Senior Thesis: A Midsummer Night’s Dream: Rated “S&M” for Mature

Shelby Lueders

Professor Rojas

Senior Seminar

15 May 2016

A Midsummer Night’s Dream: Rated “S&M” for Mature

Shakespeare seldom paints a happy picture when it comes to romance, and his conception of love can seem slight and superficial throughout his work. Young lovers commit suicide in hopes of staying together eternally; relationships either end in triumph or dismally. Instead of portraying characters who embody true love and sweetness, he creates some characters who feature certain dark, base and overall sadomasochistic qualities. One critic notes “It has long been a critical commonplace that Shakespearean comedy works to restrain libidinal impulses by directing them into stable and productive ‘normal’ marital unions” (Sanchez 501). However, Shakespeare’s marital unions are far from normal; he takes these unsatisfying notions of love and forces them into traditional marriages.

Note that this is all done through immaculate discipline and art form. If his plays seemed to truly step out of line on the surface, Shakespeare would have been in trouble with the law and the censors of the time. So he masks these baser notions of love in comedic moments or through conversations between characters that only the utmost observant audience would truly understand. Most of the time, these characters display both a sadist and a masochistic role at different times throughout their play. The couples in the comedy, A Midsummer Night’s Dream, estimated to have been written between 1595 and 1596, exhibit these characteristics, but this essay will exclusively focus on Hermia and Helena’s relationship and Oberon and Titania’s.

Through the discussion with Shakespearean scholarship, I hope to encourage readers to relook at Shakespeare’s plays, dissect the dialogue between characters, and become conscious of what each says in regards to sexual tension. Shakespeare was not encouraging people to take up a BDSM relationship with their neighbor or attend sex clubs in New York, mostly because those ideas did not even exist yet. He is also not mocking these baser notions of love as degrading. Instead, he showcases that there are other sides to love and the classic idealistic notion of it, as cultivated by the infamous Petrarch, is false. In A Midsummer Night’s Dream, Shakespeare provides a warning for the audience and those potentially in love. He says that Petrarch’s love for Laura is not the only version of love possible and our love should not be solely based upon that. Instead, everyone’s love is different; it could be sappy and require posting poorly-written poems to the trees in a forest like a classic petrarchan, or it can be darker and more desperate as shown in this play. The main point of his argument throughout this play is that these relationships–Hermia and Helena’s homosocial bond and Oberon and Titania’s marriage–are happy ones. To the surface reader, this seems unrealistic; why would anyone tolerate constant arguing, cheating partners, and insults? But what Shakespeare showcases is how some relationships function and, furthermore, need to function to stay afloat. Not all relationships are the same and we must accept this before getting into a lifelong partnership in marriage.

To begin I will provide a basic, traditional reading the play for summary purposes. The two young female friends in the play, Hermia and Helena, were inseparable as they grew up together, which resulted in their confiding in each other. However, once the women reach adulthood, they find love in someone other than their best friend. Hermia finds love in a forbidden man, Lysander, and this love goes against her father’s wishes for her to marry Demetrius, who is a more suitable man by her father’s standards. This does, however, prove to be fortunate for her childhood friend, seeing as Helena would like Demetrius for herself. Helena aches over Demetrius, believing that Hermia doesn’t deserve him. Hermia has Lysander to love and, therefore, has no need for Demetrius. Hermia and Lysander flee to the forest in an attempt to run away from Hermia’s Father, Egeus. Helena and Demetrius run after them. The forest is not only a place full of secrets and mischief but is also inhabited with cunning fairies. Oberon and Titania may be the king and queen of the woods and fairyland, but they do not live in peace and cannot rule a kingdom together. Between ordering the fairies to place pansy juice, or the pollen from the pansey flower found in the forest,  in the eyes of Lysander and Demetrius to make them love the wrong girl, this couple fight constantly because of their adulterous history and present. Meanwhile, the men have, thanks to the pansy juice, stopped fawning over Hermia and have turned their attention to Helena. Questioning who truly is in love with whom readers begin to feel exasperated as Shakespeare turns everything on its head. Thankfully, by the end of the play everything is right: Hermia and Lysander are to be betrothed, along with Helena and Demetrius at Theseus and Hippolyta’s wedding. The pansy juice is removed from Lysander’s eyes, having fall back in love with Hermia, and the play comes to a close with true love winning.

This is a very classical and traditional reading of A Midsummer Night’s Dream, yet it leaves many unanswered questions and confusing thoughts: does Demetrius truly love Helena or does the pansy juice remain in his eyes? What about the king and queen of fairyland and their love triangle with Bottom? Who gains custody of the small Indian changeling boy? This is why there are many other ways to read Shakespeare’s plays, and I will apply an untraditional read of the play. The pairings in this play, mainly Helena and Hermia and Oberon and Titania, can be seen as exhibiting sadomasochistic tendencies. The traditional read as previously showcased leaves out the very interesting behaviors the characters display that are deemed unfit for a healthy relationship. Helena and Hermia, best friends since childhood, take turns being the dominator and the submissive when it comes to their relationship. Hermia, characterized by Helena herself as being petite, willingly creates vicious arguments with Helena so that Helena will in turn call her short. Oberon and Titania both mock and torment the other, constantly bringing up past indecencies in order to throw it in the other’s face. These relationships cannot possibly be happy ones; they leave the masochist feeling dejected and hurt, and the sadist feeling privileged and power hungry–only to then be flipped again. This play surely cannot exhibit true love when the couples who seem to have the best love are constantly hurting the other.

