COMPARATIVE
STUDY OF HERMIA AND VIOLA IN A
Midsummer Night’s Dream
AND
Twelfth
Night
| INTRODUCTION |
The aim of this paper is to
compare
the main female characters of two Shakespearian comedies: Hermia
in A Midsummer Night’s Dream
and
Viola in Twelfth Night. We
are going
to compare these characters by dealing with five topics: first of all
we will
see the personality of each character, the differences and
similarities. Second
of all, we will analyse the role of disguise in each play. Then, we
will talk
about wooing. After that, we will see the kind of love that each
character
represents in these plays. Finally we will examine how important these
characters are in their respective plays.
| PERSONALITY |
As stated in The Routledge History of Literature in
English: ‘Shakespeare’s women are just as much forceful modern
Renaissance
characters as his men […], they demonstrate strength and assertiveness,
as well
as femininity’.[1] These qualities can be
applied to explain the personality of Viola and Hermia.
At the beginning of Twelfth Night and A Midsummer Night’s Dream these characters are exposed to
the main
conflict with which they are confronted throughout the play. On the one
hand,
Viola, due to the shipwreck, is alone in an unknown place. Moreover,
she thinks
her brother has died and instead of falling apart she decides to become
a
member of Orsino’s court.
On the other hand, Hermia is forced by her father to marry Demetrius,
in spite
of her being in love with Lysander. However,
she does
not want, by no means, to marry Demetrius and she flees to the country
with Lysander not to get married with Demetrius and not
to be
killed, since if she does not agree to marry him she can die.
Therefore, we see
that both characters are strong and not conformist, since, even though
they are
women, they do what they want and what they feel and not what society
imposes
them.
Nevertheless, Viola is in a
more
difficult situation than Hermia since she has
to
disguise as a man. On the other hand, Hermia
seems
more rebellious since she decides to escape not to follow her father’s
orders,
so she is in a way more nonconformist than Viola, because Viola has to
dress as
a man in order to survive and not because she is being disobedient. In
this
aspect, we see that Viola is more mature than Hermia
as Hermia can be seen acting like a spoilt
child,
because in the Elizabethan period women were supposed to get married
with the
man their fathers chose, but she is opposed to her father’s decision
and that
is what makes her more nonconformist. We can see that in the first
scene of the
play when she says: ‘I would my father look’d
but
with my eyes’ to what Theseus, the Duke of
Athens,
answers her: ‘Rather your eyes must with his judgement look’
[2]
meaning that it is Hermia’s obligation to
marry the
man her father has chosen. Viola, however, is more sensible and she is
just
trying to keep on living in an unknown land.
She is desperate and does not know what else to do in order to
survive
in
Furthermore, Hermia
is also more passionate than Viola since she is just following her
feelings, she
just wants to marry the man he loves and therefore, she has to escape
not to be
forced to marry another man. She is disobedient because of love. On the
other
hand, it can be said that, to some extent, Viola is cold and
calculating, since
she is willing to become a man instead of remaining what she is and
just going
to Orsino’s court asking for help, what would
have
been the more sensible thing to do. But, of course, Shakespeare had to
create a
more appealing and confusing play and that solution may have seemed
very easy
and simple for him.
| DISGUISE - DECEPTION |
According to an article
found on the
Internet, ‘Appearances Versus Reality in Shakespeare’s A Midsummer Night’s Dream and Twelfth
Night’[4]
the main difference between the two plays in relation to the
misunderstandings
which occur throughout the different plots lies in that: ‘In A Midsummer Night’s Dream, the
disguises
and much of the tension between appearances and reality is the result of
magical influence whereas in Twelfth
Night it is the result of human decisions to take on a disguise or
hide
intent rather than something that is out of their control’. Taking this
hypothesis as a starting point we will examine how Hermia
and Viola are affected by these devices used by Shakespeare in their
respective
plays.
We have already seen which
is the
difference between the two plays, but which is the difference between
Hermia and Viola with reference to disguise and
deception?
First of all, it should be said that Viola is the one who disguises
herself and
deceives the other characters whereas Hermia
is the
one who is deceived because of supernatural elements, she is the one who
suffers from this deception in her play. Therefore, Viola could be said
to be
an active character according to this aspect, since she is the one who
plans
this plot and she is controlling the situation and Hermia
is a passive one, because she is just seeing how things get twisted and
she
cannot understand why those things happen.
