Continuing on the previous post about Helena's pathetic state, something struck me today - that the two women in Midsummer Night's Dream seem to perceive love as being conditional on how they look.
It is made known to us repeatedly that Helena and Hermia are fair maidens - or to put it in modern parlance, "hot stuff". In fact, they are both "hot stuff" - in different ways, but nonetheless, "through Athens [Helena is] thought as fair as [Hermia]."
Now, in modern times we scoff at the idea that beauty or looks play a part in love - how shallow! we decry the lustful Lotharios who prey on the nubile. Unfortunately, many people fail to realise or choose to ignore the fact that yes... Man is that shallow. Rare are the stories I've heard about a couple staying together after a horrific, scarifying accident befalling one half of the pair.
Emotional damage aside, physical disfigurement or even mere looks are the driving factor in a lot of relationships - take for example, the case for affairs - more often than not (I don't dispute that there are love affairs that are genuinely born out of an emotional fondness for the other party rather that his/her looks) people have affairs with attractive third parties.
Therein lies the perceived conditionality of love. Knowing these facts innately, how can we be blamed for thinking that our looks play a part in how much or even whether our partner loves us?
But I digress from Shakespeare. Helena and Hermia share this belief - it is more than apparent:
HELENA:
Call you me fair? that fair again unsay.
Demetrius loves your fair: O happy fair!
Helena goes on to wish that she could learn how to look like Hermia so that she can win Demetrius's heart. She seems to believe that it is Hermia's looks that have won Demetrius's love.
Similarly, when Hermia "loses" Lysander's love, her first response is telling of how much she believes love is conditional on looks.
HERMIA:
What, can you do 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.
Hermia then accuses Helena of seducing Lysander away through the use of her height. Throughout the play, references to looks are made with respect to love. Still, this is only to be expected in the course of courtship - of all attractive qualities, physical appearance is paid the highest homage. When one is in love, one praises loved one's looks.
Which makes sense - because "Oh, how I love thee, thy superior intellect draws me to you!" doesn't sound as romantic as comparing her skin to soft silk and her lips to kissable cherries.
Nonetheless, perceived conditionality of love persists and people believe that they must be good-looking to be loved (Though this is something that perhaps afflicts women more so than men). Have we not been guilty of looking at someone homely and wondering "how on EARTH did he/she end up with that hot/powerful/mesmerizing celebrity/superstar?"
What of it though? I'm not saying that one should not care about one's looks just to break this trend - it is a pervasive truth and believing that love is unconditional will do more harm than good because others do not believe the same as you. Even if they did, it does not promise that they will be able to ACT or FEEL based on this belief. Same goes for you.
Yes, unconditional love is ideal, but it is not what exists in our sad, second-rate, imperfect world. I could go on to where you can find this kind of love, but this is not the place to proselytize. We make do with our shoddy version of love and try means and ways to elevate it (at least in the eyes of others; only we see the rickety, makeshift facade of our own construction).
Thus, before we hasten to judge someone else for looking only with the eyes, and not the mind, let us put our hands over our hearts and pause for a while to ponder if it does not beat a little faster when someone attractive looks our way.
Sunday, July 11, 2010
And even for that do I love you the more
DEMETRIUS
Do I entice you? 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:
Use me but as your spaniel, spurn me, strike me,
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 used as you use your dog?
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.
For a long time, my sympathies lay with Helena because she seemed the most down-trodden and unfortunate of all the four young lovers. Unloved, spurned and cast aside by her once lover, she is a picture of abject pity. With no regard to pride, modesty or self-worth, she pursues him ceaselessly through the forest to the point of exhaustion, her body failing where her spirit has not.
My pity however, has been contaminated with disdain at present because Helena had lowered herself to the point that she was willing to be "used as a dog" by Demetrius despite his repeated rejection of her.
It begs the question - stupidity or loyalty? Helena's persistence is heart-breaking in that she is willing to lower herself merely to be in Demetrius's presence despite how hurtful it must be to hear him tell her that he does not like her, hates her even.
