What S Love Got to Do with It?

Burgess 1 C. Rachelle Burgess

Dr. Ron Strickland

English 378.01

7 August 2002

“What’s Love Got to do With It?”

In the sixteenth century it was very common for marriages to be arranged. It was the fathers’ obligation to bestow their daughters upon a young man who was seemingly the “cream of the crop.” Romeo and Juliet and A Midsummer Night’s Dream describe the traditional method of arranged marriages. The Merchant of Venice also displays this element of arrangement. However, the father has organized a game upon his death that has made his daughter the winning object to whomever chooses the correct caskets.

The first three definitions of love in The Random House College Dictionary states love is “a profoundly tender, passionate affection for a person of the opposite sex.” Also,

“a feeling of warm personal attachment or deep affection, as for a parent, child or friend.”

And “sexual passion or desire, or its gratification. Romantic is defined as “the nature of romance, fanciful/impractical, or imbued with or dominated by idealism/ a desire for adventure.”

In The Family, Sex, and Marriage In England 1500-1800 by Lawrence Stone, it is stated, “The elite were subjected by the poets and playwrights to propaganda for an entirely oppositional ideal of romantic love. Stone believes Shakespeare’s sonnets and plays gives examples of this antithetical revelation of romantic love.” Burgess 2

A Midsummer Night’s Dream

In A Midsummer Night’s Dream the six relationships presented represent love.

Romantic love is the primary type of love attempting to be portrayed. However, I question is romance truly being represented. Shakespeare treats the theme of romantic love very lightly through out Midsummer… He makes mockery of the institution of love with humor and illusion. The characters are confused and immature who stumble into marriage after experiencing a perplexing dream.

Theseus and Hippolyta are two warriors. The Illinois Shakespeare Festival’s production of A Midsummer Night’s Dream begins with these two individuals in an actual battle or struggle of some sort. The production ends with their marriage ceremony, but how they get from warring to having an intimate relationship is a mystery. Her future husband captures Hippolyta. No wooing (at least not verbally), no courting, no dinner, no flowers, or gifts, she is simply captured like some sort of an animal. Now the definition of romantic is impractical, to be permeated with idealism, and a desire for adventure. And the definition of love is to be profoundly tender and passionate, affection for a person of the opposite sex.

The society of the twenty-first century doesn’t necessarily perceive romantic love as the sixteenth and seventeenth society did. I will admit as a twenty-first century woman that being impractical is what makes romance romantic. However, the impractical move of Theseus to capture and seize Hippolyta doesn’t appear to be romantic to me. Also his style of wooing is closer to being lethal, than romantic. Nevertheless, it must have been very romantic to Hippolyta, because she married him. In lines sixteen and seventeen Burgess 3

Theseus states, “Hippolyta, I wooed thee with my sword, / And won thy love doing thee injuries.” It might just be me, but I don’t think most women of the twenty-first century find swords and injuries romantic.

Maurice Charney sheds light on some of the conventions of love in Shakespeare on Love and Lust. I stated previously that A Midsummer Night’s Dream makes mockery of love and Maurice Charney supports my observation. “He begins with the convention of love at first sight. Love enters through the eyes and it is spontaneous, irresistible, and absolute…Nevertheless, he notes how this is mockingly explored in Midsummer Night’s

Dream. Love in the play is not a highly developed psychological force, but can be induced chemically by the distilled love-juice of the pansy, which makes a wonderfully efficacious aphrodisiac”(Charney 9 and 10).

The next honcho couple presented in the play is Oberon and Titania. They too initially represent struggle between man and woman. Love doesn’t compete, and definitely not romantic love. However, Oberon and Titania are presented as competitors more than lovers. When an individual is in love, the emotion of it is serious and no one likes their heartstring to be tugged for fun and game. Nevertheless, this is what takes place with Oberon and Titania due to Oberon’s immaturity. Like a child, Oberon gets angry because he can’t have what he wants, so he takes revenge by playing with his wife’s emotion. He causes her to “ ‘Dote’ meaning to love in the extreme, excessive fondness” over Bottom, the Weaver. According to the definition of romantic love it appears that the King and Queen Fairy display romantic lust and not romantic love. Burgess 4

Oberon and Titania definitely have “a desire for adventure” and without a doubt display a very impractical game. Furthermore, their relationship doesn’t represent ‘love’,

“ the profound tenderness toward one another and passion. Their relationship represents lust, idolatry and adultery. Oberon lusts for the Indian boy that Titania will not allow him to have, Titania worships Bottom and makes an idol of him

…she, sweet lady, dotes

Devoutly dotes, dotes in idolatry

Upon this spotted and inconsistent man (I. I.109-11).

, and she is committing adultery when she falls in love with Bottom. In some productions it is emotional adultery, and in some productions it is physical adultery. “The episode with Bottom and Titania represent love at first sight as an irresistible physical experience…no credible motivation, just phantasms and illusions.” Oberon appears to have animosity toward Titania when he anoints her eyelids and desires to frighten her with an illusion (Charney 10).

