What is the metaphor in lines 20-30 of A Midsummer Night's Dream, act 1, scene 1?

Stand forth, Lysander: and my gracious duke,
This man hath bewitch'd the bosom of my child;
Thou, thou, Lysander, thou hast given her rhymes,
And interchanged love-tokens with my child:
Thou hast by moonlight at her window sung,
With feigning voice verses of feigning love,
And stolen the impression of her fantasy
With bracelets of thy hair, rings, gawds, conceits,
Knacks, trifles, nosegays, sweetmeats, messengers
Of strong prevailment in unharden'd youth:
With cunning hast thou filch'd my daughter's heart, (A Midsummer Night Dream, Act I scene i, lines 20-30)

The metaphor being developed at length by Shakespeare in lines 20-30 of A Midsummer Night's Dream, Act I scene i, is a comparison of Lysander's actions to witchcraft. A metaphor is a literary devices (specifically a trope that is a literary technique) that compares two unlike things to each other, like comparing an orange to a ping-pong paddle. In this scene, Egeus is complaining before the Duke that through trivial, potentially insincere actions, like bestowing locks of hair and singing beneath windows, Lysander has "bewitched" Hermia--made her fall frivolously in love--so that she no longer obeys her father but has headstrong ideas of her own--one headstrong idea of her own. That idea is to refuse to marry Demetrius and to insist upon marrying Lysander. Hermia's preference for Lysander is a problem because Egeus has promised Hermia in marriage to Demetrius. It is therefore Egeus' complaint that Lysander has acted unscrupulously and has underhandedly--through actions that take advantage of Hermia's "unharden'd youth"--turned her heart against obeying her father and against accepting the love of the man she has been promised to. Lysander

hath bewitch'd the bosom of [his] child;
Thou, thou, Lysander, thou hast given her rhymes,
And interchanged love-tokens with [his] child:

What are some examples of personification in A Midsummer Night's Dream, Act 3, Scenes 1 and 2?

Personification is a literary device that gives human qualities or characteristics to inanimate objects, ideas, animals, or abstractions. It's a popular form of figurative language, and so it should be no surprise that examples of personification abound in Shakespeare's dramatic works. Here are a couple of examples of personification in Shakespeare's A Midsummer Night's Dream, Act 3, Scenes 1 and 2:

1. "The moon, methinks, looks with a wat'ry eye;/ And when she weeps, weeps every little flower,/ Lamenting some enforced chastity" (3.1.183-5). In this quote, Titania gives the moon human qualities, describing it as a woman weeping. Furthermore, she suggests that the moon objects to forces that aim to keep her from desired romance. Thus, it's obvious that, in this scene, the fairy queen imagines the moon as a human-like entity. 
2. "Dark night, that from the eye his function takes" (3.2.177). In this short quote, Hermia uses personification twice. The first instance of personification is applied to night, which is given the human ability to steal from someone else. Second, Hermia refers to the human eye as a "he," thus giving the body part a human personality. This idea might be potentially confusing because the eye is part of the human body, and so one might consider it human already. However, even if it is a body part, the eye is not a human being, and so personification is still used in this instance.
3. "Till o'er their brows death-counterfeiting sleep/ With leaden legs and batty wings doth creep" (3.2.364-5). In this quote, Oberon describes the abstract idea of sleep as having the human ability to walk over a person's brows. This is a distinctively human quality, and so even though he also imbues sleep with "batty wings" (something humans don't have), Oberon's quote is still an example of personification.  

What are some metaphors in A Midsummer Night's Dream, act 3, scenes 1–2?

In Act III Scene 1 of A Midsummer Night's Dream, the craftsmen enter the woods in order to rehearse their play. After Bottom warns Quince that he will need two separate prologues, one for the men and one for the ladies so that they will not be frightened by the lion by telling them in the second prologue that the lion is actually not a lion. Then, they debate the logistics of capturing the moonlight and bringing it into the chamber in the scene in which Pyramus and Thisbe meet; they also dispute over other scenes. For some time, this falderal continues, much to the amusement of Puck who watches all that transpires.