Her behaviour prompts a feeling of unease in me because one cannot help but feel awkward watching her demean herself for someone who does not deserve this... dogged loyalty.
Indeed, Demetrius has played Helena false by falling for beauteous Hermia, even though the latter is already spoken for. Disconcertingly, the oaths he swore to Helena "melted as the snow". This in itself should have clued Helena on to the fact that Demetrius was not worthy as a lover.
Yet, in her bitterness there is truth in speech - she bemoans to the audience that Love is painted blind. Love is like a child, easily beguiled. Love knows no reason. Love transforms the base and formless into something approaching dignity. She cannot help but chase him due to her feelings of love.
HELENA:
You draw me, you hard-hearted adamant;
But yet you draw not iron, for my heart
Is true as steel: leave you your power to draw,
And I shall have no power to follow you.
One sees a glimmer of rational thought in there - Helena seems to express (just barely) that she wishes she were not drawn to Demetrius. There is the suggestion that it is his fault that she is attracted to him - that she has no volition in her behaviour. She cannot help but want to be with him.
I am currently torn between admiration and disdain for Helena - on one hand, she is somehow strong enough to continue chasing him despite the hurtful words (delusional much?). On the other hand, this is a woman who has so little pride in herself that she has no qualms being abused by a man who does not love her.
Is it love? Obsession? I don't know, but I can't help but be disturbed by Helena the hound, and Shakespeare's ending for this woman. Helena is reunited with Demetrius, whose heart is magically changed. She is rewarded for her persistence - and indeed, if not for her indefatigable show of perseverance, there would not have been divine (or fey, really) intervention.
But in real life, her behaviour would be cause for concern - this is a woman who stalks and follows a man who does not love her, putting herself willingly in the role of abused victim just so "she can be near him".
And therein lies my change of heart towards Helena - I cannot in good conscience feel sorry for someone who seems to be asking to be hurt by putting herself in harm's way. She is no role model nor heroine of the story, she does not win through with wit and courage, but the "simple and fond" stubbornness.
Do I entice you? 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:
Use me but as your spaniel, spurn me, strike me,
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 used as you use your dog?
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.
For a long time, my sympathies lay with Helena because she seemed the most down-trodden and unfortunate of all the four young lovers. Unloved, spurned and cast aside by her once lover, she is a picture of abject pity. With no regard to pride, modesty or self-worth, she pursues him ceaselessly through the forest to the point of exhaustion, her body failing where her spirit has not.
My pity however, has been contaminated with disdain at present because Helena had lowered herself to the point that she was willing to be "used as a dog" by Demetrius despite his repeated rejection of her.
It begs the question - stupidity or loyalty? Helena's persistence is heart-breaking in that she is willing to lower herself merely to be in Demetrius's presence despite how hurtful it must be to hear him tell her that he does not like her, hates her even.
Her behaviour prompts a feeling of unease in me because one cannot help but feel awkward watching her demean herself for someone who does not deserve this... dogged loyalty.
Indeed, Demetrius has played Helena false by falling for beauteous Hermia, even though the latter is already spoken for. Disconcertingly, the oaths he swore to Helena "melted as the snow". This in itself should have clued Helena on to the fact that Demetrius was not worthy as a lover.
Yet, in her bitterness there is truth in speech - she bemoans to the audience that Love is painted blind. Love is like a child, easily beguiled. Love knows no reason. Love transforms the base and formless into something approaching dignity. She cannot help but chase him due to her feelings of love.
HELENA:
You draw me, you hard-hearted adamant;
But yet you draw not iron, for my heart
Is true as steel: leave you your power to draw,
And I shall have no power to follow you.
One sees a glimmer of rational thought in there - Helena seems to express (just barely) that she wishes she were not drawn to Demetrius. There is the suggestion that it is his fault that she is attracted to him - that she has no volition in her behaviour. She cannot help but want to be with him.
