The Nature Of Love In A Midsummer Night's Dream

The nature of love in William Shakespeare’s comedy A Midsummer Night’s Dream is brought to the forefront in a humorous yet sadistic light. The forest serves as an illuminating backdrop where the flaws of love emerge that would otherwise be glossed over in rigid Athenian society. Although the interference caused by Oberon and Puck’s meddling causes comical scenes of Titania falling in love with an ass-headed Bottom and entertaining exchanges between the drugged lovers, the volatility of love induced by love-in-idleness brings to question its authenticity. True love in this comedy play is demonstrated through selfless, reciprocated actions while artificial love is fickle and often unbalanced resulting in emotional extremes. Hermia and Lysander

Escaping into the forest is like, as the title of the play suggests, entering a dream state. The forest has a mystical ability to heighten the character’s emotions and project typically ignored failings in love. Entering the forest was a conscious decision made by the two true lovers, Hermia and Lysander, and is the sole example of admirable initiative throughout the play in light of the typically disordered and uncontrollable nature of artificial love. This agency is what sets the play in motion and sets up the pair as true lovers.

Hermia and Lysander provide verbal evidence for their love when fighting for their case in front of Egeus and Theseus. Shortly after, when it is just the two in scene, they demonstrate a harmonious dynamic in their complementary language: O cross! Too high to be enthralled to

A clear distinction between his artificial and true love is that Helena’s “bosom makes me [him] see thy heart” (2.2.105) whereas, earlier he conceptualizes his and Hermia’s “two bosoms” as “a single troth” (2.2.50). Lysander maintains a separation of hearts with Helena but readily joins his with Hermia’s. His language becomes elevated and almost extreme; he’s ready to “run through fire I will for thy sweet sake” (2.2.103). Lysander becomes governed by extreme emotions, as opposed to the temperance he had for Hermia when giving her the distance she asked for. Violent images of Demetrius “perish[ing] on my sword” (2.2.7) and “shake[ing] thee [Hermia] from me like a serpent” (3.3.261) are characteristic of his unidirectional, artificial love for Helena. However, Lysander’s connection to Hermia runs so deep that once again he attempts to subdue the effects of love-in-idleness as seen when he exclaims “Out, loathed med’cine! O hated potion, hence!” (3.2.264) in response to Hermia’s pleas. This moment of clarity and resilience sets Lysander’s true love apart from that of Demetrius’ ongoing drugged since there is no evidence of Demetrius resisting the influence of