A Midsummer Night's Dream is a romantic comedy by William Shakespeare. It was suggested by "The Knight's Tale" from Geoffrey Chaucer's The Canterbury Tales and written around 1594 to 1596. It portrays the adventures of four young Athenian lovers and a group of amateur actors, their interactions with the Duke of Athens, Theseus, the Queen of the Amazons, Hippolyta, and with the fairies who inhabit a moonlit forest. The play is one of Shakespeare's most popular works for the stage and is widely performed across the world.
Sources
It is not known exactly when A Midsummer Night's Dream was written or first performed, but, on the basis of topical references and an allusion toSpenser's Epithalamion, it is usually dated 1594 or 1596. Some have theorised that the play might have been written for an aristocratic wedding (numerous such weddings took place in 1596), while others suggest that it was written for the Queen to celebrate the feast day of St. John. No concrete evidence exists to support either theory. In any case, it would have been performed at The Theatre and, later, The Globe in London.Some features of the plot and characters can be traced to elements of earlier mythologically based literature; for example, the story of Pyramus and Thisbe is told in Ovid's Metamorphosesand the transformation of Bottom into an ass is descended from Apuleius' The Golden Ass. Lysander was also an ancient Greek warlord while Theseus and Hippolyta were respectively the Duke of Athens and Queen of the Amazons. In addition, Shakespeare could have been working on Romeo and Juliet at about the same time that he wrote A Midsummer Night's Dream, and it is possible to see Pyramus and Thisbe as a comic reworking of the tragic play. A further, seldom noted source is The Knight's Tale in Chaucer's Canterbury Tales.[1] A Midsummer Night's Dream is one of the few plays in Shakespeare's canon, along with The Tempest and Love's Labor's Lost, for which there is no known source for the main plot.[2]
Date and text
The play was entered into the Register of the Stationers Company on 8 October 1600 by the bookseller Thomas Fisher, who published the first quarto edition later that year. A second quarto was printed in 1619 by William Jaggard, as part of his so-called False Folio. The play next appeared in print in the First Folio of 1623. The title page of Q1 states that the play was "sundry times publickely acted" prior to 1600. The first performance known with certainty occurred at Court on January 1, 1605.
Synopsis
isThe play features three interlocking plots, connected by a celebration of the wedding of Duke Theseus of Athens and the Amazonian queen, Hippolyta, and set simultaneously in the woodland, and in the realm of Fairyland, under the light of the moon.[3]In the opening scene, Hermia refuses to follow her father Egeus's instructions for her to marry his chosen man, Demetrius. In response, Egeus quotes before Theseus an ancient Athenian law whereby a daughter must marry the suitor chosen by her father, or else face death. Theseus does not want this young girl to die, and offers her another choice, lifelong chastity worshipping the goddess Diana as a nun. (The word 'nun' in this sense is an anachronism.)Hermia and her lover Lysander decide to elope by escaping through the forest at night. Hermia informs her friend Helena, but Helena has recently been rejected by Demetrius and decides to win back his favour by revealing the plan to him. Demetrius, followed doggedly by Helena, chases Hermia. Hermia and Lysander, believing themselves safely out of reach, sleep in the woods.
Meanwhile, Oberon, king of the fairies, and his queen, Titania, were in the forest outside Athens. Titania tells Oberon that she plans to stay there until after she has attended Theseus and Hippolyta's wedding. Oberon and Titania are estranged because Titania refuses to give her Indian changeling to Oberon for use as his "knight" or "henchman," since the child's mother was one of Titania's worshippers. Oberon seeks to punish Titania's disobedience. So he calls for the mischievousPuck (also called Hobgoblin and Robin Goodfellow) to help him apply a magical juice from a flower called "love-in-idleness", which when applied to a person's sleeping eyelids while sleeping makes the victim fall in love with the first living thing seen upon awakening. He instructs Puck to retrieve the flower so that he can make Titania fall in love with some vile creature of the forest. Oberon streaks Titania's eyes with the juice while she is sleeping to distract her and force her to give up the page-boy.Having seen Demetrius act cruelly toward Helena, Oberon orders Puck to spread some of the elixir on the eyelids of the young Athenian man. Instead, Puck accidentally puts the juice on the eyes of Lysander, who then falls in love with Helena. Oberon sees Demetrius still following Hermia and is enraged. When Demetrius decides to go to sleep, Oberon sends Puck to get Helena while he charms Demetrius' eyes. Due to Puck's drastic mistake of putting the juice on Lysander's eyes, both lovers now fight over Helena instead of Hermia. Helena, however, is convinced that her two suitors are mocking her, as neither loved her originally. The four pursue and quarrel with each other most of the night, until they become so enraged that they seek a