shakespeare's staging of classic/philosophical and contemporary/political debates about aesthetics
-I assigned each of you one of these study questions in class. Post your answer in reply below... we'll also discuss them on Friday.
-Read Guide ch. 12 and ch. 14... you don't need to do the exercises at the end of ch. 14, and I can't for the life of me figure out what the function of pp. 101-103, so you can skip that too
Further note on today's class discussion:
1) The thing I wanted to say when time ran out. I kept asking "what is this, what is that?" about the plates. In other words, what does the picture or some part of it represent. But not all art is representational. If so, what kind of questions do we ask about that art? And then back to music again... could it be considered representational? And what category do we put necklaces in? What's the difference between art and decoration?
2) We did some shovel work on rhetoric and some on setting, but we treated them as separate topics. How do they relate? For one thing, settings provide occasions. Social rules operate differently (or not at all) in certain places and at certain times. That's the whole point of the midsummer holiday in European culture. It's what the Romans called a "saturnalia"... cf. to Mardi Gras, Carnival, Spring Break, etc... it means the usual rules are suspended. You can smart off to your social superiors (dukes, teachers, parking directors). You can hang out with people you're not supposed to and do things you're not supposed to. As with time, so too with places. The "liberties" or red light district on the outskirts of London is a place where the usual laws do not apply. You can even socialize (touch? more?) with people from other social classes. Occasions, as we saw, relate to rhetoric. Certain kinds of ethos or rhetorical persona are fitting for certain occasions, certain situations. Or, to look at things from a very different perspective, you could see Shakespeare's use of folk holiday traditions, folk mythology about fairies, etc. as a form of rhetoric, like a tool that he is employing towards some purpose. But what purpose?
3) Every Rose Has Its Thorn (not actually Guns and Roses as it turns out). Do yourself a favor and watch this... it's completely hysterical.
4) Maybe the love potion in MND isn't that far-fetched.
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So I have a little confusion about the play..that scene where Bottom and the others rehearsed and they see Puck, what I originally thought was that they couldn't see fairies and then Puck turns Bottom into an ass and Titania falls in love with him..is that all that happens?
ReplyDeleteI don't know if I am supposed to send my question here or not... but anyways
ReplyDelete2. Egeus is the father of Hermia. He is angry that his daughter refuses to marry the man he chose for her, Demetrius, and that Hermia has found her own love, Lysander. Egeus does not appreciate his daughter's rebellion and fears that her stubbornness will influence other youths in Athens. The "ancient privilege of Athens" refers to the laws of Athens which states that Hermia must follow her father's wishes or otherwise face punishment.
Yen, I guess that's pretty much what happens. If you want something to chew on, though, think about the theme of transformation from a broader standpoint. A play (where people pretend to be other people or creatures) or a midsummer festival (when the usual social roles are altered or even reversed) causes transformations. But they are temporary ones; after it's over dukes go back to being dukes, weavers go back to being weavers, and so on. So the question is, is something like a play or a festival just a temporary escape from routine, or does it have any actual effects?
ReplyDeleteMartha... see my most recent email about those study questions.
ReplyDeleteWe as an audience are ment to observe that the players are overly concerned with the fact that they are preforming for members of the royal court, and their concern is transformed into comedy as the actors break the 4th wall and interact Theseus and his guests. Fears that the images we display for entertainment purposes will have adverse afects on those who watch them has been a growing concern, but nothing has really been done to stop them. I think that there should be more harsh restrictions on what developing minds, and even developed minds are exposed to, as it does adversly effect our behavior.
ReplyDelete1. The generational conflict in Act One, Scene I of A Midsummer Night’s Dream is not unique to Shakespeare’s time and culture, but remains a factor in many societies today. In many families in the United States, parents still play a major role in the choosing of marriage partners. Parents may not explicitly choose an individual for their son or daughter to marry, but in most cases will set guidelines for an acceptable partner and will reject a marriage with which they are uncomfortable and do not agree. Granted, young people in our day and age have much more freedom with who and when they marry, but many families still experience hardship and tension because of marriage decisions. Tradition, in particular, heavily influences how young people are allowed to choose partners. For example, in India, arranged marriages are still common and young women typically marry whomever their parents, especially their father, pick out for them. In a broader sense, a couple’s community also plays a role in marriage choices. Although members of a community probably won’t say outright whether or not they believe the marriage is acceptable, in general, communities will look down upon marriages that do not follow with their standards. Nevertheless, when all other factors are left out (financial stability, where the couple will live, whether they are finished with their education, etc), the selection of marriage partners today is mostly in the hands of the younger generation. In most cases, if two people want to get married, they will be able to do it with or without their parents’ consent.
