Starting from Two Gentlemen, I argue in what follows that Midsummernight’s Dream uses a similar plot-device on which depends the resolution of the play, namely, that of a certain kind of “metamorphised,” ill-matched love. [1]
To begin with, consider briefly the case in Two Gentlemen, which is outlined in the play transparently, and which serves here as the model to be compared with Midsummernight’s Dream.
In Two Gentlemen, we witness how Proteus originally loved Julia; but when he is sent after Valentine to Milan to the court (on the behest of his father, Antonio, importantly), he forgets Julia over falling in love with Silvia, just as Valentine suddenly forgets his disdain for love, thus entailing rivalry for Silvia. In the end, part of the play’s resolution consists in rematching Julia and Proteus, even though Silvia simply drops out of the play.
Similarly, though perhaps less transparently set out, in Midsummernight’s Dream, we learn through Lysander that
Demetrius, Ile auouch it to his head,/ Made loue to Nedars daughter, Helena,/ And won her soule: and she (sweet Ladie) dotes,/ Deuoutly dotes, dotes in Idolatry,/ Vpon this spotted and inconstant man. (115-119)
However, Demetrius now loves Hermia who, however, is also loved by Lysander just like Proteus and Valentine became rivals in love of Silvia.
Notably, perhaps, the conflict seems linked with meddling of Egeus (Hermia’s father) who imagines a match between Demetrius and Hermia,[2] just like the conflict emerged in Two Gentlemen when Protheus was sent by his father to Milan.[3]
In conclusion of the play, Demetrius and Helena are rematched just as Lysander and Hermia are.
Moreover, the parallelism between Helena and Julia implied by this interpretation is re-inforced as they share the treat of following their respective lovers who just abandoned them. Julia resolves to “vndertake/ A iourney to my louing Protheus” (981-982), while Helena is determined to “follow thee [Demetrius], and make a heauen of hell,/ To die vpon the hand I loue so well.” (622-623)
Yet again, notice Helena’s complaint that
ere Demetrius lookt on Hermias eyne,/ He hail’d downe oathes that he was onely mine./ And when this Haile some heat from Hermia felt,/ So he dissolu’d, and showres of oathes did melt […]. (256-259)
This may recall Julia who tells us about Protheus’ oathes of love (1044 and 1050). Again, the imagery involving Hermia’s heat may be recalled when Protheus, pondering over his metamorphised desire, notes that
[a]t first I did adore a twinkling Starre,/ But now I worship a celestiall Sunne […]. (938-939)
and how he notes about his former Julia:
(That I did loue, for now my loue is thaw’d,/ Which like a waxen Image ‘gainst a fire/ Beares no impression of the thing it was.) (855-857)
One could add the blind-Cupid imagery on which both plays rely to gloss their plots, and a further hint at their connection could consist in the “beautfiul-eyes”-motif which seems concentrated consistently on Silvia in Two Gentlemen and Hermia, her parallel figure, in Midsummernight’s Dream, but I will pass over this.
In conclusion, it may be noted that in both cases some love “metamorphised,” which is ill-matched, poses the problem of the play. Accordingly, the resolution both of Two Gentlemen and Midsummernight’s Dream seems to consist at least partly in re-establishing the former love before its “metamorphosis.”
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[1] I used the Folio versions as reproduced on the Internet Shakespeare edition as for citations from Two Gentlemen and Midsummernight’s Dream.
[2] Again, Silvia’s rejection of Thurio, who is the Duke, her father’s favourite, may be recalled by Hermia’s refusal to like Demetrius who is imposed on her by her father Egeus.
[3] This could be read as intended match of Protheus with someone like Silvia; notably, Protheus kept his love for Julia secret before his father (see 380 ff.).
First published on May 2 2025 on Ko-fi