Why might Puck in a Midsummer night's dream would be the protagonist?
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Puck is forced to do the work of Oberon. He has no choice as he is basically a servant. the mistakes he makes are not really his fault, he does exactly what he is told, he just likes to make a little mischief while he does it.
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FAIRY\n\nA fairy, or faerie, is a spirit or supernatural being that is found in the legends, folklore, and mythology of many different cultures. They are generally human like in their appearance and have supernatural abilities such as the ability to fly, cast spells and to influence or foresee the future. Although in modern culture they are often depicted as young, sometimes winged, females of small stature, they originally were of a much different image: tall, angelic beings and short, wizened trolls being some of the commonly mentioned fay. The small, gauzy-winged fairies that are commonly depicted today did not appear until the 1800s.\n\nEtymology\n\nThe words fae and faerie came to English from Old French which originated in the Latin word "Fata" which referred to the three mythological personifications of destiny, the Greek Moirae (Roman Parcae, "sparing ones", or Fatae) who were supposed to appear three nights after a child's birth to determine the course of its life. They were usually described as cold, remorseless old crones or hags (in contrast to the modern physical depiction). The latin word gave modern Italian's fata, Catalan and Portuguese fada and Spanish hada, all of which mean fairy. The Old French fée, had the meaning "enchanter." Thus féerie meant a "state of fée" or "enchantment." Fairies are often depicted enchanting humans, casting illusions to alter their emotions and perceptions so as to make themselves at times alluring, frightening, or invisible. Modern English inherited the two terms "fae" and "fairy," along with all the associations attached to them.\n\nA similar word, "fey," has historically meant "doomed to die," mostly in Scotland, which tied in the with the original meaning of fate. It has now gained the meaning "touched by otherworldly or magical quality; clairvoyant, supernatural." In modern English, the word seems to be conjoining into "fae" as variant spelling. If "fey" derives from "fata," then the word history of the two words is the same.\n\nStrictly, there should be a distinction between the usage of the two words "fae" and "faerie." "Fae" is a noun that refers to the specific group of otherworldly beings with mystical abilities (either the elves (or equivalent) in mythology or their insect-winged, floral descendants in English folklore), while "faerie" is an adjective meaning "of, like, or associated with fays, their otherworldly home, their activities, and their produced goods and effects." Thus, a leprechaun and a ring of mushrooms are both faerie things (a fairy leprechaun and a fairy ring.), although in modern usage fairy has come to be used as a noun.\n\n\nPIXIES\n\nPixies are mythical creatures of English folklore, considered to be particularly concentrated in the areas around Devon and Cornwall, suggesting some Celtic origin for the belief and name. In regional dialect, these mischievous little folk are sometimes referred to as piskies/piskeys or the little people. They are usually depicted as wingless, with pointed ears, and often wearing a green outfit and pointed hat. Sometimes their eyes are described as being pointed upwards at the temple ends.\n\nMythic origins\n\nOne myth states that pixies were a race of people who were not good enough for Heaven or bad enough for Hell and were therefore forced to remain on Earth forever. Another legend claims that they were Druids who resisted Christianity and were subsequently sentenced by God to grow smaller and smaller until they accepted Christianity.\n\nMore recently a theory has developed that they are named after the nation of Picts that inhabited Scotland during the post-Roman period, whom some believe are descended from an indigenous group of people predating the arrival of the Celts in Britain during the Iron Age, the word 'pixie' ap
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In the play it refers to Mercutio as a kinsmen to Romeo.  I think they were supposed to be cousins.
