The Underpinning Of Demetrius Thesis A Midsummer

The Underpinning Of Demetrius Thesis: A Midsummer Night’s Dream Character, Demetrius Is Very Difficu Essay, Research Paper


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.


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