I am currently torn between admiration and disdain for Helena - on one hand, she is somehow strong enough to continue chasing him despite the hurtful words (delusional much?). On the other hand, this is a woman who has so little pride in herself that she has no qualms being abused by a man who does not love her.
Is it love? Obsession? I don't know, but I can't help but be disturbed by Helena the hound, and Shakespeare's ending for this woman. Helena is reunited with Demetrius, whose heart is magically changed. She is rewarded for her persistence - and indeed, if not for her indefatigable show of perseverance, there would not have been divine (or fey, really) intervention.
But in real life, her behaviour would be cause for concern - this is a woman who stalks and follows a man who does not love her, putting herself willingly in the role of abused victim just so "she can be near him".
And therein lies my change of heart towards Helena - I cannot in good conscience feel sorry for someone who seems to be asking to be hurt by putting herself in harm's way. She is no role model nor heroine of the story, she does not win through with wit and courage, but the "simple and fond" stubbornness.
Show how the play explores the difference between illusion and reality
Glossary:
Illusion:
a. An erroneous perception of reality.
b. An erroneous concept or belief.
2. The condition of being deceived by a false perception or belief.
3. Something, such as a fantastic plan or desire, that causes an erroneous belief or perception.
Reality: The quality or state of being actual or true.
(However, in this case, “reality” refers to reality in the play and not what we would consider “real” in our world.)
Think of instances where illusion is portrayed and where reality intrudes. Compare these instances.
Theme statement: Make mention of the similarities between illusion and reality. Does the play show you an obvious difference between illusion and reality?
e.g.: The line between illusion and reality is a thin one. In a play that addresses magic and fantastic elements, it is difficult to distinguish between what is real, and what is merely a distorted perception of reality as the distortions themselves sometimes seem more real than what has truly happened.
Illusion vs Reality:
- Illusion caused by infatuation / magic:
o The belief that the other person is perfect (e.g. Titania’s love for Bottom, where clearly she does not see him for what he really is like, calling him “angel”, “beautiful”, “wise”)
o Young Athenians made to believe they are in love with someone else.
o L under the illusion that he is in love with Hel. Ironically, their love is ruled by “reason” [And reason says you are the worthier maid – line 122] (when supposedly real love is irrational and unpredictable – “Love looks not with the eyes, but with the mind, and therefore is winged Cupid painted blind”)
o Helena under the impression that L is mocking her when he is trying to woo her.
o Hermia under the impression that Hel has stolen L’s heart when she has done nothing but reject him.
o Play shows illusion with discord and confusion – causing great frustrations and misunderstandings among the characters
o Contrast this with their waking moments in Athens where there is clarity and harmony (relationship issues all resolved happily)
- Woods vs Athens (Dream like quality, Magic vs Rules and structures)
o Anything can happen
o Reality – death, misfortune, unhappiness, where Theseus (mortal) is the law.
However, also: Harmony, peace, marriage, unions
o Illusion – fairy woods, magic, music, dreams, love, where Oberon (immortal) is the law.
However: Discord, confusion, violence, fleeting nature of attraction
Events that happened in the woods lack certainty – All who were involved believe that it was merely a dream (illusion)
- Puck as an illusionist – pretending to be “a filly foal”, “a roasted crab”, a “three-foot stool”… all in order to prank someone else.
o Fooled the actors into thinking that wild beasts were after them
o Made L and D think that the other was taunting them in order to draw them away from each other.
o Faeries as “shadows”, Oberon – “King of shadows” – Imagery suggests something not solid, not real
- Play within a play: Illusion is expected to be represented by the suspension of belief during a play, but yet the players’ actions break the illusion because they interact with the audience in an attempt to impose censorship.
o Puck also does this at the end of the play: Addressing the audience: “If we shadows have offended,. Think but this, and all is mended,. That you have but slumber'd here. While these visions did appear.”
o Leaves the audience not knowing whether all the events that transpired were merely a dream or real.
o Illusionary nature of play – it is not real to begin with.
