To what extent is Shakespeare seeking portray male laterality over the female characters. in A Midsummer’s Night Dream. Almost in every drama of Shakespeare we can see the laterality of males over adult females. In his dramas adult females have no right to state what they think or what they want. They are ever expected to be faithful to their male parents and hubbies. They don’t have any freedom about their lives. However we know that this attitude of work forces against adult females in Shakespeare’s dramas is a contemplation of Renaissance society. We can see the most singular illustrations of male laterality in A Midsummer Night’s Dream. The drama opens with a tragic event. Hermia who is in love with Lysander is forced to get married with Demetrius because of her father’s want. Harmonizing to her male parent Demetrius is richer and nobler than Lysander and he wants his girl to get married with Demetrius. From the beginning of the drama male laterality can be easy realized in the addresss of Egeus who is the male parent of Hermia. He goes to Theseus and complains about all that happens. He clearly talks about his girl as if she was a trade good and he claims to be the proprietor of Hermia.
There is no opportunity for Hermia to take her ain hubby. If she doesn’t marry with Demetrius. her life will be turned into a anguish under the ancient Athenian Torahs. that says a girl has to get married the adult male of her father’s pick otherwise she comes face to confront the effects of decease or nunnery. Hermia’s life and happiness depend on the words that will be uttered by his male parent and the Duke. The address of Theseus besides underlines the importance of male parent for a girl one more clip. He says that she has to move as if her male parent was her God. This means she has to make everything for the interest of her male parent and her male parent is the ultimate power over her. Throughout the drama. we find many mentions to the assigned functions of work forces and adult females. One of the subjects of the drama is male laterality and the objectifying of adult females. The adult females are made to experience forced and obligated to make as the work forces say. They accept their expected behaviors or functions set by the work forces. The drama pokes merriment at the ever-changing relationship between a adult male and a adult female. The love and trust between them is non digesting. This is typical of the relationships in our society.
The work forces are besides the authorization figures in a relationship. The many feminist unfavorable judgment inquiries are elaborated in this essay. In A Midsummer’s Night Dream. male dominancy non merely exists between twosomes. but besides between male parent and girl. “As she is mine. I may dispose of her: Which shall be either to this gentleman or to her decease. harmonizing to our jurisprudence. ” A woman’s full being is controlled by a powerful male figure. as illustrated by Egeus’s possessiveness toward his girl Hermia. The work forces in A Midsummer’s Night Dream are frequently seen handling adult females like objects. “To you your male parent should be as a God. ” “Either to decease the decease or to recant For of all time the society of work forces. ” Theseus. the character portrayed as the top of the hierarchy in the drama. and by association the most power. agrees with Egeus. and is content with the Athenian jurisprudence of male laterality. Theseus shows pride in chastening the female warrior in the conflict with the Amazons. and get marrieding her. The male monarch of faeries besides expects adult females to be dominated by work forces.
The statement between Titania and Oberon arises from Titania’s trueness to her late deceased friend. in protecting her boy. Oberon uses his authorization as her hubby to coerce Titania to give up the male child. and he is shocked when she disobeys him and foliages. Oberon refuses to accept licking and fast ones Titania with the charming love potion into giving the male child to him. This shows the demand that work forces have to win over adult females in order to turn out their sense of ego. Lysander and Demetrius’ objectifying of adult females are more apparent. Demetrius had sworn his love to Helena before the drama began. Now he hates her and wants to get married Hermia despite Helena’s devotedness to him. Shakespeare tries to demo how work forces play with love. promising ageless love to different adult females. as Lysander and Demetrius do. Women in this drama see themselves as weak once they are married or one time they have sworn their love to a adult male. Hippolyta. the warrior Queen. seems deflated with the fact that Theseus has captured her and wants to get married her.
When Theseus proudly talks about how he had taken her by war. and how he couldn’t delay to acquire married. her lone answer is that the yearss will go through by quick. showing a deficiency of enthusiasm. Throughout the drama. she doesn’t say much. and her sentiment or penchant is besides non asked for. despite the fact that she. in her ain right. is of utmost importance and influence. Helena is shown as a faithful lover. but her dedication is at times. annoying. Helena chases Demetrius unrelentingly. despite his cruel intervention of her. She appears. non huffy at Demetrius for go forthing her ; but instead she blames herself for non being attractive plenty. When Lysander and Demetrius turn their fondness towards Helena. she begins to believe they are mocking her. This presents to the audience her deficiency of self-pride. “And will you lease our ancient love asunder. to fall in with work forces in contemning your hapless friend? It is non friendly. ’tis non maidenly: Our sex. every bit good as I. may call on the carpet you for it. though I entirely do experience the injury”
Hermia and Helena are best friends and Helena explains their relationship as holding two organic structures but sharing one bosom. ‘ Like to a dual cherry. looking parted. but yet an brotherhood in divider. two lovely berries moulded on one stem’ . But they let their work forces and jealousy come in between their friendly relationship. Helena betrays their friendly relationship. and Hermia accuses Helena of stealing her love. These two adult females do non even recognize that the work forces that have destroyed their trust in each other are the 1s that are aching them. Titania in the other manus appears in control. She has set her head on maintaining this small Indian male child whose female parent was her friend and she wasn’t traveling to give in to Oberon’s demands. However. after Oberon tricks her. Titania’s Centre of focal point becomes Bottom. the ass-headed adult male she falls in love with. After Titania. aftermaths from this enchantment. she reconciles with Oberon. non caring about the fact that he had taken the male child off from her. At the terminal she excessively lets work forces over regulation.
The relationship between work forces and adult females in A Midsummer’s Night Dream. is based on love. the chief subject of the drama. However. it seems to be false love that they are after. They swear true and ageless love to each other. but their love is really impermanent. In this drama. the work forces are the authorization figures in women’s lives. the male parents control the females before matrimony and later their hubbies. The drama besides implies that the green-eyed monster between Oberon and Titania had adversely caused break in the universe. as without their statement the potion that disrupted the lives of the Athenian lovers would non of been brought in to play. After they reconcile. order seems to be restored in nature and universe. In Shakespeare’s A Midsummer’s Night Dream. the gender functions are really obvious and it portrays how adult females in Shakespearian society were expected to act. The work forces take pride in ruling their adult females and puting the regulations for them. Although there’s love between a adult male and a adult female in a relationship. it is frequently short lived. or so Shakespeare portrays.