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Prologue\n\nArguably Shakespeare's most famous play begins with a Prologue which establishes that this play will be a tragedy and that the children of two feuding families, Romeo of the Montague family and Juliet of the Capulet family, will both love and die in the course of this play...\n\nAct I.\n\nSampson and Gregory, servants to the Capulets and Abraham and Balthasar, servants to the Montague family start a street fight, which is joined by Benvolio (Montague) and Tybalt (Capulet). Escalus, the Prince of Verona who angrily learns of this fight, declares a death penalty for further feuding between the two families. Romeo we learn is lovesick; Rosaline, the object of his affections will not requite (return) his love. His friend Benvolio tells Romeo to look at other girls...\n\nMeanwhile Capulet is keen for Paris to marry his daughter Juliet and plans a party to be held later that night. Romeo and friends decide to turn up uninvited, Romeo hoping to see Rosaline, whom he still pines for...\n\nLady Capulet discusses the idea of marriage to Paris with Juliet. Juliet keeps her options open. The Nurse wishes Juliet every possible happiness...\n\nMeanwhile Mercutio attempts to cheer a lovesick Romeo up, telling him to be rough with love if need be.\n\nAt the Capulet's party, Romeo who is disguised by a masque (mask), falls in love with Juliet on sight. Capulet stops Tybalt from attacking Romeo at his party, telling him there will be other opportunities. Both Romeo and Juliet learn that they are each enemies of the other's family... A Prologue sung by a choir dramatizes the conflict both Romeo and Juliet feel between their love for one another and their loyalty to their respective families.\n\nAct II.\n\nIgnoring the danger, Romeo scales the Capulet's wall to be near Juliet, the woman he cannot forget... Unnoticed in Juliet's orchard, Romeo learns of Juliet's love for him. After declaring their feelings for each other, the two decide to marry. Juliet will send Romeo a messenger in the morning to make plans for their wedding...\n\nThe very next day, we meet Romeo's friend, Friar Laurence. He wonders how Romeo can forget Rosaline so quickly but agrees to marry the two since he hopes this marriage it will end the long running Montague / Capulet feud...\n\nRomeo catches up with his friends Mercutio and Benvolio. Juliet's messenger, the Nurse, arrives and the wedding is set for later that day. The Nurse brings Romeo "cords" or ropes which will allow Romeo to climb into Juliet's bedchamber as her husband later that night... Act II ends with Romeo and Juliet's marriage.\n\nAct III.\n\nBenvolio and Mercutio (both Montagues) meet Tybalt (Capulet). Tybalt attempts to provoke Romeo into fighting. Mercutio fights Tybalt and is killed. Romeo then kills Tybalt. Escalus, the Prince of Verona banishes Romeo from Verona threatening death should he ever return. Juliet learns of Romeo killing Tybalt and despite being torn between her loyalty for her family and Romeo, mourns her husband Romeo's banishment.\n\nRomeo learns of the banishment order, realizing he will not be able to see Juliet again. Friar Laurence suggests Romeo go to Juliet's bed chamber to comfort his wife... Capulet, who does not know of Romeo and Juliet's marriage, decides that the marriage of Juliet to Paris must now proceed, bidding his wife to make Juliet aware of Paris' love for her. The day of the marriage has been decided; it will be Thursday.\n\nWe learn that Romeo has spent the night with his Juliet. Juliet who is now already secretly married to Romeo, learns that she is to marry Paris. She tries to fight her father's wishes, failing to dissuade him. Juliet decides to commit suicide if all else fails...\n\nAct IV.\n\nParis reveals that the wedding will occur on Thursday. Juliet is cold to Paris. Friar Laurence tells Juliet to take a potion simulating death, allowing Romeo to take her away, unopposed to Mantu
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To make it safe. That puck is flying.
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We play ourselves, we experience the results of others playing themselves also.  Everyone has free will.\n\nYes, we are somewhat like actors on a stage as Shakespeare and others have said.\n\nBut this is not all there is.  This is only a beginning.\n\nThe play ends differently for different actors.\n\nhttp://blog.360.yahoo.com/blog-7dNzZV06cpnGmuKQRUwj0WV6Ig--?cq=1&p=1
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Polonius is a character from William Shakespeare's Hamlet. The character is best known for uttering the immortal words: "To thine own self be true.", as well a few other phrases still in use today.\n\nFather of Ophelia and Laertes, and adjunct to King Claudius, he is described as a windbag by some and a rambler of wisdom by others. It has also been suggested that he only acts like a "foolish prating knave" in order to keep his position and popularity safe and to keep anyone from discovering his plots for social advancement.\n\nPolonius is fearful that Hamlet's relationship with his daughter will hurt his reputation with the king and instructs Ophelia to "lock herself from [Hamlet's] resort." He later develops the belief that Ophelia's rejections of Hamlet's affections has caused the prince to lose his wits. He tests his theory with spying and interrogations.\n\nIn his last attempt to spy on Hamlet, Polonius hides himself in the curtains of Gertrude's room. Hamlet deals roughly with his mother, causing her to cry for help. Polonius repeats the request for help and is heard by Hamlet, who thinks Polonius is his uncle. Hamlet stabs the figure behind the curtains, mistakingly killing Polonius.\n\nThe death of Polonius causes Claudius to fear for his life, Ophelia to become genuinely mad and Laertes to seek his revenge.
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A bunch of books, plays, etc. from England are usually read and discussed in English literature.  You can pretty much guarantee that Shakespeare will be read.
