| The Underpinning Of Demetrius Thesis: A Midsummer Night’s Dream Character, Demetrius Is Very Difficu Essay, Research Paper
The
Underpinning of Demetrius Thesis: A Midsummer Night’s Dream character,
Demetrius is very difficult to identify except by his relation to the one he
loves, or, more particularly, to the one who loves him. Helena’s ridiculous
chasing after him and his irritation with her are the primary marks of his
character. While in this uncharmed state, he even begins to threaten Helena
with bodily harm, coming off as not quite the gracious courtly lover he truly
means to be. It’s simple to discover his unchivalrous character by how easily
his eye was distracted from Helena by Hermia in the beginning. He could be a
gentle, loving man if he truly desired, but he takes satisfaction being put in
his place by others. In the end, still under the spell of fairy magic and therefore
not seeing with true eyes, he seems a bit imbecilic laughing at the acted
"lovers" in the play. He doesn’t realize it, but he is in a play of
his own. Likewise, as with the other characters, what happens to him is far
more interesting than the sort of character he is. I.Demetrius’ unwelcome
deceit and shrewdness and what is discovered A. Since
Demetrius only has two lines throughout the entire first act, it shows that he
can’t stand up for himself, likewise, this lack of speech displays his lack of
self-confidence and image: Relent, sweet Hermia, and, Lysander, yield Thy
crazed title to my certain right. (Demetrius, 1.1.93-94) Demetrius believes
that since he has Egeus’ approval, that Hermia should relinquish to him and
states that Lysander is going against his privilege. B. Demetrius takes
advantage of his stature by claiming Hermia as a right, which truly portrays
his instability, but, at the same time shows that in true he loves Hermia. It
is absolutely obvious that he is well supported by Egeus: Scornful Lysander,
true, he hath my love; And what is mine my love shall render him. And she is
mine, and all my right of her I do estate unto Demetrius. (Egeus, 1.1.97-100)
He depends on Egeus to display his affection and Egeus concludes by actually
enforcing Demetrius’ love upon her. C. Initially in love with Hermia, he uses
rudeness to ward off Helena’s "spaniel" affection, being very
ruthless towards the feelings of Helena: I’ll run from thee and hide me in the
brakes And leave thee to the mercy of wild beasts. (Demetrius, 2.1.234-235) He
cares nothing even for her life and just absolutely crushing her dear emotions.
D. It always seems that he is usually taking advantage of the situations he is
in, like when he tries to pursue Hermia due to Lysander’s absence, but uses
harsh words: I had rather give his [Lysander] carcass to my hounds . . . . . .
. . . . An if I could, what should Iget therefor? (Demetrius, 3.2.66,80) A
privilege never to see me more. And from thy hated presence part I [so.] See me
no more, whether he be dead or no. (Hermia, 3.2.81-83) Demetrius displays his
awful characteristics with such demoralizing words and complete disrespect for
Lysander. He will desire any hopes of attaining her affection. She scorns him
after hearing these words, never wanting him to see her again. E. Since
Demetrius had indeed made some convincing threats of violence against his
unwanted love, Hermia automatically suspects him for murdering Lysander: It
cannot be but thou hast murdered him. So should a murderer look, so dead, so
grim. (Hermia, 3.2.58-59) F. Helena is so true to Demetrius, but he denounces
her to a point of no return, threatening to rape her: 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. (Demetrius, 2.1.221-226)
This is such a tremendous insult and Helena accepts by "Your [Demetrius]
virtue is my privilege." II. The Analogous, Yet Similar: Lysander and
Demetrius A. Demetrius and Lysander are somewhat alike, lacking in
individuality, virtually indistinguishable. B. Demetrius only seems to love the
external beauty of the women and doesn’t recognize the inner-beauty with true
feelings. As opposed to from Lysander’s luring manner, which is based on
internal emotions and tries his best to express with passionate words: How now,
my love? Why is your cheek so pale? How chance the roses there do fade so fast?
. . . . . . . . . . . The course of true love never did run smooth. (Lysander,
1.1.130-136) On the contrary, Demetrius is only sensitive to physical
affection: An if I could, what should I get therefor? (Demetrius, 3.2.80) He is
only concerned with what he can receive (SEX) from the pitiful relationship. C.
These statements have also altered due to the circumstances of the characters.
When Lysander and Hermia are in the woods alone, all he can think about is
getting Hermia to come to bed with him. It is not as compulsive as desperate
Demetrius, but he gets put back in his place: Lysander: So that but one heart
we can make of it; Two bosoms interchained with an oath– So then two bosoms
and a single troth. Then by your side no bed-room me deny, For lying so,
Hermia, I do not lie. Hermia: . . . . . . . . . . . . . . But, gentle friend,
for love and courtesy, Lie further off in human modesty. 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’re alter till thy sweet life end!
(2.2.51-66) Demetrius, even though under the influence of fairy magic, displays
that he can be poetic and romantic, with a bit of a stretch: …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 the hand… (Demetrius, 3.2.142-146) D. Hollindale explains
Demetrius’ unique characteristics, "Demetrius, in accepting the pattern of
audible rhythmic completions, is participating with Helena in this quarrel.
