The Fantasy World of Shakespeare

Lysander does indeed discern Hermia as she get laids him. The statement is also indicative of the plot of this play, for no nonpareil's love runs smooth in this complicated mixture of different couples only influenced by playful spirits who cause their feelings of love to cutting from one object to another. Left to their own devices, characters like Lysander and Hermia would reclaim one another and never stray. Lysander's constancy is shaken by the drug Puck gives him, and thus the course of love does not run smooth.

Lysander is the hu troops hero of the play. Because Egeus doubts him, he is forced to scarper with Hermia and to seek happiness far from their own city. There be two sets of lovers introduced at the beginning of the play--along with Lysander and Hermia are Theseus and Hippolyta, and each of these sets of lovers also has a third person in love with one of the paired lovers. Egeus has compared Lysander and Demetrius, his daughter's other suitor, and he has come to a conclusion--Lysander is seen as the outsider who has stolen the girl's heart away from her rightful suitor, Demetrius, as Egeus states to the Duke:

This man hath bewitched the bosom of my child.--

Thou, thou, Lysander, thou hast given her rhymes

Not Hermia, barely Helena I love (II.ii.118-120).

Girard, RenT. "Myth and Ritual in Shakespeare: A Midsummer Night's Dream." In William Shakespeare's A Midsummer Night's Dream, harold Bloom (ed.), 15-36. stark naked York: Chelsea House, 1987.

Harrison, G.B. (ed.). Shakespeare: The Complete Works. New York: Burlingame, 1952.

Thou hast by moonlight at her window sung

The Duke asks Hermia nearly Lysander, and it is clear from her answers that she loves Lysander and that she wishes her father would see the man as she sees him. In this society, however, her wishes mean nothing, and she will marry Demetrius or die.

Demetrius is meant to contrast with Lysander, and it is dry that Egeus prefers Demetrius to Lysander given that Demetrius is much more like what Egeus thinks Lysander is like.

Shakespeare complicate the bailiwick by causing Lysander to become more like Demetrius at a time Puck has worked his magic. The way Lysander really feels is evident as he and Hermia make their way into the wood:

In such a case, fantasy serves to broaden the stage and to extend the meaning and the side into a wider realm where anything seems possible.

Love takes the meaning in love's conference.

The spirits in the wood have meaning because they are ecumenical and are not part of the real wood, existing sort of in a metaphoric region:

Helena is surprise at the change in Lysander, for he has until now been in love with Hermia. He denies this:

Girard further finds that the midsummer night as it develops is a night of increasing violence, marked by a strange mixture of quasi-religious and yet sensuous godliness (Girard 17). This leads to a different understanding of the use of fantasy, for the fantasy is not directly an intrusive element keeping the lovers apart but instead is a means of highlighting the meaning of their conflicts:

Knacks, trifles, nosegays, sweetmeats--messengers

The muted minutes I with her have spent.

Berger, Harry. "Miracul
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