The Men of Rule in William Shakespeare’s “A Midsummer Night’s Dream”

“Amen, amen, to that fair prayer, say I, and then end life when I end loyalty! Here is my bed, Sleep give thee all his rest!” (II, ii, 68-70). Demetrius is more mean and violent, especially towards Helena. When Helena tells Demetrius of Hermia’s plans to elope in the woods, he gets angry. He tells Helena that he does not love her and looks for Lysander so he can fight him. “I love thee not; therefore pursue me not. Where is Lysander and fair Hermia? The one I’ll slay; the other slayeth me” (II, i, 187-190). Helena loves Demetrius, so much that she would even tolerate him hitting her, and Demetrius warns her not to tell him that because he would not mind doing so. “Temp not too much the hatred of my spirit, for I am sick when I look on thee” (II, i, 211-112). The difference between Oberon and Theseus is emotions and logic. Oberon uses emotions to get what he wants, while Theseus uses the law and logic to get what he wants. Oberon wants Titania to give up her son. She will not do it willingly, so he lets anger control him and tells Puck to go find a flower that will make you fall in love with the first thing you see. This is to distract her so he can get the child and he hopes that whatever she sees is

Oberon conjures up a plan in order to get a young child away from Titania, queen of the fairies, whilst doing this he is met with two of our other characters, Helena and Demetrius, “A sweet Athenian lady is in love/ with a huge disdainful youth. Anoint his eyes with the flower as well,” (II.i.268-269) in this point of the story Oberon encounters Helena who is trying to get the attention of Demetrius, who is completely ignoring her. This displays his need to place forceful authority because he is trying to controls Demetrius’s love, by putting him under a spell and making him fall in love with Helena. Unlike Egeus though, Oberon takes control over more than just one character, we see this in act 2 scene 1 lines 83-85 which says “Having once this juice,/ I’ll watch Titania when she is asleep/ And drop the liquor of it in her eyes,” out of the two Oberon would have to be the most controlling, because he in these three lines it shows yet another character Oberon is controlling. In this line though he is attempting to manipulate Titania in order to get the young changeling boy. Thereupon showing that in the face of love, control still will not

In A Midsummer Night’s Dream, Shakespeare easily blurs the lines of reality by inviting the audience into a dream. He seamlessly toys with the boundaries between fantasy and reality. Among the patterns within the play, one is controlled and ordered by a series of contrasts: the conflict of the sleeping and waking states, the interchange of reality and illusion, and the mirrored worlds of Fairy and Human. A Midsummer Night's Dream gives us insight into man's conflict with characteristics of human behavior.

It is commonly said that “all’s well that ends well.” In the case of the comedies of William Shakespeare, this is almost universally true. With specific regard to A Midsummer Night’s Dream, the machinations of Oberon are able to bring together Lysander and Hermia, as well as Helena and Demetrius, in a way that provides for the happiest of conclusions. As readers of the play, however, this is also a conclusion that we can anticipate from the first scene. The comedies trace formulaic patterns in which even the most unbelievable circumstances can be resolved by the play’s end, and the performance can end with marriage

In conversation with Puck, he declares “The next thing then she waking looks upon, Be it on lion, bear, or wolf, or bull, On meddling monkey, or on busy ape, She shall pursue it with the soul of love.” Due to his hunger of power, Oberon tricks Titania into giving him the Indian Boy. This shows that he concerns himself more with having greater power over Titania than caring and loving her. In addition to that point, Oberon gives no reasons as to why he desires custody over the Indian boy, leaving the readers to assume that above all else, he wants to demonstrate his power over

Furthermore, the lines earlier shows Oberon’s plan to control and submit Titania to his will. His plan to make her fall in love with animals by using a potion indicates that he wants to embarrass Titania. He wants to use his power to manipulate her feelings. He craves the control that he did not have earlier in the play when Titania did what she wanted to do. Therefore, his desire to gain control results in the changing of Titania’s fate. Titania’s actions are based on Oberon’s power. Likewise, Oberon gains satisfaction by executing his plan which empowers him and gives authority. Further, not only does Oberon make plans to control Titania, but he also becomes the cause of the conflict among Lysander, Demetrius, Hermia, and Helena. Oberon’s decision to meddle in their affairs directly impacts their fate as they become powerless over their situation. Oberon’s overwhelming sense of entitlement for utter control affects the events that transpire in their lives. Specifically, Oberon’s interference changes how two of the main characters, Lysander and Hermia interact with each other. Their mutual attraction to each other is altered as a result of Lysander’s will becoming influenced by Oberon. Thus, Lysander professes his love for Helena. Then, Hermia verbally attacks Helena:

Theseus can be described as faithful but with elements of fickle, character within A Midsummer Nights dream. It has been said by Shirley Nelson Garner, a critic that “Theseus remains a ‘lover-and-leaver of women’, who having abducted Hippolyta, naturally sympathises with Egues’ desire to force Hermia into marriage with Demetrius”. It is clear to the audience that Theseus wishes to love and respect Hippolyta, “I wooed thee with my sword, and won thy love doing thee injuries, but will wed thee in another key”. He switches from being a man in battle who defeated Hippolyta, to loving her and on the verge of marrying her. However, feminists may argue that this shows his fickle side, as ‘Theseus is the ruler of Athens and therefore a domineering male who thinks that he can legitimise his violence with a display of love and companionship’.

