[ اللغة الانجليزية ] : Third year - 6th level - 0ld plan @.@

[в7т ѕнσ0σg]

مسسسآء آلعسل ي عسلآلآلآت. .

بالنسبه للفيريزي آبشري ويسبرز بحط بحث عندي لآنه آعجب آلدكتوره و شآمل. .

بس برؤوؤوؤبآه تكةةة ورآجعةة

[в7т ѕнσ0σg]

دآيموند لبى خشتس شوفي الآغلب خبص وضقنآ بس آلآمر مقضي منه مآ رآح ترجعين شي آنتي عندتس الدعآء ووكلي ربي آن شآء الله بننجح « دآيم أقص ع نفسي واتفائل واحيان التفائل جاب نتيجه « يقال آني أحاول أرفع معنوياتها ههههههههههههههههه

لآ بس جد أحسهآ بتنجحنآ

[Diamond brooch]

^
الله يسمع منك حبيبتي ..
مشكوره ع رفع المعنويات ..
الكلمه تجبر الخاطر ..

[в7т ѕнσ0σg]

سؤال جد حيرني الصفحه وراها غدت 400 مو كانت 119 وحولها « هههههههههههههههههههههه ياو اشهد اني بنجح بس وشلون اربع ميه قويه شكل في حد كان شاق من دفترنا وتو رجع الاوراق بس ع كل حال حنا مسامحينه « ماهيب صاحيه موسوسه

[в7т ѕнσ0σg]

المشاركة الأصلية كتبت بواسطة diamond brooch

^
الله يسمع منك حبيبتي ..
مشكوره ع رفع المعنويات ..
الكلمه تجبر الخاطر ..

فديييييييتس ولو العفو هونيها وكل شي يهون

[в7т ѕнσ0σg]