[Note to student: Keep in mind that metaphors can be implied; that is, they make a comparison between two unlike things or ideas without naming one of the two things/ideas that is being compared]

Here are metaphors from Act III, Scene 1:

• line 25 - "hempen homespuns" = the country bumpkins, the craftsmen
• line 26 - "cradle of the fairy queen = spot in the wood arranged for Titania to sleep
• line 60 = "What angel wakes me from my flowery bed" - "angel" = Bottom, whom Titania perceives as beautiful because of the spell cast upon her; "flowery bed" = her sleeping spot

Here are metaphors from Act III, Scene 2: 

• line 5 -"haunted grove" -the part of the wood that Lysander enters
• line 7 - "consecrated bower" - the spot where Titania has slept
• line 9 - "a crew of patches" - the country bumpkins, who wear patched clothing
• line 10 - "that work for bread" - people who work for a pittance
• line 13 - "the shallowest thick skin" - the one who has the lowest intelligence
• line 33 - Pyramus - the player of this role and is spoken of as though he were [subjunctive mood] the character himself.

What is an extended metaphor in A Midsummer Night's Dream?

Another example of an extended metaphor comes in act 2, scene 1. In this scene Titania and Oberon are having an argument. Titania has taken a little Indian prince as her servant, and Oberon wants to make him a knight; but Titania refuses, point blank, to give him up.

In explaining her refusal to play ball, she tells Oberon that she was once good friends with the prince's mother, who was one of her acolytes. They often used to sit together, watching ships sail on the ocean. Titania observes how the ships, with their big, billowing sails, looked like pregnant women. And Titania's friend was in fact pregnant at the time—with the boy who's now the servant that she won't give up to Oberon. The boy's mother would imitate the ships by sailing across the land and bringing back gifts as if she were returning from a long voyage at sea:

His mother was a votaress of my order,

And in the spicèd Indian air by night

Full often hath she gossiped by my side,

And sat with me on Neptune’s yellow sands,

Marking th' embarkèd traders on the flood,

When we have laughed to see the sails conceive

And grow big-bellied with the wanton wind;

Which she, with pretty and with swimming gait

Following—her womb then rich with my young squire—

Would imitate, and sail upon the land

To fetch me trifles and return again

As from a voyage, rich with merchandise.

What is an extended metaphor in A Midsummer Night's Dream?

A metaphor is the comparison of two unlike things in order to describe or explain something. An extended metaphor is simply one that goes on for longer than normal. Shakespeare used metaphors as well as many other forms of figurative language throughout his plays and poems, including A Midsummer Night's Dream. One such example can be found in Act I in a conversation between Hermia and Lysander:

LYSANDER How now, my love! why is your cheek so pale?

How chance the roses there do fade so fast?

HERMIA Belike for want of rain, which I could well

Beteem them from the tempest of my eyes.

First, Lysander compares the red or blush of Hermia's cheeks to roses, and because she is pale, he says they are fading. Hermia continues the metaphor by comparing her tears to rain and a storm (tempest). They are discussing their love for one another, and Hermia is feeling emotional, and the physical evidence of her emotions is part of the metaphor.

What are examples of personification in A Midsummer Night's Dream?

Personification is a figure of speech in which an author gives human characteristics to animals or inanimate objects. To find personification, all we have to do is look for objects or animals that are described as thinking, moving, feeling beings. We can actually find several examples of personification in the very first scene.

The first example can be seen in Theseus's opening speech, "O, methinks, how slow / This old moon wanes! She lingers my desires" (I.i.3-4). While the first line is not obviously personification because the moon wanes regardless of being likened to a human, the second line certainly is. Addressing the moon as a "she," especially a "she" who intentionally is prolonging the fulfillment of someone's desires is most definitely a means of personifying the moon.

Hippolyta continues to use personification in her response to Theseus. She states, "Four days will quickly steep themselves in night; / Four nights will quickly dream away the time" (7-8). Since the first line describes days as plunging themselves into nighttime, this is another example of personification because days can't move of their own accord. Likewise, nights don't literally dream, making the second line another example of personification.