FIRST INDIVIDUAL PAPER:

ANALYSIS OF DEMATRIUS, A MIDSUMMER NIGHT’S DREAM

Subject : 14159 Curso Monográfico de Literatura Inglesa Grupo B

Student´s name : Más Agrás, Julia

Title of the paper : Shakespeare’s comedies

Author or topic : Shakespeare, William

Abstract :

• First Individual Paper: Analysis of Demetrius, A Midsummer Night’s Dream.

PRESENTATION

The aim of this essay is to provide a deep analysis of the character of Demetrius in the comedy Midsummer Night’s Dream (1590) by William Shakespeare.

In order to develop this task, I will explain the main aspects of the comedy in which this character is displayed as well as some significant features of the historical background, in order to understand what I explain throughout this paper. Thus, this information is explained in the section called “Introduction”. Then, the analysis of the character is studied comparing different aspects such as a detailed description contrasting this personae with others that appeared in the play, linguistic sources which characterized him, or the importance of it within the play . Finally, the section called “Conclusion” sums up the main idea developed in this essay. In the “Bibliography” all the information is provided of the sources which have been used in order to produce this paper. Nevertheless, these are mentioned throughout the essay when they have been used.

As for the choice of the character of Demetrius for this essay, it is due to its enormous significance in this play, as well as the functions it contains in order to express the authors’ beliefs.

I. INTRODUCTION

A Midsummer Night’s Dream (approx. 1590) is a romantic comedy by William Shakespeare which portrays the story of four Athenian lovers and a group of amateur actors in a forest. The importance of this play is mainly due to the fact that this is the most popular and widely performed comedy across the world by William Shakespeare.

This comedy was entered into the Register of the Stationers Company on October 8th, 1600 by the bookseller Thomas Fisher, who also published the first quarto edition. A second quarto was printed in 1619 by William Jaggard, as part of his so called “False Folio”. Thus, the play next appeared in print in the First Folio of 1623 (www.en.wikipedia.org/wiki/A_Midsummer_Night's_Dream).

Nevertheless, according to Stephen Greenblatt in his book A Midsummer Night’s Dream The Norton Shakespeare, 805, “the precise date that A Midsummer Night’s Dream was written and first performed is unknown. […] The only data we have is that A Midsummer Night’s Dream was firstly performed on the London stage, and the title page of the First Quarto says that it “hath been sundry times publicly acted” by the Lord Chamberlain’s Men and that it was written by William Shakespeare.”

One of the subplots of this story shows the misunderstanding that the four young lovers live lost in a forest. However, the spells by the fairies will help them to correspond to their appropriate love and will be married with him/ her.

As a consequence, we have the typical structure of a comedy from the moment the play starts in a complicated situation in which Hermia rejects getting married to Demetrius, as her father imposes on her. Thus, as we will see in II.5 of this essay, Demetrius contains some features which makes us consider him a typical comedy character.

As for the themes that appear in the play, we can distinguish several issues that William Shakespeare wants to transmit us throughout the play. Firstly, we can identify the main issue in the play: the dream. All the story is manipulated by Puck and Oberon who make the rest of the characters believe that all they have lived before has been a dream. Stephen Greenblatt studies the reason for the introduction of this issue:

“The Dream repeatedly echoes Chaucer’s references to observing known to Shakespeare personally. To the dismay of Puritans, who regarded the celebration as a lascivious remnant of paganism, young men and women of all classes would go out into the woods and fields to welcome the May with singing and dancing. Shakespeare’s title associates this custom with another occasion for festive release: Midsummer Eve (june 23), when the solstice was marked not only by holiday license but by tales of fairy spells and temporary madness.”

(A Midsummer Night’s Dream. The Norton Shakespeare. Ed. Stephen Greenblatt. New York: W.W. Norton & Co., 1997, 805).

Demetrius is probably the character most aware about this living dream since when he wakes up confused in a disconcerting state.

DEMETRIUS: It seems to me

That yet we sleep, we dream. Do not you think

The Duke was here and bid us follow him?

