After realizing that she will not agree, Egeus goes to Theseus. Theseus informs the young lady that if she does not listen to her father she will “either [have] to die the death or to abjure” (Act 1, Scene 1, and Line 65). In this line, Theseus is lay... ... middle of paper ... ... partner for Hermia and not Demetrius. Lysander loves Hermia so much that he makes the plan of escaping from Athens and marrying her. This is unconditional love because he is unintentionally helping her, regardless of what she gives in return.
Hermia is in love with Lysander. Egeus, Hermia’s father, forbids the relationship with Lysander and orders her to marry Demetrius. Demetrius loves Hermia, but she does not love him. On the other hand, Helena is in love with Demetrius. To settle the confusion, Theseus decides that Hermia must marry Demetrius or become a nun.
Her husband, the person who vowed to be with her the rest of her life, talks to her like she is not worth anything. Along with the Renaissance time periods beliefs, Iago displays inadequate ho... ... middle of paper ... ...r husbands. Although a minor character in William Shakespeare’s tragic play Othello, Emilia exists as a vital component to revealing his views on women being obsequious to their husbands and his negative connotation on marriage. Emilia’s decision to remain silent drives the play and in the end causes it to turn tragic with multiple deaths. Desdemona and Emilia can be perceived as a foil to each other because of their different beliefs for women’s roles in marriage.
'witty') connects the piece with Love's Labour's Lost - a play that also appeared in an 'official' edition in 1599. The play is one of Shakespeare's most ambitious and unambiguous attempts to join the immortals, and as such seems at first blush very different from the demythologising of Love's Labour's Lost and the open-endedness of the Dream. It is introduced by a chorus, and wrapped up by a judgemental speech from a duke. And it sets out to transform its youthful lovers into mythical, 'star-crossed' figures, fit to rank with all the celebrated pairs of tragic lovers throughout literary history. In particular, Shakespeare was seeking to join the company of English practitioners in this mode, most notably Chaucer, whose Troilus and Criseyde was then regarded as the finest poem yet written in the language, and Sidney, whose tragicomic Astrophil and Stella was beginning to rival the celebrity of Chaucer's creation.
This particular misunderstanding revolves around Hermia's love for Lysander. Although Egeus has arranged for his daughter to wed Demetrius, it is Lysander that Hermia really wants to marry. However, Egeus refuses to ascent to their marriage, threatening to enforce on his daughter the "ancient privilege of Athens" (1.1.41) if she does not condescend to his original choice. Even though this would entail her entering a nunnery (or perhaps even being executed), Egeus' opinion cannot be swayed. His stubbornness leads Hermia to exclaim: "I would my father looked but with mine eyes" (1.1.56).
wise In Act one, scene one, Theseus is forced to solve the problem between Hermia and her father, Egeus. Since Hermia is not interested in marrying the man her father had chosen as she was in love Lysander, her Father seeks the wise Theseus. Theseus, though in the midst of planning his wedding with Hippolyta, takes the time to discuss the issue. He then restricts Hermia’s choices to either a married life with Demetrius or death as a nun. Hermia, then aggravated by the lack of support, implies that she would much rather become a nun than marry Demetrius.
In the opening of the play, Hermia and Lysander face the objection of Egeus. Since he is the father of Hermia, Egeus believes he has the sole right to choose whom his daughter will marry, and this man is Demetrius: “Stand forth Demetrius, my noble lord; this man hath my consent to marry her” (I, i, 25). In the eyes of Egeus, the love Lysander offers Hermia is merely a play on her innocent mind and heart because he has stolen her heart away from Demetrius. Without the approval of her father, the love is ultimately unworthy and unacceptable. Hermia’s disobedience to her father leads him to seek advice from Theseus, so he can gain his “claim to power over her in Athenian law” (Slights 3).
In Othello and Romeo and Juliet the father-daughter relationships of Brabantio and Desdemona and Juliet and Capulet focuses on love and possess. Similar to Juliet, Desdemona has a dilemma of choosing a lover over her family. Both works can compare to one another because of the father disagreements and greed over their daughters. Shakespeare uses Desdemona and Brabantio as a father-daughter relationship founded on love and possessiveness because he is manipulative on whom his daughter can or cannot marry. Desdemona should have the right to marry who she wants to spend her entire life with but at such a young age her father says he knows what is best for her.
The principal power struggle present in the play exists between Egeus/Theseus and Hermia. In Act 1 Scene 1, Hermia straightforwardly resists Egeus' wishes for her to marry Demetrius rather than Lysander. Through Egeus' eyes, Hermia is seen to have a 'stubborn harshness' (I.i.38) and she won't 'consent to marry with Demetrius' (I.i.40). She challenges Egeus despite knowing that tradition allows the father to wed his daughter off to whoever he wishes. Anyhow, she plots with Lysander and consents to his arrangement of leaving Athens to Lysander's widow aunt whose house is out of reach from the 'sharp Athenian law' (I.i.162).