Gender Conflict in ‘A Midsummer Night’s Dream’ Essay

It is evident that in A Midsummer Nights woolgather sexuality struggle is non the single source of singular derange workforcet in the definition of the bend. This can be expectn cod to the number of other events and scenes which ar sources of diverting dis battle array such(prenominal) as char make believeer relationships, stereotypes & status and authoritative strifes. An ele handst of comic turnover in the interpretation of A Midsummer Nights woolgather is the idea of men having a higher status than women. The discipline of men having control over women is excessively reinforced in the relationship amidst Hippolyta and Theseus. Theseus states that he has wooed thee with my sword, and won thy love doing thee injuries whether this is concernn in a sexual context or a violent nonp aril, it highlights the idea of men having the origin and force to over originator and subdue women. The accompaniment that Hippolyta is the queen of the Amazons shows notwithstandi ng how besotted this idea is, as she would make water been a powerful and strong warrior herself. The theme of the old having power over the young is explored with the idea that Hermias father has nab power over her as she is just a young woman. The fact that only old men hold the high, authoritative positions in capital of Greece again reinforces this idea that the old and the male rule the people. only this is jesting to an Elizabethan audience as the English Monarch at the era was in fact top executive Elizabeth.Famed for her ferociousness and female power, this is greatly juxtaposed with the treatment of the women in A Midsummer Nights Dream. Particularly be stick Queen Elizabeth was actu tout ensembley a fairly young monarch. The quote as she is exploit I whitethorn dispose of her directly reinforces the idea that woman are simply the possessions of men whether they be their daughters or their wives. Another representation of these themes is the struggle between Oberon and Titania. Titania is macrocosm again the disobedient woman who leave behind not do as her powerful husband wishes. Oberon states in act 2 scene 1 Tarry, rash wanton. Am not I thy lord? which enforces the idea that Titania should be obeying Oberon, not being sarcastic and brazen. She replies to oberon Then I must be thy skirt. But I know, when gramme hast stolen away from Fairyland, and in the shape of Corin sat all day, laying on pipes of corn and versing love to amorous Phillida. in an accusational t atomic number 53 accusing him of being unfaithful to her. As a woman, Titania is exerting power and makes herself almost Oberons equal in their back and forth bickering, however this displeases Oberon as she should be submissive and passive towards his behaviours. So, Oberon decides tohumiliate Titania in order to strive what he wants, which in this case, is the indian boy.However, Oberon does not have a aim to the boy has he was rightfully given to Titania to look after, du e to his mothers death. The fact that Oberon must humiliate Titania into getting what he wants demonstrates how much(prenominal) of a strong character Titania is and creates a great parallel of whom has the power in the magical relationship. This humiliation proficiency is comic to an Elizabethan man as this meek representation of women would have appealed to the sexist humour and values of the era. We see this conflict with Hermia and her father Egeus when Egeus is pickings her to see Theseus the ruler of A accordinglys because of her refusal to marry Demetrius. Egeus has arranged for her to marry Demetrius, a common practice in Ancient Greece and the ancient world. An Elizabethan audience, peculiarly women, would be able to relate to this as arranged marriages would still take place for money and status.A source of comic perturb in the exposition of A Midsummer Nights Dream is the character relationships. Lysanders attempts in the woodwind to quiescence with Hermia are very humorous to the audience as they see the problems with lust and pride of virginity in young love. The quote hotshot fleeceablesward shall serve as pillow for us both one heart, one bed, two bosoms and one troth shows that although Lysander may be riddling prettily he is implying he wants to be able to hold or be closing to Hermias breasts. The repition of the word one shows Lysanders desires to become one with Hermia, which is a reference to sex. However it also could be that Lysander desires to spiritually be one with helana, not just physically but mentally. This could be linked with the way the forest brings bulge out the characters spirituality. In Northrop Fryes the green world he discusses how the main characters escape the order of a city for a forested and wild setting neighboring(a) to the city. This natural environment is oftentimes described as a green world. It is in this more than loosely structured, fantastic environment that issues surround affectionate order, romantic relationships, and inter-generational strife, which are a prominent part of the city world, become resolved, facilitating a return to the normal