Both of the above readings of this play are valid. The traditional read sets the scene for the reader, allowing him to grasp the plotline and characters, but it still leaves much omitted. The untraditional sadomasochistic read allows the audience to place the play in a seedier light. Simply put, why are the characters acting in these crazy terms towards each other? This essay aims to answer that question. Hermia and Helena, as well as Oberon and Titania, switch being the sadist and the masochist as is evident in their dialogue and actions. But they are doing these awful deeds to their partner because it is healthy. Shakespeare creates this comedy to provide a warning for a newlywed young couple and those in attendance: love is a constantly developing emotion and will never settle on one aspect, and couples need to be aware of this change so they can accept the change instead of fighting it. More importantly, sadist and masochistic qualities are natural and can lead to a happy, balanced relationship when performed correctly.

 

Sadomasochism as a Lense for Interpreting Literature

The term “sadomasochism” and even the words “sadism” and “masochism” would not have been used during Shakespeare’s time, nor would they have been used to describe the character of his plays simply because they were not created yet. Breaking down the compound of sadomasochism, the Oxford English Dictionary defines “masochism” as “the urge to derive pleasure, esp. sexual gratification, from one’s own pain or humiliation; the pursuit of such pleasure”; and “sadism” as “enthusiasm for inflicting pain, suffering, or humiliation on others” or “a psychological disorder characterized by sexual fantasies, urges, or behavior involving the subjection of another person to pain, humiliation, bondage, etc.” In layman’s terms, the sadist is the dominator whereas the masochist is the dominated or the submissive. The Mastery of Submission furthers this definition by stating “sexual masochism” is defined as producing sexual excitement by being bound, humiliated, beaten, or otherwise made to suffer (Noyes 16). Commonly known as S&M this sexual sadomasochism, I believe, is the pop culture form of sadomasochism that most are aware of today, as seen in different movies and television shows, boutiques in metropolitan and liberal cities such as Amsterdam or San Francisco.

The begin, a literary definition of sadomasochism is necessary in understanding its role in literature. According to Lynn Chancer’s book, Sadomasochism in Everyday Life, sadomasochism is referred to as a “common social relationship based on power and powerlessness, dominance and subordination” between two people (3). To be termed as such, the relationship must meet four requirements: extreme dependence; an established ritual; sadomasochistic tendencies; and consequences for when the submissive, or the masochist, violates their role. The first quality, extreme dependence, is where both individuals in the relationship, regardless of who is the sadist or the masochist, feels a strong need for physical, but, most importantly, mental connection with the other. The second criteria is that the relationship has its own repetitive ritual so the individuals have structured contact. Thirdly, the sadomasochistic tendencies are not static, but instead dialectic and constantly changing (3). Finally, and most importantly, the masochist in the relationship must “face severe consequences” if she challenges the power of the sadist (5). Chancer acknowledges that she is giving an overview of sadomasochism as a term and is not discussing the different dynamics that might stem from it such as S&M.

The definitions assume a negative connotation for the individuals who participate in such acts of indecency. Many everyday relationships convey some of the same hierarchy necessary to function, such as student to teacher, or employee to employer, and these relationships are seen as healthy and positive. Chancer argues in the beginning of her piece that “We are living in a sadomasochistic society in that it bombards us with experiences of domination and subordination far more regularly” than one can imagine (2). What these definitions are missing is the idea of balance. By engaging in the hierarchy of sadomasochism, those individuals are accepting the balance of opposites, dominance and subordination in order to function.

Using the above descriptions of sadomasochism helps us to understand different plotlines in literature and certainly in Early Modern literature. These Early Modern writers were concerned with their writing passing through the censors, who prevented offensive materials from getting published, and in doing so, Shakespeare as a prime example adapted to utilizing many layers in his works for the audience to unfold. On the surface level, the work seems inoffensive which allows it pass by the censor, but on a less literal level, the baser notions are hidden. In this play, the surface reading as discussed above allowed it to pass the censor, Shakespeare’s true message and warning come out on a deeper level. As Sanchez asserts, “The imaginative worlds of literature give us access to some of the early modern cultural fantasies that cannot be documented by the period’s moral, legal, or medical discourses” (494). Sadomasochism, or at least the act of it, was not available for discussion, and yet literature like A Midsummer Night’s Dream showcases its attributes before the word even developed.