ReplyDeleteThat being said, a version of the generational conflict between Hermia and Egeus does in fact take place in Jane Austen’s Persuasion. The disagreement is essentially between Sir Walter Elliot and Anne. Although the conflict doesn’t take place within the action of the novel, but rather as part of the past, it sets up the premise for the novel. Like Hermia, Anne wishes to marry someone her father does not approve of, namely Captain Frederick Wentworth. Furthermore, tradition and the idea of machismo are the two factors that put Sir Walter Elliot’s opinion above Anne’s in the given situation. However, unlike the circumstances in A Midsummer Night’s Dream, there is no other individual vying for Anne’s affection and Wentworth is not exactly worthy in every way with exception to Sir Walter Elliot’s consent. The course of action that Anne takes is also different, as she submits to her father’s will and that of her sisters and Lady Russell. As such, a generational conflict exists in each story, but the circumstances are slightly different and the outcome of the situations is different as a result of such dissimilarities.
1. The generational conflict set up in Act One, Scene I concerns the right of fathers to determine the marriage partners of their daughters, versus the right of young women to consent to marriage. Does this conflict remain a living one in your household, community, or tradition? Did a version of this problem play a role in Jane Austen’s Persuasion? Reconstruct the scenario in Austen, and compare it to the scenario here.
ReplyDeleteMy household or community does not have this kind of problem. People choose who they want to marry. I suppose traditionally in Chinese culture that is true as well.
Yes, this problem does present itself in "Persuasion" by Jane Austen. Anne, by the refusal of her father, was not allowed to marry Wentworth initially because he was of such low ranking. After Wentworth became a Captain, only then was Anne allowed to marry him. I guess in the case of "Persuasion" the father does not strictly choose a bachelor, he lets his daughter select who to marry and then expresses his opinion on it. In MND however, the daughter is being ordered by her father to marry Demetrius even though she wants to be with Lysander. This shows the difference in cultures and represents the different time periods the authors lived in.
Sorry if this is too short, not sure how long my answer is supposed to be. The last comment seems much longer than mine and its about the same question =/
"Maybe the love potion in MND isn't that far-fetched..."
ReplyDeleteI can't put my finger on WHY, but I couldn't be more against what Prof. Young is researching.
Question 2
ReplyDeleteThe general conflict in Act Five, Scene One is resolved because Theseus listens to the lovers’ insane, unbelievable story and allows Demetrius & Helena and Lysander & Hermia to marry.
All eight lovers freely choose to marry/re-marry whom they are in love with at the end of the play.
The union between Lysander and Hermia is most likely to be a happy one because they loved each other from the very beginning. There was nothing forceful between them—their love is and was always true. Demetrius and Helena, on the other hand, had difficulties in their relationship. Demetrius stopped loving Helena, and Helena became a victim of unrequited love. Demetrius’ love for Helena might be false because he is under a love spell put on by Oberon. Theseus and Hippolyta’s relationship may be shaky. They were never really in love—the only reason why they were marrying was because Theseus defeated Hippolyta and the other Amazons. Hippolyta had no choice or saying in the matter, but Shakespeare shows no sign of her unhappiness with her future marriage. Titania and Oberon were in the process of “divorce,” and so their relationship might never return to they way it was before. The same reasons for their divorce might arise again, and they may quarrel over the same things again.
Marriage appears to occur at a cost for Hippolyta. By marrying Theseus, she is giving up her freedom and her title as Queen of the Amazons. She might also be giving up her happiness. Shakespeare does not illustrate whether Hippolyta is happy or sad about her situation.
