In the days of Shakespeare, marriages were not commonly made for love, but rather for power, wealth or even just so that a parent could be assured care at an advanced age. Such marriages were made very young, and most times arranged between the parents of the two who were to be wed, or between the bridegroom and the parents of the bride. In looking at A Midsummer Night’s Dream, this notion is not exempt. In fact, it is almost emphasized throughout the play. Shakespeare’s comedy offers an exposition of a person’s wish for dominance over the emotional states of those that they love, represented by the tandem conflicts that bridge the mortal and supernatural worlds. The more the characters fight to control the affections of their counterparts, the more it becomes clear that they have virtually no control over where the objects of their affection’s own love lies, such as that of Hermia and her father’s wishes, Oberon and Titania, and a role reversal in the case of Helena and Demetrius. Although the play is meant to be as absurdly comedic as possible (and, indeed, even the great trickster Robin Goodfellow apologizes in the end for its ridiculousness), this central theme truly reflects the flavor of a changing era, where outside arrangements of love were beginning to be traded in western Europe for arrangements from the heart. A classic representation of this male wish to control a female’s affections is seen in Hermia’s fight with her father over whom she wishes to marry. Hermia loves Lysander more than anyone else, and yet her father, Egeus, demands that she wed Demetrius instead. When Hermia and her father’s conflict escalates to epic proportions, where it now involves both of the suitors, and Theseus himself, it is the last s... ... middle of paper ... ...ffections, and therefore still is unable to have really any control. In all three of these cases, dominance is wanted by a character over another’s amour, and yet they cannot ever gain a true sense of dominance; Hermia’s father is forced to relent when his daughter is granted permission by Theseus to wed who she wishes instead of who he wishes, Oberon gets what he wants but takes pity on his wife and relinquishes his control, and Helena finally is the apple of Demetrius’s eye but only by the doing of another person. Each of these examples emphasize a central theme, that love is an uncontrollable force for those that wish to control it. This is what Shakespeare tried to get across to his audiences, and is still a relevant fact today. No matter by any means, love is not a force that can be conquered, it is something to be gained, it is that simple.
In Act I Scene I, Egeus, father of Hermia, is clearly upset with his daughter’s choice in Lysander as a suitor. Egeus’ has so much love for Demetrius that he has chosen him to be Hermia’s husband in an arranged marriage. Egeus’ desire to have Hermia marry Demetrius is so strong that he would rather Hermia be dead than marry another. Egeus implores upon Theseus, “As she is mine, I may dispose of her, which shall be either to this
Is love controlled by human beings who love one another or is love controlled by a higher power? There are many people who believe that a higher power has control over love. An example of a higher power would be a cupid, a flying angel-type creature who is supposed to shoot arrows at people to make them fall in love. There are other people who reject the idea that a higher power controls love and that the people who experience love can control it. In the novel, "A Midsummer Night's Dream", by William Shakespeare, several examples of love's association with a higher power are presented. With the use of examples from the above novel, this essay will discuss the evidence that love is associated with a higher power. Examples like: Thesius arranging a marriage between himself and Hippolyta, Egeus choosing who Hermia should marry and the fairies who have the ability to control love in the Enchanted Forest.
In this play, A Midsummer Night’s Dream, true love plays a huge role in the play.
In Shakespeare’s “A Midsummers Night’s Dream” not only does Shakespeare mock love but he does so by explaining the different types of complications in the relationships of the characters in the play. Lysander’s statement, “The course of true love never did run smooth” (Act I, Scene 1, Line 134) describes the relationships of Oberon-Titania; Lysander-Hermia; Demetrius-Helena, although they all have different realities in their relationships Theseus Hippolyta’s relationship seems to be the only one in best terms whereas the rest of the relationships are complicated.
Demetrius is willing to go to any extent to have Hermia marry him, even allowing Hermia to be subject to a life of a nun or death, if she does not marry him. Demetrius? infatuation with Hermia brings out the tyrannical and possessive part of his character, as can be seen when he says ?and, Lysander, yield thy crazed title to my certain right?
From the beginning, Hermia defiantly denies her father’s attempts at an arranged marriage, in favor of her whirlwind romance with and marriage to Lysander. In her defense, she uses words of chastity and moral purity to claim her fidelity and love towards Lysander and inability to wed Demetrius “I know not by what power I am made bold / nor how it may concern my modesty” (pp). The concern, or befitting, of Hermia’s modesty, by not wedding Demetrius, is protecting the very essence of her womanhood from someone whom she feels isn’t worth of the ultimate consummation of love – marriage (and the subsequent sex). This is continued in her next dialogue, where Hermia states that she would rather die “quote” (pp) or become a nun than give up her virgin “privilege” “quote” (pp). Hermia’s claims of “privilege” and “sovereignty” validate her chastity and moral purity as something that should only be shared with Lysander, not Demetrius. However, the sovereignty of Hermia’s claims also fits in with Demetrius’ arguments regarding his rights to Hermia’s hand in marriage: “quote” (pp). Demetrius’ use of “sovereignty” and “right” turns the supposed “love” of Hermia and Demetrius’ arranged marriage into a legal contract, where Hermia is property and social placeholder instead of a loving companion.
