Approach to Literature week 17

Ø  The real inspector hound

The Real Inspector Hound is a short, one-act play by Tom Stoppard. The plot follows two theatre critics named Moon and Birdboot who are watching a ludicrous setup of a country house murder mystery, in the style of a whodunit. It is a parody of the stereotypical parlor mystery in the style of Agatha Christie's The Mousetrap, as well as of the critics watching the play, with their personal desires and obsessions interwoven into their bombastic and pompous reviews. The title is a direct reference to the ending of The Mousetrap, a play well known for guarding the secrecy of its twist ending, although the producers of Agatha Christie's play could not publicly object without drawing even more attention to the fact. Stoppard's play is an example of absurdism as well as farce, parody, and satire.

Ø  A MIDSUMMER NIGHT’S DREAM

William Shakespeare

←Important Quotations Explained→

1. Ay me, for aught that I could ever read,

Could ever hear by tale or history,

The course of true love never did run smooth. . . .

Lysander speaks these lines to soothe Hermia when she despairs about the difficulties facing their love, specifically, that Egeus, her father, has forbidden them to marry and that Theseus has threatened her with death if she disobeys her father. Lysander tells Hermia that as long as there has been true love, there have been seemingly insurmountable difficulties to challenge it.

2. Through Athens I am thought as fair as she.

But what of that? Demetrius thinks not so.

He will not know what all but he do know.

And as he errs, doting on Hermia’s eyes,

So I, admiring of his qualities.

Things base and vile, holding no quantity,

Love can transpose to form and dignity.

Love looks not with the eyes, but with the mind,

And therefore is winged Cupid painted blind.

Helena utters these lines as she comments on the irrational nature of love. They are extremely important to the play’s overall presentation of love as erratic, inexplicable, and exceptionally powerful (I.i.227–235). Distressed by the fact that her beloved Demetrius loves Hermia and not her, Helena says that though she is as beautiful as Hermia, Demetrius cannot see her beauty. Helena adds that she dotes on Demetrius in the same way that he dotes on Hermia. She believes that love has the power to transform “base and vile” qualities into “form and dignity”—that is, even ugliness and bad behavior can seem attractive to someone in love. This is the case, she argues, because “love looks not with the eyes, but with the mind”—love depends not on an objective assessment of appearance but rather on an individual perception of the beloved.

3. Lord, what fools these mortals be!

This line is one of the most famous in A Midsummer Night’s Dream for its pithy humor, but it is also thematically important: first, because it captures the exaggerated silliness of the lovers’ behavior; second, because it marks the contrast between the human lovers, completely absorbed in their emotions, and the magical fairies, impish and never too serious.

4. I have had a most rare vision. I have had a dream past the wit of man to say what dream it was. Man is but an ass if he go about t’expound this dream. Methought I was—there is no man can tell what. Methought I was, and methought I had—but man is but a patched fool if he will offer to say what methought I had. The eye of man hath not heard, the ear of man hath not seen, man’s hand is not able to taste, his tongue to conceive, nor his heart to report what my dream was. I will get Peter Quince to write a ballad of this dream. It shall be called ‘Bottom’s Dream’, because it hath no bottom.

He believes that his experience as an ass-headed monster beloved by the beautiful fairy queen was merely a bizarre dream (IV.i.199–209). He remarks dramatically that his dream is beyond human comprehension; then, contradicting himself, he says that he will ask Quince to write a ballad about this dream. These lines are important partially because they offer humorous commentary on the theme of dreams throughout the play but also because they crystallize much of what is so lovable and amusing about Bottom. His overabundant self-confidence burbles out in his grandiose idea that although no one could possibly understand his dream, it is worthy of being immortalized in a poem.

5. If we shadows have offended,

Think but this, and all is mended:

That you have but slumbered here,

While these visions did appear;

And this weak and idle theme,

No more yielding but a dream,

Gentles, do not reprehend.

If you pardon, we will mend.

Puck speaks these lines in an address to the audience near the end of A Midsummer Night’s Dream, extending the theme of dreams beyond the world of the play and putting the reality of the audience’s experience into question (V.epilogue.1–8). As many of the characters (Bottom and Theseus among them) believe that the magical events of the play’s action were merely a dream, Puck tells the crowd that if the play has offended them, they too should remember it simply as a dream—“That you have but slumbered here, / While these visions did appear.” The speech offers a commentary on the dreamlike atmosphere of A Midsummer Night’s Dream and casts the play as a magical dream in which the audience shares.

Ø  Cupid

In classical mythology, Cupid (Latin Cupido, meaning "desire") is the god of desire, erotic love, attraction and affection. He is often portrayed as the son of the love goddess Venus and the war god Mars, and is known in Latin also as Amor ("Love"). His Greek counterpart is Eros.

Although Eros is in Classical Greek art as a slender winged youth, during the Hellenistic period, he was increasingly portrayed as a chubby boy. During this time, his iconography acquired the bow and arrow that represent his source of power: a person, or even a deity, who is shot by Cupid's arrow is filled with uncontrollable desire. In myths, Cupid is a minor character who serves mostly to set the plot in motion. He is a main character only in the tale of Cupid and Psyche, when wounded by his own weapons he experiences the ordeal of love. Although other extended stories are not told about him, his tradition is rich in poetic themes and visual scenarios, such as "Love conquers all" and the retaliatory punishment or torture of Cupid.

Ø  Egeus

Egeus is the father of Hermia who disapproves of Hermia's and Lysander's love, and appeals to Theseus to force Hermia to marry Demetrius. If Hermia refuses to wed Demetrius, she could be put to death, or cloistered in a nunnery for the rest of her life -- both sentences supported by Athenian law.

Ø  Theseus

Theseus was the mythical king of Athens and was the son of Aethra by two fathers: Aegeus and Poseidon.

Theseus was a founder-hero, like Perseus, Cadmus, or Heracles (Hercules), all of whom battled and overcame foes that were identified with an archaic religious and social order. As Heracles was the Dorian hero, Theseus was a founding hero, considered by Athenians as their own great reformer: his name comes from the same root as θεσμός ("thesmos"), Greek for "The Gathering". The myths surrounding Theseus—his journeys, exploits, and family—have provided material for fiction throughout the ages

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Ø  Vocabulary

Ø   aero- = air

l   aerobic: biology using oxygen

l   aerobatic: impressive and clever movements in the air made by a plane

Ø  Aero airlines