C. Keyword: Forsook- To deny
ReplyDeleteThe meaning has not changed since shakespeare's times yet the spelling has. It is now often spelled Forsake.
The word Forsook has appeared 11 times in 10 different plays. It is used twice in Venus and Adonis.
1. The generational conflict set up in Act One, Scene I concerns the right of fathers to determine the marriage partners of their daughters, versus the right of young women to consent to marriage. Does this conflict remain a living one in your household, community, or tradition? Did a version of this problem play a role in Jane Austen’s Persuasion? Reconstruct the scenario in Austen, and compare it to the scenario here.
ReplyDeleteThe custom of the father having a right over his daughter (and family) is one concept that dominated family life in Ancient Greece. However, it occurred in all parts of the world throughout history and still holds true in many various cultures today. This conflict does not preside whatsoever in my household; however, it is very predominant in my culture. In almost all parts of the Middle East, the marriages are arranged as the parents (mainly the father) choose a suitor for their daughter and the daughter would have no choice but to accept. However, as decades progress and education increases, there has been a shift in this ritual to a point where many women in that region can choose their own husbands.
There is a considerable struggle between a woman’s consent to marriage and the traditions in which she must uphold in Jane Austen’s Persuasion. Anne Elliot must decide between the duty to her family and the duty to her heart. At first, Anne decides she has a duty to her family first and foremost and rejects Wentworth upon her aunt’s bidding. However, in the end Anne comes to the realization that to deny what her heart needs would be foolish and makes amends with Wentworth. They marry despite her aunt’s reluctance.
The plots in Persuasion and A Midsummer Night’s Dream are almost parallel as they both revolve around marriage (or lack of) and its consequences. Helena refuses to consent to her father’s wishes in marrying Demetrius. Anne, conversely, succumbs to her family’s wishes by being persuaded not to marry Wentworth. These characters are sharply contrasting in their mentalities towards marriage and family duty. However, both plots end in the marriage of each woman’s desired significant other.
3. The various scenes in which the “rude mechanicals” (= working men of Athens) cast, rehearse, and then perform their play constitute some of Shakespeare’s most explicit representations of the process of theatrical making. (Literary critics call this metatheater, which means “theater about theater.”) Are there other instances or moments of metatheater in the play? (They will be less explicit.) In each instance, who is the audience, who is the stage director, and who are the players?
ReplyDeleteIn Shakespeare’s play A Midsummer Night’s Dream, there are a variety of instances in which metatheater is represented. Metatheater involves role-playing as well as other performance-related aspects of theatrical making. Singing and dancing are an important aspect of the process of theatrical making. The title of the play seems to imply that the it in itself is a display of metatheater. The setting of the play is during midsummer, a time when most European nations hold festivals in which the people engage in singing, feasting, and maypole dancing. A major demonstration of this sort of festivity occurs at the end of the play, in which the “nuptial hour” or wedding of Theseus and Hippolyta takes place. Midsummer is a constant setting throughout the play, thus making it a constant demonstration of metatheater.
Metatheater may also involve objects or acts that seem more artificial and strange rather than realistic. Oberon, Titania, and Puck are apart of the process of theatrical making in A Midsummer Night’s Dream; they are essentially the most magical and artificial characters within the play and are an explicit representation of metatheater. Another instance in which metatheater is represented is when Robin Goodfellow (Puck) mistakenly applies a magical juice from a flower on Lysander rather than Demetrius. Lysander instantly falls in love with Helena and loses his affections for Hermia. It is clear that applying magical juice on people to make them fall in love with another person is an unrealistic and artificial act. Hence is why it is a representation of metatheater. In this particular event, the audience may very well be the reader or anyone else who happened to witness this scene in the play. The actors are all the characters who were affected by the magical juice and the stage director is Puck, who caused the characters to behave abnormally. In all, the magical and unrealistic aspects of A Midsummer Night’s Dream would most likely be demonstrative of metatheater.
