Introduction
A Midsummer Night’s Dream is a tender comedy by William Shakespeare, offered by “The Knight’s Tale” from Geoffrey Chaucer’s The Canterbury Tales, composed around 1594 to 1596. It shows the escapades of four young Athenian lovers and a grouping of amateur performers, their contacts with the Duke and Duchess of Athens, Theseus and Hippolyta, and with the fairies who reside in a moonlit forest. The play is one of Shakespeare’s most accepted works for the stage and is broadly performed across the world.
This play is distinguished by the feature, that it clearly shows the evolution of the characters, entailed in the central subject line. Helena is regarded to be one of these.
Helena
Helena is one of four youthful lovers in William Shakespeare’s A Midsummer Night’s Dream. She is normally interpreted as being high and slim and blonde – her best friend Hermia calls her a “painted maypole” during a quarrel. Nevertheless, she does not see herself as beautiful many people suggest her to be just as if not more attractive as Hermia.
Demetrius and Helena were once affianced, but when Demetrius met Helena’s friend Hermia, he fell in love with her and dumped Helena. Lacking assurance in her looks, Helena reflects that Demetrius and Lysander are mocking her when the elves’ mischief makes them fall in love with her.
How happy some o’er other some can be!
Through Athens, I am thought as fair as she.
But what of that? Demetrius thinks not so;
He will not know what all but he does know.
And as he errs, doting on Hermia’s eyes,
So I, admiring of his qualities.
Things base and vile, holding no quantity,
Love can transpose to form and dignity.
Nevertheless Puck and Bottom stand out as the most pleasant characters in A Midsummer Night’s Dream, they are not engaged in the key dramatic occasions. Of the other personalities, Helena, the infatuated young woman dreadfully in love with Demetrius, is probably the most fully drawn. Among the foursome of Athenian lovers, Helena is the one who regards most about the origin of love – which makes intelligence, given that at the commencement of the play she is left out of the love triangle enabling Lysander, Hermia, and Demetrius. She states, “Love looks not with the eyes, but with the mind,” suggesting that Demetrius has created a fantastic concept of Hermia’s loveliness that averts him from recognizing Helena’s attraction. entirely realistic to Demetrius despite her gratitude for his failings, Helena sets out to win his love by informing him about the plan of Lysander and Hermia to escape into the woods. Once Helena enters the woods, lots of her traits are drawn out by the perplexity that the love mixture produces: evaluated by the other lovers, she is tremendously uncertain of herself, worrying about her look and suggesting that Lysander is mocking when he announces his love for her.
When Demetrius and Lysander choose to rest again, Oberon, King of the Fairies, controls Puck to right the circumstances. This guides to Lysander falling in love with Hermia yet again, and ultimately, to the marriage of Helena and Demetrius, who stays in love with her still due to the love liquid Puck had dropped upon him. Nevertheless, Helena goes on to love Demetrius as she had before.
Helena is regarded to be a very susceptible, sensitive character, due to her growing up in the shade of the bubbly and attractive Hermia. Nevertheless, Helena is more good-looking, even if she isn’t much self-certain due to Demetrius: she shows the power and a new belief in herself by declining his proceeds when she believes he is making fun of her, even though she maintained he was her one real love. Helena can also be an entertaining character from time to time, predominantly during some of her worried disputes with Demetrius. Overall, Helena is the nature who changes most and for the better, modifying from a self-aware, lovesick girl into a confident, happy lady.
So he dissolved, and showers of oaths did melt.
I will go tell him of fair Hermia’s flight.
Then to the wood will he to-morrow night
Pursue her; and for this intelligence
If I have thanks, it is a dear expense.
But herein mean I to enrich my pain,
To have his sight thither and back again.
Conclusion
The poet, in fact, says so in articulate words:
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.
But to realize this dream – to have all its gay and soft and melodious colors astonished upon the apparition, to hear all the golden rhythms of its poesy, to feel the wonderful congruity of all its parts, and thus to get it as a truth, we must not presume that it will enter the mind amidst the sluggish slumbers of the thoughts.