Conclusion: Decide if the play does successfully show the differences between illusion and reality – it could just as well be that the play shows that illusion and reality are very similar, and that there aren’t many differences.
Illusion:
a. An erroneous perception of reality.
b. An erroneous concept or belief.
2. The condition of being deceived by a false perception or belief.
3. Something, such as a fantastic plan or desire, that causes an erroneous belief or perception.
Reality: The quality or state of being actual or true.
(However, in this case, “reality” refers to reality in the play and not what we would consider “real” in our world.)
Think of instances where illusion is portrayed and where reality intrudes. Compare these instances.
Theme statement: Make mention of the similarities between illusion and reality. Does the play show you an obvious difference between illusion and reality?
e.g.: The line between illusion and reality is a thin one. In a play that addresses magic and fantastic elements, it is difficult to distinguish between what is real, and what is merely a distorted perception of reality as the distortions themselves sometimes seem more real than what has truly happened.
Illusion vs Reality:
- Illusion caused by infatuation / magic:
o The belief that the other person is perfect (e.g. Titania’s love for Bottom, where clearly she does not see him for what he really is like, calling him “angel”, “beautiful”, “wise”)
o Young Athenians made to believe they are in love with someone else.
o L under the illusion that he is in love with Hel. Ironically, their love is ruled by “reason” [And reason says you are the worthier maid – line 122] (when supposedly real love is irrational and unpredictable – “Love looks not with the eyes, but with the mind, and therefore is winged Cupid painted blind”)
o Helena under the impression that L is mocking her when he is trying to woo her.
o Hermia under the impression that Hel has stolen L’s heart when she has done nothing but reject him.
o Play shows illusion with discord and confusion – causing great frustrations and misunderstandings among the characters
o Contrast this with their waking moments in Athens where there is clarity and harmony (relationship issues all resolved happily)
- Woods vs Athens (Dream like quality, Magic vs Rules and structures)
o Anything can happen
o Reality – death, misfortune, unhappiness, where Theseus (mortal) is the law.
However, also: Harmony, peace, marriage, unions
o Illusion – fairy woods, magic, music, dreams, love, where Oberon (immortal) is the law.
However: Discord, confusion, violence, fleeting nature of attraction
Events that happened in the woods lack certainty – All who were involved believe that it was merely a dream (illusion)
- Puck as an illusionist – pretending to be “a filly foal”, “a roasted crab”, a “three-foot stool”… all in order to prank someone else.
o Fooled the actors into thinking that wild beasts were after them
o Made L and D think that the other was taunting them in order to draw them away from each other.
o Faeries as “shadows”, Oberon – “King of shadows” – Imagery suggests something not solid, not real
- Play within a play: Illusion is expected to be represented by the suspension of belief during a play, but yet the players’ actions break the illusion because they interact with the audience in an attempt to impose censorship.
o Puck also does this at the end of the play: Addressing the audience: “If we shadows have offended,. Think but this, and all is mended,. That you have but slumber'd here. While these visions did appear.”
o Leaves the audience not knowing whether all the events that transpired were merely a dream or real.
o Illusionary nature of play – it is not real to begin with.
Conclusion: Decide if the play does successfully show the differences between illusion and reality – it could just as well be that the play shows that illusion and reality are very similar, and that there aren’t many differences.
Show how the play examines the nature and consequence of infatuation
Glossary:
To examine: To consider in detail
Nature: the essential qualities or characteristics by which something is recognized
Consequence: effects or end results of a particular phenomenon
Infatuation: a foolish and usually extravagant passion or love or admiration
Break down of question 1:
2 parts to question:
1- What characteristics are displayed by those who are infatuated?
2 – What consequences do those who are infatuated face?
Overarching question – What does the play have to say about infatuation?
FIRST: Start with a theme statement. This should address YOUR definition of what infatuation is – e.g.