Fairies and fantasy in A Midsummer Night's Dream

Shakespeare is one of the most distinguished authors of all times, as he wrote masterpieces in all kinds of literature. Midsummer's Night Dream is one of these masterpieces that can be classified as a comic play. In this research, I will handle in detail Shakespeare's use of fantasy as represented by fairies, how Shakespeare portrays his fairy creatures, as related to meaning and definition of fairies.
Fantasy or dream is one of the most important themes in this play that is represented by the world of fairies who are defined as imaginary, legendary creatures in the form of human beings. These creatures’ posses supernatural and magical powers. Shakespeare prepares his reader for the theme of fantasy through the setting of the play, as the reader expects something supernatural to take place. This adds a sense of credibility to the play and enhances the dreamlike atmosphere throughout it.
Fantasy started in act II, scene I, when the audiences were first introduced to the magic world of fairies, as two servant fairies met by chance and talked about their king and queen. The king's servant asked the queen's servant to keep her mistress away from his mister, because they were very angry with each other. The servants then introduced the audience to the reason of such problem, as the king and the queen quarreled over a very handsome boy, an Indian prince whom Titania took as her attendant. Oberon wanted the boy to be his knight, but Titania refused to give him the boy.
The two servants were interrupted when Oberon entered followed by his subjects, and then Titania entered with her train. The couple quarreled over the changeling boy, and the matter ended with Titania's anger and departure, and Oberon's vow to revenge his own wife until her submission to his will.
Oberon asked his servant, puck, to get the juice of a magical flower, and to rub it into his wife's eyelids. This juice would make her fall in love with the first creature she meets upon her waking up. Oberon wanted her to fall in love with a ridiculous creature so as to insult and force her to surrender to him.
This love potion is the method by which the two worlds of fantasy and reality would be intertwined, as after seeing Demetrius, one of the human beings, while he was mistreating Helena, Oberon asked puck to put some of this love potion on his eyelids. But Puck mistook Lysander for Demetrius and afflicted him with the magic potion. When puck tried to correct his fault, both of Demetrius and Lysander would fall in love with Helena. Waking up, Titania fell in love with Bottom, a craftsman, whose head had been put on the body of a donkey by puck. At the end, Oberon could get the boy and ended his magical effect over the characters in the play.
The fantasy in this play is intertwined with reality in a marvelous way. There are many times when the fairies are seen as a part of the lives of the Athenians. The most important example of this is the dialogue between Titania and Bottom, when puck played a prank on both of them. Puck changed Bottom's head with a one belonging to a donkey. After waking up, affected by the magic juice of the flower, Titania expresses her love to Bottom.
In this moment, the two worlds of fantasy and reality come together when Bottom says, " And yet, to say the truth, reason and/ love keep little company together nowadays" (Shakespeare III.i.110 – 111). Bottom's statement shows that these two worlds are acting as if they are one world. This mixture of the two worlds arises the wonders of the audience, as they don’t know if it is possible for the two worlds to become one in the real world as they are in the play.
In one of his essays, author John Russell Brown comments on Shakespeare's ability to break that barrier between fantasy and reality saying," The play’s greatest triumph is the manner in which our wavering acceptance of the illusion of drama is used as a kind of flesh-and-blood image o the acceptance which is appropriate to the strange and private ‘truth’ of those who enact the play of love."
There are many thoughts to explain how the fairies were able to escape the fantasy world and end up in the real world.People, at that time, had three main ideas about fairies. First, they thought that the fairies are heavenly creature descending from heaven. The second belief was that these fairies are the ghosts of dead bodies. The third idea was that fairies are neither ghosts nor heavenly creatures; instead they are creatures that exist between hell and heaven. Actually, the third belief inspired Shakespeare and helped him to portray the fairies as a part of the two worlds of fantasy and reality.
In this play, the reasonable world of human beings is so much affected by the fantasy world that is known to be unreasonable, lawless, and chaotic. This fantasy world is a dream that affects characters' lives during the time of their sleeping at night. During dream time, Oberon controls the lives of characters and practices his power over their lives. The characters then would follow the laws of fantasy and imagination which are completely different from those of the real world. For example, in the real world, both Hermia and Lysander are rational human beings who think in a logic way and plan how to live together, even against the will of Hermia's father. Yet, when they sleep and give up their minds for the sake of imagination, Oberon starts to control their lives and they follow his own laws.
There is a series of contrasts related to the interchange of reality and illusion such as the contrast between sleeping and waking state, reason and imagination, and the influence of Oberon and Theseus. In this play, the fairy world is dominant, as most of its events take place in the evening.
As the fairies are creatures belonging to a world beyond man's realization, they must possess what man does not even know about. This imaginable world symbolizes unseen forces that affect people's lives. These forces don’t follow any rules or any set of orders. They have the ability to exist whenever they want, and to disappear whenever they have the desire for disappearance.
At the end of the play, fantasy ends when puck separates the fantasy and the real world from each other and tells the audience that he and his fellow fairies are nothing but a part of imagination. This passage tells the audience that the dream that they have just experienced is over, and now it is time to face reality as it is.
In creating his fairies, Shakespeare was inspired by other sources such as folklore and old legends, but he could add his own touch to such legendary characters and introduce them to his audience in an enjoyable, unique way. Oberon, for example, appeared in the old French romance Huon de Bourdeaux. In this 13th century poem, Oberon was a dwarf king who could help a hero to accomplish impossible tasks. Also, the name, Puck, used to refer to all the race of fairies in many cultures. Thus, Shakespeare introduced to his audience a type of creatures they are familiar with, but in a unique, innovative way. Commenting on this point, Dyer says, “The ‘Mid-summer Night’s Dream’ holds a unique position in so far as it contains the finest modern artistic realization of the fairy kingdom”. During the Elizabethan era, people believed that the fairies are real creatures, because of the stories they used to pass from one generation to the other.
Shakespeare could replace the traditional idea in the mind of his audience about fairies as evil, fearful characters. During the Elizabethan era, fairies were imagined as horrible creatures, wearing black clothes. The choice of the black color reflected people's view of fairies at that time, as the black color is associated in the minds of people with death and devilish nature.
Shakespeare tried to change his audience's idea about fairies. To make them less frightening, Shakespeare changed the appearance of his fairies. He portrayed them as tiny, nice creatures who are able to move easily; their appearance was close to the appearance of human beings. As imaginative creatures, fairies, on Shakespearean stage, used to wear masks on their faces, and instead of the black clothes, they used to wear colorful ones. They were also full of good humor. He also depicted his fairies as kind, harmless and caring. Fairies in Midsummer's Nights Dream are also associated with love, romance, and flowers. That is why his audience loved fairies and enjoyed their existence in the play.
Moreover, Shakespeare ends his play with an apology by puck for all the chaos that he caused throughout the play. He ended the play saying that all the faults throughout the play were corrected and the chaos was nothing but a dream.

