The gender switch in Helena and Demetrius' conversation adds an interesting component to the play's representation of love because it reminds us that men and women are limited by the types of roles they are traditionally allowed when seeking love. Helena invokes male prerogative in pursing Demetrius, reversing many of the myths that abound of men chasing women: She will be Apollo to his Daphne, the griffin to his dove, the tiger to his doe. All of these examples suggest male creatures violating a female, often sexually. Helena seems aware of her odd position in relationship with her beloved. She argues that women aren't allowed to fight for love in the same way men do, so her pursuit of Demetrius makes him hate her, perhaps because it displays an unfeminine aggressiveness.
Of course, Helena is not the only woman in the text who acts on the edge of gender boundaries. As we learned in the opening scene, Hippolyta was once a fighter, the respected leader of the Amazons, a band of warrior women. Like Hippolyta, Theseus' warrior bride, Helena usurped a traditionally male role of dominance and power; like Hippolyta, she needs to be subdued. Although she will probably never be the fighter Hippolyta once was, Helena's attempt to control her own destiny in love causes problems for the male world. Perhaps this is why Helena is rewarded for her faithfulness. Oberon supports her cause by vowing to use the love juice on Demetrius, leaving him fonder of her than she is of him and returning her to a submissive, traditionally feminine position.
