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Oberon, King of the fairies, has the honour of producing lines 32 through 52 (5.2) known as "The Song" (244n4) in Stephen Greenblatts publication in The Norton Shakespeare of A Midsummer Night's Dream. Though Oberon was not always given these lines, the speech that it creates is very becoming of the character and matches his place, both in society as well as the narrative. This address gives Oberon an opportunity to make amends for the mischief he's made, by blessing them and their marital beds. The song lulls the viewer into a small slumber like condition where Puck will give the last speech saying that this was all a fantasy. The melodic song of rhyming couplets doesn't flow as readily for Oberon as does prose, creating a general absence of figures of speech. The song goes forward with its own intentions, and does not have a lot of figurative language. The most often used figurative language in this speech was anastrophe, located in areas 33-35, 38, 43-44 (5.2). Some applications of anastrophe encompass a couplet for example "loathed in nativity/ Shall upon their children be" (5.2.43-44) while some others are short such as "ever true in loving be" (5.2.38). Other forms can be located in the repetition of the word issue (5.2.35) producing a polyptoton. Issue's first case was describing a youngster, a problem created from the marital bed. The second case of issue was speaking to a real issue. Repetition can also be found with the term "bless" in lines 47 and 49 of act 5 scene 2. Line 33 uses alliteration of the letter B with "greatest bride bed" (5.2). Most of the rhymes are masculine end result, no matter how the song contains 3 feminine rhymes with the words blessed (5.2.36), nativity (5.2.43) and also consecrate (5.2.45). The mischief caused within this drama wasn't di...