Oberon reflects his driving value of dominance and control in his stubborn and manipulative behavior. In the beginning, he was denied possession of a mortal child by Titania, and because of this, he decides to manipulate her, his inferior, in order to gain what he wants. This desire really triggers the entire plot, as he meddles in the affairs of others in order to gain his goal. Early on, he speaks with Puck and remarks, “Why should Titania cross her Oberon? I do but beg a little changeling boy to be my henchman” (121). The word “cross” refers to opposing someone. Since Oberon is questioning why Titania should be standing up against him, he clearly shows that he takes her opposition as a challenge. Calling himself “her Oberon” also shows that …show more content…
he sees himself as a master of sorts; while it may seem that he refers to himself as belonging to her, this statement sounds more like someone saying that he is her ruler and dominant figure. His dominant nature recognizes that her unwillingness to do what he wants must be dealt with to put her back in her place.
Later on, he says that “Thou shalt not from this grove till I torment thee for this injury” (151). Referring to Titania’s defiance as an “injury” to him makes it seem that her unwillingness to submit to his power was intended to hurt him. The word “torment” has a really strong connotation; it means to voluntarily make someone suffer. These two words in the same sentence show that Oberon intends to make Titania pay for threatening his pride and power, showing how willing he is to exhibit his power over people who stand in his way. In explaining his plan further, he also notes that “And ere I take this charm from off her sight...I’ll make her render up her page to me” (190). To “make” someone do something in itself is manipulative and forceful. Here, Oberon is explicitly stating that his drugging her with the flower to embarrass Titania is all to force her to give him the boy. While he isn’t as directly malicious to the lovers, he still displays his power over the mortal world by messing with them and their affairs, righting the chaos caused by Puck’s mistakes in the end: “And back to Athens shall the lovers wend, with league whose date till death shall never
end. Whiles I in this affair do thee employ, I’ll to my queen and beg her Indian boy; and then I will her charméd eye release, from monster’s view, and all things shall be peace” (393). The word “release” means to free from something. Calling Bottom a “monster” shows how he subjects Titania to evil, and how he will also be the one to liberate her from this embarrassment. He also decides to right the lover’s plight and send them on their way, deciding that in the end, there will be “peace.” This last word makes it seem like he is the one who determines whether there’s peace or conflict in both the fairy world and the mortal world, once again revealing his sense of strong power. In the end, he decides all, exhibiting his value of dominance in every aspect. His controlling actions throughout the book show that he craves to keep power over everything.
With Cordelia declared as banished, Lear states, “With my two daughters’ dowers digest the third...Only we shall retain The name and all th’ addition to a king. The sway, revenue, execution of the rest, Beloved sons, be yours” (Shakespeare 17). Lear’s fault here is that he believes that he can divide up his kingdom to his daughters and still retain the title as king; he wants to retire his position and responsibilities as a king but still remain respected and treated as one. His flaw in wanting to be superior leads to his downfall, as he is so blinded by his greed that he decides to divide up his kingdom to his two daughters who are as hungry for power as he is. They only want to strip him of his position and respect to gain more influence. Lear, not realizing the impact of such an impulsive decision, descends into madness when his daughters force him out of his home. After being locked out of his only shelter by his daughters, he states, “Filial ingratitude!...In such a night To shut me out?...O Regan, Goneril, Your old kind father whose frank heart gave all! O that way madness lies. Let me shun that; No more of that” (Shakespeare 137). Lear becomes fully aware of the consequences of his actions. He realizes how ungrateful his daughters are and how they have treated him unfairly even though he has given them everything; much to his dismay, he is left with
Oberon is one of the most important characters in the play A Midsummer Night's Dream by William Shakespeare and is the answer to the question of why there are so many problems in the play. Not only is Oberon the King of the Fairies but he is the husband of Titania and the master of Puck. Oberon’s character is multifaceted although it is evident that he will do anything for a good laugh. At times, Oberon is extraordinarily nice, generous, and compassionate. He felt sorry for Helena and tried to get Demetrius to fall in love with her. However, On the other hand, Oberon is cruel, jealous, and tyrannical. Resembling his mischievous servant Puck, Oberon finds no problem with playing with other people’s love. He swindled his own wife and laughed at the misfortunes of the four Athenians Helena, Hermia, Lysander, and Demetrius. Despite one’s view of Oberon, it is clear that he is the root of all the problems in the play because he starts a sequence of problems by making the love juice, orders the love juice to be used on Demetrius which in turn causes disarray for all four of the young lovers, and causes disgrace for Titania and creates obstacles for Bottom and the Rude Mechanicals when he uses the love juice on Titania in order to fulfill his own selfish desires.
