This darkness blends into the background of most of the story, such as the relationship between Theseus and Hippolyta. The opening lines of the play signify a momentous and joyous wedding between these two characters is soon to take place. Yet this joy is undermined by the back story of Theseus “wooing” Hippolyta by claiming her as his future wife after conquering the Amazons. The knowledge that the marriage was won by force casts a pall over the brightness of the actual lines of Theseus.
The story then turns to a classic comic plot of a father not approving in his daughter’s choice in men. Egeus’ refusal to let Hermia wed her love Lysander seems today to be a clichéd plot which will undoubtedly be resolved by the end of the story due to its comic predictability. But even this is somewhat shadowed by a pessimistic discourse on the frailty of love between Lysander and Hermia. Despite their proclamations of love to one another they seem to have quite a bad outlook on the effects of love on a lover’s life.
They should be so lucky to actually be in love with one another considering the position Helena has fallen under in the beginning of the play. She has fallen in love with Demetrius, who has carelessly shoved her aside to pursue Helena’s friend since youth: Hermia. She not only has to deal with unrequited love but the thought that she can never live up to the beauty and grace of Hermia. As the play moves forward, it’s clear that this story will be a rough road for her character.
Fitting in with these somewhat oddly shaped relationships is the pettiness of a relationship between the King and Queen of the fairies, Oberon and Titania. They both seem to be openly unfaithful to one another and are in the midst of feud over one little Indian boy. They, like Theseus and Hippolyta, are highly unfit for each other in marriage; they seem to be more enemies than lovers. Like other relationships in the play, their relationship is an image of the tragic ends that love can deliver.
The insertion of the darkness in this play, as well as others, is almost a reminder from Shakespeare that we are never safe from the tragic essence of love and life. This idea isn’t thrust into the work but lies subtly in the background for those who need reminding.
2 comments:
Hi Brian! I love your post. I never really thought too much about the subtext of the story beyond what it was saying about class and gender, but you bring up a really good point. For a comedy, the story really isn't all too funny, especially for Helena. The poor girl loses her fiancee, feels like she's being made fun of, is made to feel as though she isn't pretty enough by Demetrius, and feels like she has lost her best friend due to this mockery. How can anyone find this comedic? Maybe in Shakespeare's time they might have found it funny, or maybe it's just a way to restore order to her violating her role as a woman? Still, it's so cruel! I'll definitely pay more attention to the subtext in other plays to see what comes out of it.
You've made a lot of interesting points in your post, Brian. I agree that this play teeters on the boundary of comedy and drama. Shakespeare uses the element of magic to sort of "lighten up" the seriousness of the play. Act I begins darkly, when Hermia's life is threatened if she does not agree to marry Demetrius. I wonder would have happened if the magic in the play did not exist, if Hermia and Lysander would have made it to his Aunt's house, or if Demetrius would have prevented it.
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