This could be supported by
looking
at some quotations in the plays. In Twelfth
Night we see in the first scene of the play that Viola says to the
captain
who is with her after the shipwreck: ‘Conceal me what I am, and be my
aid / For
such disguise as haply shall become / The form of my intent. I’ll serve
this duke
(Orsino): / Thou shall present me as an
eunuch to
him’[5]
(Act I scene I). This is the first and main conflict of Twelfth Night, when Viola decides to disguise herself as a
man, Cesareo. From this moment on, the rest of the
characters
will be deceived by her, she is the one who is carrying out the action,
she is
the only one who knows what is going on during the play, except for her
brother
Sebastian, who she thinks is dead and will appear at the end of the
play. She
will deceive Orsino, with whom she is in love
and she
will deceive Olivia, who falls in love with her while she is acting as
Cesareo.
On the other hand, we see how
shocked Hermia gets when the characters’
feelings are
‘disguised’ by Puck’s magic. When Lysander
tells her
that he hates her she answers: ‘What, can you go me greater harm than
hate? /
Hate me, wherefore? O me, what news my Love? /
Am not I Hermia? Are not you Lysander? / I am as fair now, as I was erewhile. /
Since
night you lov’d me; yet since night you left
me. /
Why then you left me (O the gods forbid) / In earnest, shall I say?’ To what Lysander
replies: ‘ […] ‘tis not
jest, / That
I do hate thee, and love Helena’[6] (Act III, scene
II). She doubts even if she is who she is because she cannot believe
what Lysander is telling her. Therefore, we can see the
difference between both characters when reality is changed in their
plays:
Viola is the one who provokes this transformation, and consequently she
is in
charge of the situation, while Hermia is the
one who
has to deal with this sudden change in the other characters’ minds.
Hermia starts the play being loved by two men and
suddenly
she is hated by them, so she gets very confused, she gets desperate,
she doubts
of her own persona, quite the opposite of Viola who always knows what
is going
on and who she is in each moment.
Maybe, what could make Viola
look
more like a victim is that due to her being disguised like a man, she
cannot
act like the proper woman she is, and she has to hide her feelings.
That is to
say, she is in love with Orsino, but being a
man she
cannot tell him that she loves him; she always has to fake her feelings.
Therefore, in this case Hermia seems freer,
because
even though she is not the one who has planned the situation she is in
and she
is forced to take part in this misunderstanding which prejudices her
the most,
she can show herself just as she is and she does not have to conceal her
feelings or her sexuality, as Viola does.
It should also be
interesting to
notice that whereas Viola is acting with a physical disguise, Hermia is suffering for a mental disguise, which
maybe is
more harmful because Puck is playing with her emotions, not with the
physical
appearance. Viola, however, as we have said before, is willing to take
this
challenge of becoming a man and although she cannot show her real
feelings
towards Orsino, she is aware of almost
everything in
the play and in addition she is maybe causing trouble to other
characters in
the play, like Olivia because she falls in love with Viola-Cesareo
and she is not being requited.
| THE ART OF WOOING - BEING WOOED |
With regards to ‘wooing’, it
can be
said that, to some extent, both characters woo or try to gain men’s
love, or
are being wooed in any moment in their plays.
First of all we will examine
how Viola
tries to woo Olivia as if she were Cesareo
and how Hermia tries to get Lysander’s
love for her back. Both characters fail to do so because Olivia, when
Viola
tries to woo her she immediately falls in love with ‘him’ and Hermia does not change Lysander
feelings because Lysander’s feelings were
altered
because of Puck’s magic and therefore she just has to wait until
everything is
restored. But why do these female characters fail in doing so?
As stated by
However, if we do not look
at their
intended aim, that is to say, if instead of directing our attention at
how
Viola fails in getting Olivia’s love for Orsino but
look at how Olivia falls in love with Cesareo
(Viola), we could see that Viola totally succeeds in the art of wooing.
But why
does this happen?
We have to take into account
firstly
that Viola, as being a woman, is more sensible to other women’s
feelings and,
therefore, she knows how to address Olivia in a subtler way than Orsino would have done; she probably tells Olivia
what she
would like to hear from Orsino. We could see
this
reflected when Viola says in the second scene of the second act: ‘How
easy is
it for the proper-false / In women’s waxen hearts to set their
forms’,[8]
(Act II, scene II) meaning that she knows how women think and she,
being a
woman, knows how to woo another woman, because she is aware of how
sensitive
women are, and how easy it is to win their hearts with the proper
words.
