WINGED CUPID PAINTED BLIND: THE GREEN WORLD AS A MIRAGE

Transcription

1 Serrano 1 WINGED CUPID PAINTED BLIND: THE GREEN WORLD AS A MIRAGE Jason Serrano State University of New York at New Paltz New Paltz, NY jason.antonio.serrano@gmail.com phone:

2 Serrano 2 Shakespeare's A Midsummer Night's Dream offers forth a bounty of conflicts for further analysis: men versus women, friendship versus amorous love, society versus wilderness, etc. etc. However, it is the last of these aforementioned conflicts that should be revealed for what it is: an illusion. The world of Athens and the "Green World" of the woods, at first glance, offers up a mirage that tempts the principle characters of the play and in fact, in its whimsy, fools the audience into believing there is much difference between the two worlds. In reality, the "Green World" is plagued by the same problems befalling the patriarchal Athens. Despite what could be considered a "happy ending," complete with comedic banter and conflict resolution, the dark truth to A Midsummer Night's Dream is that things have only changed superficially. The world of Athens and the "Green World" have not had as much luck as the play's protagonists. In order for the woods to be a valid alternative to Athens, the patriarchy that featured so prominently in the ancient city would have to be deflated within the borders of the "Green World." However, although Lysander and Hermia's flight to the woods is an attempt to flee from Athenian society in hopes to find freedom in the lawless wild, the truth is only the names of those in power have changed. In the city, Egeus best represents the masculine society as he calls upon the "ancient privilege of Athens" to justify his control over the course of his daughter's life ( ). Parallel to this oppressiveness in Athens is the relationship between Oberon and Titania in the woods. Having felt "injured" by Titania's refusal to comply with his request (an exercise of her own freedom, little different from Hermia's decision to love whom she chooses), Oberon decides this will not do and outlines his revenge: The next thing then she waking looks upon---

3 Serrano 3... She shall pursue it with the soul of love. And ere I take this charm from off her sight I'll make her render up her page to me. ( ) Oberon chooses to exercise his will via magic in lieu of invoking ancient privileges, however his role as a patriarchal figure is as solid as Egeus'. Like Egeus, he controls the path of Titania's life. By the end of A Midsummer Night's Dream, Oberon's plan comes to fruition with Titania being none the wiser. The conquering of powerful females is a motif that transcends the borders of the realms as well. As Oberon conquered Titania, Theseus came to rule over Hippolyta, having "wooed her with [his] sword" and "won [Hippolyta's] love doing [her] injuries" ( ). Queens in both of their respective realms, they both represent the strongest representation of females in the play. When Oberon berates Titania with "Tarry, rash wanton. Am I not thy lord?," the fairy Queen bites back "Then I must be thy lady," indicating a perception of equality of power ( ). Likewise, as Theseus brags of his hounds, Hippolyta retorts: I was with Hercules and Cadmus once When in a wood of Crete they bayed the bear With hounds of Sparta. Never did I hear such gallant chiding... ( ) In these moments, both characters show a park of fire and independence. Regardless of this spark, it seems futile as in Athens Hippolyta remains the spoils of war and in the woods, Titania has relinquished the child she cares about to Oberon. Hence, not only is the patriarchy represented in both worlds, but the message about what becomes of

4 Serrano 4 strong women also resonates equally in society and in wilderness. While male-dominance is rather easily noticed, particularly through the lens of twenty-first century ideology, it can only share the role of antagonist with the force of love. In Shakespeare's play, love behaves as both the antithesis to reason and in some cases, as a weapon. The wielding of love, as though it were a pointed blade that could be turned against another, is common both in the world of man and in the world of fairies. Characters routinely change the object of their affections whether it be by "change of heart" in Athens or "magic" in the woods -- and in fact, there is no evidence that one is inherently different from the other. Helena recalls that Demetrius "hailed down oaths" to her, but having been affected in some way by Hermia, "he dissolved, and showers of oaths did melt" ( ). Such change of heart becomes a running theme that courses through the lands, wherever the lovers should be, and in each case sworn to be in allegiance with true and reason. It wounds those whom it is not given to, and confuses those who lose their place as object of affection. It is fitting that -- of all characters -- Bottom is able to see the fairies because his famous line that ".reason and love keep little com- / pany together nowadays--" applies across all boundaries. "Magic" may be credited with the strange occurrences twisting the hearts of men and fairy, it cannot be argued to be considerably different from the "natural phenomena" that affects the heart in Athenian society. As a weapon, love bequeaths the characters with a mean of doing someone injury while also being revered as a prize to be won. As such, it is no wonder that wherever love is sought, images or threats of violence follow. As evidence, the plot is set in motion when Hermia is told to wed Demetrius or "... prepare to die / For

5 Serrano 5 disobedience..." in Athens, but in the woods Demetrius refers to Hermia having "slayeth" him ( ; ). Love is both highly sought, yet it afflicts nearly all with pain regardless of location. Key to this is Oberon's tale in Act II, Scene I where he reveals the origin of the flower that would later cause so much mischief: Cupid, all armed. A certain aim he took... And loosed his love-shaft smartly from his bow As it should pierce a hundred thousand hearts. But I might see young Cupid's fiery shaft Quenched in the chaste beams of the wat'ry moon. ( ) Via usage of the words "armed," "pierce," and "fiery" the image of Cupid, whom is so linked to positive associations of love, is painted as a warrior archer. Such imagery repeats throughout the play and becomes a great description for how love behaves in both worlds: violently. Harkening back to Bottom's line about love and reason, in A Midsummer Night's Dream love acts as an irrational and often violent force, and there is no containing it either in Athens or in the woods. Yet, it could be argued that through the transformative powers of love, real change is brought about by the "Green World" and that perhaps there is something magical about the woods that cannot be found in Athens. After all, upon journey's end, Egeus (representative of the patriarchy) does not get his wish fulfilled. In fact, there is a happy ending where the lovers seem to be precisely where they belong. However, it is not Egeus that needs to be changed in order to prove that Athens and the "Green World" are different, but rather the societies themselves would have to reflect some kind of difference. Egeus may not be able to get what he wants, while Oberon does, but it is

6 Serrano 6 not because Athens is no longer under the dominant rule of men. Demetrius' change of heart (via the magic of the woods) is what causes Theseus to wave off Egeus' request in Act IV, Scene I. Demetrius' relinquishing of his love for Hermia is the deciding factor, rather than Hermia exercising control over her own life. The happy ending for the lovers is thus not the result of permanent change to the system, but merely a matter of circumstance. The "Green World" and the promise of change, difference, and/or freedom is an illusion. As the oaths of lovers that their love is unchanging and everlasting, it is an empty promise continuously proven false at every turn. In fact, A Midsummer Night's Dream is nothing but a singular world of illusion. In this illusion, women are thought to be able to be powerful (only to be found still beholden to male rule), and love is both the purest thing in creation and the sharpest point of an arrow. Although one of Shakespeare's comedies, there is a darkness hidden in the footnotes of A Midsummer Night's Dream and it seems to be that as its title, the idea that there is someplace to run off to where the world is different -- love is different -- is merely a cozy dream.

7 Serrano 7 Works Cited Shakespeare, William. A Midsummer Night's Dream. The Norton Shakespeare. Ed. Stephen Greenblatt et al. 2nd ed. New York: Norton, Print.