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Shakespeare\n\nHamlet
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Juliet's long soliloquy before she drinks the potion focuses on her fears.  She at first calls the nurse, then changes her mind, realizing that she must act alone.  At first she fears that the potion won't work at all and lays a dagger beside her in case it doesn't.  She then fears that Friar Laurence may have lied, and really plans to kill her in order to avoid being punished for performing their marriage. \n\nAfter deciding that the Friar is honest and trustworthy, Juliet fears that she will wake up before Romeo arrives.  This prospect frightens her the most.  She fears strangling to death for lack of air, and then thinks about being in the vault with the bones of her ancestors, including Tybalt's recently dead body.  In horrible images, she imagines herself playing with the bones of her dead relatives and even smashing her own brains out with one of the bones.  As she imagines Tybalt's ghost seeking out Romeo, his murderer, she drinks the potion as a toast to Romeo.\n\nEven though Juliet's worst fear is that she will wake up too soon, it is ironic that this is the one thing that could have saved both their lives.\n\nJuliet is tragically alone in this scene, expressing her deepest fears in total isolation.  She shows her bravery as proof of her intense love for Romeo. In fact, it is her love for him which allows her to overcome her worst fears.
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Yes it is very similar, because the norns and the fates are almost the same people, but there are enough differences in those 2 myths to make it a good comparison.
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Just finished reading this for 9th grade English. Juliet is a brat from beginning to end of the story.  She does not love Romeo but is infatuated with him.  She threatens suicide repeatedly whenever things are not going her way.  I don't think she changes much, she's more committed to herself than to him.  She only commits suicide at the end of the story because of the guilt she feels rather than because she wants to be with him or because she is devastated.
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Well, it depends, but two clear literary and folkloric candidates for queen of the woodland fairies would be:\n\nQueen Mab---often a "negative" figure, Queen Mab is one Queen of the Fairies in English folklore and myth.  She is a woodland queen, associated with ideas of chaos and unreason, both in negative and positive aspects.  One function she has is to be a thief of children, which reflects her origin as the Cardea Goddess archetype (the Goddess as Protector of Children/Devourer of Children).  Her origins are as the Celtic Goddess Maeve or Mabbe in ancient Wales, and like so many Celtic goddesses in Britain she became a "fairy" after the Christianization of that part of the world.  She is associated with dairies, meadows, flowers, and appears in plays such as Ben Jonson's *Entertainment at Althorpe*, and is mentioned in Shakespeare's *Romeo and Juliet*.\n\nQueen Titania---the Queen of the Fairies in Shakespeare's *A Midsummer Night's Dream* bears more obvious signs of coming from further East than Mab, in that she traces her ancestry back to the jealous Mother-Goddesses/Divine Wives of the Mediterranean Basin (e.g., Hera, Juno, Jana).  Through her magical association with Bottom, the man with the head of an Ass, she is also a clear literary reference to Apuleius' *The Golden A*s,* which tells the story of a man turned into an a*s (think donkey, but with censorship by the always-vigilant Yahoo Answers) by witchcraft but healed and restored to human form by the Goddess Isis.  Titania is more eroticized than Mab, and has fewer menacing characteristics.
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No, Romeo and Juliet is a play by William Shakespeare. I would suppose since he lived 1554 to 1616 that the play was set in the 16th Century? England? It's been a long time since 9th Grade English.\n\nI will give you a link that may help you out, first of all you can try an idependent search on "Romeo and Juliet" and the playwrite William Shakespeare.\n\nOne oddity that I might point out in the original production it is likely (not certain about this particular play) that all of the performers were male. There is a movie called "Shakespeare In Love" that is interesting, and while much of it may or may not be fictionalized it is true that in English Theater women were not considered for parts. Only males. I don't think women were even considered for acting roles for many years in English theater.\n\nHave fun, Mr. Shakespeare wrote some wonderful plays, and poetry. Two of my favorites are "A Mid-Summer Night's Dream", and "A Tale of Two Cities".\n\nThe link below will give you some general information on Romeo and Juliet. There are many many web sites and pages about it. If you like Romeo and Juliet, maybe you would enjoy reading some of his other writings.\nruthie~
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the "stars" are a symbol of fate. the play starts w/ 2 "star-crossed" lovers. no matter how they try and plan to deny their fate- and fall in love/ live happily ever after- they are doomed.
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It's been a while since I analyzed that. I'll just have to go off the cuff here. Darkness seems to be a common setting for the Capulet party at night, the sneaking around between major scenes, going to see the Friar, inside the family tombs, etc. Darkness itself does not necessarily mean evil in this play, but more of the fact that due to miscommunication and violent grudges, people keep acting while being left mentally "in the dark" as to what other options would be available. Darkness may also serve as a sort of foreshadowing of a sad and dark ending to this tragedy.
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Ok, the answer is B.\nAn archetype is kind of like a cliche. It's an idea or character that reoccurs frequently throughout literature. Throughout literature we see repeated instances in which a wolf is a killer or a witch is evil and wicked.\nThese characters do not change and grow with the story--they are not dynamic.They are not multi-dimensional.\nThey are not the main characters or the heroes. They, therefore, are not protagonists.\nAnecdotes are like a very, very short story that one uses for a purpose--like to explain an idea or to begin a speech. These characters do not fit this description.\nSo, again we must turn to the answer, B, archetypes.