(4.1.189-191)

Secondly, the world of fairies is also very significant in this story, which is reproduced thorough the characters of Oberon and Puck. Thus, we can distinguish between the real world with the young lovers, Egeus, Theseus, Hypolita or the rest of the young lovers; and the world of fairies with Titania or Oberon. According to Greenbalt, this understanding is signalled not only in our ability to take in both the courtly and popular dimensions of the play, but also in our ability to see what escapes both aristocrats and artisans: the world of the fairies. It is tempting to reply that they are denizens of the country, characters drawn for the semi-pagan folklore of rural England (A Midsummer Night’s Dream. The Norton Shakespeare. Ed. Stephen Greenblatt. New York: W.W. Norton & Co., 1997, 805-811.. ).

The women roles during the Elizabethan period was limited to very few tasks such as serving their husbands. Indeed, we can observe this characteristic of Shakespeare’s time in A Midsummer Night’s Dream, especially in the character of Demetrius towards Helena. As we will analyse in II.4 of this essay, this personage seems to be sexist and even an ill-treater towards women. Nevertheless, analysing the historical context of the time, we realize this was the common behaviour of men towards women.

Women during the Elizabethan time were raised to feel inferior to men. Indeed, the Church proclaimed this through the Bible and the protestant leader John Knox who wrote that “Women in her greatest perfection was made to serve and obey man”. Furthermore, Elizabethan Women were dominated by the male members of their family (either husband, brothers or father), as we see with Hermia in A Midsummer Night’s Dream. If they did not obey their male ancestors they were beaten to submission and disobedience was seen as a crime against their religion. Hence, they could never inherit any title from their families since it always passed from father to son or brother to brother. However, the only exception was the monarchy. For instance, Queen Elizabeth I (1533-1603), was never married and reigned alone her throne. Mary Queen of Scots 1542-1587 did not marries either as well as the Four Mary’s- the Ladies in Waiting to Mary Queen of Scots: Mary Beaton, Mary Seaton, Mary Fleming and Mary Livingstone (www.william-shakespeare.info/elizabethan-women.htm.)

This inferior paper of women was such an insult that according to the web page http://en.wikipedia.org/wiki/Elizabethan_era.

“The role of women in society was, for the historical era, relatively unconstrained; Spanish and Italian visitors to England commented regularly, and sometimes casuistically, on the freedom that women enjoyed in England, in contrast to their home cultures.”

In conclusion, A Midsummer Night’s Dream represents the criticism about Elizabethan time that William Shakespeare wanted to show. Thus, the character of Demetrius is a fundamental factor in order to achieve this aim. Therefore, the analysis of this personae is fundamental.

II. DEMETRIUS INSIDE THE PLAY.

As a complex character, Demetrius plays an important role in the comedy A Midsummer Night’s Dream. His personality changes according to the situation or the person he is addressing. Furthermore, he represents the typical male of Elizabethan time and W. Shakespeare criticises his time through him. Due to all these functions, we have to analyse this character in different sections as follows.

 II.1. Description

According to the web page www.bookrags.com/notes/mnd/PART1.htm, Demetrius is a young man of Athens who is in love with Hermia and adored by Helena. Egeus chooses him for Hermia, and believes he should marry her. Then, Helena tells him about the escape of Hermia and Lysander into the woods and Demetrius follows them there, followed by Helena. He and Lysander physically dual in a comic fashion for Helena, because they are both under the influence of the magic. Thus, although he constantly puts down Helena, he ends up with her.

Consequently, we can consider Demetrius as a dynamic character who changes his behaviour depending on his feelings and love.

The first time we see his presence is in Act I Scene I, when Egeus introduces him to Theseus as the men he wants to marry his daughter. Egeus speaks highly of Demetrius, calling him "my noble lord" , and telling Theseus that it is Demetrius who has his consent to marry Hermia, Egeus's daughter. (http://www.enotes.com/midsummer/36244). From this moment, we acquire an image of him as being confronted to Lisander for their love to Hermia.

EGEUS: […]

Stand froth Demetrius.- My noble lord,

This man hath my consent to marry her.-

Stand forth Lysander.- And, my gracious Duke,

This hath bewitched the bosom of my child.

[…]

(1.1.24-26)

However, the first time we hear his voice (Act I Scene I), is after Theseus threatens Hermia to get married to Demetrius, otherwise, she will be separated from her father. In this moment Demetrius tries to convince her lover to accept getting married to him and he also warns Lisander to get away from her.