Furthermore, one cannot discuss sadomasochism without touching on the erotic. Scholar Jason Gleckman argues: “A Midsummer Night’s Dream offers a concise imaginary history of the erotic” (Gleckman 25). The erotic played a large role in the Early Modern literature even though it was a taboo subject. Writing was the only place where people could engage in erotic knowledge and discussion, since it was confusing and unpleasant in actual conversation. At this time as well, England was bouncing back and forth between the Catholic and Anglican religions, each having their own ideas about the erotic: “On the one hand, as part of their vehement promotion of married life, Protestants allowed increased space for the erotic impulse within marriage” (Gleckman 27). Sex was clearly not allowed outside of marriage, and even more not allowed between two of the same sex, but even after marriage, sex was never examined in the Catholic faith. However, the Protestants viewed sex as a beautiful gift from God supposed to bring pleasure, but only within marriage. Shakespeare, like many others, had to be careful what he portrayed in his plays as to not get him in trouble with the law, so he channels the erotic in A Midsummer Night’s Dream in the usual direction of the monogamous marriage that awaits many of the characters in the play.

Continuing further with the erotic, Shakespeare toys with the notion of flipping gender roles by suggesting in his work, particularly A Midsummer Night’s Dream, that “the men…are more childish, impressionable and less psychologically and emotionally developed, whilst the women are more rational, constant, and civilized and wield reason more effectively than men” (Schumann 43). This superimposes “the idea of a linked domination of women and nature by men” in relation to classic marriage (43). Traditionally, women are supposed to submit and then men are to dominate the marriages; sex and the erotic are used only for procreation and even then it is not for pleasure, but simply necessary for marriage. However, “Shakespeare undermines, rather than reinforces the patriarchal social structures” (43) in the marriages and coupling that take place in this play. The women in most cases are the dominating party, not the men.

That this is not a new, modern concept that is being read into Shakespearean works. Instead, renowned Shakespearean scholar, Doctor Carolyn Brown inspects the chronological use of psychoanalytic and other theories in regards to Shakespeare’s work. One of her discoveries is that of the audience’s “pleasure in projected suffering such as that portrayed in violent Renaissance literature” (Brown 104). Suffering and violence were popular and appeared on stage, much the same as people today enjoy violent video games, movies, tv shows, and more. There is something inherently intriguing about watching forms of suffering. When watching a sadomasochistic play, the audience can thrive on the animalistic tendencies that come with watching bad behavior, but it also allows for a  space to reevaluate their own relationships.

 

Hermia and Helena’s Sadomasochist Relationship

In the case of relationships, having an idealized bond can be boring and tends to imply that someone is not being truly honest. Relationships are in a constant state of ebb and flow; they are forever changing dynamics as each day progresses, and it requires time and courage to keep a cohesive and mutually exclusive balance between two people. When it comes to the two young female lovers in A Midsummer Night’s Dream, Hermia and Helena, “successful rivalry extinguishes desire, whereas failure exasperates it” (Brown 89). Each annoys the desires of the other to the fullest extent by partaking in their unconscious sadomasochistic tendencies. Hermia plays the sadistic role more often than the masochistic role in their relationship. Her goal is to torment Helena, ultimately enticing her more. For example, she explains to Helena that she is fleeing with Lysander:

And in the wood, where often you and I

Upon faint primrose beds were wont to lie,

Emptying our bosoms of their counsel sweet,

There my Lysander and myself shall meet,

And thence from Athens turn away our eyes,

To seek new friends and stranger companies.

Farewell, sweet playfellow. (Shakespeare 1.1.214-220)

She deliberately points out to Helena that she and Lysander are meeting where she and Helena often met as children, as playmates, and spent hours together. This place in the woods is undoubtedly special to Helena, and Hermia flaunts the fact that she is taking someone else to their sacred hideout. Even referring to Lysander as hers, Hermia boasts that Helena has been replaced, which is made even clearer when she says that she will seek new friends and different companies. Sealing the speech with “playfellow” (1.1.220) conotes that Helena was simply a childhood friend, nothing more than that, which adds insult to Helena’s already crushed self-esteem. Scholar Melissa Sanchez’ article, “‘Use Me But As Your Spaniel’: Feminism, Queer Theory, And Early Modern Sexualities” focuses on the erotic and power dynamic in Hermia and Helena’s relationship. Sanchez suggests that “[When Helena] accuses Hermia of betraying a closeness that made them ‘Like to a double cherry, seeming parted / But yet an union in partition’ (3.2.209-10), critics have almost invarible contrasted the serene equality and gentle reciprocity of female bonds with the violence and domination of heteroitic unions” (402). By moving forward and breaking their bond, Hermia activated the dominator and submissive qualities in their relationship. Helena’s lifelong best friend is abandoning her for a man, running away to their special place that once was emotionally charged for both of them, and furthermore, doesn’t really care about their adult relationship at all. Best of all, Hermia understands exactly what she is doing to Helena. She consciously acts this way to hurt Helena, knowing that Helena is going to become upset and come after her, so perhaps Hermia wants Helena to chase after her. This is how their relationship is.

