Midsummer Night’s Dream

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.

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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


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