DEMETRIUS

Relent, sweet Hermia; and, Lysander, yield

Thy crazèd title to my certain right.

(1.1.91-92)

Consequently, from the beginning of the play we observe how Demetrius’ love towards Hermia creates an exaggerated fight against Lysander, the eternal lover of Egeus’s daughter. Indeed, we consider this at the beginning of the play when he wants to buy Hermia’s love with all his money, even though she does not love him. However, he is initially presented as the winner of his fight against Lisander, due to the support of Egeus towards him, even if the two young men are equally rich.

LYSANDER (to Theseus):

I am, my lord, as well derived as he,

As well possessed. My love is more than his,

My fortunes every way as fairly ranked,

If not with vantage, as Demetrius;

And- which is more than all these boasts can be-

I am beloved of beauteous Hermia.

[…]

(1.1.99-104)

The hatred between both of them is due not only to their love towards Hermia, but also when Lisander falls in love with Helena, they are again set at odds.

LISANDER [awaking]

[…]

Where is Demetrius? O, how fit a word

Is that vile name to perish on my sword!

(2.2.112-113)

Nevertheless, Demetrius also shows his discomfort towards him in several moments. The following is when Hermia asks him for Lisander since he has falling in love of Hermia.

DEMETRIUS:

I had rather give his carcass to my hounds.

(3.2.64)

Therefore, the cause of their dispute is again love, but in this case, Helena’s love instead of Hermia’s love.

LYSANDER: Helen, it is not so.

DEMETRIUS: Disparage not the faith thou dost not know,

Lest to thy peril thou aby it dear.

Enter HERMIA

Look where thy love comes; yonder is thy dear.

(3.2.174-178)

Stephen Greenblat also studies this fight analysing this issue inside the play and contrasting it with other Shakespearean plays.

“This darkness includes emotional violence and masochism, the betrayal of friendship, the radical fickleness of desire. It extends to the play’s sexual politics. Under the strain of the night’s adventures, the friendship between Hermia and Helena begins to crack apart, while Lisander and Demetrius become bitter rivals. Though they are eventually reconciled, it is as if the heterosexual couplings can only be formed by painfully sundering the intimate same-sex bounds that preceded them.”

Greenblat also claims that in the play The two gentlemen of Verona, the English author dealt with this problem. He also compares it with the dispute between Antonio and Sebastian, in Twelfth Night; and to Leontes and Polixenes in The Winter’s Tale, where there is usually a sense of loss between both friends. Greenblat also adds:

“In another very early play, The Taming of the Shrew, Shakespeare had also begun his lifelong reflection of the struggle between men and women a struggle frequently focused on the male desire to dominate and subdue the female.”

Consequently, this is not a new theme for Shakespeare’s comedies.

Thus, the changing of feeling of Demetrius towards women, led us to consider him as not really true lover and as he always makes women love him and then he betrays them. Indeed, the first time we appreciate this aspect is when his combatant Lisander claims the disappointment Demetrius caused to Helena, a statement that Theseus agrees with.

LYSANDER: […]

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.

THESEUS:

I must confess that I have heard so much,

And with Demetrius thought to have spoke thereof;

But, being over-full of self affairs,

My mind did love it. […]

(1.1.106-114).

As a consequence, he is presented as a very fanciful man who once he has the woman he loves, he gets bored of them. Helena makes reference to this when she explains how much Demetrius loved her before meeting Hermia.

HERMIA:

[…]

For ere Demetrius looked on Hermia’s eyne

He hailed down oaths that he was only mine,

And when this hail some heat from Hermia felt,

So he dissolved, and showers of oaths did melt.

[…]

(1.1.242-245)

Indeed, once Demetrius falls in love with Helena, he does not mind about Hermia. Therefores, we find another cause for his playing with women.

DEMETRIUS:

Lysander, keep thy Hermia. I will none.

If e’er I loved her, all that love is gone.

My heart to her but as guestwise sojourned

And now to Helen is it home returned,

There to remain.

(3.2.170-173)

Thus, we can not trust entirely Demetrius’ love since he uses to get bored of women very easily. In fact, he accepts this at the end of the play, when he explains to Theseus what has happened in the forest.