Helena does follow after her friend. She masks her journey after Hermia by telling Demetrius, another of Hermia’s suitors, to ensure Hermia and Lysander will not depart from Athens. By concealing her true reasons for going into the forest, Helena makes it seem as if Demetrius pursues after Hermia instead of herself, in order to keep her true feelings at bay. Helena’s chasing after Hermia would look curious and scandalous to the people of Athens, but her desperately following Demetrius, because he has more reason to follow the girl he is supposed to wed, somehow looks more acceptable. Helena needs an excuse for getting into the woods, and perhaps she believes Demetrius will successfully stop Hermia from leaving with Lysander. Therefore she will not have to get Hermia to stay in Athens with her. Following after Hermia will hurt Helena because she cannot express her love for Hermia herself, and yet this pain is what she desires: “herein mean I to enrich my pain” (Shakespeare 1.1.250). Helena is the masochist in their relationship and extremely hurtful to herself. Furthermore, Helena is more masochistic by her following Demetrius into the magical woods after informing him of Hermia and Lysander’s plan to escape:

And even for that do I love you the more.

I am your spaniel; and, Demetrius,

The more you beat me, I will fawn you.

Use me but as your spaniel, spurn me, strike me,

Neglect me, lose me; only give me leave,

Unworthy as I am, to follow you.

What worser place can I beg in your love–

And yet a place of high respect with me–

Than to be used as you use your dog? (2.1.202-210)

Demetrius is not excited about Helena accompanying him into the woods. He does not want her following him anymore, but she explains to him that the more he tries to dispose of her, the more she is going to fawn over him. This is an excellent example of the shocking masochistic qualities Helena displays. The more Demetrius hates her, the more she wants his love. She believes that being used as his dog would be getting his respect.

However, perhaps Helena refers to the relationship between her and Hermia, instead of Demetrius’ hatred towards her. When she pauses over “I am your spaniel” and then inserts Demetrius’ name, the reader sees that she momentarily forgot the façade of true love for him. Sanchez argues that Helena’s conversations with both Demetrius and Hermia can be seen as similar, but most importantly “[Helena fantasizes] herself as helpless subordinate to both Hermia and Demetrius register[ing] the same perverse, masochistic drives” (Sanchez 504). It is hard to imagine Helena being a delicate character after seeing her attraction to pain. She is extremely masochistic and demands to be treated so poorly so that the audience believes that Demetrius and Hermia are simply being mean to her when in reality she is begging for this treatment. Moreover, “Helena’s exchanges with Demetrius and Hermia reveal that women’s unapologetically perverse desires–whether for women or for men–can threaten ideals of proper, ‘normal’ sexuality” (506). However, this does not occur to Helena. She simply is a product of the relationship she has with Hermia, which is by definition an aggressive one as shown by their language towards each other, and yet they both unconsciously desire this aggression. Helena wants to be used like a dog by Hermia, not by Demetrius, nor by anyone else, and, in turn, the girls switch roles once Hermia lets Helena belittle her.

Helena becomes the sadist as Hermia invites her to torment her, in turn becoming the masochist herself. When Lysander has the pansy juice in his eyes, he falls in love with Helena and tosses Hermia aside, causing the two girls to fight. Hermia, however, seems to forget about being upset with Lysander and simply yells at Helena for the sake of it. Instead of arguing about the relationship problem at hand, they get into a fight about each other’s heights: Helena calls Hermia “low” and Hermia calls Helena a “maypole,” something that seems so trivial and yet extremely specific, as if the two have used those terms before when harassing each other. (Shakespeare 3.2.296). Their argument is passionate, and their insults are harsh, so much so that Hermia even goes as far as to desire to inflict physical pain on her friend: “I am not yet so low / But that my nails can reach unto thine eyes” (3.2.297-98). Their teasing transforms into physical violence towards each other and therefore more intimate. Such passion, enough to drive one to harm her friend out of sheer frustration, shows the power and connection between the two girls. If she did not truly care about Helena, she would not allow herself to become so worked up over something as trivial as an insult about her height, but Hermia, though physically smaller, has the worse temper of the two, as displayed here: “Helena’s childhood memories of oneness with Hermia are not so much displaced as complicated by her repeated accounts of her friend’s violent temper” (Sanchez 503). As previously mentioned, Helena is upset that her dear friend replaced her and seemingly tossed their shared memories away.

Both girls know how to annoy the other, which “evokes a fantasy of a perfect harmony” (503) since the two of them take turns being the sadist and the masochist in the relationship. Furthermore, the two would be friends forever, at least that is what Helena observed at their young age, but lives change and as the two matured, their sadomasochistic tendencies flourished. According to Sanchez, “It is hard to see how Helena or Hermia could ever have become interested in anyone but the other–or why any woman would willingly abandon such ‘sisters vows’ and ‘childhood innocence’” (503). If Hermia had never broken their unspoken vows to provoke Helena, then Helena would not have experienced the same urge to demand justice from Hermia, or follow her into the woods and the play would not be the same. Thus, as the book Shakespeare’s Philosophy of Love written by scholar Herman Horne suggests, Helena berates love for its power to transform baseness into dignity; Helena tries to stay dignified by berating love in the only way she knows how (46). Many proverbs Shakespeare came up with himself, such as “love is blind” and “all’s fair in love and war” claim to be lofty, and yet Helena’s jaundiced views are rationalized by the loss of her lover to another.

