The literary masterpiece A Midsummer Night’s Dream invites readers to follow along with the plethora of love triangles within a group of commoners in Athens, Greece. We see numerous relationships throughout this piece of Shakespeare’s work: all with their own interpretations of love. While each couple shown in the play embark on their own adventures and face varying tribulations and victories- the lines shown in act one scene one (lines 232-243), establish a common theme for all of the characters, as well as possibly even Shakespeare’s audience. This passage from A Midsummer Night’s Dream suggests that we are all, in fact, illogical and ridiculous when it comes to love.
Before this particular scene, Hermia and Lysander agree to run away to Lysander’s aunt’s house in order to escape Athens’ harsh laws and pursue each other completely. Helena enters and almost immediately divulges her jealousy of Demetrius’ preference for Hermia over herself. She reveals her desperation when she exclaims, “Were the world mine, Demetrius being bated, The rest I’d give to be to you translated” (1.1.190-193). Helena would do anything to become the object of Demetrius’ affections and she sulks at the fact that Hermia obtained a guy she doesn’t even want. Through just the first scene of the play we are already aware of Helena’s incessant insecurity and of her unquenchable thirst for validation.
As we continue through the story, the last section of act one scene one is a monologue read by Helena, and remains the focus of this essay. She says, “Through Athens I am thought as fair as she. But what of that? Demetrius thinks not so. He will not know what all but he do know. And as he errs, doting on Hermia’s eyes, So I, admiring of his qualities. Things base and vile, holding no quantity, Love can transpose to form and dignity. Love looks not with the eyes, but with the mind, And therefore is winged Cupid painted blind. Nor hath Love’s mind of any judgement taste. Wings and no eyes figure unheedy haste” (1.1.232-243). In this passage, Helena essentially explains that being in love has made her blind. Her feelings have been altered by her passion and affection towards Demetrius. Before the love-in-idleness potion is even introduced to the plot, we are shown that love can make a person do some crazy things; it can even alter a person’s character and personality drastically.
In this story, love has the same power to transform the perception of a person as an artist has to mold an unimpressive lump of clay into an exquisite sculpture. While we see Demetrius as an insensitive, arrogant, ass- Helena sees nothing but a possibility for mutual dedication and a chance at one day winning his affection. Sometimes people take qualities previously seen as undesirable and transform them into a familiar tie to someone they deeply care about. They may be bad habits, however, they’re what makes the person, well, them. One could also claim that “the heart wants what the heart wants.” Helena doesn’t necessarily choose to fall for Demetrius. She is drawn to him for reasons she cannot quite control, even if she wanted to. All throughout his withdrawal from her, she still pursues him. She sticks by his side even when he wants nothing to do with her. This persistent chase after Demetrius’ love is a good representation of what love should be like. It should consist of the continuous pursuit of a person despite impediments along the way. While it is assumed that Helena is whiney, self pitying, and insecure, one could argue that she is actually extremely strong willed and emphatic. Her capacity for loving Demetrius is much bigger than most people’s and essentially allows her to brave through the hard times in order to prove her love for him. This composes her character into a patient, devoted lover and makes her a more dynamic character than most assume. It arguably establishes her as a character with more depth and good qualities than is seen at first glance.
More examples of this absurdity for the sake of love are shown after the couples’ eyes are doused with the love serum. Lysander instantly falls for Helena since she is the first one he sees when he awakes. When Hermia awakes later, she is surprised to see he is no longer in love with her, but a close friend instead. Not only has Lysander lost interest in Hermia, but he also admits that he actually now hates her. As Lysander spews bitter insults at Hermia, she responds calmly by saying, “I am amazèd at your passionate words. I scorn you not. It seems that you scorn me” (3.2.223-224). Even as he continues to confess his hatred towards his previous lover, Hermia retains a placid attitude towards him- even though she is immersed with great sadness and hurt. (Just as Helena in act one). This passage reaffirms the idea that love is blind by showing Hermia’s reluctance to hurt Lysander back, even after he has confessed his love for another woman directly in front of her.
The passage from act one scene one of A Midsummer Night’s Dream proposes that in the play, and life in general, love can make people absolutely irrational. Helena’s love for Demetrius endures through all of the conflicts throughout the story and they ultimately end up together, living happily ever after, if you will. The continuing theme that love is blind propels the entirety of the play forward and provides Shakespeare’s audience with motivation insisting that true love will always prevail. After All, the great Shakespeare himself once said, “The mirror of life shows you man or woman, but in the heart of the soul, you are neither. This is why love is blind.”
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