While in class today, the discussion about the established patriarchy and then subsequent challenges to the patriarchy was intriguing to me. The power relations within the play seem almost at times contradictory because at one moment, Shakespeare establishes a norm related to a patriarchal society– such as Egeus’ desire for power over Hermia– yet in the next scene he attempts to dismantle the established norm by introducing such ideas as Titania’s refusal to obey Oberon in regards to giving up her boy. I believe this is intentional by Shakespeare in an attempt to have the reader question the effectiveness of the patriarchy and how it does or does not have influence over the characters in the play. Living in a society ruled by an unmarried queen, such as Shakespeare did during Queen Elizabeth’s reign, these questions would often come into play in the real world and naturally, into the realm of Shakespeare’s imagined worlds.
First in the play, the patriarchy is established as ruling by Thesus and Hippolyta’s impending marriage and then Egeus’ display of power over his daughter Hermia. The establishment of male power is subtle at first with Thesus hinting to a conquest of Hippolyta by stating “Hippolyta, I wooed thee with my sword / And won thy love doing thee injuries” (1.1 16-17). Theseus conquered Hippolyta in battle, and is speaking of her as if she was an item to be won, rather than a woman to be wooed or loved. The patriarchal ideal becomes more established when it is revealed that Hippolyta is an Amazonian woman, whose history includes an all female society with strong warriors. The fact that Hippolyta was most likely not interested in men in terms of romance indicates that perhaps she might have not approved of the marriage she was about to partake in. Though there is no mention of her dissent for her marriage, there is no indication that she is excited either.
Shortly after the exchange between Thesus and Hippolyta, Egeus comes in demanding a solution for his “complaint” against his daughter. Here, the patriarchal norms come to the forefront, with Egeus asserting his dominance as a man over his daughter by wanting to control her desires and “dispose of her” as he pleases (1.1 42). Theseus quickly agrees with Egeus, telling Hermia “To you your father should be as a god”—a clear establishment of power for men over women (1.1 46). Hermia attempts to contradict the men she is speaking to with little avail; the patriarchal norms dominate over her thoughts and wishes.
However, this patriarchal tone which is established at the play’s beginning quickly is complicated with the introduction of the fairy world and Titania. Titania deviates from the other women introduced so far as she attempts valiantly to have her own destiny as that defies men’s expectations of her. Oberon assumes if he wills it, she will give him her child for his needs, and is taken aback by her defiance and assurance that she will raise the child on her own as a promise to another woman. Though both Hermia and Titania challenge the patriarchy, Titania is more openly defiant in that she directly stands up for her thoughts and beliefs while Hermia runs away from her father to the woods where the rules of Athenian government, and subsequently the patriarchy surrounding it, do not apply to her.
Going forward, I hope to see more non compliance from the women of the play in their attempts to dismantle the patriarchy and create their own destinies. It seems likely that Titania will continue her path against Oberon while Hermia’s story is more unclear.
In A Midsummer Night’s Dream, is filled with love and I observed how love is used to change several characters in different ways. The love that is in this play reminds me of Romeo and Juliet because of the strong theme in love. As a matter of fact Shakespeare wrote both of these plays around the same time. Shakespeare uses love many times throughout a lot of his plays. I thought it was upsetting to see Hippolyta defeated by Theseus because of how strong and brave her character is and the fact that Hippolyta has no choice but to get married to the one who defeated her (Theseus) is disappointing as well.
I think the fairies play a huge role and are crucial in the play because if it wasn’t for them, there wouldn’t be any fun in squeezing the love potion on the characters which causes more damage than what was really indented.
The whole play there is always one character fighting over another and it’s all because of love. They create this illusion that the women are created with no desire to men and there are split sides for each gender, but when I got further into the play, I realized how they can have so much hate/dislike for the opposite gender while they fight over each other’s love. “The course of true love never did run smooth….”, this is a line from when Lysander explains to Hermia that love is tough but we will make it through because we have true love. I think Egeus plays a huge challenge in why Lysander and Hermia cannot be happily married. Egeus seems to not care what Hermia feels or who she loves as seen in the play. The fact that Theseus expressed to Hermia if she does not listen to her father, she will be threatened with death is totally way out of proportion in my eyes.