Hermia, Lysander and Demetrius are brought before Theseus by Egeus because of their relational dilemma. Hermia rebels against her father’s desire because she is

“romantically” in love with Lysander, and refuses to marry Demetrius. I have experienced unconditional love from my parents, even when I went against my mother’s desire and married my mate. Nevertheless, I have problems with Egeus and his so called

“love” for Hermia being ready to put her to death for not marrying the man of “his” dreams. Hermia and Lysander have a romantic love according to Egeus’ first speech.

Thou, Thou Lysander, thou hast given her rhymes, Burgess 5

And interchanged love tokens with my child.

Thou hast by moonlight at her window sung

With feigning voice verses of feigning love,

And stol’n the impression of her fantasy

With bracelets of thy hair, rings, gauds, conceits,

Knacks, trifles, nosegays, sweetmeats—messengers

Of strong prevailment in unhardened youth (I.I. 28-35).

Lysander displays adventure while he does very impractical things to show

Hermia how much he loves her. Lysander is profoundly tender and passionate, and has no shame in broadcasting his affections for the woman he loves. On the other hand,

Demetrius doesn’t have the same creativity or boldness to declare his love for Hermia. A father’s blessing is definitely a plus, but without the daughters consent the fathers blessing carries no weight.

Lysander goes above and beyond to impress Hermia, and to win her love. I consider what Lysander does as a true display of romantic love. And what Demetrius is provoked to say a little less than weak “Relent, sweet Hermia…”(line 91) is all he conjures up to say to Hermia. There is nothing adventurous and passionate in those three words in comparison to what Lysander does and says. If Lysander and Hermia’s relationship had not been tampered with they could go down in history as a couple with a wonderful relationship and perfect romantic love. Nevertheless, that would be to perfect and take a lot of the mysterious fun out the play. Burgess 6

The more chaotic the play becomes, the less romantic love can be seen. When

Helena is presented to the audience she is a sad woman desiring the love of Demetrius who has no desire to be with her. At this point in the play Helena’s love for Demetrius can be considered romantic. First of all, her love is impractical because instead of allowing herself to be chased, she is doing the chasing. Secondly, she desires to have adventure. Thirdly, she is passionate for Demetrius, and has great affection for him.

It is not night when I do see your face,

Therefore I think I am not in the night,

Nor doth this wood lack worlds of company,

For you, in my respect, are all the world (II.I.221-4).

Romantic love can be gradual or spontaneous, but it cannot be put on and taken off by an outsider who has no emotional bond with the individual in the love relationship.

I believe romantic love is experienced between Hermia and Lysander, and I believe

Helena has romantic love for Demetrius. However, when the fairies get involved I see nothing but a playful game of puppetry.

It can be assumed or argued that Lysander and Demetrius have a romantic love for Helena for a short season. Nevertheless, the love they declare to have for Helena is not from their heart, but from an antidote placed on their eyes. If the chaos in the forest between the lovers were truly a romantic love, then I believe the love they shared could not simply be put on and taken off by a fairy with a magical flower.

Pyramus and Thisbe is the last couple presented in the play, being acted out by

Nick Bottom and Francis Flute. On the surface of the relationship between Pyramus Burgess 7 and Thisbe romantic love is displayed by an impractical act of suicide and profound tenderness and passion shared by two lovers. On the other hand, when Pyramus and

Thisbe are viewed for who they really are, romantic love is difficult to picture. Pyramus and Thisbe are actually two male actors doing some very bad acting of a simple love scene.

Karen Kessler, the director for A Midsummer Night’s Dream at the Illinois

Shakespeare Festival shares in her director’s notes that this is a play about love. “This is a play about love, love that is real, love that is an illusion, love that is forever, and love that is no more lasting than a dream.” Furthermore, she states that romantic love is seen in three phases; love in conflict, new love, and giddy youthful love. She explains, “The

Mechanicals experience a kind of love as well, love of the artist for his particular form of expression.” And she also explains, A Midsummer Night’s Dream shows us irrational love, deep and abiding love, passionate love, and most of all it shows us that real love is not something to be explained, but something to be cherished and nurtured.”

I agree with Kessler’s viewpoint on the different types of love and the phases of romantic love as well. However, just as she has stated “real love is not something to be explained, but something to be cherished and nurtured.” I would add that romantic love is not something to be explained or handled by fairies, but it is something to be cherished and nurtured, and it takes place in the heart of one lover to another.

Romeo and Juliet

The Most Excellent and Lamentable Tragedy of Romeo and Juliet also displays characteristics of romantic love. Unfortunately, the romantic love does not out weigh the Burgess 8

“love tragedy” that is experienced in the play. Romeo and Juliet, the characters for whom the play is named are teenagers who attempt to experience true love despite the family ramifications. “The play begins as a comedy, with the mooning Romeo, a somewhat absurd victim of melancholy, in love with Rosaline, and a rather farcical conflict of comic servants”(Charney 81).

I question the credibility of Romeo’s love for Rosaline and Juliet. The play begins with a heart broken Romeo, but just how broken was his heart to allow him to fall so quickly in love with Juliet. I credit the love that Romeo and Juliet share to be a romantic love, because it is impractical and desirous for adventure also they are profoundly tender and passionate toward one another. However, I still question the strength and foundation of their love, because of Romeo’s heart gymnastics and because they are teenagers who meet at a party once and seemingly fall in love.

