What are the gender issues in A Midsummer Night's Dream by William Shakespeare?
The theme of love always raises many questions and in A Midsummer Night's Dream there are many instances which reveal that love can be fickle, unfair, intense, contradictory, irrational, painful and beautiful. Gender always plays a part in love and from the beginning, gender is apparent when even the proud and independent Hippolyta is "wooed (thee) with my sword" (I.i.16) according to the noble Theseus. The fact that he uses his physical strength to get what he wants confirms the anticipated male domination.
In Shakespeare's day tradition would have certainly challenged the place of real feelings and been in a position to stifle real love in favor of convenience. For Hermia, filial loyalty requires that she satisfies her father's demands and expectations. Egeus accuses Lysander of having "turned her obedience, which is due to me..." (37) and his words immediately remind the audience that there are gender stereotypes at play between the dutiful daughter and her father. Egeus even considers his options to "dispose of her" (42), wondering whether death or Lysander would be more appropriate.
Shakespeare boldly challenges this concept by introducing stronger female characters although they still argue over what are considered typically female complaints regarding appearance. Helena berates Hermia for apparently having influenced Demetrius with her beauty and which is the reason why Helena intends to run away. Helena also uses her feminine vulnerability to her own benefit when she insists that Demetrius and Lysander are only men in show because real men would not "use a gentle lady so" (III.ii.152). She encourages the perception of being disadvantaged because she is female.
Puck's love potion gives the women more of a voice and yet they bicker between themselves. Perhaps it was the only way for Shakespeare to introduce this notion to an Elizabethan audience without becoming unpopular himself. Lysander and Demetrius comically chase Helena and an audience would have enjoyed this ridiculous notion, considering it absurd and beneath them in any real life situation. At the end, everyone does marry happily which ensures that just such an audience goes home happy and the gender stereotype is secure.
What are the gender issues in A Midsummer Night's Dream by William Shakespeare?
The issues of gender in William Shakespeare's play, A Midsummer Night's
Dream, are centered around issues of gender roles and power relationships.
They can be investigated in terms of the relationships between the male and
female members of pairs of characters.
In the opening, Hippolyta and Theseus discussing their marriage. The Amazon
queen, Hippolyta, in Greek myth, is an example of female power, independence,
and matriarchy. However, she is conquered by Theseus, perhaps representing the
conquest of earlier matriarchal society by patriarchy. The subduing of
Hippolyta, invoked at the opening of the play, suggests that female power is
something to be subdued, and that marriage is based on asymmetrical power
relationships and subordination of women.
The Titania-Oberon pairing is also one in which we have a powerful female queen
in a power struggle with an even more powerful male king. As in the
Theseus-Hippolyta pairing, Oberon eventually triumphs in the contest.
The gender dynamics among the young lovers also end in conventional marriages
with the women assuming a subordinate position to their husbands.
Discuss the portrayal of women in Shakespeare's A Midsummer Night's Dream.
It is very interesting that this is one of Shakespeare's plays where the presentation of women is not too flattering, compared to other Shakespearean heroines such as Portia or Rosalind, who clearly have a valid and vibrant existence of their own dependent of men and are praised by feminists for the kind of powerful female role model they present. In this play, women are presented in a more traditional and conventional fashion, highlighting their dependence upon men. There is no one strong female figure that stands out from the rest, and women are presented as rather being in the shadow of men. Even Titania and Hippolyta, who are often played by the same character, and at the beginning of the play seem to defy the patriarchal power of their husbands, by the end of the play are conventional female figures, loving and submissive wives.
Helena and Hermia are definitely no better, both of them presented as almost being slaves to the love they have for the objects of their affection. Nowhere more strongly is this shown than in Helena's misguided love for Demetrius as expressed in Act II scene 1 when Helena describes herself and her unfailing devotion to Demetrius in the following way:
I am your spaniel; and, Demetrius,
The more you beat me, I will fawn on you.
Use me but as your spaniel, spurn me, strike me,
Neglect me, lose me...
This is a very unflattering presentation of the lengths that women will go to to abase themselves in their relationships with the men they love. Although this is a very extreme example, it points towards the way in which men in this play have absolute power and control, and women are just mere shadows that walk in their wake.
Discuss the portrayal of women in Shakespeare's A Midsummer Night's Dream.
Very interesting question. I think you would benefit from looking at 3 particular aspects of female characters in this play to help you answer this question: the friendships that women have between themselves, the character of Hermia and the character of Hippolyta.
The relationships women have in this play deserve close examination, for in some cases they are shown to be superior to the relationships female characters have with male characters, and in some cases they are shown to be destroyed by petty rivalries and jealousies in the course of love. Interestingly, the first type is shown by Titania and her justification for keeping the Indian changeling boy. She tells Oberon in vivid terms about her relationship with the boy's mother:
In the spiced Indian air by night
Full often hath she gossiped by my side
It is for her sake that Titania will not abandon the boy. This relationship then seems to be more important and more tenuous than the relationship between Titania and Oberon herself, and arguably it could be this that drives Oberon to jealousy.
