'Love Blinds\r'

'The course of real turn in is not only unsmooth, it is too irrational, whimsical, and unpredictable. This truth write by William Shakespeare is on ample disclose in one of his most habitual romantic comedies, A Midsummer Nights woolgather. Theseus numberulates the correlation coefficient that exists mingled with the insanity often uttered in the actions of desire and the words of a poet during his speech near the end of the acquire when he observes that â€Å"The lunatic, the rooter, and the poet / Are of imagination all(prenominal) compact” (V. i. 7-8).The lunatic, have a go at itr and poet share the peculiarity of achieving a state of consciousness that lifts them spicy over the hindrances that come with logic and allows them to soaring sweetly over the chasm that give backside them gently at the feet of the heading of their desire. Theseus asserts that this jump of faith translate allows heaven to be trans strained into snake pit for the lunatic, while the lover is allowed to transform the ugly into the beautiful, or hell into heaven. The poet is allowed his own special power; that of a God who can create from zip either a heaven or hell.The implication found in Theseus observance is that desire is rattling just a fantastic illusion stripped of its truth. Is Shakespeare asseverate that desire is simply a wild emotion? If so, then(prenominal) would not that believe that Theseus desire for Hippolyta is a desire that is in some manner released from this bondage of fantasy? But if that is so, then how to explain how he so readily fixed his desire upon another? Shakespeare gives no facile answer to these questions. Shakespeare chooses alternatively to figure out the paradox in question here(predicate) the theme of the play.Throughout A Midsummer Nights Dream, the whimsey of love and desire is surveyed as the characters regulate forth on their respective journeys toward a love that is completely off-kilter while also maint aining a foundation of reality that belies the supernatural of the forest. Helenas speech in the opening diorama is the plays most direct evidence of Shakespeares thematic concern: â€Å"Things understructure and vile, holding no quantity / Love can convert to form and dignity./ Love looks not with the eyes, besides with the mind, /And consequently is winged Cupid painted projection screen” (I. i. 232-235). What Helena intuits is that desire is exempt from explanation, that it is unlike and maddeningly and, ultimately, has the single greatest make on human actions. Distraught over the revelation that her own beloved, Demetrius, is in love with Hermia instead of her, Helena asserts that though Demetrius is incapable of beholding she is as beautiful as Hermia.She believes that love is endowed with the authority to convert â€Å"base and vile” qualities into â€Å"form and dignity”- til now repulsiveness and bad behavior can see attractive to someone y ou love. She argues that since â€Å"love looks not with the eyes, notwithstanding with the mind” that love therefore is not based on aim analysis, but subjective perception. These lines anticipate facts of the plays assessment of love to come, including Titanias desire for the ass-headed Bottom, which stands as the summit of the transformation of the â€Å"base and vile” into â€Å"form and dignity.”The theme of loves unsmooth path is portray through the conceit of things being eccentric and out of repose throughout the eightfold romantic entanglements, focusing especially on the asymmetrical relationships between the four progeny Athenians: Hermia loves Lysander, Lysander loves Hermia, Helena loves Demetrius, and Demetrius loves Hermia instead of Helena. The course of true love in this play is in actuality a quest to restore quietus and set the world on an til now keel once again.The goal is to return back to symmetry. Even the relationship between Titania and Oberon is subject to the power of balance being lost. In this case, the off-kilter quality arises from Oberons coveting of Titanias Indian boy, which she believes is greater than his love for her. Of course, Titania herself will submit to the tilted perception in her desire for Bottom. A Midsummer Nights Dream proposes that no easy route exists that r from each onees the object of anyones desire.This is even true when both parties on are the same path and headed toward each other. Lysander and Hermia take this route, yet eventually sight a hindrance in the form of her fathers wish that she marry another. Shakespeare is remarkably baneful at demonstrating how desire can influence the course of true love even when that desire is not carnal. In the end, Shakespeare seems to touch on the idea that desire is not really in itself a false emotion, but is an illusion that often serves to make love false.\r\n'