place to duel each other to the death to settle the quarrel. Oberon orders Puck to keep the lovers from catching up with one another in the forest and to re-charm Lysander for Hermia.Meanwhile, a band of six lower-class labourers ("rude mechanicals", as they are described by Puck) have arranged to perform a crude play about Pyramus and Thisbe for Theseus' wedding, and venture into the forest, near Titania's bower, for their rehearsal. Nick Bottom, a stage-struck weaver, is spotted by Puck, who transforms his head into that of a donkey. When Bottom returns for his next lines, the other workmen take one look at him and run screaming in terror. Determined to wait for his friends, he begins to sing to himself. Titania is awakened by Bottom's singing and immediately falls in love with him. She treats him like a nobleman and lavishes him with attention. While in this state of devotion, she encounters Oberon and casually gives him the Indian boy. Having achieved his goals, Oberon releases Titania and orders Puck to remove the ass's head from Bottom. The magical enchantment is removed from Lysander but is allowed to remain on Demetrius, so that he may reciprocate Helena's love.The fairies then disappear, and Theseus and Hippolyta arrive on the scene, during an early morning hunt. They wake the lovers and, since Demetrius doesn't love Hermia anymore, Theseus over-rules Egeus's demands and arranges a group wedding. The lovers decide that the night's events must have been a dream. After they all exit, Bottom awakes, and he too decides that he must have experienced a dream "past the wit of man." In Athens, Theseus, Hippolyta and the lovers watch the six workmen perform Pyramus and Thisbe. It is ridiculous and badly performed but gives everyone pleasure regardless, and afterward everyone retires to bed. Afterwards, Oberon, Titania, Puck, and other fairies enter, and bless the house and its occupants with good fortune.
Characters
Analysis and criticism
Themes
Love:
Writer David Bevington finds in the play what he refers to as the dark side of love. He writes that the fairies make light of love by mistaking the lovers and by applying a love potion to Titania’s eyes, forcing her to fall in love with Bottom as an ass.[4] In the forest, both couples are met by problems and assume that a partner is dead at some point. Hermia and Lysander are both met by Puck, who provides some comedic relief in the play by confusing the four lovers in the forest. Despite the darkness and difficulty that obstructs the love in A Midsummer Night’s Dream, it is still a comedy as Benedetto Croce indicates. He writes, “love is sincere, yet deceives and is deceived; it imagines itself to be firm and constant, and turns out to be fragile and fleeting”.[5] This passage, like the play juxtaposes one idea next to another. The play is a comedy, yet it harbors serious ideas. At the end of the play, Hermia and Lysander, happily married, watch the play about the unfortunate lovers, Pyramus and Thisbe, and are able to enjoy and laugh about the play, not realizing the similarities between them. Although their story is very similar to that of Pyramus and Thisbe, it does not end in tragic death.[6] Hermia and Lysander are both oblivious to the dark side of their love. They are not aware of the possible outcome that could have taken place at the forest.
Loss of individual identity
Maurice Hunt, Chair of the English Department at Baylor University, writes of the blurring of the identities of fantasy and reality in the play that make possible “that pleasing, narcotic dreaminess associated with the fairies of the play”.[7] By emphasizing this theme even in the setting of the play, Shakespeare prepares the reader’s mind to accept the fantastic reality of the fairy world and its magical happenings. This also seems to be the axis around which the plot conflicts in the play occur. Hunt suggests that it is the breaking down of individual identities that leads to the central conflict in the story.[7] It is the brawl between Oberon and Titania, based on a lack of recognition for the other in the relationship, that drives the rest of the drama in the story and makes it dangerous for any of the other lovers to come together due to the disturbance of Nature caused by a fairy dispute.
Similarly, this failure to identify and make distinction is what leads Puck to mistake one set of lovers for another in the forest and place the juice of the flower on Lysander’s eyes instead of Demetrius’. Victor Kiernan, a Marxist scholar and historian, writes that it is for the greater sake of love that this loss of identity takes place and that individual characters are made to suffer accordingly: “It was the more extravagant cult of love that struck sensible people as irrational, and likely to have dubious effects on its acolytes”.[8] He believes that identities in the play are not so much lost as they are blended together to create a type of haze through which distinction becomes nearly impossible. It is driven by a desire for new and more practical ties between characters as a means of coping with the strange world within the forest, even in relationships as diverse and seemingly unrealistic as the brief love between Titania and Bottom the Ass: “It was the tidal force of this social need that lent energy to relationships”.