Nevertheless, I believe it can be argued that Romeo and Juliet share a committed love, that doesn’t necessarily have to be romantic. They don’t simply choose to run off together; they make a choice to seal their relationship with marital vows. Romeo and

Juliet was written in the same period as A Midsummer Night’s Dream, which was around

1595. Therefore, it should come as no surprise that these plays share similar characteristics.

Midsummer…and Romeo and Juliet play with the idea of sudden and abrupt love, love that doesn’t build on a solid foundation. The audience sees no fairies in Romeo and

Juliet, Nevertheless, Romeo’s language sounds like he has been struck by a truckload of cupids. “As soon as Romeo sees Juliet and before he has even spoken with her, he is Burgess 9 exploding with inexpressible love, far greater than what can be expected by the love-at- first-sight convention”(Charney 82).

O, she doth teach the torches to burn bright!

It seems she hangs upon the cheek of night

As a rich jewel in an Ethiop’s ear—

Beauty too rich for use, for earth too dear! (46-49)

The play turns tragic just as abruptly as it is romantic. The two teenage lovers are surrounded by family strife, yet despite the family feud they fall in love. “The protagonists are always represented as pure and innocent and devoted to each other.

They are clearly victims of the feud between the houses” (Charney 87).

Paris and Juliet don’t share mutual feelings. Therefore, what is between them cannot be considered romantic love if there be any love at all. There is nothing impractical or adventurous about Paris. Paris is chosen for Juliet, not by Juliet.

Furthermore, “Romeo is the prototype of the Romantic lover and poet. But he is not a

Romantic hero, because Shakespeare does not allow him to dominate the stage. Romeo is passion without reflection or calculation, and although such passion is rare and attractive, Shakespeare makes it appear to be a thing of youth without making youth appear to be the best age” (Bloom 278).

The Merchant of Venice

The Merchant of Venice presents several relationships, which could be perceived as relationships that stem from romantic love. The viewing of the play at the Illinois

Shakespeare Festival muddies the relational lines between characters, because Portia isn’t Burgess 10 really a woman, and Antonia isn’t really a man. However, once these logistics are dealt with the relationships to focus on are: Portia and Bassanio, Nerissa and Graziano, and

Jessica and Lorenzo.

The romance in The Merchant of Venice completes strongly with the financial dynamics of the play. Bassanio has a desire for wealth, and due to this desire is provoked to woo and be romantic toward Portia, who has been left a substantial amount of wealth by her father. Bassanio’s romantic language is obviously taunted by greed more than need, and clearly has a financial base for all his praise of her beauty:

my chief care

Is to come fairly off from the great debts

Wherein my time, something too prodigal,

Hath left me gag’d. (I. i. 127-31).

Furthermore, Bassanio’s trip to Belmont is not only to seek financial gain and stability for himself, but to also recover the money Antonio has given him. Nevertheless, I believe that even though Bassanio’s initial motivation wasn’t sincere, he finds in Portia a fulfilling relationship (Leggatt 122-23). I consider Portia a romantic lover because of her desire to have adventure, and her profound tenderness and passion toward Bassanio.

According to Alexander Leggatt, Belmont is a world of security, while Venice is a world of need. It is also a place where the conventional expressions of romantic love have become impossible, and the dislocation goes so far that the very idea of romantic love is virtually destroyed. The relationship between Lorenzo and Jessica supports the notion best, that Venice was not a place to develop romantic love. The two lovers elope Burgess 11 by night, under the cover of a masque and a banquet, with the girl disguised as a torchbearer. She is a Jew escaping with a Christian, moving from hell to salvation (125).

Nerissa and Graziano is the last couple that is presented with romantic tendencies.

The relationship that is shared between them is spontaneous and passionate. It resembles previous relationships mentioned in earlier plays that appear to display love popping up out of nothing. Nevertheless, love has something to do with each play and each relationship presented. Regardless if the love is based on lust, commitment, finance, or romance there is a portion of love represented in it all. Burgess 12

Works Cited

Bloom, Allan. Love and Friendship. New York: Simon & Shuster, 1993.

Charney, Maurice. Shakespeare on Love and Lust. New York: Columbia UP, 2000.

Greenblatt, Stephen. Ed. The Norton Shakespeare Based on the Oxford Edition. By

William Shakespeare. W. W. Norton & Company: New York, 1997.

Lawrence, Stone. The Family, Sex, and Marriage In England 1500-1800. New York:

Harper & Row, 1979.

Leggatt, Alexander. Shakespeare’s Comedy of Love. New York: Methuen, 1973.

Lerner, Laurence. Love and Marriage: Literature and its Social Context. London:

Edward Arnold, 1979.

Oz, Abraham. The Yoke of Love Prophetic Riddles in The Merchant of Venice. Newark:

U of Delaware P, 1995.

“Love.” The Random House College Dictionary. 4th ed. 1973.

“Romantic.” The Random House College Dictionary. 4th ed. 1973.