Lack of Realism in Shakespearean Writings

This has been referred to as the play's "ugly plot."

make up at the beginning, it's an ugly situation. Hermia's beat, Egeus, comes to the ruler of Athens and he says, in effect: "My daughter wants to marry a fellow I don't want her to marry and unless she agrees not to marry him, I muster up you as the Chief Executive of Athens to enforce the righteousness and bind her killed." . . . I could imagine this story, the b be plot, being do into a pretty unpleasant story (Brown, et al., 211-12).

Taken reveal of context, the conflict between Hermia and Egeus is irretrievably serious. Hermia pleads, "I would my father look'd plainly with my eyes, but the king, Theseus, stands maternal rights: "Rather your eyes must with his judgment look" (I.i.56-57). On its face, this exchange contains nothing remotely comic. The irritation of the piece derives broad comedy from an essentially tragic pick for a young girl: obey or die. in that location seems nothing realistic in the character of a father who would insist on such a choice for his daughter, whitewash less of a king who would so readily confirm the right of insistence. And if there is psychological reality to such parental tyranny, how can superstar credibly explain Shakespeare's response: to localise everybody into the enchanted forest of Athens, ruled by the fairies Titania and Oberon, who are having marital problems. one plot complication is sillier than the last, no interrogation about it.

Thy full control thou knew'st, and that

My heart was to thy rudder tied by the strings,

Charney, Maurice. Shakespeare's Roman Plays: The break of Imagery in the Drama. Cambridge: Harvard UP, 1963.

In which so many fortunate Romans bathed,

---. A Midsummer Night's Dream. The Annotated Shakespeare. Volume 1, The Comedies. Tragedies and Romances. Ed. A.L. Rowse. late York: Clarkson N. Potter, Inc., Publishers, 1978.

---. Julius Caesar. The Annotated Shakespeare. Vol. 3, The Tragedies and Romances. Ed. A.L. Rowse. 3 vols. New York: Clarkson N. Potter, Inc., 1978. 140-187.

From play to play, the evidence for lack of realism seems clear.

just now wherefore is a ultramodern complaint about how unrealistic and rocky Shakespearean plotting, language, and characterization inappropriate? One response is barely that modern readers could do worse than have a low patience for the poetry and dramatic conventions of a previous age, including what appears to have been a sincere appreciation of tragic sensibility and a predilection for magic. Moreover, extravagant language and behavior do not by themselves disprove the possibility of achieving, even for a modern audience, a depth of emotion that leads to the assumption of tragic stature. Finally, one might ask what about the jot in Hamlet, the apparitions and superstitions of Julius Caesar, the fairies in A Midsummer Night's Dream, or the extremity of emotion in Antony and Cleopatra is less realistic on the face of things than (say) any minded(p) video game on the market, science fiction, action-adventure movies, or the inarguably ludicrous narrative symbolism of MTV video vignettes?

Signifies that from you great Rome shall suck

For tinctures, stains, relics and cognizance.

The Ghost in Hamlet presents similar problems for credibility of dramatic action. One could argue, for example, that the apparition of the Ghost to Hamlet can be interpreted as a concrete representation of Hamlet's state of mind. But the Ghost appears
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