DEMETRIUS (to THESEUS): […]

To her, my lord,

Eas I betrothed ere I saw Hermia.

But like in sickness did I loathe this food;

Now I do wish it, love it, long for it,

And will for evermore be true to it.

(4.1.168-173)

So, the most affected victim of Demetrius’ character is Helena. She tolerates his insults and his rude expressions towards her in order to achieve his love. Nevertheless, this makes the reader consider him as ungrateful and ambitious for acquiring what he really wants while he looks down on who really appreciates him. Hence, this rude behavior is represented when the young lady guides him to the forest in order to help him to look for Hermia:

DEMETRIUS: I will not stay thy questions. Let me go;

Or if thou follow me, do not believe

But I shall do thee mischief in the wood.

(2.1.235-237).

But Helena’s love is so deep that she betrays her friend Hermia telling the secret of the two lovers (Hermia and Lisander) to Demetrius, in order to get his love. She thinks that informing Demetrius about this, he would value her and would reconsider his love towards her.

HELENA:

[…]

I will go tell him of fair Hermia’s fight.

Then to the wood will he tomorrow night

Pursue her, and for this intelligence

If I have thanks it is a dear expense.

But herein mean I to enrich my pain,

To have his sight thither and back again.

(1.1.246-251)

However, this plan does not succeed as she tought, although the fact that they have moved to the forest will provoke the main action of the story ending with the typical happy ending of comedies.

Furthermore, another attempt of Helena in getting Demetrius’ love, consists of abasing herself as being his dog in order to catch his attention. However, this works neither.

HELENA:

[…]

What worser place can I beg in you love-

And yet a place of high respect with me-

Than to be usèd as you use you dog?

(2.1. 208-210)

As for Demetrius’ love towards Hermia, although the agreement of Egeus make him Hermia’s husband, the love of the young lady does not correspond to him, on the grounds that she is deeply in love with Lisander. Thus, the rejection of Hermia towards Demetrius becomes clearer when Lisander falls in love with Helena, and Hermia thinks that it has been Demetrius who has planned this. Her angriness is so evident that we observe a very angry woman furious for her love.

HERMIA:

Out, dog; out, cur. Thou driv’st me past the bounds

Of maiden’s patience. Hast thou slain him then?

Henceforth be never numbered among men.

O, once tell true; tell true, even for my sake.

Durst thou have looked upon him being awake,

And hast thou killed him sleeping? O brave touch!

Could not a worm, an adder do so much?-

An adder did it, for with doubler tongue

Than thine, thou serpent, never adder stung.

(3.2.65-73)

After this dispute, Demetrius realizes that his attempt to get her love is impossible and decides to sleep in order to calm himself.

DEMETRIUS:

There is no following her in this fierce vein.

Here therefore for a while I will remain.

So sorrow’s heaviness doth heavier grow

For debt that bankrupt sleep doth sorrow owe,

Which now in some slight measure it will pay,

If for his tender here I make some stay.

(3.2.82-87)

In reference to this attitude, Greenblat agrees:

“In the young lover’s choices and sufferings, we encounter a situation where the final outcome does not matter greatly to us but matters greatly to them. And while we see the characters form a distance, we also experience at least their sense of how important the difference is, how unbearable to be matched against one’s consent, how painfully difficult to make a match that corresponds to one’s desires.”

However, we appreciate a significant changing behavior in Demetrius, once Robin has transformed him. We can consider a very kind, sweet and romantic Demetrius who is deeply in love with Helena. This strange attitude makes Helena get angry with him and also with Lisander since she thinks they are humbling her.

DEMETRIUS [awaking]:

O Helen, goddess, nymph, perfect, divine!

To what, my love, shall I compare thine eyne?

Crystal is muddy. O, how ripe in show

Thy lips, those kissing cherries, tempting grow!

That pure congealèd white- high Taurus snow,

Fanned with the eastern wind- turns to a crow

When thou hold’st up thy hand. O. let me kiss

This princess of pure white, this seal of bliss!

HELENA:

O spite! O hell! I see you all are bent

To set against me for your merriment.