Secondly, Cesareo
is a young and handsome boy so, he is more appealing to Olivia than
Orsino and he has more probabilities to talk to
Olivia than
Orsino, that is why Orsino
says to Ceareo: ‘It shall become thee well to
act my
woes; / She will attend it better in thy youth / Than in a nuncio’s of
more
grave aspect’ .
[9]
(Act 1, scene IV)
Thirdly, as Cesareo
shows ‘himself’ to Olivia as not being in love with her, maybe she sees
him in
a more unattainable way, and that possibly makes her love him more.
Moreover,
when Viola tries to persuade Olivia to love Orsino,
she is actually in love with Orsino and
therefore it
is very easy for her to describe Orsino’s
feelings
towards her and to talk about how fabulous Orsino is.
We can see that when Olivia asks Cesareo: ‘How does
he love me?’ to what Cesareo replies: ‘With
adorations, fertile tears, / With groans that thunder love, with sighs
of fire’, that is probably the way
Viola loves Orsino and she is expressing these feelings
perfectly
because it is the way she feels.
On the other hand, with
regards to Hermia, we see that she has no possibility of
winning Lysander’s affection back until Puck restores
things. That
is why Hermia does not succeed in this
aspect, she
just have to wait until everything goes back to normal and stops being a
‘dream’. We see that despite her talking to Lysander
in a sweet manner he keeps on being in love with
It can also be noticed
another
difference between these two characters: when Viola woos she is wooing
as if
she were a man, dressed as Cesareo and she is
not
wooing for herself but from Duke Orsino’s part
whereas Hermia, when she tries to take Lysander’s love back, is wooing as the woman she is
and for
herself. It is a quite different situation, because Hermia
knows that Lysander has loved her before, but
Cesareo (Viola) has to gain Olivia’s love, that is
to say,
Olivia did not love Orsino before, and
therefore it
is more difficult for her. Moreover, the situation gets worse when
Olivia falls
in love with Cesareo instead of Orsino.
In addition Hermia
is not trying to court Lysander as Viola is
doing
with Olivia but she is also angry at him by his sudden change of
feelings, so
she is, in a way, forcing him to love her back and not love Helena and
when she
gets desperate and sees no reaction from Lysander’s
part she decides to go to sleep.
Furthermore, we can observe
another
similarity between the two characters: these women are also rejected by
the men
they love in some moment of the play. However, Viola is rejected in an
indirect
way, since Orsino does not know her real
identity and
he is in love with Olivia whereas Hermia, as
we have
already seen, is rejected in a very direct way by Lysander
because due to Puck’s magic he falsely falls in love with
Up to this point we will see
how
these women are wooed by men in these two plays. First of all we will
deal with
Viola. We do not see Viola being wooed throughout the play, just at the
end
when Orsino knows she is a woman and he
realises he
has fallen in love with her. He tells her: ‘Boy, thou hast said to me a
thousand times / Thou never shouldst love
woman like
to me […] / Give me thy hand; / And let me see thee in thy woman’s
weeds.’
[11]
(Act
V, scene I). That is the only time we see Orsino
telling Olivia that he loves her.
On the other hand, if we
look at
Viola but disguised as Cesareo, we see that
Cesareo is wooed by Olivia at some moments in the
play. The
first moment Viola and the audience, or readers, realise that Olivia
has fallen
in love with Cesareo is in the second act
(scenes
I-II) when Olivia asks Malvolio to give Cesareo a ring (which is supposed to be Cesareo’s
but it is actually Olivia’s ring). After that we see Cesareo
saying: ‘I left no ring with her: what means this lady? […] / She loves
me,
sure […] / I am the man’. (Act
II, scene
II)[12]
As stated in Shakespeare, An Oxford Guide by Stanley Wells and Lena
Cowen Orlin, at Shakespeare’s times ‘It was also still
common
(though the custom was declining) for couples to make themselves ‘sure’
in
advance of the church wedding, in a ritual of ‘handfasting’
or ‘spousals’. […] Such ‘treaty and
communication of
marriage’, in which go-betweens (like Viola/Cesareo
in Twelfth Night) not
frequently
played an important part, was commonly punctuated by mutual visits and
the
giving of such gifts or ‘tokens’ of marriage as gloves, scarves,
trinkets,
pieces of money, and rings.’
[13]
Therefore, we see that in this play Olivia is trying to woo
Cesareo
by giving him a ring.