On the other hand, there is Helena’s desire to be with Demetrius that she seems to not want to give up on! But things get out of control when the love juice is used in the play. The potion has been used on almost everyone in the play which makes the play blow way out of control and starts to get crazy.
I can relate this love juice to real life love and how people can fall in love so easily and even fall out of love fast as well. The love potion in the play describes the power and effects love has on the characters. Even in the world, there are people who are controlled by love as if it is a drug, or maybe it is? Love can be closely compared to a drug because of its effects it has on so many people.
I think I can also relate to the two parts in the play: fantasy and reality. People do fantasize being in love with the one they choose and wish there was a love potion they could use on the person they want. All in all, I think this play could definitely be turned into a modern day play because of how love is being used in the play and how the characters feelings are expressed and perceived as with experiencing love. Also, this play definitely confused me at times with everything that was going on in it.
When I found out that we were reading A Midsummer Night’s Dream, I was excited because I knew I was familiar with the story from middle school. However, once I began reading, I realized how little I actually remembered about the play, and in a way I am excited that I can read it again as an adult with a new perspective. As I read through Acts I and II I tried to think of a reoccurring major theme that I had picked up on between characters. The common theme that I noticed that somehow connects every character is “love”, and more specifically, what qualifies true love?
The beginning of the play starts off with a conversation about a marriage that is taking place in four days, between Theseus and Hippolyta. From this very first conversation in the play, as the reader we can sense a tension between Hippolyta and her soon to be husband. As Theseus seems to be overjoyed by the idea of marrying his bride, Hippolyta has almost a fake spirit as she talks of her fiancé’s anticipation towards the wedding. Here we see Theseus talk of the slow time passing between now and the wedding, “Four happy days bring in Another moon-but O, methinks how slow This old moon wanes!”(1.1 2-4). In response, Hippolyta evidently in no rush for the wedding replies, “Four nights will quickly steep themselves in night, Four nights will quickly dream away the time” (1.1 7-8). We quickly learn that it is not by Hippolyta’s will to marry Theseus, but out of his. Theseus looks at Hippolyta as a “war-prize” from battling and saving her life, and in return, Hippolyta is marrying the man almost as a favor. It is too soon into the story to tell if Hippolyta has any feelings towards Theseus the way he does towards her, however, we can see that love isn’t something that is alive in the couple’s relationship.
We see love play an important role in the lives of Hermia, Lysander, Helena, and Demetrius as well. As one couple longs to be together, it is by Egeus’ will to have his daughter Hermia marry Demetrius, a man she does not love. Despite her cry for wedding Lysander, it is clear that Egeus and Theseus do not see love as something determined by the heart, but as something that more likely stabilizes your life. Egeus sees Demetrius as a better suitor for his daughter, and despite any true feelings threatens his own daughter’s life if she does not obey his commands. In this scene, Hermia protests that Lysander is just a gentleman as Demetrius and to this Theseus replies, “In himself he is, But in this kind, wanting your father’s voice, The other must be held worthier.” (1.1 53-55). False love again is shown true rather than accepting the desire of in this case Hermia’s own heart.
Another relationship seen in the play is seen in another world, the marriage between Oberon and Titania, King and Queen of the fairies. It seems that we have not seen much about this couple’s relationship, but with their history, there is clear hostility between the two. With the disagreement between who should have custody of the Indian boy, it seems that this split couple is causing a disturbance not only between themselves but for their entire fairy world. The fairies are so frightened by the dispute between the two that they hide away in fear of the King and Queen’s rage towards another. Since we are not too far into the play, I don’t know much about these characters, yet I am hoping that there is a chance that they will come around and settle their argument. If they do, then there would at least be one relationship that has true love alive and well. Also, because these characters are mystical, I think that their love would be the most powerful for both their fairy world and the characters around it if they were united. I am hoping to see them come together in the Acts to come!
Despite this lack of love between forced relationships, we do see true love between Hermia and Lysander. This couple (who remind me so far of Romeo and Juliet only because of how they must secretly meet) goes against the odds and so far tries to make their relationship work despite the authority figures above them. It was refreshing for me as the reader to see a form of real love in the book because all of the other relationships had seemed so forced. One line that to me showed their passion despite the odds against them comes from Hermia, “If then true lovers have ever been crossed, It stands as an edict in destiny. Then let us teach our trial patience..”(1.1 150-152). In this powerful line Hermia is expressing that hope is alive in their relationship to Lysander. I see this as her telling him that even though the odds are against us, it is our fate to be together and in any relationship where true love is involved, there comes sacrifice. In the first two Acts of the play, this seems to be the only relationship where true love exists. However, we have left off with Lysander being entranced by the potion, so I am worried that in the confusion, Hermia and Lysander’s relationship may fall apart.