7. In Act Three, Scene One, the troupe of working-class performers becomes concerned of the appearances of violent subjects in their play and believes that these things will frighten the ladies in the audience. As part of the audience, we should be aware that certain themes can influence others. Whether or not the violence is taken as a joke or meant to be a serious issue in the play, there will be people that will be influenced by this and in effect, they may deem it as the ethical thing to do. Similar cases happen to modern society. There are many films today that involve violence and superheroes with superpowers. An educated person will know that there is no such thing as superhuman powers, but the uneducated, especially young children, are not aware of this fact. There was once a boy, after watching "Superman", believed that if he tried his best in concentrating a certain superpower, he would earn the same flying powers as Superman. In result, he jumped off a ladder, crashed to the ground, and died.
ReplyDeleteI agree that such concerns should be noticed. Parents and guardians should be aware of what their children are watching and are being entertained with, so that their children will not end up like the ill-fated little boy who once thought he would become Superman. Not all children are wise and can think rationally. Hence the purpose of motion picture ratings being applied on film for evaluation and assessment, whether or not certain audiences are suitable to watch particular films.
1. The generational conflict set up in Act One, Scene I concerns the right of fathers to determine the marriage partners of their daughters, versus the right of young women to consent to marriage. Does this conflict remain a living one in your household, community, or tradition? Did a version of this problem play a role in Jane Austen’s Persuasion? Reconstruct the scenario in Austen, and compare it to the scenario here.
ReplyDeleteThe generational conflict in Act One, Scene 1 in which fathers have the right to determine the marriage partners of their daughters generally does not remain in my community today. However, I remember an assembly in high school during our multicultural week in which an Indian girl spoke about her culture and how, when she was about sixteen, her parents had already arranged a suitor for her. I found it extremely difficult to understand the concept of an arranged marriage in this day and age. I couldn’t imagine my parents finding a suitor for me, especially at such a young age. However, if either of my parents ever were to arrange my marriage, my mother would most likely be the one to assume that role instead of my father. She always emphasizes success and wealth whenever she talks about the ideal man I should marry yet rarely mentions anything about love or happiness. In Jane Austen’s Persuasion, a similar situation occurred in which Anne’s family wanted her to marry the wealthier and more successful Mr. Elliot instead of Captain Wentworth, the man she loved. However, Anne’s father was not as critical an opponent to Anne and Wentworth’s marriage as was Lady Russell. And even then, Anne was not forced to refrain from marrying Wentworth-- rather she was “persuaded” and felt a pressure to follow social norms. On the other hand, in Midsummer Night’s Dream, Hermia is threatened with death if she does not marry Demetrius. It is not a question of persuasion but an order, which if she does not follow will result in physical harm. Thus it seems to be a more extreme version of Anne’s situation in Persuasion. Though they are both similar in that the women are discouraged from marrying the men they love, the degree of that discouragement is quite different in each case. This reflects the different time periods and societies in which each scenario is set.
7. First of all, the actors were concerned about the violence in their play would shock the female audience because they feared that they might be punished by Theseus. Although the monarch himself was a warrior who recently conquered his future bride, he was educated and definitely saw violence as inappropriate in performance art. This awareness, or fear, of visual violence presented in play can be found in modern filming industry, gaming industry, and even books. This shapes the direction of future film discussion among people, especially the youth. Since children are very agreeable with material they watch, the government forbids children purchase and watch material with sexual, violent, gorge content if they are under 17. (Rated R). However, the government did not notice that this would increase the youth’s curiosity. The youth most likely watch these films on the internet instead in a movie theater. Therefore, rated R movies would become a popular topic among the young people. The companies who made these films, however, would lose business because most people would watch these motion pictures through piracy. I agree that the government would continue these bans on rate R movies and should enforce stronger restriction on internet priacy on rated R films.
ReplyDelete1) The Keyword is: Consent (v.)
ReplyDelete2) The word consent appeared approximately 93 times throughout his writing career. Consent was found abundantly in his work “King Henry VI” and occurred about 11 times in the given passages that showed up throughout the search of this passage.