Titania and Oberon’s Marriage Rated “M” for Mature

The constant teasing between Hermia and Helena foreshadows the relationship between already-married couple in the play. Like the two young girls, this couple eroticize their own submission and domination. Traditionally, as Rieger points out, “Men dominate women in the comedy, and women not only accept this domination, they eroticize it” (78). As already shown, Hermia and Helena, clearly both women, both eroticizie their domination, and this can be seen in the king and queen of the fairies, Oberon and Titania. These two enjoy manipulating each other and disagreeing on small and large things. In the beginning of the play, the two argue about the strange weather that is occurring because of their fighting and magical powers: “Therefore the winds, piping us in vain, / As in revenge, have sucked up from the sea / Contagious fogs; which, falling in the land, / Hath every pelting river made so proud” (Shakespeare 2.1.88-91). Titania describes the dismal scene of raging storms over Athens; she fears for the humans with their “drowned field” and their land filled with mud, whereas Oberon does not care at all about the mortals. Instead he seemingly brushes off Titania’s fears and changes the subject (2.1.96 & 98). Shakespearean scholar Angela Schumann argues that here Titania is a nobler character than Oberon, which in some cases I would consider to be true as well. However, in the first scene with the married couple, the audience can already see that they do not agree on everything. Perhaps Titania knows that Oberon will dismiss her fears, and so she produces that long monologue to make herself seem nobler and better as to enrage Oberon.

Titania’s nobleness is further explored when the audience sees the king and queen arguing over the possession of the changeling Indian boy. Schumann’s piece suggests:

Titania is a more complex and mature character than Oberon. She wants the Indian boy out of love for his mother, “for her sake do I rear up the boy” (2.1.136). Conversely, “jealous oberon” (2.1.24) who…suffers from a case of wounded male pride, only wants the boy as an exotic trinket…and out of jealousy for taking Titania’s attention away from him: “am I not thy lord?” (2.1.63). (Schumann 48)

Titania raises the Indian changeling boy as her own because of what she claims as a duty to the boy’s mother: “But she, being mortal, of that boy did die; / And for her sake do I rear up her boy, / And for her sake I will not part with him” (Shakespeare 2.1.135-37). This is a touching story and quite noble of Titania to take her late friend’s child and make sure he has a safe and happy home, but considering Titania and Oberon’s constant bickering, the reader is unsure if she says this to make herself seem noble or to hurt Oberon, something Schumann’s piece fails to mention. I believe that Titania is no more noble than Oberon; she is fantastic at seeming to be the more noble to the reader by taking in the changeling Indian boy and raising him, by sticking with Oberon while he puts the pansy juice in his eyes, and more. However, much like with Helena and Hermia, she knows how to irritate Oberon and seeks to antagonize him just as much as he does her.

One way she seeks to irritate Oberon is to speak of the countless nights she and the Indian boy’s mother spent together, a time when she was clearly away from Oberon and more importantly, building a stronger relationship with someone else as seen by: “Full often hath she gossip’d by my side” (2.1.125). This sounds similar to Hermia’s speech mentioned previously about making a deeper connection to someone other than Helena. The audience isn’t really sure why Oberon wants the Indian boy, so it is safe to assume that Oberon simply wants the Indian boy because Titania has him, and Titania flaunts her relationship with him in Oberon’s face. This isn’t the first game the two have played against each other. In one of the first scenes with the king and the queen of the fairies, the audience is introduced to the adulterous relationship the two have:

Titania: But that, forsooth, the bouncing Amazon,

Your buskined mistress and your warrior love,

To Theseus must be wedded, and you come

To give their bed joy and porperity.

Oberon: How canst thou thus for shame, Titania,

Glance at my credit with Hippolyta,

Knowing I know thy love to Theseus?” (2.1.70-76)

Both parties involved have had romantic and sexual affairs with the mortal king and queen of Athens, Theseus and Hippolyta, showcasing that the two love berating each other, as seen above; they want to have these bickering fights where they throw affairs and games in each other’s face. This is how their relationship functions, showcasing that this version of love, though seedier, actually puts the two in harmony, like Hermia and Helena, and provides a perfect relationship for them.

As seen above, Titania plays the sadist quite well in her marriage. Yet much like Helena and Hermia, she and Oberon switch between being the sadist and the masochist. Oberon definitely turns around and desires to be the masochist at times as well. When the pansy flower juice enters the play, Oberon wants to meddle with all relationships and assigns his faithful servant Puck to fix the Athenian lovers, Demetrius and Helena’s, broken and one-sided relationship. He messes up, however, as the audience sees and instead puts the juice in Lysander’s eyes causing him to fall in love with Helena. Oberon, while fixing the dilemma his servant created, becomes more devious. He decides to put the flowers juice in his wife’s eyes to: “make her full of hateful fantasies” (2.2.257-258). He humiliates his wife by making her see, and ultimately fall in love with, something hideous.