The last couple that I have seen in the play, if they can even be considered a couple, is the comical chase between Helena and Demetrius. Where Demetrius wants nothing to do of the woman, Helena will not stop pursuing him until he gives her a chance. I am hoping that something comes of this relationship not only for Helena’s sake, but so Demetrius can be out of the scene and allow Lysander and Hermia to finally be together.
With all of these relationships in the play, some more complicated than others, I can only guess at what is to come of these couples. My biggest question remains being..will there be any existence of true love come the end of the play?
The following blog posts are meant to illustrate the assignment and give examples of successful (and less successful) posts. I want to emphasize, though, that while there are some basic qualities that most good blog posts share (use of evidence from the text, a clear point of view) there is no one right way of doing these. Please feel free to follow your interests and ideas in your work!
Example #1: Post Graded a 4
Why are there so many strong women in Shakespeare’s works?
One thing that stands out immediately in Much Ado About Nothing is the presence of a strong, central, female figure. I find this to be slightly ironic considering during Shakespeare’s time women were not very highly regarded, especially when they are married, as seen through the “Marriage and Money” article previously read. Through the first two acts, primarily the first one, I see Shakespeare setting the stage to enhance Beatrice’s role as a strong woman. Shakespeare clearly demonstrates this powerful aspect of women when he puts Benedick vs. Beatrice in a verbal showdown. After the two provide insults back and forth, primarily Beatrice towards Benedick, Benedick has enough and backs down, “I have done” (I.I.116-117). I found this moment to be extremely interesting while reading because what man during this time would let a woman win such a match of insults?
To further demonstrate Beatrice’s strong-will and dominance, when she provides a reason to not get married she makes a valid, religious based point which undermines the male gender. She basically tells her uncle, Leonato, that she refuses to be overmastered with a piece of valiant dust?” (II.I.51-52) . Although Beatrice believes she will be overpowered by whomever she marries she still refers to the man as a miniscule piece of dirt. This is a powerful insult not only to men but also God and Adam from Genesis. But, what is more interesting than Beatrice’s control is the acknowledgement Shakespeare makes in the men, that women seem to be the person in the marriage who “wear the pants”.
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One thing I also noticed while reading that almost contradicts the idea of women’s roles once they are married is when Benedick and Don Pedro are communicating. In Act One, Benedick sees marriage as the end of his individuality. He sees that the woman is going to take over his life and over power him and he will be a tool to her. Benedick says, “In such great letters as they write ‘Here is good horse to hire’ let them signify under my sign ‘Here you may see Benedick, the married man’” (I.I.218-219). This is extremely ironic to me considering all that has been embedded in the minds of readers of Shakespeare is that women are not supposed to be in power. I think this quote directly addresses the oppression Benedick will feel from being married to any woman.
What does this say about Shakespeare as a writer? We have already seen powerful women in A Midsummer Night’s Dream and even in Twelfth Night. Are these women supposed to represent the few women who, during the time actually stood out or maybe this is Shakespeare’s way of calling out all the women and get those who are a bit more timid to stand up and take control of the life they lead and the men in society? It is unfortunate that no one ever will know the answer to any of these questions but I think they are reasonable to be asking, otherwise why would the women in Shakespeare’s plays have so much strength?
Instructor Comments: Post has a focused topic that is supported by extensive analysis of the text. It presents an interesting topic and while it doesn’t have a central thesis (a blog post doesn’t necessarily need one) it raises some important questions that could be developed into an argument.
Example #2: Post Graded a 3
Everybody Plays the Fool!
My favorite character in Twelfth Night is definitely Feste, the “fool” because his brilliance is awesome! I imagine if he lived today he could be a very successful greeting card writer or maybe even a famous psychologist (more wise than Ann Landers herself). Even though his occupation is to be a clown or fool I think he is actually extremely wise.
