<P> Also writing in 1971, Hugh M. Richmond offered an entirely new view of the play's love story lines . He argued that what passes for love in this play is actually a self - destructive expression of passion . He argued that the play's significant characters are all affected by passion and by a sadomasochistic type of sexuality . This passion prevents the lovers from genuinely communicating with each other . At the same time it protects them from the disenchantment with the love interest that communication inevitably brings . The exception to the rule is Bottom, who is chiefly devoted to himself . His own egotism protects him from feeling passion for anyone else . Richmond also noted that there are parallels between the tale of Pyramus and Thisbe, featured in this play, and that of Shakespeare's Romeo and Juliet . </P> <P> In 1972, Ralph Berry argued that Shakespeare was chiefly concerned with epistemology in this play . The lovers declare illusion to be reality, the actors declare reality to be illusion . The play ultimately reconciles the seemingly opposing views and vindicates imagination . Also in 1972, Thomas McFarland argued that the play is dominated by a mood of happiness and that it is one of the happiest literary creations ever produced . The mood is so lovely that the audience never feels fear or worry about the fate of the characters . </P> <P> In 1974, Marjorie Garber argued that metamorphosis is both the major subject of the play and the model of its structure . She noted that in this play, the entry in the woods is a dream - like change in perception, a change which affects both the characters and the audience . Dreams here take priority over reason, and are truer than the reality they seek to interpret and transform . Also in 1974, Alexander Leggatt offered his own reading of the play . He was certain that there are grimmer elements in the play, but they are overlooked because the audience focuses on the story of the sympathetic young lovers . He viewed the characters as separated into four groups which interact in various ways . Among the four, the fairies stand as the most sophisticated and unconstrained . The contrasts between the interacting groups produce the play's comic perspective . </P> <P> In 1975, Ronald F. Miller expresses his view that the play is a study in the epistemology of imagination . He focused on the role of the fairies, who have a mysterious aura of evanescence and ambiguity . Also in 1975, David Bevington offered his own reading of the play . He in part refuted the ideas of Jan Kott concerning the sexuality of Oberon and the fairies . He pointed that Oberon may be bisexual and his desire for the changeling boy may be sexual in nature, as Kott suggested . But there is little textual evidence to support this, as the writer left ambiguous clues concerning the idea of love among the fairies . He concluded that therefore their love life is "unknowable and incomprehensible". According to Bevington, the main theme of the play is the conflict between sexual desire and rational restraint, an essential tension reflected throughout the play . It is the tension between the dark and benevolent sides of love, which are reconciled in the end . </P>

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