If you were civil, and knew courtesy,

You would not do me thus much injury

[…]

(3.2.138-149)

Another peculiarity about this character is his authorial behaviour, not only towards Helena:

DEMETRIUS:

I charge thee hence, and do not haunt me thus.

(2.2.91)

But also at the end of the play when the two young couples seem to follow the instructions that he dictates, after being confused between dream or reality.

DEMETRIUS: Why then, we are awake. Let’s follow him,

And by the way let us recount our dreams.

(4.1.194-195)

Thus, he is also one of the victims of Oberon and Robin, in living in a Midsummer Night’s Dream and waking up into reality.

As the other three young lovers, he is a victim of the confusion between reality and dream, since once he wakes up he thinks he has dreamt all he has lived, although asking the others.

DEMETRIUS: It seems to me

That yet we sleep, we dream. Do not you think

The Duke was here and bid us follow him?

(4.1.189-191)

Finally, we can appreciate how Demetrius loves the play that Bottom and the other amateurs represent in the celebration of the marriages, since he comments this representation with Theseus and the others.

DEMETRIUS: It is the wittiest partition that ever I heard discourse, my lord

(5.1.165-166)

These claims about the play have a significant importance from the linguistic point of view, as we will analyse later.

 II.II. IMPORTANCE OF DEMETRIUS IN A MIDSUMMER NIGHT’S DREAM

The multiple characteristics which contains the character of Demetrius, led us to consider him as an important character in the play.

Firstly, he is one of the most important characters in the subplot between the four lovers, i.e., if Demetrius would not appear in this story, Hermia would not have problems in getting married to Lisander, and there would not be any conflict in the play. Moreover, Helena would not have a lover, and as such, the play would have finished without any marriage for her, which is one of the main characteristics in the comedy genre.

Furthermore, William Shakespeare wants to implore some aspects of his time, and the use of a sexist boy in the play makes it necessary . If Demetrius would not have wanted to get married to Hermia, we would not be able to know that at the author’s time women were not allowed to get married with the men they loved. They were imposed a man by their families, and in most cases, as in the case of Demetrius, it was the man who chooses his wife, neither she loves him or not.

HERMIA: I do entreat your grace to pardon me.

I know not by what power I am made bold,

Nor how it may concern my modesty

In such a presence here to plead my thoughts,

But I beseech your grace that I may know

The worst that my befall me in this case

If I refuse to wed Demetrius.

(1.1.58-64)

In this part we observe how Hermia has no option in choosing her husband, it is imposed by her father, Egeus, and the lord Theseus. If she rejects to marry Demetrius she will be punished since it is an order of her father to marry him.

Consequently, it is necessary for A Midsummer Night’s Dream to contain a young and attractive men who interferes in the happy and lovely couple of Hermia and Lisander and who looks down on Helena after having been in love with her. W.Shakespeare makes use of this character in order to criticize several aspects of this time, and the placing of Demetrius in this play enables him to show it.

 II.3. LINGUISTIC FEATURES IN THE CHARACTER OF DEMETRIUS

The language that Demetrius uses throughout the play is also a very significant form from the linguistic point of view, on the grounds that depending on the situation, time and the person he addresses, his speech changes.

On the one hand, we find very sweet and romantic expressions when Demetrius is addressing Hermia, in order to fascinate her and try to convince her to get married to him. For instance, even when Hermia rejects him thinking he has poisoned Lisander, he insists on loving him with beautiful words.

DEMETRIUS: So should the murdered look, and so should I,

Pierced through the heart with your stern cruelty.

Yet you, the murderer, look as bright, as clear

As yonder Venus in her glimmering sphere.

(3.2.58-61)

Nevertheless, these sweet language is not addressed to Hermia only, since once he falls in love with Helena, he addresses her in the same way as he did with Egeus’ daughter. As, we can observe in 3.2.

DEMTRIUS [awaking]: O Helen, goddess, nymph, perfect, divine!

To what, my love, shall I compare thine eyne?

Crystal is muddy. O, how ripe in show

Thy lips, those kissing cherries, tempting grow!

That pure congealed white- high Taurus snow,

Fanned with the eastern wind- turns to a crow

When thou hold’st up thy hand. O, let me kiss

This princess of pure white, this seal of bliss!