You can see the second type of relationship between Hermia and Helena - Helena, distracted by her unrequited love for Demetrius, betrays her dear friend and her plans to elope with Lysander, in the vague hope that it will make Demetrius like her. Later on, both of them, faced with Demetrius and Lysander loving Helen, fight and exchange viscious insults. Female friendship in this instance is something that seems to be easily broken and rather fragile.
The character of Hermia, especially in Act I Scene 1 is worthy of attention, as she is very bold in defying her father's will - in spite of his rights by the law - and refusing to marry Demetrius. Women of this time, we are told, were literally regarded as their father's possession, fit to bestow who they thought appropriate, and Hermia's actions show her to be a woman of considerable pluck.
Lastly, you will want to examine the character of Hippolyta. Interestingly, directors have differed in their casting of Hippolyta, some of them showing her to be happy with her lot and in love with Theseus, others showing her to be a conquered bride - forced into marriage with Theseus, and therefore creating an interesting parallel with the situation of Hermia and Lysander. The recent(ish) film with Sophie Marceaux playing Hippolyta depicted this very well, with Hippolyta obviously identifying these parallels and unhappy with Theseus for not doing anything about it, but in the end loving him for letting the four lovers marry. If you look at Hippolyta's speech, especially her first speech, where she does not seem to be as enthusiastic as Theseus to get married, you can easily see this perspective.
What instances in A Midsummer Night's Dream show Shakespeare's sympathy for women?
In Shakespeare's A Midsummer Night's Dream, "gender issues" stand out. First, when Hermia resists marrying Lysander (her father's choice), Egeus threatens to punish her, and the Duke, Theseus supports him: they can have her killed. (It is interesting to note that Hippolyta—the leader of the Amazons—and the woman the Duke is wooing, seems unhappy about the way the men push Hermia around—as I've seen it on stage.) If Hermia does not agree, the Duke says she will die or join a convent for good.
It is ironic to watch the way Egeus and Theseus treat Hermia, and then how Theseus does all he can to win Hippolyta's favor, as he tries to woo her. As a "spoil of war," Hippolyta receives more respect from the Duke than a "daughter of Athens."
Another gender issue is seen in the way Lysander treats Helena. Perhaps this is why Egeus wants his daughter to marry Lysander—for in the younger man, the father has found a kindred spirit. The men care nothing for the feelings of the women whose lives they are involved in. Lysander cannot possibly love Hermia: there has been no time as he has been having a relationship with Helena and has just recently thrown her aside to marry Hermia—who loves Demetrius. Lysander has shown Helena disrespect and disregard in acting like such a "cad."
Helena, however, is not without her own ire, and when both young Athenian men "fall in love with her" (because of a magic potion placed on them), Helena is full of fire and scolding, believing that they are simply making fun at her expense.
The other relationship that provides gender issues appear between Oberon and his wife Titania, the King and Queen of the fairies. Oberon wants the changeling child that Titania has adopted as his page, but she refuses to comply. There is much fighting about it; Oberon even approves of some "magic warfare" directed at his wife when—under a spell—she falls in love with a human who has been given the head of an ass (donkey). Oberon wants his own way, though Titania stands up to him for all she's worth.
However, at the end, as the conflicts resolve themselves, the men still seem to have the upper-hand. When Titania realizes that Oberon has played a trick on her, she accepts it with good humor, and ultimately lets her husband have the young boy.
Hermia is allowed to marry Demetrius only because (still under a magic spell) Lysander now loves Helena. Justice has not been served—but without the groom's interest, the problem no longer exists. And even Hippolyta comes around by the end, satisfied with the way things have worked out with the young people, and gracious enough to take Theseus' victory on the field of battle with a certain stoicism. Depending upon how the play is enacted, I have seen Hippolyta portrayed as a woman willing to give her captor the opportunity to be a good husband.
At the end, all is resolved, but only because Oberon gets his way with Titania, and he has also guarantees that Lysander will love the woman who dotes on him. Fair play is not a focal point in the story. There still seems to be a great deal of control exerted upon the women in this male-dominated setting of Athens, written in the same kind of a cultural setting in Elizabethan England.
As mentioned by Helena, love does not reign here really, as it should.
Love looks not with the eyes, but with the mind;
And therefore is wing'd Cupid painted blind.
(I.i.232-235)
What issues arise in Shakespeare's play A Midsummer Night's Dream?
A Midsummer Night’s Dream is a comedy in which many things go “wrong.” This creates suspense and humor. Here are a few examples:
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Helena loves Demetrius who loves Hermia. Hermia’s father is forcing Hermia to marry Demetrius. However, Hermia is in love with Lysander. When the fairy Puck gives the men a love potion, they both fall for Helena. (Puck had meant to give it only to Demetrius.) Helena believes the whole thing is a “keen mockery,” and Hermia is heartbroken at Lysander’s betrayal.