Not only does he want to humiliate her, but more importantly he wants to humiliate himself by setting up his own cuckolding. Rieger’s article discusses the idea of Oberon cuckolding himself. He points out the scholarly work dismisses the notion of realized cuckolding and instead he suggests that Oberon uses “erotic desire as a weapon to humiliate his rebellious wife and enforce her submission. He does this in order to reassert his position at the head of his family and, by extension, the state as embodied in the fairy kingdom” (70). In order to restore the calm in their relationship, Oberon openly sets up his wife to have sexual relations with another man as to humiliate the two of them, and in doing so, Oberon regains control and the upper hand in his and Titania’s power dynamics. The audience watches Oberon’s plan unfold:

What thou seest when thou dost wake,

Do it for thy true love take;

Love and languish for his sake.

Be it ounce, or cat, or bear,

Pard, or boar with bristled hair,

In thy eye that shall appear

When thou wak’st, it is thy dear.

Wake when some vile thing is near. (Shakspeare 2.2.27-34)

Titania could wake up and see Theseus or one of the lovers or even her king, but Oberon wants her to be even more humiliated than that; he wants to see his wife fall in love with a wild animal, crossing the line into bestiality. Moreover, Lisa Walters’ article, “Oberon And Masculinity In Shakespeare’s A Midsummer Night’s Dream” suggests that “Titania’s refusal to obey Oberon is the action of a rebellious and unruly wife against her husband’s authority. Hence, in his drugging of Titania, Oberon parallels Theseus…restoration of order comes about by causing ‘injuries’ to female queens” (157). However, what Walters fails to mention is why Oberon does what he does. By craving the humiliation and setting up his own cuckolding, Oberon wants to embarrass himself. This is his wife gallivanting with a half-man half-donkey, doting and possibly engaging in sexual moments with this creature. If other people were to see Titania’s actions, they would turn to Oberon and question why he is not controlling his wife. Even worse, they could turn to him in pity because ultimately Oberon sets up his own cuckolding. He watches his wife take Bottom into her “bower,” basically her private bed chamber (Shakespeare 3.1.197). This is what Oberon wants. He could potentially give Titania the antidote for the pansy juice spell, ultimately stopping his wife from committing such a gross and adulterous crime against him, but he does not.

Shakespeare takes Oberon’s humiliation and masochistic drive further by representing Oberon and Titania’s relationship as the only happy marriage. Oberon’s use of erotic desire is a form of control; true love comes from harm: “The erotic economies of A Midsummer Night’s Dream are predicated upon gendered dominance and submission, upon…love won by the doing of injuries” (Rieger 71). The idealistic relationships, the ones that are supposed to be based on true love, are actually false, either from the pansy juice, as seen in Helena and Demetrius’ relationship because Demetrius still has the juice in his eyes at the end of the play when they are married, or from selfish reasons with Theseus and Hippolyta’s relationship being forced because Hippolyta was raped by Theseus resulting in her having to marry him. Even Hermia and Lysander’s relationship is not sacred: Hermia seems to use Lysander only to annoy her father, but perhaps even to escape the fate of an arranged marriage. She quite possibly does not truly love Lysander; and Lysander most likely only wants to have sexual relations because he is a young man, and when they are finally alone, his advances are obvious: “One heart, one bed, two bosoms, and one troth” (2.2.42).

There are no “ideal” relationships in this play; instead the characters show realistic emotions of being in love: the angry, passionate, scheming and violent kind of love. Oberon and Titania, on the other hand, are actually compatible. They are both scheming and violent. They both play games and tease the other; everything is in sync and equal. This is how Shakespeare shows a happy relationship and has this be the only couple that has been married and together for as long as they have. The two are immortal and, therefore, have a long time to spend together, and if they didn’t actually enjoy the treatment they get from their partner, then they could have ended things long ago. But instead, the king and queen stay together and continue their harsh, teasing relationship.

 

Shakespeare’s Insight into Holy Matrimony

There is a commonplace assumption among Shakespeare scholars regarding the origins of this play. Like most of Shakespeare’s plays, it is hard to pinpoint exactly where and when they were written and for what purpose–the world does not even know who Shakespeare was, let alone how his plays came into flourishen. But in regards to A Midsummer Night’s Dream, the scholars mostly agree, as Charles Lyon’s work discusses, that this play would have been “written for a court wedding” (22). Horne’s piece provides further proof of the epithalamium by mentioning those assumed to be in attendance, such as: “Sir Thomas Heneage and Mary, Countess of Southampton; Edward Russell, Earl of Bedford, and Lucy Harrington,” as well as “It is possible…that Queen Elizabeth would herself grace the occasion by her presence” (Horne 42-43). Shakespeare would have known if the queen was going to be in attendance because someone would have made sure his play would be proper enough. This does not prevent Shakespeare, however, from creating a play that on the surface appears pure enough for the queen and full of love for a wedding and yet still exhibits sexual baseness, gritty relationships, and mockery towards love at first sight.