(3.2.138-145)

This feature is similar to the use of rude and sexist language, from the beginning of the play, Demetrius makes use of this speech in order to address to Helena. However, when he falls in love with her, he uses it to speak to Hermia.

DEMETRIUS: Tempt not too much the hatred of my spirit;

For I am sick when I do look on thee.

HELENA: And I am sick when I look not on you.

DEMETRIUS: You do impeach your modesty too much,

To leave the city and commit yourself

Into the hands of one that loves you not;

To trust the opportunity of night

And the ill counsel of a desert place,

With the rich worth of your virginity.

(2.1.211-219)

Consequently, depending on the moment he speaks and whom he addresses, expressions and words are different. Indeed, Greenblat adds:

“Desires in A Midsummer Night’s Dream are intense, irrational and alarmingly mobile. The mobility, the speech with which desire can be detached form one object and attached to a different object, does not dismisses the exigency of the passion, for the lovers are convinced at every moment that their choices are irrefutably rational and irresistibly compelling”.

On the other hand, Demetrius shows his aggressiveness when speaking towards Helena and to Lisander. First, he is so impatient in getting Hermia’s love, that any love gesture from Helena disturbs him. Indeed, Helena realizes this aggressiveness, although her love to him makes her pardon him.

DEMETRIUS: I will not stay thy questions. Let me go;

Or if thou follow me, do not believe

But I shall do thee mischief in the wood.

HELENA: Ay, in the temple, in the town, the field,

You do me mischief. Fie, Demetrius,

Your wrongs do set a scandal on my sex.

[…]

(2.1.235-240)

Secondly, from the beginning of the play, we can observe how this violent behaviour is especially showed against Lisander, his rival. Indeed, at the end of the play, both men are willing to fight to defend his love for Helena.

LYSANDER: Now she holds me not.

Now follow, if thou dar’st, to try whose right,

Of thine or mine, is most in Helena.

DEMETRIUS: Follow? Nay, I’ll go with thee, cheek by jowl.

(3.2.237-239)

Finally, it is important to note the fact that at the end of the play, when appreciating the play represented by the amateurs, Demetrius makes use of metaphorical language in order to express different ideas while making reference to the play. The aim of this technique, could be due to the fact that this is a very critical character and W. Shakespeare wanted to express his criticism of his time through Demetrius. For example:

DEMETRIUS: Not so, my lord, for his valour cannot carry his discretion,

And the fox carries the goose.

(5.1.226-227)

This technique is being analyzed in the following section.

 II.IV. DEMETRIUS AS A CRITIC OF THE TIME

One of the most important aspects about the character of Demetrius is that W. Shakespeare uses him as a criticism of his time. Therefore, women at Shakespeare’s time had no access to society, i.e., they were not allowed to vote, they could not act, and of course, they were servants of their husbands and had no opinion in choosing their husbands, especially aristocratic women. Thus, Demetrius represent some of the men of the time having permission for looking down on women and using them the way he wanted. Helena, has assumed her female role.

DEMTRIUS: Do I entice your? Do I speak you fair?

Or rather do I not in plainest truth

Tell you I do not nor I cannot love you?

HELENA: And even for that do I love you the more.

I am your spaniel, and, Demetrius,

The more you beat me I will fawn on you.

Neglect me, lose me; only give me leave,

Unworthy as I am, to follow you.

What worser place can I beg in your love-

And yet a place of high respect with me-

Than to be usèd as I am, to follow you.

(2.1.199-210)

She even accepts her inferiority as a woman in front of the superiority of men inside society, this is the reason why she warns Demetrius not to hit her since it would be disgraceful for a man of his period.

DEMETRIUS: I will not stay thy questions. Let me go;

Or if thou follow me, do not believe

But I shall do thee mischief in the wood.

HELENA: Ay, in the temple, in the town, the field,

You do me mischief. Fie, Demetrius,

Your wrongs do set a scandal on my sex.

[…]

(2.1.235-240)

Consequently, we can observe through the character of Demetrius how women were inferior to men at Shakespeare’s time. However, this criticism was not direct, since the author would have been punished for it, but it was embodied in a dream, as it could be considered as not real.

 II.IV.I. POSSIBLE INTERPRETATIONS OF THE CHARACTER ACCORDING TO THE HISTORICAL PERIOD

As being a very complex character due to its multiple functions, we observe multiple interpretations of Demetrius’ personae.