Moreover, in the first scene
of the
third act we see Olivia declaring her love to Cesareo
in a direct way, she says to him: ‘I love thee so, that, maugre
all thy pride, / Nor wit nor reason can my passion hide’. (Act III,
scene I)
[14]
With reference to Hermia in A
Midsummer
Night’s Dream, we do not see how Lysander
woos her
because when we meet the characters they are already in love with each
other,
and therefore we assume that Lysander has
been wooing
Hermia before the play starts. However, we do
see
from other character’s speech how Lysander
has tried
to woo Hermia. Right at the very beginning of
the
play, we hear Egeus, Hermia’s
father say: ‘This man (Lysander) hath bewitch’d the bosom of my child: / Thou, thou Lysander, thou hast given her rhymes, / and interchang’d love-tokens with my child: / Thou hast
by
moonlight at her window sung, / With feigning voice, verses of feigning
love, /
And stolen the impression of her fantasy, / With bracelets of thy hair,
rings, gawds, conceits ‘.
Therefore, one similarity
between
the two characters is that both receive a ring as a token, the
difference is
that when Viola receives it, it takes a more important significance
because
Olivia thinks she is a man. Moreover, although both of them are wooed
we see
that they spend more time and effort wooing their respective partners.
That is probably
because Shakespeare does not want to give importance to that because we
do not
see how Lysander woos Hermia,
and therefore we assume that it is no so important for the overall plot
of the
play. Furthermore, we just see at the end of Twelfth Night how Orsino declares
his
love to Viola, but it is a very short episode as well.
| COURTLY LOVE - PASSIONATE LOVE |
Regarding love, as these
plays with
which we are dealing are comedies, there is always a happy ending whose
main
aim is marriage. Therefore, in the end, Viola and Hermia
get married with the men they love from the beginning of the play:
Viola is
married to Orsino and Hermia
marries Lysander. The difference of these
relationships lies in the type of love of each relationship.
On the one hand we can
observe some
characteristics of the courtly love tradition in both couples.
According to
Faith Nostbakken in Understanding a Midsummer Night’s Dream, ‘From the
beginning Lysander and Hermia
display
expressions of loyalty and gentleness characteristics of courtly
love’[15]
We see that reflected when Lysander says to
Hermia: ‘How now my love? Why is your cheek so
pale? / How
chance the roses there do fade so fast?’ This comparison of the colour
of the
roses with the colour of one’s cheeks was very common in the courtly
love
tradition.
Concerning Viola, we also see
characteristics of courtly love in her love towards Orsino.
She immediately falls in love with him, without even knowing him in
depth and
it is a much idealised love. In the case of Viola, the roles are changed
because Viola is playing the part of the man, she is suffering because
of Orsino and in the courtly love tradition it is the
other
way round, the man is the one who suffers because of the lady. However,
this
happens because Orsino is in love with
Olivia, and Orsino, in this case, is the one who suffers for
Olivia’s
unrequited love. Therefore, we have a love triangle, as well as we have
with Hermia-Lysander-Demetrius.
However, there is one
distinction
between the two couples with respect to this kind of love. Whereas in
both,
Viola and Olivia, we can see characteristics of the courtly love
tradition, a
more passionate love is also seen but mainly in the relationship of
Hermia-Lysander.
This differentiation can be
seen
mainly by looking at the setting of each play. Twelfth Night takes place at court, in the city, and by
contrast A Midsummer Night’s Dream is set,
mostly, in the forest. Viola’s love for Lysander is
more idealised and more refined whereas the love between Hermia
and Lysander is more passionate. If we think
about
the films of these two plays, we can see a very clear difference
between the
two couples. In A Midsummer Night’s Dream, we see how Hermia
and Lysander kiss each other but we do not
see such
behaviour in Twelfth Night
between Orsino and Olivia because despite the fact that
they get
together at the end of the play they do not show many signs of affection
against each other, it is a more idealised love, since Viola is
completely in
love with Orsino and she does not know him
that much.
Moreover, in a Midsummer Night’s Dream we can see how Lysander
wants to sleep with Hermia when they are in
the
forest, and she rejects him because she does not want to lose her
dignity as a
virgin lady: ‘Such separation, as may well be said, / Becomes a virtuous
bachelor, and a maid, / So far be distant, and good night sweet
friend; / Thy
love ne’er alter, till thy sweet life end’. (Act II, scene II)[16]
| IMPORTANCE OF EACH CHARACTER |
Concerning the importance
that each
character has in her play, it is noticeable that Viola takes a more
important
role in Twelfth Night than
Hermia in A
Midsummer
Night’s Dream, but why? First of all, the last time Viola speaks is
in the
last scene of the play (Act V scene I) whereas the last words of Hermia take place in the first scene of the fourth
act.