(2.2.90-93). This shows that he enjoys fighting with women and is somewhat
flattered by their attraction to him!" E. In Demetrius’ only in Act one,
he refers to his claims to the public nature of Athenian citizenship. He points
out the political stature of his being that constitutes Hermia as his.
Lysander’s affection, on the contrary, is a more purified, emotional one with
true feelings flourishing. III. Demetrius’ Personality and Emotions (Not Under
the Fairy Magic Flower) A. When Helena and Demetrius appear in the wood for the
second time, their brief dialogue is a diminutive display of imploring and
rejecting, meeting and parting, opening and closing of physical space. These
lines reflect the movement of action: Helena: Stay, though thou kill me, sweet
Demetrius. Demetrius: I charge thee, hence, and do not haunt me thus. Helena:
O, wilt thou darkling leave me? Do not so. Demetrius: Stay, on thy peril. I
alone will go. (2.2.90-93) B. Demetrius couldn’t possibly love Helena while in
his quest for Hermia. He results to severely degrading her, portraying his
callous side: I love thee not; therefore pursue thee not . . . . . . . . . . .
. . . Hence, get thee gone, and follow me no more… Tell you I do not, [nor] I
cannot love you? (Demetrius, 2.1.195-208) C. Demetrius is a less poetic and
romantic figure which is based on his (doggish) perception of women, violent
and unchivalrous. D. A rude colloquial dismissiveness towards unwanted comes
more naturally to Demetrius. When he shakes off Helena, he portrays a
"terse and charmless candour"(Mcleish): Do I entice you? Do I speak
you fair? Or rather do I not in plainest truth . . . . . . . . . . . . Tempt
not too much the hatred of my spirit, For I am sick when I do look on thee.
(Demetrius, 2.1.206-219) E. Shown through Demetrius’ hostile passages toward
Helena are: typical lovers’ speeches, where apparently thin, formal and
declamatory verbal gestures which contain more than they seem to. (Loutro) F.
After Hermia had completely shut him out of her life, Demetrius actually felt
some true, real emotion. He sees no reason to pursue Hermia any further while
she is in such a state, and he decides to fall asleep, hoping this will lighten
the effect of the sorrow: So sorrow’s heaviness doth heavier grow For debt that
bankrout [sleep] doth sorrow owe, Which now in some slight measure it will pay,
If for his tender here I make some stay. (Demetrius, 3.2.81-89) G. "
‘Pyramus and Thisbe’ evokes to tears of laughter rather than sorrow in the
lovers (false) eyes. Lyricism and comedy distance, the passionate quarrels
between Demetrius and Lysander, Hermia and Helena. It alludes to the tragic
possibilities of a conflict between love and opposition"(Belsey).
Demetrius, like all the others, is mocking the play by the rude mechanicals: It
is the wittiest parition that ever I heard discourse, my lord . . . . . . . . .
. . . No remedy, my lord, when walls are so williful to hear without warning.
(Demetrius, 5.1) IV. Demetrius’ Altered Personality and Emotions (Under the
Spell of the Flower) Sensitivity A. The love juice has done it’s work, and its
work is utterly to abolish the conscious interval between one romantic loyalty
and another. Demetrius change of love is marked by exaggerated articulary the
moment his eyes open: O Helen, goddess, nymph, perfect, divine! To what, my
love, shall I compare thine eyne? (Demetrius, 3.2.140-141) B. He affection
toward Hermia had all but withered and he cared nothing for her anymore and
replies to Lysander: Lysander, keep thy Hermia. I will none. If e’er I loved
her, all that love is gone. My heart to her but as guest-wise sojourned, And
now to Helen is it home returned, There to remain. (Demetrius, 3.2.172-176) C.
Demetrius immediately becomes extremely violent toward Lysander: I say I love
thee more than he can do. (Demetrius, 3.2.261) This is so ridiculous due to the
fact that everything has shifted from Hermia to Helena: If thou say so withdraw
and prove it too. (Lysander, 3.2.262) D. Even though he begins to notice that
everything has totally altered with his relations, he goes with his instinct
and heart(!): But like sickness did I loathe this food, But, as in health, come
to my natural taste Now I do wish it, love it, long for it. And will forevermore
be true to it. (Demetrius, 4.1.180-185) E. Demetrius, even though he seems so
hopeless and deceitful, actually really yearned for the love of Hermia in the
beginning, but just wasn’t stand enough to be her mate. Conclusion: Muir
explains this with excellent views: It seems that his [Demetrius] personality
(mood) is based on what he wants and to whom he needs to manipulate to attain
the love he desires and perseveres for. The themes of waking and dreaming,
reality and illusion, reason and imagination, change and transformation are all
experienced by Demetrius to a great extent, especially with his lovers and
enemies. His vile, yet sensitive personality really kept the reader examining
what he could change into next, which the seem as if they were more than just a
single character. Demetrius, as a character, is essential to the play, for a
backbone and plot.
|