Throughout the play he provides insightful commentaries with lines like “Better a witty fool than a foolish wit” (1.5.31) and “Pleasure will be paid, one time or another” (2.4.69). His interactions with the characters also serve as a way to highlight the insanity of the more “normal” characters. He also can mock the audience. As we discussed in class, in the beginning of 3.1 he talks with Viola about how he “live(s) by the church” (5) totally pointing out how foolish our language can be when used in correctly, and how easily it is to interpret something wrong.
He is even able to use his mind to help and manipulate Malvolio, someone who was of higher ranking. Feste’s role of Sir Topas can be comical for anyone impartial to Malvolio and Feste puts on a great show by switching characters quickly and further upsetting the tortured Malvolio. The themes of disguise, power and manipulation are all upped by Feste.
Therefore Feste is not a fool, actually just the opposite. Could the other characters in the play that are ridiculous and silly, like Sir Toby and his band of friends, Sir Andrew and Fabian be considered the true fools? They share the plan for manipulating Malvolio but differ in their observations of the court. Who then are the real fools in the play? Maybe they are the people who jump to conclusions, are constantly drunk (from alcohol or their own large egos) and those who judge people only based on outward appearances. In that case I would classify Olivia, Sebastian, Viola, and Orsino, Malvolio, Sir Toby and Sir Andrew as the true fools.
My apologies for this link but it’s pretty funny to think about in the context of the four lovers (Olivia, Sebastian, Viola, and Orsino). At the conclusion of the play these four people cast aside all normal reasoning and accept the “magical” gender transformations of the people they love.
Also just to share a laugh with everyone, here is the preview for that old Amanda Bynes movie “She’s The Man”, a semi-modern day adaptation of Shakespeare’s Twelfth Night:
Instructor Comments: Post raises some important points and uses some examples from the text. It is also somewhat disorganized and needs to develop it central ideas further (how are the “themes of disguise, power and manipulation “upped” by Feste? What does that mean?) The additional links also suggest that the writer wasn’t entirely focused in approaching this post. Finally, while a blog post should be less formal than a critical essay, this post may go a bit too far in its informality!
Example #3: Post Graded a 2
Marriage in various forms
“A Midsummer Nights Dream” starts with an interesting preface in my edition of the Norton. The text examines a rumor surrounding the history of the play. According to a story, the play was originally written to be performed in front of a wedding party, with Queen Elizabeth the first in attendance. The book paints a nice picture, presenting the play as an intergral part of the proceedings, commenting on the real world event through a lens of social farce. Fictional or not, this story got me thinking about what lies at the heart of this play, being mentioned in the first line; marriage.
That hand out we read before peaked my interest. I’ve never been particular to examine Shakespeare in social context. To be fair, I’ve never particularly examined Shakespeare at all. But I’ve never noticed the ambiguity of some of Shakespeare’s works, particularly the subversive elements in the language. From the get go, “Midsummer” starts as a reflection on marriage, in all its forms.
The first act of the play, from the first scene, sets up that this will be a play about marriage, in all it’s forms. First off, we have the marriage between Thesus and Hippolyta, set up as the spoils of war. Thesus has defeated Hippolyta and her Amazons, and taken her to be his wife. The second is a marriage situation between Hermia and Demetrius, in which Hermia is betroved, and is in love with Lysander. This conflict is also another examination on marriage, that of elopement for true love. There is also the spurned relationship between Demetrius and Helena. This makes for a situation that is ideal for a popular comedy, but it also sets up a dialogue on the act of marriage itself. In reading some of the other blog posts, I found it interesting to note that marriage at this time was not merely for love, but also a way of shifting finances and alliances between families- in a sense it was also political.
I’m looking forward to continuing to examine these themes as the play progresses. Also, I will be interesting in watching the development of the female leads, as they both exhibit interesting qualities for their time period. Hermia is extremely bold, standing up to nearly all other characters in the play. Helena may have had an inappropriate relationship with Demetrius, again, something socially discouraged for the times. I am excited to see how these characters further advance the marriage critique outlined thus far.
Instructor Comments: This post has a good start, as it raises a question suggested by the Norton Shakespeare introduction (a fine approach to take to the assignment). It doesn’t really develop that idea very much, however, and uses no examples from the text. The final paragraph is also off point, as it strays from the central idea of marriage. The post mainly summarizes the plot, too, a sign that it is not as critically developed as it could be. Finally, this post has several spelling and grammatical errors that should have been edited in proofreading (see bolded words).
