Throughout each of Shakespeare's dramas, the thematic inclusion of mistaken identities, hidden identities, and deceptive identities permeates many of the conflicts between the characters. While many times these characters experience a transformation in identity, be it physical, emotional, or spiritual, these transformations reflect the concept of an ever-changing society. As I once heard, "nothing is constant except change itself" - a phrase that is undeniably indicative of all of Shakespeare's dramas. Shakespeare's dramas are filled with points of view, ideas, and notions that cause its audiences to question their points of view, experience other points of view and possibly, to "transform" their points of view accordingly. A Midsummer Night's Dream assimilates this concept of transformation with images of vision and appearance, dreams, and that of a fantasy world that augments and characterizes the transformation of a particular character, scene, or the entire play.

Appearance and physical vision plays one of the most important roles in defining this play and its characters. A Midsummer Night's Dream begins with Hermia wishing that her "father look'd but with [her] eyes."

Not only do the dreams seem to relieve confusion, but Shakespeare's use of "dreamy" language also renders a poetic and dreamy sensation that alleviates the identity confusion throughout the play. As part of the fantasy world, the fairies are the tools for which Shakespeare intertwines this dreamy, poetic language. Shakespeare uses language to work upon the imagination of the audience and thereby, bringing about a kind of magic upon the stage: "I must go seek some dewdrops here," one fairy says, "And hang a pearl in every cowslip's ear." The fairies conjure many of the play's most evocative images: Oberon, for instance, describes having "heard a mermaid on a dolphin's back uttering such dulcet and harmonious breath that the rude sea grew civil at her song and certain stars shot madly from her their spheres to hear the sea-maid's music." Certainly, Shakespeare chose to incorporate this poetic distinctly through the fairies to complement the play's dreamy atmosphere.

Shakespeare introduces the concept of a fantasy world into the plot beginning with ACT II. He introduces the fairies and their realms into the plot to instigate somewhat of a romantic confusion that, in the end, restores balance in the conflicts of identities and love. While the fairies play an influential role in manipulating within the "confused triangle," - consisting of the court, the tradesmen, and the fairies - the fairies are designed to contrast heavily with the young lovers and the craftsmen; whereas the lovers are earnest and serious, Puck and the other fairies are merry and full of laughter; whereas the craftsmen are bumbling, earthy, and engage in methodical labor, the fairies are delicate, airy, and indulge in effortless magic and enchantment. This painted picture is simply an idea of the mixed identities present at the ignition of the play.

Some topics in this essay:
Furthermore Puck, ACT II, Helena Demetrius, Night's Dream, Lysander Lysander, Theseus Demetrius, Throughout Shakespeare's, Hippolyta Theseus, Theseus Fair, Lysander Hermia, fantasy world, midsummer night's dream, night's dream, true love, midsummer night's, lysander hermia, shakespeare's dramas, love square, help fantasy world, beginning play, play characters, entire play,