So what is it that Shakespeare is trying to accomplish by submitting the wedding party and potentially the queen to a technically sadomasochistic play? All of Shakespeare’s work possesses an underlying message to the audiences who watch it. In the case of A Midsummer Night’s Dream, Shakespeare provides a warning about true love and most importantly, how love changes in a marriage. First, as Maurice Charney’s book Shakespeare on Love & Lust points out this play mocks the notion of “love at first sight,” which is also a Petrarchan ideal (9). Love is supposed to enter through the eyes, and it is essentially spontaneous, irresistible, and absolute (9). But Shakespeare ridicules this idea by having his characters control who they see and, by proxy, fall in love with at first sight, with the use of pansy juice. As previously mentioned, Oberon controls Titania’s newest love interest is putting the juice from a certain flower in her eyes, and then whomever she sees first, she falls madly and deeply in love with the person. Shakespeare muddles with the way we perceive love at first sight. It is not as romantic as it might seem, but instead can be tortuous, unwanted, and in Titania’s case, demeaning.

The warning extends to the notion of “happily ever after.” The bride and groom of the wedding, and the guests attending, all have a preconceived notion of how love works in a relationship. They used the common definition of love, derived by Petrarch, as being an idealistic and god-like experience, almost something intangible. Soon-to-be-brides were pure and innocent, emulating goddesses, and their love was going to allow their groom to transcend this earthly realm and bring him closer to God. This puts immense pressure on the bride, for she must live up to that unnatural standard and form of love which does not allow for any experimentation with sadomasochism, baseness, or anything the bride might be interested in outside of what is considered the norm. This pressure makes each bride equal to the next, which we know women are not all equal; Shakespeare believes that “Inequality is the natural order of ‘true love’” (Rieger 73). Shakespeare disagrees with the Petrarchan notion of love as described here by C. H. Herford’s work:

Love is a passion, kindling heart, brain and senses alike in natural and happy proportions; ardent but not sensual, tender but not sentimental, pure but not ascetic, moral but not puritanic, joyous but not frivolous, mirthful and witty but not cynical. His lovers look forward to marriage as a matter of course, and they neither anticipate its rights no return their affections elsewhere. (18)

Shakespeare sees love as and ever-changing, amorphous ideal that alters as it grows and matures. Regier even suggests that for love and a couple “to exist in harmony, one party must be dominated and one party must submit” (74). So not only does love change throughout a relationship, but the only way it will continue to exist is not through this idealized version of love, but rather perfect harmony that includes these unspeakables. Described here are the common binaries that situate themselves inside the notion of love, and Shakespeare took these and made sure that his lovers and couples remained in the balance. All of his created relationships, those romantic and not, can be described as such and if they seem to be too pure or tipping the scale one way, this is used in a mocking manner to showcase how this is not the idea Instead, the balance is necessary here; idealness is irrational and unattainable.

 

Today’s Notion of Modern Romance

What has sadomasochism defined by Shakespeare taught his audiences? The thought of people willfully submitting themselves to degradation can leave many unsettled, especially when it comes to women craving this treatment: “There is a real difficulty in accepting the female characters’ masochism, their cheerfulness embracing of degradation. It flies in the face of all contemporary, twentieth and twenty-first century notions of equality and appropriate gender relations” (Rieger 79). Today we are extremely politically correct when it comes to women’s rights and this is not necessarily a bad thing, but there has to be a moment where we can talk about female sexual desires, not just those of males. Rieger further points out that  “This masochistic acceptance and even embracing of humiliation can leave contemporary audiences, and critics, unsatisfied” (78). And to some extent, this is true; there is still uncertainty in accepting that lovers can actually enjoy and crave this sexual humiliation. Our conception of love has come incredibly far since Shakespeare’s Early Modern era. The term “BDSM” and the ever increasing pornography industry would have been unheard of concepts to Shakespeare and his audiences, but the notions behind them would have been understood. Many of us look down at anything later than the Romantic period as being unrealistic towards the modern notion of love; people in this period “courted” and “wrote love letters” and “dated” without the use of an app. However, as this essay has pointed out, those in the Renaissance and Early Modern times were not too far off when it came to sexual transgression and more “modern” ways of looking at love.

The cornerstone of all modern forms of love now is inclusion, from the acceptance of interracial couples in the later twentieth century to legal marriage rights for everyone, regardless of sexual orientation, being passed in the United States government in 2015. The smaller scale events matter as well, such as gay pride parades, and the Folsom Street Fair in San Francisco where BDSM and leather clothing is somewhat mandatory, to online communities for people with different tastes personally and sexually. Of course we cannot forget the pornography industry which has over 22,820,000 searches a month according to a Business Outsider article from 2011, and categories for all forms of fetishes and desires ranging from innocent, such as the classic foot fetish, to more extreme notions of sex (Dunn). All of this leads to an unspoken inclusion noting that sex can be for everyone; if there is something weird or out of the status quo that you might like in the bedroom, you can find it on the Internet.

