Act II - Scene I
[A wood near Athens] |
Enter a Fairy at one door, and Robin Goodfellow [Puck] at another.] |
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Enter the King of Fairies, [Oberon] at one door, with his train, |
and the Queen of Fairies, [Titania] at another, with hers.] |
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Exeunt [Titania with her train] |
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[Exit Puck] |
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Enter Demetrius, Helena following him. |
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Exit [Helena] |
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Exeunt |
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— Kayla, Owl Eyes Staff
Notice the vivid imagery of the wild plants and flowers, and that the speech is in rhyming couplets. The effect of these clever details is that Oberon’s eloquent speech sounds almost hypnotizing and entrancing, similar to the way the flower’s enchantment may affect the lovers. However, notice the contrast between this dreamy language and the somewhat dark and sinister tone that the imagery of the snake carries, especially since the next line features a kind of entrapment. Oberon’s speech illustrates the deceptiveness of the forest and of love in general; both may seem wonderful on the surface, but their enchantment can make one blind to their darker aspects.
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— Kayla, Owl Eyes Staff
The juice from the flower literally causes people to blindly fall in love with the first person they see, but it is also a symbol of how love has been portrayed in the play thus far. Hermia and Helena have both commented on how love affects the eyes—suggesting that it is a blinding force that is all-encompassing.
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— Kayla, Owl Eyes Staff
Titania’s reasons for wanting to raise the changeling are fair, noble, and rational, but Oberon refuses to see reason. Despite his objections, Oberon’s motives for keeping the changeling are somewhat unclear. He seems to feel the boy is his by right and feels that his wife should obey him without question, due in part to the subservient role of women during Shakespeare’s time. However, recall that at the beginning of the scene, Puck refers to Oberon as “jealous Oberon,” suggesting that Oberon may be jealous that Titania devotes so much time and attention to the child. Regardless, Shakespeare here emphasizes Oberon’s somewhat stubborn and jealous nature.
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— Kayla, Owl Eyes Staff
When the fairy identifies Robin Goodfellow, it does not initially say his name, but rather describes him by his attributes, “shrewd and knavish.” The term “knavish” means mischievous and “shrewd” means cunning, immediately characterizing Goodfellow as impish and sly in nature. Note too that even Goodfellow’s name is deceptive and tricky, as a “goodfellow” refers to a pleasant and agreeable ally, which strongly contrasts with a slick knave.
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— Kayla, Owl Eyes Staff
A “changeling” generally refers to a child that has been secretly replaced with another during infancy. In European folklore, a changeling specifically refers to a child that has been left by fairies in exchange for one stolen.
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— Wesley, Owl Eyes Editor
While this introduction to the two characters may not seem particularly special, the way the fairy and Robin Goodfellow reveal themselves to one another introduces a theme revolving around deception and the forest as a place where identities can change. For example, the fairy identifies Robin Goodfellow in an odd way by saying “Either I mistake your shape” and then following that with descriptions that connote deception. The interaction between these two therefore illustrate that deception and confusion are normal in this magical area, which stands in stark contrast to the environment from the first scene.
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— Kayla, Owl Eyes Staff
Adamant was a very strong kind of rock, otherwise unidentified, that was originally believed to be unbreakable. During Shakespeare’s time, adamant was also associate with lodestone, a rock made of magnetite. So, when Helena compares Demetrius to “hard-hearted adamant” she is saying that she is drawn to him like metal to a magnet.
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— Caitlin, Owl Eyes Staff
Helena expresses frustration that she must defy her gender role and pursue Demetrius because he will not pursue her. While this can be read as a comedic line, it can also be read as a serious critique of courtship traditions during Shakespeare's time. Women were generally not allowed to choose their husbands or pursue the men that they desired; their fathers would make contractual arrangements with men who were monetarily and socially suited for their daughters, and then the man was allowed to court the woman before wedding her. If we read Helena's "should be" as an indication of obligation or duty rather than a belief, then Helena can be seen as frustrated that she is subject to this unfair gendered system in which she has no control over her fate.