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Shakespe atomic number 18 uses the antics of Oberon and Puck at the forefront of this comedy, using the juice to make eachone fall in love, however they err due to their presumption as Oberon vaguely describes Demerits by by the Athenian gar ments he hath on. The iambic meter indicates these char strikeers argon great powerful, yet their actions are unintelligent the cin one caseption of incompetent leadership is a humorous stereotype, frequently used in dramatic comedy. Here, however, the joke is pesky power, or rather who we give power to, as Shakespeare portrays Oberon as using his power recklessly.The reason Oberon and Puck incur squeezing the juice on the lovers is that the character overheard A sweet Athenian girl and a disdainful youth, and so, in the guise of move to help them, he creates havoc. Borons aid, however, is a facade he only desires mastery he knows that Demerits doesnt love Helena back, and so he interferes. This attitude reflects that of the tycoons c ost as Louis Monitors puts it, Queen Elizabeth Xis marital status and her sexual condition were matters of the separate, reflected when Oberon plans to put the juice on large so that she renders her page to him.Oberon and Puck, t herefore, are shown as metaphors for the male Elizabethan state where the men knew everything about the Queen and tried to control her in order to fulfill their interests they tried to fury her into getting married, and reproducing in order for the country to have an heir, just as Oberon tried to force Titanic to change her mind when she defies him saying the queen mole rat land buys not the child off me.Ultimately, despite Titanics rebellion, she straight forward gave the changeling child to Oberon because he manipulates her with he juice, rendering her love an fag end this is comedic, especially when the character awakens and worries about being enamored to an assn. The fact that it was the queen mole rat queen to whom this occurred is significant as this term was often a nonliteral author to Queen Elizabeth in Renaissance literature.The juice is symbolical of final patriarchal power however, in reality there is no juice to make the Queen yield and produce an heir for the State. Shakespeare thus is mocking State power as they can never obtain their desires because for once there was a ruler who resisted male authority. The state also is shown through Oberon and this reference to an ass may actually be a reference to Oberon- whom is the one who has acted truly the ass and has Titanics love- and so the state itself.This male liking for power in seen, moreover, in the disorder at the start of the melt in Shakespearean portrayal of the relationship between Hermit and Segues in regard to her choice of husband. Segues believes this hath bewitched the bosom of my daughter Shakespeare refers to Alexander here as this, dehumidifying the character and therefore highlighting the Segues has towards Alexander. Segues wants to dispo se of his daughter to her death because she chooses someone other than who he wants a seeming betrayal.Segues parental unobtrusiveness mirrors the expectations Elizabethan parents had for their children, leading to the 1 753 The Hardwired Act which invalidated any marriages of throng under 21 or if parental/ guardian consent was not granted 1 753 was after the play was written demonstrating the dangerous bequest patriarchal Elizabethan England left. Segues also does not refer to Hemi by agnomen through this passage, instead only using pronouns such as her, yet, the men are named twice in it.This highlights the misogyny as the men, unlike Women, are worthy of name- even Alexander who Was previously simply a this. The namelessness inflicted on Hermit reflects the fact that before the 1 7th degree Celsius married females had no second enamel , emphasizing the fact that she was demoralise than men and just a possession of either her husband or father, as seen as Segues claims Her mit is mine. Moreover, the idea of a Helena, a love-struck teenager, adjacent her love who has rejected her is funny, until Demerits threatens to do thee mischief n the woods.The controlling highlights how threatening this character is, and therefore- because Demerits represents a sort of Everyman- is symbolic of the threatening temper of man, a nature also seen in the forcefulness of Oberon. This scene takes interject on the outskirts of the green world (the forest) and so in a obliviousness between reality, sensuality and disorder we dont know what is possible here therefore making Demerits even more dangerous and thus amplifying the danger of his, and every mans, authority in this world, as we can see by Borons greater power. This scene betweenDemerits and Helena also emphasizes inequality he threatens this terrible act because a female character is stalking him for love, opus he does the selfsame(prenominal) to another. This is ironic and paradoxical, making us question t he attitudes Demerits represents it would appear that it is fine for a bold man to stalk someone because they are- as Dorothy Leigh says- amongst the wise, while when a woman is strong other women Will blush at their boldness2. The motif of round appears symbolically when Oberon plans to manipulate Demerits, Alexander and Titanic when they are asleep at the eight vulnerability and exposure.Oberon attacks them with the juice, thus taking past their will and dignity, in its place leaving distress- as a rape would do. In this case, Borons metaphorical actions are tearing apart the double ruby of Hermit and Helena, striping their symbolic sisterhood to a union in partition. However, this violent authority was not uncommon in the seventeenth century, and neither was it a crime that was prosecuted. It was a popular attitude that women were objects of strike and obedience, as shown in Dry Faustus.Faustus just wants a where wife, or an conjury of Helen of Troy, neither of whom had free will, and although these two plays are of opposite genres, the aggression towards women is seen in both. This shows how it is not only the genre of dramatic comedy, but renaissance battleground in general which holds a mirror to the darker issues of the day. Misogyny is further seen at the start of the play where Theses claims to have won thy heart doing Happily injury, the connotations here of violence reflect the patriarchal period of the play.This is emphasizes because Theses took Happily from a injunction matriarchic Amazonian culture to one where she is objectified as nothing more than a view (coven thy ) implying that this love between them is not what it appeared to be, but is actually another guinea pig of male control. As Alison Plowmen explains, nobody had any objections to love as big as the price was right Theses will gain status and the strength for an heir. Contrastingly, Happily loses her independence and Persephone, thus foregrounding the both the literal an d symbolic battle of the sexes throughout the play due to the male coercion.