Therefore, this is a quite important issue to see that Viola is a more
indispensable character than Hermia. As we
have seen
throughout these paper, Viola in Twelfth
Night is the one who starts the conflict and she is also the one who
carries out the main plot in her play, she is, probably, the most
important
character in her play because she is the centre of the main plot; all
the
characters in the main plot depend on her.
On the other hand, Hermia is not a so important piece in her play. She
is not
the only one who directs the action but she shares her prominence with
three
other characters: Helena, Lysander and
Demetrius. At
the beginning of A Midsummer
Night’s
Dream, like Viola, she is the one who starts the conflict when she
rejects
marrying Demetrius and decides to run away with Lysander.
Moreover, we see that both men are in love with her and, therefore,
this makes
her an important piece of this play. The difference is that once she is
in the
forest, the other three characters became as important as she is at
first, and
maybe the one who becomes more prominent is Helena, since the two men
fall
tremendously in love with her and she is the one who has more turns of
speech.
We can see this observation reflected in Understanding
a Midsummer Night’s Dream: ‘Shakespeare seems to make the
identities of the
four young lovers deliberately confusing. Demetrius and Lysander
are alike in their status and dress as Athenian nobles, and even Hermia and Helena’s names are so similar as to
render
distinctions difficult. Shakespeare appears to be more interested in
generalized character types and the commonness of love infatuation and
relationships than in specific character traits.’[17]
Therefore, as we have already said, Hermia is
as
important as the other three young characters, whereas Viola in Twelfth Night is an individual
and key
character.
If we try to imagine how
these two
plays would have been like if these two characters had not been
created, we
would see that Twelfth Night
would
become a very different play because Viola is a key figure in it, there
would
not be a mistaken identity, and this is what makes this play more
appealing.
Whereas if we take Hermia out of A Midsummer Night’s Dream, the play could probably be as
amusing as
it is. One hypothesis is that instead of being the conflict started by
Hermia, the main conflict could be a love triangle
between
Helena, Demetrius and Lysander and in the end
Helena
could have been married to Lysander and
Demetrius
could have become an evil character, just trying to jeopardise their
relationship.
What is important to highlight is that there would not be as much disastrous consequences in A Midsummer Night’s Dream as there would be in Twelfth Night if Shakespeare would have written these plays without these two characters and, consequently, we can observe that Viola is a key character in Twelfth Night whereas Hermia is not as important as Viola in A Midsummer Night’s Dream.
| CONCLUSION |
To conclude this paper, I
would say
that both characters share a lot of characteristics since in all the
aspects
with which we have been dealing throughout their analysis we have found
quite
things in common between them, whereas at the same time we have also
seen a lot
of differences. The main thing in common that we have to highlight is
that both
of them suffer because of love and because there is a mixture between
reality
and appearance. As Lysander says in A Midsummer Night’s Dream: ‘The
course
of true love never did run smooth’[18].
True love is never easy, you have to overcome some problems in order to
obtain
it and that is what Viola and Hermia do in
these
comedies Moreover, to some extent, Viola and Hermia
appear to be very strong women who fight for their dreams and desires.
Furthermore both characters
form a
love triangle in their plays. Hermia with
Lysander and Demetrius and Viola with Olivia and
Orsino, the difference is that Hermia,
once in the forest, takes a secondary position in this love triangle
whereas
Viola is all the time the head of hers.
On the other hand, one of
the most
important differences between them is in the type of conflict in which
they are
involved; Viola has to deal with the real world, which is more
difficult,
whereas Hermia is in a sort of dream, and
therefore
it is not so hard for her, she does not suffer as much as Viola does.
Hermia is in a sort of nightmare but she wakes up
and sees
everything restored at the end of the play. Viola, on the contrary, has
to fix
things by herself and win Duke Orsino’s
heart.
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Films:
- Twelfth Night
Dir.
Nunn Trevor. Perf. Imogen
Stubbs, Steven Mackintosh, Ben Kingsley, Helena Bonham Carter, Nigel
Hawthorne,
Toby Stephens. 1996. Circus Films and BBC films.
- A Midsummer Night’s Dream Dir. Hoffman Michael. Perf. Kevin Kline, Michelle Pfeiffer, Stanley Tucci, Rupert Everett, Calista Flockhart, Anna Friel,
Dominic
West, Christian Bale. 1999. Fox Searchlight Pictures and Regency
Enterprises.
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