By Elliot Krieger
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Additional info for A Marxist Study of Shakespeare’s Comedies
II. ii. 56-6o) Lysander acquiesces. Moments later, Puck enters and misreads the empty space between the two lovers: Pretty soul, she durst not lie Near this lack-love, this kill-courtesy. (76-7) That is, the forest spirit can interpret the "separation" only as one of antipathy; he has no sense of the transported city-manners that derive from an abstract moral and social convention that requires a physical separation between two lovers. Puck's failure to comprehend how real moral abstractions can be to the young Athenians, how the abstraction of social convention and the fear of moral censure can govern their sensual lives and experiences, almost destroys the romantic bond between the two.
I 29). 2 Rather, as I shall try to demonstrate, the play shows us the use of the imagination, the function of the imagination in society: throughout A Midsummer Night's Dream the imagination has both a creative and a discriminatory function. In A Midsummer Night's Dream the imagination, by enforcing separation, asserts and creates a distance between the self and the other, and thereby it protects the self and creates an implicit hierarchy: the separation between the self and the other has an ideological as well as a protective and conventional function.
And yet, dear lady, Rating myself at nothing, you shall see How much I was a braggart: when I told you My state was nothing, I should then have told you That I was worse than nothing; for indeed I have engag'd myself to a dear friend, Engag'd my friend to his mere enemy, To feed my means. (III. ii. 252-63) Although "to give and hazard all" when all he has runs in his veins may seem to be for Bassanio a form of mortal danger, only Antonio, who has distinctly material wealth, risks losing his blood (cf.
A Marxist Study of Shakespeare’s Comedies by Elliot Krieger