“Infatuation is marked by a foolish and usually extravagant / excessive / exaggerated passion or love or admiration. It is embodied by the young lovers in Midsummer Night’s Dream – each of the Athenian youths is foolishly or extravagantly in love with another person and partakes in extreme behaviour as a show of their infatuation.”
(You can either choose to organize this based on character or based on similar behaviours carried out by a few characters. How are they foolish? How are they extravagant? What extreme behaviour do they have?)
Nature of infatuation:
- Hermia: -
o willing to take the risk to elope with Lysander
o went against her own father, when in the patriarchal Athenian society, it was expected for daughters to be filial and dutiful to their fathers.
Egeus: “As she is mine, I may dispose of her.” (pg 29)
Theseus: “To you your father should be as a god” (pg 31)
o Was in great emotional pain because she was not allowed to marry Lysander
“O then, what graces in my love do dwell, that he hath turned a heaven unto a hell!” (pg 43)
o Exaggerated, extreme speech – swore she would rather be a nun than marry Demetrius (Would it really be so bad to marry Demetrius? What was wrong with him??)
Hermia: “Ere I will yield my virgin patent up unto his lordship whose unwished yoke my soul consents not to give sovereignty.”
o Rather soppy and mawkish dialogue with Lysander when she bemoans her fate and/or swears her love for him
“I swear to thee by Cupid’s strongest bow, by his best arrow with the golden head, by…etc. etc.” (Repetitive to reinforce the fact that she will meet him. Essentially Hermia takes 10 lines to tell Lysander that she will meet him for the elopement AND it is done in rhyming couplets.)
- Lysander
o Similar points to Hermia.
o Later, his infatuation (through the love potion) drives him to attack Demetrius, and displays cruel behaviour to his previous lover
calls Hermia “Tartar”, “Ethiope”, “dwarf”, “minimus of hindering knotgrass made”, “bead”, “acorn”
tells her to her face that she does not love her – “Could not this make thee know the hate I bare thee made me leave thee so?”
(Challenge to Dem)“Now follow – if thou dar’st – to try whose right, Of thine or mine is most in Helena.”
- Helena
o Does not cease in her pursuit of Demetrius despite his continuous rejection and insults
o Despite his threats, as well.
o Despite KNOWING and being AWARE of Demetrius’s bad points, she continues to follow and pine after him. (e.g. “Why doesn’t Demetrius love me?)
o In emotional turmoil due to her infatuation
o Strong love for him is revealed by how others describe her as “doting.
o She is “drawn” to Demetrius like a magnet (“You draw me, you hard-hearted adamant!”)
- Demetrius
o Similar points to Lysander.
o Infatuation causes him to start to praise Helena and pursue her.
- Titania
o Strong emotive words used on Bottom
(pg 121) enamoured, enthralled
repeatedly says she loves him
o Promises Bottom everything, serves him – “I’ll give thee fairies to attend on thee.”
o Blind to his flaws
“What angel wakes me from my flow’ry bed?” (pg 119)
“Thou art wise as thou art beautiful” (pg 121)
This echoes Helena’s soliloquy in Act 1 (pg 45) where she mentions that love is illogical and blind.
o Titania is the best example of the play’s expression of infatuation – the situation is quite extreme, and the matching of the fairy queen with an ass-headed commoner strongly enforces the notion that infatuation can cause very unexpected behaviour.
Group similar points together to show the nature of infatuation:
- characterised by strong, mawkish sentiment expressed through flowery and rhymed verse, praising loved one’s attributes
Some consequences
- Infatuated individuals are willing to do anything to be with the other party – engage in violence or take risks.
- They are driven to jealousy and heartbreak when love is not returned
- They are blind to the faults or flaws of others – “Things base and vile…. Love can transpose to form and dignity.”
- Risks may lead to death - re: Pyramus and Thisbe
To examine: To consider in detail
Nature: the essential qualities or characteristics by which something is recognized
Consequence: effects or end results of a particular phenomenon
Infatuation: a foolish and usually extravagant passion or love or admiration
Break down of question 1:
2 parts to question:
1- What characteristics are displayed by those who are infatuated?