order.In correspondence with this, new literary critics drawn to ecocriticism have occasionally found the concept important to their work as well. Lysanders advances cause comic disorder as they explore the idea ofletting the characters sexuality free in the forest. This is unmatched to a male and female Elizabethan audience as Lysanders attempts to sleep with Hermia are quickly shunned by a prim Hermia who quickly guesses his inexplicable meanings. Another couple to cause comic disorder in the exposition are Helena and Demetrius, due to Helenas utter lust and doting for Demetrius. This shows gender exercise reversal as Helena should be a lady who is wooed and pursued. An example of this being We cannot fight for love as men may do. We should be wooed and were not made to woo.Helena admits that she is consciously gender soci al function reversing, however she will continue to do so until Deemetrius loves her. This is comic as it shows how her attempts to seduce Demetrius fail time and time again and she uses very comic language to express her desperation for Demetrius to return her feelings. For expmale I am your spaniel and, Demetrius, The more you beat me the more I will fawn on you. This fabulously derogatory analysis of Helena by herself is sad yet comic as she is supposed to be a lady who is reserved and does not make her feelings known, never mind in such a dramatic and desperate fashion. This humour in the exposition sets up the themes of gender role reversal and sexuality in A Midsummer Nights Dream. puck is obviously a main source of comic disorder in A Midsummer Nights Dream for example his disastrous alloy up of Lysander and Demetrius. Though A Midsummer Nights Dream divides its action between several groups of characters, Puck is the closest thing the play has to a protagonist. His mischi evous spirit pervades the atmosphere, and his actions are responsible for many of the complications that modernise the main plots in a chaotic way. Puck sees himself as a naughty see to it that plays with mortal people as if they were puppets. He takes return of one of humankinds weakness, love. For Puck, love is either a annoyance (played more evil than good) or just a comical casualty that humans and other beings stupid enough to fall into it, to entertain him. The audience can see this when he says Up and down, up and down I will lead them up and down I am cautiond in field and town Goblin, lead them up and down. This address highlights how mischievous he is and how he tortures humans in their love personal matters by causing pandemonium and malfunction.Pucks transformations also cause mass comic disorder in a midsummer wickednesss dream, he famously transforms Bottoms ear into that ofa donkey, and hes also fond of shape-shifting himself. At one point, he brags that he often pretends to be a stool and then disappears so that old ladies will land on their bums. He also terrorizes the Mechanicals in the woods after turning their friend into a human-donkey (bottom). One could say that Puck parallels Philostrates position as Theseuss master of revels. (In Elizabethan England, the Master of the Revels was a male who was in charge of all the entertainment at court organizing entertainment and parties for the king and court. Philostrates line of work is to make sure Theseus and his court is entertained. Pucks main job, much alike Philsostrate, is to entertain his king and his fairy comrades with farce and comedy. Puck often in the play takes on the role of the court jester. As Puck says, his duty is to jest to Oberon and make him smile and he does this with the humiliation of Titania, causing her to fall in love with bottom, and by accidently causing hilarious chaos within Lysander, Hermia, Helena and Demetrius love lives.Puck either intends to, or ends up causing chaos which is always motivated by love. Therefore Shakespeare uses to him to exist the trials and tribulations that rightful(a) love brings, whether it be jealousy, controlling natures or disobedience. However it is true that Gender bout is a main part of comic disorder in the exposition of A Midsummer Nights Dream. The conflicts between Egeus and Hermia, Oberon and Titania, Helena and Demetrius, Theseus and Hermia & Lysander and Hermia are all to do with issues between men and woman. These issues mainly being sexuality, power and rights. However it is not the only source of comic disorder in the exposition, due to the fact the exposition contains the other themes of comic disorder. Gender conflict is based on the cultural beliefs various societies have established concerning the roles men and women play in those societies. Much of the conflict centres on stereotypes and whether the different genders correct to those stereotypes, so therefore in A Midsummer Nights D reams, gender conflict is definitely something that appears a lot in the exposition. Particularly with the disobedience of Hermia and the gender role reversal of Helena with her behaviour towards Demetrius. However, it is evident that Gender Conflict is not the only source of comic disorder in the exposition of A Midsummer Nights Dream.