Oberon is making a spectacle of Titania and Bottom. It is ridiculous that she is in love with him because he is from such a lower class than her, he is human and she is a fairy, and he has the head of an ass. She is also a queen and he is an uneducated working man and a match like this would never happen. Bottom has such a problem with language.
... of love can be varied from the madman who remains in unrequited love to the lover, like Hermia, who not only falls in love but overcomes obstacles and depictions of false affection from Lysander. The poet in this becomes the metaphorical observer of the events who out of love, attempts to protect his love. Theseus, here, refers unintentionally to Oberon, Titania’s jealous and vengeful husband, who watches Titania fall in love with Bottom. Oberon becomes the poet who gazes upon an event and analyzes every instance for its meaning.
Puck, or Robin Goodfellow, is established in the play as the jester to the King of Fairies, Oberon. He first appears in Act 2, Scene 1 when he and another fairy discuss the disagreement between Oberon and Titania are having. The fairy gives us some indication of Puck's character as she describes how Puck “frights the maidens of the villagery” and “Misleading the night wanderers” (Act 2.1, line 35). When Titania refuses to give up the boy servant that Oberon wants, he comes up with a plan to steal the child, and enlists Puck's help to do so. Oberon is fully aware of Puck’s desire to have a good time at the expense of others, but trusts him with the task of retrieving the flower to make Titania fall in love with “Lion, Bear, Wolf, or Bull.” (Act 2.1, line 180) The idea here is to convince Titania to hand over the changeling boy while she is infatuated with a beast. Being attracted to mischief, Puck seems excited to be tasked to this adventure, and claims to return “Within forty minutes” (Act 2.1, line 176) so that they can get started on their plan.
Killing the person responsible for one of your family member's deaths is Athenian justice. This type of lethal justice is executed by Orestes and Electra. Before proceeding to the house of Aegisthus and Clytemnestra, they plot the murder of their father's murderers. They decide Orestes will murder his mother, and Electra will dispose of Aegisthus. Orestes is the most focused of the two; but Electra, although timid in the beginning, is the most masculine. Both of these personality traits are key to their plan coming to fruition. Once her brother devises the plan, Electra verbally encourages him to follow through with it. After thrusting his blade into Clytemnestra only once, Electra cries that "[i]f thou beest a man, [s]trike twice!" (Sophocles 5...