2 – What consequences do those who are infatuated face?
Overarching question – What does the play have to say about infatuation?
FIRST: Start with a theme statement. This should address YOUR definition of what infatuation is – e.g.
“Infatuation is marked by a foolish and usually extravagant / excessive / exaggerated passion or love or admiration. It is embodied by the young lovers in Midsummer Night’s Dream – each of the Athenian youths is foolishly or extravagantly in love with another person and partakes in extreme behaviour as a show of their infatuation.”
(You can either choose to organize this based on character or based on similar behaviours carried out by a few characters. How are they foolish? How are they extravagant? What extreme behaviour do they have?)
Nature of infatuation:
- Hermia: -
o willing to take the risk to elope with Lysander
o went against her own father, when in the patriarchal Athenian society, it was expected for daughters to be filial and dutiful to their fathers.
Egeus: “As she is mine, I may dispose of her.” (pg 29)
Theseus: “To you your father should be as a god” (pg 31)
o Was in great emotional pain because she was not allowed to marry Lysander
“O then, what graces in my love do dwell, that he hath turned a heaven unto a hell!” (pg 43)
o Exaggerated, extreme speech – swore she would rather be a nun than marry Demetrius (Would it really be so bad to marry Demetrius? What was wrong with him??)
Hermia: “Ere I will yield my virgin patent up unto his lordship whose unwished yoke my soul consents not to give sovereignty.”
o Rather soppy and mawkish dialogue with Lysander when she bemoans her fate and/or swears her love for him
“I swear to thee by Cupid’s strongest bow, by his best arrow with the golden head, by…etc. etc.” (Repetitive to reinforce the fact that she will meet him. Essentially Hermia takes 10 lines to tell Lysander that she will meet him for the elopement AND it is done in rhyming couplets.)
- Lysander
o Similar points to Hermia.
o Later, his infatuation (through the love potion) drives him to attack Demetrius, and displays cruel behaviour to his previous lover
calls Hermia “Tartar”, “Ethiope”, “dwarf”, “minimus of hindering knotgrass made”, “bead”, “acorn”
tells her to her face that she does not love her – “Could not this make thee know the hate I bare thee made me leave thee so?”
(Challenge to Dem)“Now follow – if thou dar’st – to try whose right, Of thine or mine is most in Helena.”
- Helena
o Does not cease in her pursuit of Demetrius despite his continuous rejection and insults
o Despite his threats, as well.
o Despite KNOWING and being AWARE of Demetrius’s bad points, she continues to follow and pine after him. (e.g. “Why doesn’t Demetrius love me?)
o In emotional turmoil due to her infatuation
o Strong love for him is revealed by how others describe her as “doting.
o She is “drawn” to Demetrius like a magnet (“You draw me, you hard-hearted adamant!”)
- Demetrius
o Similar points to Lysander.
o Infatuation causes him to start to praise Helena and pursue her.
- Titania
o Strong emotive words used on Bottom
(pg 121) enamoured, enthralled
repeatedly says she loves him
o Promises Bottom everything, serves him – “I’ll give thee fairies to attend on thee.”
o Blind to his flaws
“What angel wakes me from my flow’ry bed?” (pg 119)
“Thou art wise as thou art beautiful” (pg 121)
This echoes Helena’s soliloquy in Act 1 (pg 45) where she mentions that love is illogical and blind.
o Titania is the best example of the play’s expression of infatuation – the situation is quite extreme, and the matching of the fairy queen with an ass-headed commoner strongly enforces the notion that infatuation can cause very unexpected behaviour.
Group similar points together to show the nature of infatuation:
- characterised by strong, mawkish sentiment expressed through flowery and rhymed verse, praising loved one’s attributes
Some consequences
- Infatuated individuals are willing to do anything to be with the other party – engage in violence or take risks.