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The fairy rulers Titania and Oberon quarrel so much that they upset nature’s balance. Oberon decides to give Titania the love potion so she falls in love with “some vile thing.” When she wakes up, she sees and hears Bottom, asking, “What angel wakes me from my flowery bed?” Puck has actually transformed Bottom’s head into that of a donkey, and Bottom himself is a foolish weaver who fancies himself an amazing actor. Titania is enamoured with him.
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The play performed by a troup of amateur actors is a bit of a train wreck. The writing is poor, the acting is supposedly weak, and the group is extremely nervous. Philostrate says that this tragedy they performed “Made mine eyes water; but more merry tears / The passion of loud laughter never shed.”
This being a comedy, the mixups are resolved. Puck removes the potion from Lysander’s eyes, but Demetrius remains enchanted. Therefore Lysander and Hermia are able to marry as are Demetrius and Helena. (The duke overrules Hermia’s father.) Titania comes to herself again and reunites with Oberon, and the play staged by the actors, as ridiculous as it is, provides much entertainment for the nobles.
Further Reading
How does Shakespeare reflect the role of women in Elizabethan times in A Midsummer Night's Dream?
Shakespeare may have intended to comment on the generally subservient role of women in his society, but, as always, it is safer to write social commentary through the lens of another culture. Some of his most powerful political analyses are his Roman plays, like Julius Caesar and Coriolanus. His trenchant criticism of self-righteousness can be seen in Measure for Measure, a play that takes place in Vienna. Even though these tales have universally recognizable elements, it is easier to point out the flaws in one’s own society by critiquing a society that is removed from one’s own.
A Midsummer Night’s Dream, which is set in ancient Athens, features a number of female characters, all of which are powerful in their own way. However, they are also all subject to the control of men. Hermia has no autonomy under the law. She must marry the man her father chooses rather than the one she loves. If she refuses, her fate is “Either to die the death or to abjure / For ever the society of men.” Thanks to some fairy magic, she is able to marry her lover Lysander and escape “the sharp Athenian law.” Helena pursues and harasses her former lover Demetrius, but, unlike Demetrius, she has no legal recourse to force him to marry her.
Even Hippolyta and Titania, Queen of the Amazons and Queen of the Fairies, respectively, seem subject to their husbands. Theseus conquered the Amazons and took Hippolyta as his future wife, admitting, “I woo'd thee with my sword, / And won thy love, doing thee injuries.” Titania stands against her husband Oberon by keeping “a little changeling boy” that he wants as his henchman. She tells him of the child’s emotional value to her, how she was close to his mother and keeps the boy for her sake. Oberon decides to humiliate her by giving her a love potion that makes her fall in love with Bottom, a foolish weaver and actor whose head is transformed into a donkey’s.
It is difficult to know whether this depiction of sexism is entirely intentional on Shakespeare’s part and even if it is meant to apply to Elizabethan society. Certainly he portrays the Athenian law, which is ultimately thwarted, as ridiculously harsh towards women. Whatever the case, there are certainly interesting depictions of gender roles and battles of the sexes in A Midsummer Night’s Dream.
Further Reading
Discuss the gender issues in A Midsummer Night's Dream. Is Shakespeare sympathetic towards women?
I have a feeling you are right to. Of course, to my mind the two characters that clearly Shakespeare wishes us to have sympathy for are Helena and Hermia in the various plights that face them. It is often said that a Shakespearian comedy is actually very close to a Shakespearian tragedy, and if we examine what occurs in Act I scene 1 we can definitely see this. Note the strong language that Egeus uses when talking to Theseus about his daughter and his "right" to "dispose" of her as he wants to:
Be it so she will not here before Your Grace
Consent to marry with Demetrius,
I beg the ancient privilege of Athens:
As she is mine, I may dispose of her,
Which shall be either to this gentleman
Or to her death, according to our law
Immediately provided in that case.
It is important to realise that women were regarded as property of men. They are obviously not equal to men, as this speech shows. Egeus demands the right to pick who Hermia will marry, regardless of Hermia's own feelings. Although Theseus modifies the choice she must make to seclusion in a convent for her life or giving in to her father's wishes, it is still a grim choice that shows male superiority.
With Helena, we feel sorry for her by the way that as a woman she is abused by Demetrius, whom she loves. Note what Lysander says about Demetrius in Act I scene 1 and his relations with Helena:
Demetrius, I'll avouch it to his head,
Made love to Nedar's daughter, Helena,
And won her soul; and she, sweet lady, dotes,
Devoutly dotes, dotes in idolatry,
Upon this spotted and inconstant man.
Demetrius is shown to have won Helena's "soul" and then to have cast her off in his pursuit of Hermia. When we see Helena, it is hard not to sympathise with her in her plight. She is still desperately "doting" after Demetrius, but he has no time for her. This suggests that women are viewed as discardable objects by the men of this play, as is shown when both Lysander and Demetrius fall in love with Helena and Hermia has to realise what Helena has experienced.
Thus both characters, Helena and Hermia, suggest the inequalities of being a woman in a man's world in this play. It is clear that their gender alone renders them powerless in a world where men hold all the power.
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