Love Lost - Female Submission in Shakespeare’s A Midsummer Night’s Dream :: Midsummer Nights Dream

Love Lost - Female Submission in Shakespe bes A Midsummer Nights DreamAfter first visual perception a performance of Shakespeares A Midsummer Nights Dream, I would project called it a dearest story. After reading it several times, I am less sure what it is. I will take a closer look at the behavior and context of the characters to understand how a funniness with three marriages and as many as seven lovers almost concludes without a portrayal of love that satisfies me. The pairings I consider are Theseus and Hippolyta, Hermia and Lysander, Helena and Demetrius, Helena and Hermia, titanium oxide and Oberon, Titania and Bottom, and Pyramus and Thisby.Theseus and Hippolytas relationship is the most dignified in the play. They show a desire to get along and they are comfortable sharing experiences and feelings grand to them (1.1.1-11 4.1.111-126). Theseus tenderly dominates Hippolyta Come, my Hippolyta. What cheer, my love? (1.1.122 4.1.185). Hippolyta however never reciprocates his use of terms of endearment such as my love and fair queen. In addition, the mythical context of their relationship is foreboding. We are reminded that Theseus is able to marry Hippolyta because he kidnapped her (1.1.16-1.1.19). The mythical Hippolyta later either dies in childbirth, or fighting against the Amazons by Theseuss side, or Theseus leaves her for another woman, Phaedra, and the story gets more ailing after that.1 Theseuss reputation as ravisher of women is addressed in the script (2.1.74-80). And the Amazon method of perpetuating their tribe is not romantic.2Our perception of Lysander and Hermias love develops in the following events Hermia chooses to become a nun rather than submit to marrying the man her father has chosen for her Lysander comforts Hermia and shares his plan to elope They lose their manner in the woods and negotiate sleeping arrangements Lysander deserts Hermia to pursue Helena and to kill his rival, Demetrius.While the initial event establishes a trad itional love-story scenario, departures from a Cinderella and Prince bewitch characterization occur Hermia responds disrespectfully to the Duke (1.1.53) and Lysander makes a scornful remark to Demetrius and Egeus (1.1.93-94).When Lysander comforts Hermia and they plan to elope, they show they are well-versed in the nature of mythical love (1.1.132-155). That they have this level of awareness contrasts painfully or comically with their later lack of self-possession. The exuberance of their rhetoric contrasts with the gravity of their situation, and I cannot conceive of these lines being performed in a way that could evoke deep feeling.