However, the ideal relationships are not immune to experiencing unharmonious periods. Despite this, the ideal couples eventually found harmony which allowed them to experience a joyous ending. Lysander and Hermia have a harmonious relationship in that they display similar desires and mindsets. In the beginning, after declaring their love for one another Lysander and Hermia devise a plan to run away and elope (A Midsummer Night’s Dream 1.1.156-178). Even when they are not of the same mindset Hermia and Lysander find an amicable solution. After becoming lost in the forest, Lysander’s desire is for them to sleep together, Hermia refuses for fear of the disgrace that would be placed upon her if for some reason they did not become married. Even though Lysander is a reluctant he respects her wishes (A Midsummer Night’s Dream 2.1.47-67). On the other hand, the relationship between Oberon and Titania in spite of being plagued by dysfunction comes to a harmonious agreement. At the beginning Titania and Oberon are quarreling over the control of an Indian changeling boy (A Midsummer Night’s Dream 2.1.18-31). While under the influence of an enchantment that Oberon had placed on her Titania relinquishes the control of the changeling boy to Oberon (A Midsummer Night’s Dream 4.1.56-60). After the enchantment is removed from her Titania no longer has feelings of defiance toward Oberon (A Midsummer Night’s
In the play, both Tamora and Titus Andronicus hold power when they are able deceive each other. For most part of the play, Tamora uses her vulnerability as a woman to uphold his power in the empire. She appears to subordinates herself to the emperor Saturnitus as she agrees to marry the emperor. However, she only agrees to the marriage in order to become the empress of Rome and to hold the greatest power that one could ever have in Rome to avenge her son’s death. In addition, she plays the part of a generous woman to deceive her enemies and Saturnitus and make them believe that she is capable to forgive Titus Andronicus. However, she plans on executing her revenge upon Titus Andronicus by making him suffer the loss of his family. “Nay, nay sweet emperor, we must all be friends. The tribune and his nephews kneel for grace. I will not be denied.” (Mowat and Westine 43). In this passage, the empress hides her true motivates: to make Titus suffer behind words such as “sweet emperor” and “friends”. She also appears to need the emperor’s permission to forgive their enemy. Yet, the empress clearly tells the emperor “I will not be denied” (Mowar and Westine 43), which demonstrates that emperor obeys her and she is the one in power. To convince her sons to rape Titus’ daughter, Lavinia, she also uses words such as “I poured
In order to sway everyone in Elsinore that Hamlet was insane, he first sells his insanity to Ophelia because he knows of her loyalty to her father. By convincing her, he would convince her father and the king. Despite his successful plan of "craziness", he severs many relationships with friends and family, especially with his believed-to-be lover. After verbally assaulting her in the castle, Ophelia takes his words "I loved you not" (3.1.117) and "...what monsters you make of them" (3.1.134-35) to heart and she feels betrayed and abandoned. Once again, the relationship is demolished. However, upon Ophelia 's death, Hamlet professes, "I loved Ophelia; forty-thousand brothers / could not match with all their quantity of love / make up my sum" (5.1.236-38). The readers learn in Act V that Hamlet 's love for Ophelia was indeed genuine despite his previous actions and words.
Confronted by the "sharp" law of Athens, and not wishing to obey it, Lysander thinks of escape. But he has no idea that the wood, which he sees merely as a rendezvous before he and Hermia fly to his aunt, has its own law and ruler. As Theseus is compromised by his own law, so is Oberon. Theseus wishes to overrule Egeus, but knows that his own authority derives from the law, that this cannot be set aside when it does not suit the ruler's wishes. He does discover a merciful provision of the law which Egeus has overlooked (for Hermia to choose "the livery of a nun") but hopes to persuade Demetrius to relinquish his claim, insisting that Hermia take time before choosing her fate. The lovers' difficulties are made clear by the law of Athens, but arise from their own passions: thus, when they enter the woods, they take their problems with them. Oberon is compromised because his quarrel with Titania has caused him and her to neglect their duties: Oberon, who should rule firmly over the entire fairy kingdom cannot rule in his own domestic arrangements. We see how each ruler, in turn, resolves this problem, without further breaking of his law.
Love, lust and infatuation all beguile the senses of the characters in this dreamy and whimsical work of Shakespeare, and leads them to act in outlandish ways, which throughly amuses the reader. True love does prevail in the end for Hermia and Lysander, and the initial charm of infatuation ends up proving to have happy consequence for Helena and Demetrius as well. Even when at first the reader thinks that, in theory, the effects the potion will wear off and Lysander will once again reject Helena, Oberon places a blessings on all the couples that they should live happily ever after.