"And, as I am an honest Puck,

If we have unearnèd luck

Now to ’scape the serpent’s tongue,

We will make amends ere long.

Else the Puck a liar call.

So good night unto you all.

In Midsummer's Night Dream, fairies are ethereal characters who lack both intelligence and emotions. They don’t follow the set of moral values that dominate the real world. For example:
Fairies are unfaithful in love. These beings don’t have deep emotions, instead, they are known for fun, tricks, and entertainment. Both Oberon and Titania are king and queen, yet they are not faithful to each other. For example, Titania loves Theseus, and Oberon loves Hippolyta.

"How canst thou thus for shame, Titania,

Knowing I know thy love to Theseus? Glance at my credit with Hippolyta,

Didst thou not lead him through the glimmering night

From Perigouna, whom he ravishèd?

And make him with fair Ægles break his faith,

With Ariadne and Antiopa? (II, i)"

So, unlike the world of humans, unfaithfulness does not threaten the marriage of the fairy couple. This shows the different moral values of the world of fairies, as we see how Oberon puts magic potion into his wife's eyes so as to fall in love with the first creature she meets. Thus, Titania's faithfulness is not important for Oberon.
Fairies in Midsummer's Night Dream are immortal. Actually, they used to call themselves ghosts, souls, spirits, or shadows, so as to connote their immortality. For example, puck calls his master as "King of shadowes", whereas Oberon calls his fairy race as spirits.

"But we are spirits of another sort."

Fletcher, in the "Faithful Shepherdess," describes (i. 2) —

"A virtuous well, about whose flowry banks

The nimble-footed fairies dance their rounds,
By the pale moonshine, dipping oftentimes
Their stolen children, so to make them free

From dying flesh, and dull mortality

Though depicted as immortal beings, Shakespeare's fairies don't have divine characteristics. They possess some of the human attributes such as jealousy and anger. For example, both Titania and Oberon are stubborn and proud creatures who struggle with each other over trivial matters so as to prove their sense of power and dominance.
Paying no attention to faithfulness and love, the couple quarrels over who shall own the changeling boy. If we analyzed the reason behind this quarrel, we will see that this reflects a human-like attribute, which is stubbornness.
Both of Oberon and Titania want to own the changeling boy, and each of them has his own reasons. For example, Oberon wants the boy to be one of his knights, but this is not an important reason, for he, as a king of fairies, can find another knight so easily.
On the other hand, Titania refuses to give the boy to her husband, as she claims that she does so because of her honesty to his mother, yet if she accepted, nothing wrong would happen to the boy, as of course, Oberon would not mistreat him, and even if he did so, she would protect him. So, both of them are powerful, bullheaded creatures who refuse to bow to the desires of the other. This childish struggle over power ends when Oberon put magic drops into his wife's eyes and took the boy away from her. Only then, Oberon agrees to undo the enchantment on her.

"When I had at my pleasure taunted her

And she in mild terms begged my patience,

I then did ask of her her changeling child,

Which straight she gave me and her fairy sent

To bear him to my bower in Fairyland.

And now I have the boy, I will undo

This hateful imperfection of her eyes (IV, i)."