- They are driven to jealousy and heartbreak when love is not returned
- They are blind to the faults or flaws of others – “Things base and vile…. Love can transpose to form and dignity.”
- Risks may lead to death - re: Pyramus and Thisbe
Statements and Responses
“We dislike Bottom because he is a bossy, big-headed show-off”
– Joo Hwee and Nurashidah (4e5)
We agree that Bottom is a bossy, big-headed show-off because he acts as if he knows everything but he actually doesn’t. For example, he tries to be knowledgeable by quickly concurring with Quince that Pyramus and Thisbe is “a very good piece of work”, but later reveals his ignorance when he asks “What is Pyramus, a love or a tyrant?” However, we do not dislike Bottom because his behaviour cannot be helped as he is a foolish man. Furthermore, as he is surrounded by other simple men who look upon his words with awe and admiration, going as far as to believe that they could not do the play without Bottom, we cannot hold it against him for his irritating behaviour because he does not even know that his actions are annoying.
“Lysander is obviously a better person than Demetrius.”
- Chuluan (4e3) and Dayana (4e4)
Lysander is better than Demetrius in many ways – he is loyal to one person, Hermia. The only time he betrayed Hermia was when he was under the effect of the love potion and could not control himself. Morally, Demetrius is worse as he led
“Hermia is deeply in love with Lysander.”
- Jia Min, Li Ling (4e5)
Hermia is indeed deeply in love with Lysander. She is willing to go against her father’s will and disobey the law in
“Lysander is WRONG to encourage Hermia to disobey her father and elope with him.”
- Steffi (4e3) and Rachel (4e4)
We disagree with this statement because Lysander did this out of love. The couple love each other deeply and if Hermia obeyed her father, she would not be happy with Demetrius. We do not see how it could be wrong to try to achieve your own happiness in order to avoid terrible consequences such as becoming a nun or being put to death. It would be better for Lysander and Hermia to elope and be condemned as fugitives than to have Hermia suffer for the rest of her life. As such, we believe that Lysander’s actions were just and loving in order to save Hermia from her fate.
“
- Fahima (4e3) and Azrayna (4e4)
By telling Demetrius this, it would only allow Demetrius to chase after Hermia. This would only reduce
On the other hand, it may be possible that the reason why
“Theseus is a wise, tolerant and caring ruler.”
-Daniel (4e5), Khairul (4e3), Chee Hoe (4e5)
Theseus tried to get the best life for Hermia, trying to convince her that marrying Demetrius, not going against her father’s decisions is the best, showing that he is wise. He is a caring ruler as he found chances to let Lysander console her after meeting with Egeus and Demetrius, placing himself in the shoes of the couple. Theseus even gave Hermia time to think about her decision of going against her father’s will and die, marry Demetrius or become a nun. This showed his tolerance.
However, Theseus’s behaviours are not all positive. His wife-to-be was won over by sword – this does not show the beginning of a caring relationship. Furthermore, although he knew that Demetrius had previously loved
Egeus is an unreasonable father.
- Shafiqah (4e3), Nazura (4e5)
We agree that Egeus is unreasonable as he forced Hermia to marry Demetrius when she did not love him. There seems to be no reason behind his decision as both Demetrius and Lysander have equal status in terms of wealth and breeding. Egeus was even willing to “dispose” of his daughter if she did not obey him, either through marriage to Demetrius or death.
“We dislike
- Aqilah and Amalina (4e5)
The reason why
On the other hand,
“Egeus regards Hermia as his personal property to dispose of as he sees fit.”
- Zhi Ren (4e3)
Firstly, Egeus wanted to marry off Hermia to Demetrius but Hermia did not want to marry Demetrius. When Hermia disagreed with her father, Theseus gave her three choices which was to either marry Demetrius or die or become a nun. This shows that Egeus does not regard Hermia as his daughter but regards her as his personal property has he has no thoughts for her feelings, allowing her to have such terrible alternatives just so she will marry the person HE wants her to marry, against her wishes.