Firstly, Demetrius can be seen as an opportunist on the grounds that he takes advantage of his money in order to seduce Hermia. In the same sense, he could be seen as opportunist falling in love with rich people, since although Hermia’s economy does not appear in the play, it was supposed of aristocratic women of the time to be married with rich man. Nevertheless, Demetrius’ economy is mentioned when Lisander contrasts it with his richness.

LYSANDER (to Theseus):

I am, my lord, as well derived as he,

As well possessed. My love is more than his,

My fortunes every way as fairly ranked,

If not with vantage, as Demetrius;

And- which is more than all these boasts can be-

I am beloved of beauteous Hermia.

[…]

(1.1.99-104)

Secondly, another interpretation of his personality could be seen as he ill-treats not only men but also women. The best example to illustrate this, is when he tries to hit Helena and he even threads her with killing her.

DEMETRIUS: I will not stay thy questions. Let me go;

Or if thou follow me, do not believe

But I shall do thee mischief in the wood.

(2.1.235-237)

It is this time when Helena amazes herself at such violent behaviour and responds him with not hitting a woman. So, he can also be interpreted as sexist, treating women as animals and feeling himself as superior to them.

 II.V. DEMETRIUS AND THE COMDEY GENRE

We can claim that Demetrius represents de typical character of the comedy genre since he contributes to create a happy ending in the story.

Greenblat also adds about him:

“For example, in A Midsummer Night’s Dream the brutal insults hurled at Hermia by the young man who had loved her and with whom she has eloped might well seem extremely painful, but the fantastic language in which these insults are expressed distances audiences from the pain and generates laughter:”

Get you gone, you dwarf,

You minimus of hind’ring knot-grass ade,

You bead, you acorn

(3.2.329-31)

Consequently, even the typical aggressiveness which makes him cruel, is also an important factor to consider him as a typical comedic character.

III.CONCLUSION

Demetrius does not only represent the young lover of Hermia and the loved one by Helena, but he also symbolizes the stereotype of men at Elizabethan time. The linguistic features he uses change according to the situation or the person he is addressing, and this aspect makes him to use a great variety of vocabulary and expressions. Furthermore, his aggressiveness and the violent behaviour he presents towards Helena or Lysander led us to consider him as a cruel character, although he finally inspires romanticism and love towards them. Finally, even this bestial behaviour symbolizes the genre which embodies this play, the comedy.

In conclusion, his significant role in A Midsummer Nights Dream as well as his peculiar personality, led us consider him as a very interesting character which contributes immensely to the plot of this comedy.

BIBLIOGRAPHY:

Electronic sources:

- Websites:

o A Midsummer Night’s Dream <www.en.wikipedia.org/wiki/A_Midsummer_Night's_Dream>

Webmaster: Wikipedia® is a registered trademark of the Wikimedia Foundation

Consultation day: 12th November

o “A Midsummer Night’s Dream/ Character Analysis” <http://www.enotes.com/midsummer/36244>

Webmaster: Copyright ©2006 eNotes.com LLC.

Consultation: 26th November 2006

o “A Midsummer Night&apos;s Dream Book Notes Summary” <www.bookrags.com/notes/mnd/PART1.htm>

Webmaster: ©2000-2006 by BookRags, Inc.

Consulted: 12th November 2006

o Ed Friedlander M.D. Enjoying "A Midsummer Night's Dream", by William Shakespeare <http://www.pathguy.com/mnd.htm>

Consulted 17th November

o Elizabethan era <http://en.wikipedia.org/wiki/Elizabethan_era>

Webmaster: Wikipedia® is a registered trademark of the Wikimedia Foundation

Consult day: 27th November

o “Elizabethan women” <www.william-shakespeare.info/elizabethan-women.htm>

Webmaster: Copyright © 2005 William Shakespeare info

Consulted: 27th November 2006

Auto-evaluation: I think I should obtain a good mark on the grounds that I studied the comedies very hard in order to develop very complete essays.

Academic year 2006/2007

© a.r.e.a./Dr.Vicente Forés López

© Julia Más Agrás

jumasa@alumni.uv.es

Universitat de València Press