Puck can't be judged according to the ordinary code of ethics, as his deeds can't be regarded as good or evil. Puck, neither makes us hate him, nor inspires us to be better human beings, yet he enjoys and entertains us.
Puck, in the play is a mere tool used by his master, Oberon, so as to fulfill his wishes. So, we can regard him as an agent of chaos. Usually, he fails to do what Oberon wants from him. The audience might not find any admirable qualities in puck, as he causes a lot of chaos in the play and fails to do what Oberon asks him to do. Puck spoils the life of many mortals through playing pranks on them, yet he didn’t pity them, nor did he regret his acts. Despite that, we have no choice but to love and to enjoy his existence.
Commenting on Puck's character, H. N. Hudson says, "His powers and aptitudes for mischief are quite unchecked by any gentle relenting of fellow-feeling: in whatever distresses he finds or occasions he sees much to laugh at, nothing to pity: to tease and vex poor human sufferers, and then to think “what fools the mortals be” [III. ii. 115], is pure fun to him. Yet, notwithstanding his mad pranks, we cannot choose but love the little sinner, and let our fancy frolic with him, his sense of the ludicrous is so exquisite, he is so fond of sport, and so quaint and merry in his mischief; while at the same time such is the strange web of his nature as to keep him morally innocent. In all which I think he answers perfectly to the best idea we can frame of what a little dream-god should be."
Puck embodies the mischievous, playful nature of fairies, yet this nature is not resulting from cruelty. At the end, he proves that he is not a harmful creature. Puck is the main cause of the problems in the play, yet all his acts end happily for the sake of all of the characters.
Actually, Shakespeare's fairies, such as Titania, are depicted as beautiful creatures and powerful at the same time.
The fairies also have the ability to disappear and vanish. For example, Oberon says:

"I am invisible

And I will overhear their conference."

Shakespeare's fairies used to fall in love with mortals. Oberon for example loves the mortal Athenian queen, whereas Titania loves the Athenian king. The mortal Indian prince is the main reason behind the break in their relation, yet each one of them insist to possess him.

Finally, it can be said that it might be true that Shakespeare borrows some traditional ideas from folklore, yet he manipulates what he borrows in an innovative, unique and amazing way, ending in a masterpiece that never stops to surprise his audience all over the times.

آهم شي يآ بنآت آلغلط آلوحيـد فآلبحث هو آسمهآ آلصح كذآ
A Midsummer Night's Dream

لحد يحفظه غلط لآن آلبحث آلآسم حق آلمسرحيه غلط آلآس مع كلمه نآيت مو ميد سمر
هـذآ عن آلفيريز و دعـوآتكم

[حكايا الورد]

المشاركة الأصلية كتبت بواسطة в7т ѕнσ0σg

مسسسآء آلعسل ي عسلآلآلآت. .

بالنسبه للفيريزي آبشري ويسبرز بحط بحث عندي لآنه آعجب آلدكتوره و شآمل. .

بس برؤوؤوؤبآه تكةةة ورآجعةة

لاتطووولييين علينا
ماتدرين كيف بتكون اسئلة الأختبار ؟؟
وسؤال الكوتيشن بتجيب واحد من كل مسرحيه ولا ؟؟
..
وفي المرفقات بحث البلوت تبع قروبي ..
بالتوفيق .،

[استفاق الجرح]

الله كريم الله كريم يهون الجرح حق الترجمه الاليم
حتى الصفحااات هسترررررررررررررت

يااارب

[حكايا الورد]

يعطييك العافيــه в7т ѕнσ0σg

* الاشياء الي قالت نركز عليها في المسرحية الأولى ..

الـ 7 soliloquies of Hamlet + understand his character fully
*how does Shakespeare make use of this soliloquy technique ?
2- idea of foil + characters that are considered foil to Hamlet+ how
3- imp scenes such as the gravediggers and pirate scenes
4- Exposition as a whole
5- play within play + the significance and the meaning of it in general
6- theme of revenge _ procrastination _death

[в7т ѕнσ0σg]

المشاركة الأصلية كتبت بواسطة حكايا الورد

لاتطووولييين علينا
ماتدرين كيف بتكون اسئلة الأختبار ؟؟
وسؤال الكوتيشن بتجيب واحد من كل مسرحيه ولا ؟؟
..
وفي المرفقات بحث البلوت تبع قروبي ..

بالتوفيق .،

فديتس حطيته وتسسسلمين ع آلبحـث حق آلبلوت يـ ررررب يسهل ..

لآ و’آلله مآ عنـدي خلفيه بس هو آهم شي ذآكرو آلكوتيشنز وآلموآضيع حق آلمسرحيـه آلثآنيه و آلملزمه آلي وزعتهآ عن هآملت لآن آلينآت يقولون آنهآ مهمه لآنهآ جلست تشرح فيهآ حول سآعه

قولو دآيم كـذآ ’I Will Pass’ وآكتبوهآ بـ ورقه وخلوهآ قبآلكم دآيم رآح يرسخ فـ بآلكم هآلكلمه وآن شآء آلله بنعـدي