The point is that in today’s technologically advanced era, porn, and, therefore sex becomes a more widely accepted and understood medium for simple pleasure. There are porn communities, sex clubs, forums, erotic literature and more all saying the same thing: Sex is for everyone. And there is something powerful in owning one’s sexuality, even if it seems to stray from the social norm, and I like to think that in the twenty-first century, society is more embracing of that. There are focus groups and clubs dedicated to those with different sexual preferences. The notions of domination and submission are showcased in movies and pop culture, with Fifty Shades of Grey being an international best seller. We, as a world, are becoming more aware of different “tastes” in the bedroom and therefore less and less afraid of them thanks to the advances starting in Shakespeare’s time. “Shakespeare so clings to the ideal that it appears in almost all of his plays. He objects to criticism that ‘overemphasize[s] the unresolved and the problematic’ in the problem comedies and suggests that although those plays do not support idealization, their final message is positive” (Brown 52). And one can see that now that there is sexual liberation among couples, there is more happiness by far, which is exactly what Shakespeare was hinting at.

Shakespeare stresses that these couples are not unhappy, “The course of true love never did run smooth” which is the most important factor (Shakespeare 1.1.134). Oberon and Titania are equals in their relationship, as contrasted with Theseus and Hippolyta where Theseus holds all the power. Helena and Hermia, on the other hand, are a great example of the honeymoon phase in a relationship, where they are passionate and angry in one scene, and then loving and forgiving in the next. These two couples are just the start of the relationship dynamics in this play, but they are the prime examples. Ultimately, the two relationships can only function with their own dysfunctionalities; without the arguments and the fighting, their relationship would not be the same; there wouldn’t be any passion and it would cease to exist. Each and every individual relationship has its own equation for how it works, whether it be with some light bondage or through a more traditional sense. Either way, we cannot judge those whose love is not like our own; to them it is the ideal. However, if reading this has caused any distaste, then please note that:

If we shadows have offended,

Think but this, and all is mended,

That you have but slumber’d here

While these visions did appear.

And this weak and idle theme,

No more yielding but a dream,

Gentles, do not reprehend:

if you pardon, we will mend:

And, as I am an honest Puck,

If we have unearned luck

Now to ‘scape the serpent’s tongue,

We will make amends ere long;

Else the Puck a liar call;

So, good night unto you all.

Give me your hands, if we be friends,

And Robin shall restore amends.

(Shakespeare 5.1.413-428)

 

Works Cited

Brown, Carolyn. Shakespeare and Psychoanalytic Theory. New York: Bloomsbury, 2015. Print.

Chancer, Lynn S. Sadomasochism in Everyday Life: The Dynamics of Power and Powerlessness. New Brunswick, NJ: Rutgers UP, 1992. Print.

Charney, Maurice. Shakespeare on Love & Lust. New York: Columbia University Press, 2000. Print.

Dunn, Alec. “Top Google Searches – What Do People Search For?” Business Insider. Business Insider, Inc, 21 Dec. 2011. Web. 22 Apr. 2016.

Gleckman, Jason. “‘I Know A Bank.’: A Midsummer Night’s Dream, Fairies, And The Erotic History Of England.” Shakespeare 10.1 (2014): 23-45. Scopus. Web. 13 Feb. 2016.

Herford, C. H. Shakespeare’s Treatment of Love and Marriage: And Other Essays. London: T. Fisher Unwin, 1921. Print.

Horne, Herman Harrell. Shakespeare’s Philosophy of Love. Raleigh, NC: Edwards & Broughton, 1945. Print.

“Masochism, n.” OED Online. Oxford University Press, March 2016. Web. 26 April 2016.

Noyes, John K. The Mastery of Submission: Inventions of Masochism. Ithaca, NY: Cornell University Press, 1997. Print.

Rieger, Gabriel. “‘I Woo’d Thee With My Sword, / And Won Thy Love Doing Thee Injuries’: The Erotic Economies Of A Midsummer Night’s Dream.” The Upstart Crow (2009): 70. Literature Resource Center. Web. 13 Feb. 2016.

“Sadism, n.” OED Online. Oxford University Press, March 2016. Web. 26 April 2016.

Sanchez, M.E. “Use Me But As Your Spaniel”: Feminism, Queer Theory, And Early Modern Sexualities.” Pmla 127.3 (2012): 493-511. Scopus. Web. 13 Feb. 2016

Schumann, Angela. “‘But As A Form In Wax’: An Ecofeminist Reading Of Shakespeare’s A Midsummer Night’s Dream.” Colloquy: Text Theory Critique 30 (2015): 42-60. Humanities Source. Web. 13 Feb. 2016.

Shakespeare, William. A Midsummer Night’s Dream. Ed. Wolfgang Clemen. 2nd ed. New York: Signet Classics, 1986. Print.

Walters, Lisa. “Oberon And Masculinity In Shakespeare’s A Midsummer Night’s Dream.” ANQ: A Quarterly Journal Of Short Articles, Notes, And Reviews 26.3 (2013): 157-160. MLA International Bibliography. Web. 13 Feb. 2016.