In the wide world of literature, writers explore a range of themes, including gender roles and societal expectations. In A Midsummer Night's Dream, the theme of gender roles is prominent throughout the play. Women are expected to be submissive to men in the patriarchal society depicted in the play. This gender hierarchy is challenged in Fairyland, where women are granted power and freedom of action. The play thus reflects the misogyny of its time, where women had limited social status in the real world. Nevertheless, the women in the play ultimately demonstrate their true power and abilities, despite the oppressive attitudes of the male characters. Overall, to discuss A Midsummer Night's Dream in terms of gender roles, this essay analyzes the balance of power between the male and female characters and the level of misogyny in the play. Say no to plagiarism. Get Custom Essay on “Why Violent Video Games Should Not Be Banned”?Get Original Essay “A Midsummer Night's Dream” Characters' Portrayal of Gender RelationsEgeus, Hermia's father, is the most misogynistic man in A Midsummer Night's Dream. He dehumanizes his daughter Hermia by objectifying her and depriving her of her human rights and dignity. As a sole parent, Aegeus takes responsibility for Hermia and makes all her choices for her, regardless of her consent: “As she is mine, I can dispose of her” (Shakespeare 5). Egeus' constant possession of Hermia proves that he only views her as his property, not as a human being. By objectifying his own daughter, he does not hesitate to impose his decisions on her. The most important decision that Aegeus imposes on Hermia is to choose whom she will marry: “She is mine, and all my rights to her belong to Demetrius” (Shakespeare 6). Not only does Aegeus wrongly cede Hermia's property to Demetrius, but he disregards Hermia's opinion on this matter. Hermia, who is not at all interested in Demetrius, is in love with Lysander. In this society, marriage is a political tool used to elevate social status. Because Lysander is below Hermia's social class, Aegeus refuses to consider him an eligible choice: "Oh, dear, to choose love in another's eyes" (Shakespeare 8). Hermia is torn between being the obedient daughter she was raised to be and the burning desire to marry the man she is in love with. “I wish my father had looked but with my eyes” (Shakespeare 5). By saying this, Hermia wants her father to consider her point of view before making decisions for her. Although Egeus insists on choosing her future husband, Hermia desperately tries to convince him otherwise. “Hermia [… is] thwarted in [her] choice in defiance of the men socially positioned to refuse matches” (Buccola para 8). Because A Midsummer Night's Dream takes place in a society based on male supremacy, it is considered illegal for Hermia to defy her father's wishes. While Egeus demonstrates the most common form of misogyny, male supremacy, other characters demonstrate different variations of prejudice towards women. Although Demetrius may act loving towards Hermia, he is still openly humiliating and cruel towards the other women in the play. He constantly degrades Hermia's friend Helena, refusing to even treat her like a human being. Helena pleads: “What worse place can I ask for in your love And yet a place of great respect with me Than to be used as you use your dog? to which Demetrius replies: “Do not tempt the hatred of my spirit too much for I amsick when I look at you” (Shakespeare 8). His treatment of Helena reflects his view of women: he does not consider them equals, much less human beings. Regardless of Helena's feelings, Demetrius hurts her relentlessly. Demetrius displays sexist behavior towards Hermia by trying to force himself on her. He is "in love" with Hermia, based on her appearance and social class, not her character. In A Midsummer Night's Dream, when Demetrius describes Hermia, he uses words such as "gentle" and "fair." This demonstrates his desire, not love, for her. His motive for marrying her to gain power is evident in his terrible attempts to influence Hermia: “Soft thyself, sweet Hermia And, Lysander, yield thy foolish title to my sure right” (Shakespeare 4). He desperately tries to convince Hermia to give in to him. Frustrated by the fact that Hermia is anything other than obedient and pleasant to him, Demetrius is distinguished by the patriarchal society of which he is a part. Another example of this patriarchal society is Oberon, the king of the fairies; he does not consider his wife, Titania, to be his equal. As soon as the couple appears on stage during the play, they immediately start arguing. “I will be met by moonlight, proud Titania” (Shakespeare 19). He greets her with hostility and contempt when she enters. Oberon is jealous of the little Indian boy Titania is looking after and demands that she abandon him. “For Oberon is a prey to wrath and wrath because she, as a servant, has stolen a charming boy from an Indian king. She's never had such an adorable changeling. And […] Oberon [is jealous]” (Shakespeare 18). Oberon considers Titania his property and does not think she should care for anyone other than himself. He gets jealous when she takes care of someone other than himself. In A Midsummer Night's Dream, Oberon, like Egeus, treats Titania as his own property. When Titania tries to deny Oberon, he forces himself on her. She argues: “I have given up [your] bed and your company. » To which Oberon replies: “Tarry, reckless and wanton; am I not your lord? Titania, seeing no way out of this argument, finally gives in: “Then I must be your lady” (Shakespeare 19). Although Oberon is a fairy, like Puck, he acts misogynistic towards Titania. Oberon's self-centered attitude may be linked to his title as king within the fairy community. Shakespeare's connection between misogyny and those in political power connects hatred of women with fear of women whose intellect or political prowess equals or exceeds that of men. Oberon feels threatened, and his mistreatment of Titania is a byproduct of his own desire to maintain leadership in fairyland: "Shakespeare depicts complex layers of power dynamics, as the play depicts a va back and forth of authority and rebellion between the two worlds. of Athens and the land of fairies. Greater recognition of folkloric views regarding the authority of the Fairy Queen should reorient the view of power relations in the play and offer a different model of the play's engagement with gender and sexuality" (Wells para 6) . Oberon's degradation of Titania reveals an attempt to stifle Titania's leadership and allows Oberon to view her as less of a threat. Puck, a simple servant, holds no exceptional position within the royal court, which gives him no reason to fear or hate women for their potential to surpass him. Oberon acts most misogynistic in Fairyland because he holds the greatest position of power and, therefore, feels most threatened by the opposition. When Puck lives in Fairyland, his actions and his.