In Act one and two we are introduced to many characters at field in the game of love. Our first understanding, that of the human’s reality, is that Thesues is the end all of influencers, since he holds a king’s word, the authority of an empire. Lysander, Hermia, Helena and Demetrius’ love affairs are not only at the whims of cupid, but at mercy of Theseus’ power. From the variables just on this plane of interaction, Shakespeare’s other works show us the large potential for tragic resolution.
However, A Midsummer Night’s Dream introduces a second tier of influence, an additional manipulator and skewer of fate. The conduct of the fairies is determined by a different set of morals and limitations than Theseus’ Athenian rule. Contrastingly, the fairies, governed by a second hiarchy of Oberon and Titania, seem to make decisions not based on the upholding of a moral code (that Hermia must consent to her father’s choice of suitor) but based on their desires and emotions, joyous or angry. At any rate, they contribute to the factors interfering with love that Lysander lists in his conversation with Hermia in the plays first scene. Lysander, pessimistic from his unsanctioned love with Hermia, says even if difference in age, social class, or peer pressure do not dismember love, surely war, sickness and death will do away with what little chance remained. His speech, while possibly foreshadowing the failure of one or all of the plays love affairs, is highly ironic because he has so much to complain about with human concepts that if he knew he was to be caught in the game’s of fairies and love potions, he likely would have conceded all hope in the plays first act. So we continue into act three knowing the lives of the humans are about to get re arranged by the fairies’ strong potions and more reckless governing.
Chris Milea
4 comments:
I like the point you bring up about whether Lysander would have any hope in act 1 if her had any idea what would transpire down the road. I think it makes a comment on fate and destiny and really makes me wonder how in control of our destiny are we? Is there someone or something really there pulling the strings (like the fairies in this case)?
In class we discussed the contrast between the two environments of A Midsummer Night’s Dream, city and forest. I like that your post has expanded upon the contrasting themes by implying the different modes of thought each realm is governed by. Rational, logical conduct that abides by laws, as illustrated in the reckoning of Theseus and Egeus of why Hermia must marry Demetrius. Your statement, “Oberon and Titania, seem to make decisions not based on the upholding of a moral code (that Hermia must consent to her father’s choice of suitor) but based on their desires and emotions, joyous or angry”, spoke to me about how the governing figures of the forest operate on feeling and passion, such as Titania’s emotional bond to the changeling’s mother being the foundation of why she should keep him in her charge. I will look for further clues of these differences in approach, heart versus head, in the Athens and forest folk throughout the rest of our reading.
I like your point about Theseus controlling the destinies of the lovers as much as the arbitrary fairies. The rigid structure of a patriarchal society in many ways sets the story in motion. If not for Egeus and Theseus' desire to uphold their patriarchal right, then the lovers would no have ventured off into the woods and set the play in action. I wonder how many of Shakespeare's contemporary audiences would have felt a twinge of recognition of the rights of power over personal freedom.
It's interesting, too, that the Fairies, although they operate in different ways, are connected to the humans by these love games. I would think Fairies, being supernaturally powerful, would spend their time in better pursuits!
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