He is aware that Cupid hit a certain flower petal with his arrow and that if the juice of the flower is squeezed in an individual’s eyelids while he or she is sleeping, then that person awakes, he or she will fall in love with the person he/she sees first. Oberon requests Puck to bring him the flower. His plan is that, when Titania is distracted with love feelings over any creature she sees, he can more easily persuade her to hand over the boy. In fact, his trick also creates a self-conflict within Titania since she falls in love with the man who, due to Puck’s trick, has a donkey 's head. Then, we observe that at this moment, the magic created conflict within the story line. Nevertheless, when Oberon has secured the boy, he applies the supernatural or magic, to restore Titania again and their quarrel comes to an end, the magic has successfully recovered the married couple’s
In William Shakespeare’s book, A Midsummer Night’s Dream, magic is a powerful and useful tool for the characters that have the capability to use it. Some of the characters abuse the power of magic, while others are more responsible in how they use it. Oberon is one the characters that abuses the power of magic. Oberon’s magic has an immense impact on the plot of A Midsummer Night’s Dream. More specifically, Oberon’s magic affects his own life, the lives of other characters, and all the characters in the story experience his magic differently. We will see that even the person who has power to use the magic can become surprised by it. Magic, the ultimate supernatural power, is often unpredictable and inexplicable.
William Shakespeare, born in 1594, is one of the greatest writers in literature. He dies in 1616 after completing many sonnets and plays. One of which is "A Midsummer Night’s Dream." They say that this play is the most purely romantic of Shakespeare’s comedies. The themes of the play are dreams and reality, love and magic. This extraordinary play is a play-with-in-a-play, which master writers only write successfully. Shakespeare proves here to be a master writer. Critics find it a task to explain the intricateness of the play, audiences find it very pleasing to read and watch. "A Midsummer Night’s Dream" is a comedy combining elements of love, fairies, magic, and dreams. This play is a comedy about five couples who suffer through love’s strange games and the evil behind the devious tricks. This play begins as Theseus, the Duke, is preparing to marry Hippolyta. He woos her with his sword. Hermia is in love with Lysander. Egeus, Hermia’s father, forbids the relationship with Lysander and orders her to marry Demetrius. Demetrius loves Hermia, but she does not love him. On the other hand, Helena is in love with Demetrius. To settle the confusion, Theseus decides that Hermia must marry Demetrius or become a nun. In retaliation to her father’s command, Hermia and Lysander run away together. Amidst all the problems in the human world, Titania and Oberon, the fairy queen and king, continually argue about their various relationships that they have taken part in. (Scott 336) Titania leaves Oberon as a result of the arguments. Oberon is hurt and wants revenge on Titania. So he tells Puck, Oberon’s servant, to put a magic flower juice on her eyelids while she is sleeping. This potion causes the victim to desperately in love with the first creature that they see. Oberon’s plan is carried out, but the potion is also placed on Lysander’s eyes. Lysander awakes to see Helena, who is aimlessly walking through the woods, and instantly falls in love with her. She thinks that he is making fun of her being in love with Demetrius, so she leaves and Lysander follows. This leaves Hermia to wake up alone. Puck now has journeyed to the area where several actors are rehearsing. He uses his magic to turn one of them into a donkey, in hopes that Titania will awake to see it.
Lear banishes Kent and Cordelia because he feels that they betrayed him. When both of them were trying to protect Lear. Cordelia gives Lear the opportunity to fix their relationship, when Cordelia brings the french army to his aid and proceeds to beg her father for forgiveness. Only then, Lear accepts and asks for Cordelia forgiveness. However, this apology does not prevent Lear from finishing his tragedy. Instead, he leads Cordelia to her demise. In addition to Cordelia, Lear fails to fix the wrongs that he commits against Kent, as a result of Lear’s fear of betrayal. Kent, like Cordelia, continue to care for Lear. Instead of leaving the country, Kent decides to disguise himself as a servant and serve Lear. When Kent finally reveals himself to Lear, he is never given an apology. Lear just simply states “You are welcome hither,” (5. 3. 350) and although this does allow Kent back into the country it is not an apology. Kent’s unveiling causes Shakespeare 's audience to question what would have happened if Lear took it upon himself to make amends with the people that truly care for him. If, instead, Lear had switched his focus from betrayal to love then the play may not have been labeled a