Love v. Reality – A Comparison. A person’s perception of reality can be changed or altered based on the events that happen in their life. The experiences of one’s past, especially when related to love, can shape their personality and values. In A Midsummer Night’s Dream, William Shakespeare, Hermia, Helena, Lysander, and Demetrius battle the chaos of intertwining love interests and magical fairies in Athens. Similarly, in Vertigo by Alfred Hitchcock, Scottie is wrapped around the finger of his old friend Gavin and made an accomplice to murder while investigating the alarming behavior of his supposed wife, Madeleine.
Similar to other works by Shakespeare, such as The Taming of the Shrew, A Midsummer Night’s Dream embellishes the pressures that arise between genders dealing with complicated family and romantic situations. The plot includes a duke who is going to marry a woman he conquered in battle, the king and queen of the fairies embroiled in a fight so fierce that it unbalances the natural world, and a daughter fighting with her father for her right to marry the man she chooses. The girl’s father selects Demetrius to marry his daughter, but she is in love with another man, Lysander, who loves her in return, and her friend Helena is in love Demetrius, but he wants nothing to do with her. Considering the fact that males were dominant during that era, whereas, men chased women, and women remained submissive, Shakespeare dallies with those traditional roles and there are several possible reasons why. Perhaps he made women a stronger force in his plays because he wanted to give his audience a break fr...
Theseus and Oberon are both compassionate and understanding towards the young lovers, Hermia and Lysander, and Helena and Demetrius. They are involved in a love triangle that encompasses matters of the law and love. Demetrius intends to marry Hermia, although, she shares a mutual love with Lysander; Helena loves Demetrius, although, he no longer loves her. Theseus, as the Duke of Athens, maintains the laws and standards of Athenian society. He acknowledges “the Ancient privilege of Athens” (I.1.41) that allows Egeus to “dispose of” (I.1.42) Hermia. This law permits Egeus to give his daughter to Demetrius or “to death, according to [the] law” (I.1.44). However, Theseus takes pity on Hermia and gives he...
middle of paper ... ..., suggests that Shakespeare’s exploration of the theme of love is to bring us closer to the nature of the reconciliation harmony which it embodies. This is because everyone is peacefully engaging with each other and enjoying the play, since the conflict has been resolved. Not only this, but different social classes emerge together. This is paralleled with, the relationship between Titaina and Oberon. Shakespeare explores the theme of love by the tensions built up to create comic resolutions, therefore helping to diffuse possibly unpleasant impact of themes.
The first thing to look at in A Midsummer Night's Dream is the struggle of men trying to dominate women. When Theseus said, "Hippolyta, I wooed thee with my sword" (1.1.16), here he is implying that he has won Hippolyta by defeating her, it's also indicating his desire to dominate Hippolyta as well as his obsession with her. One could say Theseus trying to win over Hippolyta, not with love but with power. Another would be the conflict between father and daughter, Egeus and Hermia. Through the whole act Egeus repeat many times that Hermia is his possession, "As she is mine, I may dispose of her" (1.1.42), "And she is mine and all my right of her" (1.1.97), therefore Hermia must follow his demand and marry to Demetrius. According to the law of Athens, she must choose death or to obey her father and marry Demetrius or become a nun and forever be alone. Such laws have given Theseus right to oppress Hermia's life and took away her freedom. This scene here then reminds me of Romeo and Juliet, none of these options are feasible for Hermia. Therefore, she chooses to run away rather than face death. None of Theseus and Egeus's actions toward Hippolyta
Different Aspects of Love Presented in William Shakespeare's A Midsummer Night's Dream Lysander + Hermia = True love? Sexual Attraction (Lust) ------------------------------------------------------- Titania + Oberon = Love or hate (Married )
In the struggles of Hermia and Lysander to find a place where they can freely express their true love, it is evident that the course of something as scarce as true love always comes with obstacles. Lysander says: “How now, my love? Why is your cheek so pale? / How chance the roses there do fade so fast?” (1.1.130-131), showing that he and Hermia make a faithful couple truly showing their adoration for each other. However, Hermia’s father Egeus refuses to allow to these two lovers marry. This is the conflict Hermia faces: to disobey her father (and the Athenian law), or to mind her father’s will and allow this “edict in destiny” to lose course. “O hell, to choose love by another’s eyes!” (1.1.142), Hermia decides. Hermia chooses to follow the path her true love brings rather than to do what her father insists. In this example, complications manifest in the troubles with true love. In addition, even Titania and Oberon have difficulties
Love plays a very significant role in this Shakespearian comedy, as it is the driving force of the play: Hermia and Lysander’s forbidden love and their choice to flee Athens is what sets the plot into motion. Love is also what drives many of the characters, and through readers’ perspectives, their actions may seem strange, even comical to us: from Helena pursuing Demetrius and risking her reputation, to fairy queen Titania falling in love with Bottom. However, all these things are done out of love. In conclusion, A Midsummer Night’s Dream displays the blindness of love and how it greatly contradicts with reason.
Forced love was displayed was also another type of love displayed in the play as well. Theseus forced Hippolyta to marry him after he captured her. Hippolyta was the queen of the Amazons. Theseus quoted “I woo’ed thee with my sword/ and won thy love doing thee injuries” (Act 1. Scene 1) Theseus obviously felt that because he conquered Hippolyta, she was obligated to marry him. Another example of forced love was when Egeus was trying to force his daughter, Hermia to marry a man that she didn’t want to.