3) The word listed in the OED noted the word consent as the act of “agreeing together”, which was the same use of the word during the Shakespearean era. It was used as a word that would signify the approval of something or agreeing with a statement.
c. Keyword: potion
ReplyDeleteIt was used 6 times (to my surprise)
It was used 2 in Pericles Prince of Tyre and Romeo and Juliet
And also according to the OED it means a liquid that is usually taken orally; has healing, magical, or poisonous qualities
Question 2:
ReplyDeleteAct Five Scene One opens after Oberon decides to remove the spells cast upon Titania and Lysander when he realizes that his fairy messenger, Puck, had made a mistake. In doing so, the general conflict in the play is resolved because both Lysander and Titania regain their true affections for Hermia and Oberon, respectively--since Oberon finally obtains the Indian boy Titania had refused to release from her care. In addition, the magic that causes Demetrius to fall in love with Helena is not reversed which conveniently resolves the issue of whom is to marry Hermia; Egeus would not be able to have his "ancient privilege of Athens" fulfilled because the man whom he wants Hermia to marry loves another.
At this point of the play, Theseus is convinced to allow the couples, Lysander and Hermia and Demetrius and Helena, to marry. All but, perhaps, one couple freely choose whom they wish to marry. Titania may not have been too ecstatic with the Indian boy taken from her, even with the reasoning Oberon gives her in return. Her relationship with Oberon, however, is tremendously important for the balance of nature so she may have consented without complaint anyway.
I personally believe that Lysander and Hermia may have the happiest union. Their love is not induced by magic and is pure and true since the beginning of the play whereas Demetrius only dotes on Helena because he is under a spell. I do not doubt that their union will be a sad one but Helena may not (or she might) appreciate the cause for his change. Theseus and Hippolyta, on the other hand, will have a happy union but prior to their wedding engagement, he did hold her captive after defeating her in battle; he makes, rather than asks her for permission, his bride. Oberon casts a spell on his wife that causes her to fall in love with a hideous creature, in order to attain his wants; she clearly had the worse part of the bargain. This part of their relationship could possibly have create some negative effect (small) on her feelings for her husband.
7) In Act Three, Scene One the actors like Bottom, Quince and Snout are afraid that the amount of violence in the play would scare the female audiences. As readers, we understand that the actors may be afraid of the king punishing them for displeasing their audience. I, perhaps incorrectly, also thought that the actors, especially Bottom, were looking for recognition and fame. Perhaps that why he wanted an extended prologue for himself. "And, for the more better assurance, tell them that I, Pyramus, am not Pyramus, but Bottom the weaver" (Act3, Scene1: 19). It would have been obvious that he wasn't actually Pyramus because everyone would know that it was a play based on a mythological story.
ReplyDeleteSimilar fears do shape the discussions among adults today. They are concerned about the effect that the amount of violence and vulgarity present in the media today will have on their children. Hence, movies are rated according to their content. I absolutely agree with such concerns because children are easily persuaded by the actors that they idolize. Therefore, even more restrictions should be placed on what certain age groups can access in terms of entertainment and media.
1.)The conflict of this generation set up in Act 1, Scene 1, where it is the father’s right to decide to whom his daughter weds as if she is among the things he lays claim to, does not exist in my community quite so prevalent or with any actual ties to the law as is seen in the play. Egeus brings forth this conflict to the Duke, in an attempt to show his daughter that the law requires that she marries only who he wishes her to marry. In this day, a young woman’s father does play a major role in marriage, but he does not possess the power to decide who she marries. I have not been affected by any tradition that constitutes this marriage conflict displayed here.
ReplyDeleteAs for Jane Austen’s Persuasion, there was indeed a version of this conflict. The conflict was present in a sense that Anne would have liked to have married Wentworth the first chance that was presented, but due to his low stature in society (before entering the Navy) he was not suitable to wed her and would not be approved by her father. Society in that setting allowed the father a say-so on whom his daughter was to wed. However, it differs from A Midsummer Night’s Dream, because once Wentworth reached a position that was high enough in stature, as the social mobility of the Navy granted him, it became suitable for him to take Anne’s hand in marriage. Yet, Lyssander claims that he was just as suitable in social status to have Hermia’s hand as was Demetrius, and Egeus was still able to forbid their love, thinking Lyssander not worthy in his judgment for his daughter.
ahhhh
ReplyDelete