David Marshall, an aesthetics scholar and English Professor at the University of California - Santa Barbara, takes this theme to an even further conclusion, pointing out that the loss of identity is especially played out in the description of the mechanicals their assumption of other identities. In describing the occupations of the acting troupe, he writes “Two construct or put together, two mend and repair, one weaves and one sews. All join together what is apart or mend what has been rent, broken, or sundered”. In Marshall’s opinion, this loss of individual identity not only blurs specificities, it creates new identities found in community, which Marshall points out may lead to some understanding of Shakespeare’s opinions on love and marriage.
Further, the mechanicals understand this theme as they take on their individual parts for a corporate performance of Pyramus and Thisbe. Marshall remarks that “To be an actor is to double and divide oneself, to discover oneself in two parts: both oneself and not oneself, both the part and not the part”. He claims that the mechanicals understand this and that each character, particularly among the lovers, has a sense of laying down individual identity for the greater benefit of the group or pairing. It seems that a desire to lose one’s individuality and find identity in the love of another is what quietly moves the events of A Midsummer Night’s Dream. It is the primary sense of motivation and is even reflected in the scenery and mood of the story.
Ambiguous sexuality
In his essay "Preposterous Pleasures, Queer Theories and A Midsummer Night's Dream", Douglas E. Green explores possible interpretations of alternative sexuality that he finds within the text of the play, in juxtaposition to the proscribed social mores of the culture at the time the play was written. He writes that his essay "does not (seek to) rewrite A Midsummer Night's Dream as a gay play but rather explores some of its 'homoerotic significations'...moments of 'queer' disruption and eruption in this Shakespearean comedy."[10] Green states that he does not consider Shakspeare to have been a "sexual radical", but that the play represented a "topsy-turvy world" or "temporary holiday" that mediates or negotiates the "discontents of civilization", which while resolved neatly in the story's conclusion, do not resolve so neatly in real life.[11] Green writes that the "sodomitical elements", "homoeroticism", "lesbianism", and even "compulsory heterosexuality" in the story must be considered in the context of the "culture of early modern England" as a commentary on the "aesthetic rigidities of comic form and political ideologies of the prevailing order." Aspects of ambiguous sexuality and gender conflict in the story are also addressed in essays by Shirley Garner[12] and William W.E. Slights.
Other interpretations
Feminist
Male dominance is one thematic element found in A Midsummer Night's Dream. Shakespeare's comedies often include a section in which females enjoy more power and freedom than they actually possess. In A Midsummer Night's Dream, Helena and Hermia escape into the woods for a night where they do not fall under the laws of Theseus or Egeus. Upon their arrival in Athens, the couples are married. Marriage is seen as the ultimate social achievement for women while men can go on to do many other great things and gain societal recognition.[14] In his article, "The Imperial Votaress," Louis Montrose draws attention to male and female gender roles and norms present in the comedy in connection with Elizabethan culture. In reference to the triple wedding, he says, "The festive conclusion in A Midsummer Night's Dream depends upon the success of a process by which the feminine pride and power manifested in Amazon warriors, possessive mothers, unruly wives, and willful daughters are brought under the control of lords and husbands."[15] He says that the consummation of marriage is how power over a woman changes hands from father to husband. A connection between flowers and sexuality is drawn. The juice employed by Oberon can be seen as symbolizing menstrual blood as well as the sexual blood shed by virgins. While blood as a result of menstruation is representative of a woman's power, blood as a result of a first sexual encounter represents man's power over women.[16]There are points in the play, however, when there is an absence of patriarchal control. In his book, Power on Display, Leonard Tennenhouse says the problem in A Midsummer Night's Dream is the problem of "authority gone archaic."[17] The Athenian law requiring a daughter to die if she does not do her father's will is outdated. Tennenhouse contrasts the patriarchal rule of Theseus in Athens with that of Oberon in the carnivalistic Faerie world. The disorder in the land of the faeries completely opposes the world of Athens. He states that during times of carnival and festival, male power is broken down. For example, what happens to the four lovers in the woods as well as Bottom's dream represents chaos that contrasts with Theseus' political order. However, Theseus does not punish the lovers for their disobedience. According to Tennenhouse, by forgiving of the lovers, he has made a distinction between the law of the patriarch (Egeus) and that of the monarch (Theseus), creating two different voices of authority. This distinction can be compared to the time of Elizabeth I in which monarchs were seen as having two bodies: the body natural and the body mystical. Elizabeth's succession itself represented both the voice of a patriarch as well as the voice of a monarch: (1) her father's will which stated that the crown should pass to her and (2) the fact that she was the daughter of a king.[18] The challenge to patriarchal rule in A Midsummer Night's Dream mirrors exactly what was occurring in the age of Elizabeth I.
Production
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