In the short play, A Midsummer Night’s dream, there are two worlds the human world and the fairy world. In the two worlds there are naturally rulers for the fairy world there is Titania and Oberon, and for the human world there is Theseus and Hippolyta. These leaders differ in many ways like how they rule and how they’re relationship works. The leaders have many strengths and weaknesses, and it is fun to see how it contributes to the plot of the story. The leaders are also very hard to explain a lot about because they don’t appear very much in the story.

Shakespeare’s usage of metaphor and simile in A Midsummer Night’s Dream is best understood as an attempt to provide some useful context for relationships and emotions, most often love and friendship, or the lack thereof. One example of such a usage is in Act 3, Scene 2 of the play. Here, the two Athenian couples wake up in the forest and fall under the effects of the flower, thus confusing the romantic relationships between them. Hermia comes to find her Lysander has fallen for Helena. Hermia suspects that the two have both conspired against her in some cruel joke, and begins lashing out against Helena. She says “We, Hermia, like two artificial gods, / Have with our needles created both one flower, / Both one sampler sitting on one cushion, / Both warbling of one song, both in one key; / As if our hands, our sides, voices, and minds, / Had been incorporate. So we grew together, / Like a double cherry, seeming parted; / But yet a union in partition / Two lovely berries moulded on one stem: / So, with two seeming bodies, but one heart; / Two of the first, like coats in heraldry, / Due but to one, and crowned with one crest.” (Shakespeare 2.3.206-13). Shakespeare writes this list of vibrant metaphors to establish the prior relationship between these two characters and to make it evident how affected Helena is by this unexpected turn of events, as well as to add a greater range of emotion to the comedy, thereby lending it more literary and popular appeal.

Theseus rules by trying to make everyone happy while abiding by the old Athenian law. Theseus says, “Look you arm yourself to fit the fancies your father’s will.” (1.1.117-118) In this scene, Theseus is telling Hermia to marry Demetrius or to get ready to die. Egeus says that she is his property by the Athenian law. This causes Hermia to run away with her love, Lysander. At the end of the play, Theseus says, “Egeus, I will overbear your will.” (4.1.182) He is telling Hermia’s father that the law will be void for this marriage. This tells that Theseus will override it for the happiness of the four lovers. Oberon rules in a way where he is happy even if it sacrifices someone else's happiness. He will do mischievous things and blackmail others, including Titania, for his own satisfaction or gain. Oberon says, “Give me that boy, and I will go with thee.” (2.1.143) Here, he is telling Titania that if she doesn’t give him the boy, he will not dance with he at Theseus’s and Hippolyta’s wedding. They are supposed to dance at the wedding to tell them that they bless their marriage. Oberon is blackmailing her so that if she doesn’t give him the boy, they won’t dance, thus giving the couples the impression that they don’t bless them. Also, right after he squeezes the love flowers juice on Titania’s eyelid, Oberon says, “Wake when some vile

Oberon demands, “How can you stand there shamelessly talking about me and Hippolyta, when you know that I know about your love for Theseus? And weren’t you the one who made him cheat on all of his other girlfriends, like Aegles, Ariadne, and Antiopa? (Shakespeare II.ii.76).

A Midsummer Night 's Dream is a play about love. All of its action—from the escapades of Lysander, Demetrius, Hermia, and Helena in the forest, to the argument between Oberon and Titania, to the play about two lovelorn youths that Bottom and his friends perform at Duke Theseus 's marriage to Hippolyta—are motivated by love. But A Midsummer Night 's Dream is not a romance, in which the audience gets caught up in a passionate love affair between two characters. It 's a comedy, and because it 's clear from the outset that it 's a comedy and that all will turn out happily, rather than try to overcome the audience with the exquisite and overwhelming passion of love, A Midsummer Night 's Dream invites the audience to laugh at the way the passion of love can make people blind, foolish, inconstant, and desperate. At various times, the power and passion of love threatens to destroy friendships, turn men against men and women against women, and through

The two locations of Shakespeare's 'A Midsummer Night's Dream' are essential to the development of the plot, although their presentation relies wholly on the characters we meet there, their adventures and their descriptions of these places. Athens is not an accidental choice of location: although much of the detail of the play is quintessentially English, the classical setting enables Shakespeare to introduce the notable lawgiver, who has had his own problems in love; it makes plausible the reference to the severe law, and it allows Oberon to refer seriously to Cupid and Diana without the play's seeming blasphemous.

The supernatural world is rather distinct to that of the human world entrenched in societal standards and boundaries. Shakespeare’s play, ‘A Midsummer Night’s Dream’, explores this concept, particularly through the use of Puck. In agreement to Harold Bloom’s statement, the following essay will analyse how Puck is significant because, by being so disparate, he is able to show the limitations of the human. This will be done through, first, exploring a definition of the human in relation to the supernatural. Subsequently, the essay will use a Freudian lense to analyse the morality of Puck and, lastly, the essay will focus on Puck’s physical characteristics as well as his ability to span across boundaries in the play and the metatheatrical realm.

at a wedding and is the tragedy of two lovers that are forced to speak