Theme Of Revenge In A Midsummer Night's Dream

There is no set way to treat something. Depending on what it is, one usually assumes that it needs to be handed in a specific way, yet that is not true. For instance, take the theme of revenge, when it’s a part of a literary work, the person who is plotting the revenge tends to usually be righting a wrong that has been done against him or her, an usually it end in some kind of tragedy occurring. However, there are times when one can take a theme and not apply in its usual method. For my essay I will be comparing and contrasting the usage of revenge in Euripides Medea and William Shakespeare’s A Midsummer’s Night’s Dream.

One significant difference between the two plays is the genre to which the theme revenge plays on. Medea is a Greek Tragedy,

and her need to gain retribution against Jason’s betrayal is the main driving force throughout the play. That need for vengeance blinds Medea to all other things and eventually leads to murdering her to sons in order to further her revenge. Though Medea does have inner turmoil over if she should kill her sons or not. “Parted from you, my life will be pain and anguish. You will not look at your mother any more with these dear eyes” (pg.49). Medea acknowledges that her need for revenge against Jason, is taking her too far. However, she steels herself against her mother duties and says “What is the matter with me? Are my enemies to laugh at me? Am I to let them off scot free?” (pg. 49) Medea acknowledges that her need to vengeance against Jason, outweighs he motherly duties, which results in the tragedy at the end where her two innocent children are sacrificed unjustly for he revenge.
A Midsummer’s Night’s Dream is a Comedy, so that takes away from the seriousness that is associated with the theme of revenge.

Though, there is a desire for retribution on King Oberon’s part because he did not receive the little Indian boy from his wife, it does not stem from a great betrayal, such as Jason’s violation of his and Medea’s marriage. But instead, from his need of not getting what he wants, which is why he plots to make Queen Titania falls love with the first thing she sees, which is Bottom who is dressed as a donkey. The element of revenge is comical here because no one dies, thus, leaving out the sadness that is associated with Greek Tragedies. In addition, Oberon does not wish for Titania to remain under the love spell, only long enough for her to embarrass herself and for her to give up the young Indian boy to

him.
Another difference between the two works is the use of a moral compass. Usually, within Tragedies, there is someone who acts as a moral compass through the work, to try to guide someone who is about to commit a great sin down the right path once again. For instance, in Medea, as Medea cries out for how she has been wrong, the Nurse points out to her “children-why, what have they to do with their father’s wickedness? Why hate them” (pg. 21). The Nurse, explains that the children are completely innocent against the wrongdoings of their father, and Medea should not hate them just for simply being Jason’s son. And she tries to keep the children safe, by keeping them out of their mother’s way, but she is unable to protect them against Medea’s plan. However, in Shakespeare’s comedy, King Oberon does not have someone to guide him what is right or wrong, and the only other individual aware of his plot against Titania is Puck who is known as the trickster of the Faire. And is happily willing to aid in Oberon’s revenge against Titania. Thus why it is comedic when he messes up half of Oberon’s plan, by causing both Lysander and Demetrius to fall in love with Hermia.
Hubris does not bring about the downfall of Titania but it does result in the downfall of Jason.

In Medea, Jason’s hubris is the result of his downfall. When he left Medea all in hopes “to ensure first…that we will live well and not poor” (pg. 33), and he continues by saying that he wanted to raise them “In a manner worthy of my descent; have other sons, Perhaps, as brothers to you children; give them all an equal place…” (pg. 34). Jason explains that he left Medea and their children all in hopes of aiding them financially, and to secure them a place in this new place. He continues by claiming that if Medea could “govern your sex-jealousy” (pg. 34) then she could have lived happily tin Corinth, but she couldn’t which is why she is the cause for her banishment. Jason’s pride, his hubris, in that he made the right choice in leaving Medea and that she is the reason for her current predicament, is the ultimate catalyst to his downfall at the end of the play. While, Titania’s pride comes in not releasing the changeling, but that does not cause her to have a fall from grace such as Jason. She simply tells Oberon that the boy’s “mother was a vot’ress of my order, and…sat with me on Neptune’s yellow sands…When we laugh’d to see the sails conceive…her womb then rich with my young squire…but she being mortal, of that boy did die; and for her sake do I rear her boy, and for her sake I will not part with him” (pg. 296). Titania explains to Oberon, that her squire’s mother was a

worshiper of her’s and they were good friends, and it is for their friendship that she takes care of the boy and will not part with him. Thus why, she does not experience a downfall greater than deserved.
A similarity between the two works is how at the conclusion of the revenge, neither Medea nor Oberon is dealt justice for their actions. As Jason laments at the loss of his sons he questions Medea motive, crying out “O children, what a wicked mother Fate gave you!” (59) And claims that the children will “live to haunt your life with vengeance” (59). Since, usually with Greek Tragedies, the killing of one’s family is seen as one of the ultimate offenses against the Gods; some fore of justice will be dealt out to the person whom committed the crime. However, since Medea of is holy lineage, being the granddaughter of Helios, she is able to escape from the punishment that would have insured of she was from mundane origins. Similarly, after Oberon “did ask her of her her changeling child; which straight she gave to me…And, now I have the boy, I will undo this hateful imperfection of her eyes” (pg.311). This means that Oberon, received what he wanted, the Indian boy, from Titania, he removed the spell from her eyes and she woke with the only evidence that was done to her was a dream, in which she was “enamor’d of an ass”. And after, both Oberon and Titania walked off in peace and happiness, no justice was served against his actions. Yet, once again he is able to escape simply, because he is the King of the Fairies giving him leeway to do as he please without punishment.
One other similarity, is how at the end of the work the reader is left with the question on if justice was served. At the conclusion, before Medea rides off with on her chariot, Medea tells Jason “your insult to me, your new-wedded wife” (pg. 59). That means that Jason insulted Medea by leaving her and sleeping with another. And Jason questions if that was reason enough to kill their children, and Medea responds “And is that injury a slight one, do you imagine, to a woman” (pg. 59). Medea, confirms that all her whole scheme was for Jason forsaking their marriage and sleeping with another woman. Also, King Oberon, plans and succeeds at receiving the changeling child, but he had to bewitch his wife to do so, and he took a child that was bequeathed to here by his dying mother so he could still be taken care of after she passed, and Titania was honoring her wish. Therefore, was Medea and Oberon’s revenge truly justified? Which it wasn’t because their revenge was all done for selfish reasons.
Therefore, there is no one set way to apply a theme. Though when using a different genre there is will be significant differences, there will still be similarities simply because a theme is stagnant. As with the theme of revenge, it can either be a dish that is best served cold or it can be meal that can be served hot, but there are still traces of the same flavor within the dish.