“We are meant to hold the craftsmen in contempt for being so dull-witted and ridiculous.”
- Wee Siang (4e4)
Firstly, we should not display contempt to people who, although screwed up the play, nonetheless put in their utmost efforts and managed to finish the play without any major faults. (That’s debatable…- Ms Shen)
Also, their being “dull-witted” is not their fault, as the environment they mature in affects their intellectual and emotional aspects. Hence, we are not in a position to despise or show contempt towards the craftsmen, even though they are dull-witted and ridiculous.
However, the modus operandi of Shakespeare, ultimately, is to show the reader their dull-wittedness and ridiculousness. However, we are not meant to hold them in contempt even though they contradict their statements and display absurd logic (thinking that they need the real moon in the play). I believe their purpose is just to provide comic relief and in Bottom’s case, provide a much rounder aspect and wholesome experience to the play as the play would otherwise only be a tale about four lovers.
“Hippolyta is being forced to marry Theseus”
- Tiara (4e4)
From this statement, we can actually agree and disagree. From the book, Theseus wooed Hippolyta “with [his] sword” and “won [her] love doing [her] injuries”.
We can say that Hippolyta must have been willing to marry Theseus, perhaps on the basis that he had defeated her fairly in a battle, she being an Amazon Queen (who surely had good fighting abilities). As such, it could be said that her agreement to the marriage might have been out of respect, honour and duty to Theseus.
However, there is the possibility that Hippolyta had no choice but to marry him – in a battle, the victor usually decides the outcome of the loser. Furthermore, Hippolyta did not seem to encourage Theseus’s fervour for her, and counselled patience in waiting for their wedding day – which could be seen as a subtle hint of her reluctance to marry.
“Hermia is a weak-willed, submissive character.”
- Khairul (4e3) and Danial (4e5)
We disagree as we feel that Hermia is a strong, dominant character. She does not give up on what she wants, and does not back down even when the alternative is bad. She tells Theseus that she would rather be a nun than marry Demetrius, and in doing so, is “made bold” and stands up for her love. She does not give in to her father’s wishes, and instead planned to run away with Lysander. Furthermore, when Lysander rejected her due to the effects of the love juice, she stood up for herself against
Wednesday, July 29, 2009
NPPA for Pure Lit Class
This NPPA will require you to create a blog for one of these characters.
Hermia
Helena
Lysander
Demetrius
Puck
Bottom
Project details:
Hermia
Helena
Lysander
Demetrius
Puck
Bottom
Project details:
- Group work - 4 to 5 members
- Each group can only take one character, which you must "book" with me
- You can use any blogging platform, but you must create at least 10 posts...
- of minimum 200 words each...
- which detail the thoughts and feelings of the character as they progress through the play.
- There must be at least one post covering each act of the play.
- This means your chosen character will have "made" a post for Act 1, Act 2, Act 3, Act 4 and Act 5.
- You may choose to use any of the remaining posts for whichever Acts you wish.
- You may even write posts from before the play begins or after it finishes.
- You are encouraged to use interesting templates for the blog that you feel reflect the personality of character you have chosen.
- Your blog MUST have a means for visitors to leave comments for individual posts.
- Your blog MUST have a link back to this blog.
- You must submit to me your blog URL by WEEK 5 - you do not have to have finished it by then, I just want to know where it is.
- The final grade will be decided at the end of WEEK 9, with progress being monitored throughout the weeks.
- The links for all Character Blogs will be placed on this blog for easy access.
- Accuracy of portrayal - 10 (How true to the story is the character you have chosen?)
- Layout and Design - 10 (Points are given for the use of colours, pictures and other media to reflect the personality of your character)
- Attention to detail/Effort - 10 (Points are given for the effort you appear to have put into the blog.)
- Interaction with other characters - 10 (Points will be given for interaction with other characters on their blogs, e.g. "Hermia" leaving a comment on "Demetrius's" blog.)
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