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WE may presume the plot of this play to have been the invention of Shakspeare, as the diligence of his commentators has failed to trace the sources from whence it is derived. Steevens says that the hint for it was probably received from Chaucer's Knight's Tale.
“In the Midsummer-Night's Dream,” says Schlegel, “there flows a luxuriant vein of the boldest and most fantastical invention: the most extraordinary combination of the most dissimilar ingredients seems to have arisen without effort, by some ingenious and lucky accident, and the colors are of such clear transparency that we think that the whole of the variegated fabric may be blown away with a breath. The fairy world here described resembles those elegant pieces of Arabesque, where iittle Genii, with butterfly wings, rise half embodied above the flower cups. Twilight, moonshine, dew, and spring-perfumes are the element of these tender spirits; they assist Nature in embroidering her carpet with green 1eaves, many-colored flowers, and dazzling insects; in the human world they merely sport in a childish and wayward manner with their beneficent or noxious influences. Their most violent rage dissolves in good-natured raillery; their passions, stripped of all earthly matter, are merely an ideal dream. To correspond with this, the loves of mortals are painted as a poetical enchantment, which, by a contrary enchantment, may be immediately suspended, and then renewed again. The different parts of the plot—the wedding of Theseus, the disagreement of Oberon and Titania, the flight of the two pair of lovers, and the theatrical operations of the mechanics—are so lightly and happily interwoven, that they seem necessary to each other for the formation of a whole. Oberon is desirous of relieving the lovers from their perplexities, and greatly adds to them through the misapprehension of his servant, till he at last comes to the aid of their fruitless amorous pain, their inconstancy and jealousy, and restores fidelity to its old rights. The extremes of fanciful and vulgar are united when the enchanted Titania awakes and falls in love with a coarse mechanic, with an ass's head, who represents, or rather disfigures, the part of a tragical lover. The droll wonder of the transmutation of Bottom is merely the transmutation of a metaphor in its literal sense; but, in his behavior during the tender homage of the Fairy Queen, we have a most amusing proof how much the consciousness of such a head-dress heightens the effect of his usual folly. Theseus and Hippolyta are, as it were, a splendid frame for the picture; they take no part in the action, but appear with a stately pomp. The discourse of the hero and his Amazon, as they course through the forest with their noisy hunting train, works upon the imagination like the fresh breath of morning, before which the shapes of night disappear.””
This is a production of the youthful and vigorous imagination of the poet. Malone places the date of its composition in 1594. There are two quarto editions, both printed in 1600; one by Thomas Fisher, the other by James Roberts.
* Lectures on Dramatic Literature, vol. ii. p. 176.
THESEUs, Duke of Athens.
Bottom, the Weaver.
SNouT, the Tinker.
STARVELING, the Tailor.
}in love with Hermia.
Hippoly TA, Queen of the Amazons, betrothed to Theseus HERMIA, Daughter of Egeus, in love with Lysander. HELENA, in love with Demetrius.
OBERoN, King of the Fairies.
This B.E, Characters in the Interlude performed by
Other Fairies attending their King and Queen. Attendant on Theseus and Hippolyta.
SCENE. Athens, and a Wood not far from it.
SCENE I. Athens. A Room in the Palace of Theseus.
Enter THESEUS, HIPPoly TA, PHILosTRATE, and Attendants.
Theseus. Now, fair Hippolyta, our nuptial hour
Hip. Four days will quickly steep themselves in
Four nights will quickly dream away the time;
The. Go, Philostrate,
- [Exit PHILosTRATE.
Hippolyta, I wooed thee with my sword,
Enter EGEUS, HERMIA, LYSANDER, and DEMETRIUS.
Ege. Happy be Theseus, our renowned duke '' The. Thanks, good Egeus. What's the news with - thee P Ege. Full of vexation come I, with complaint Against my child, my daughter Hermia.Stand forth, Demetrius;–my noble lord, This man hath my consent to marry her.— Stand forth, Lysander;-and, my gracious duke, This hath bewitched” the bosom of my child. Thou, thou, Lysander, thou hast given her rhymes, And interchanged love tokens with my child; Thou hast by moon-light at her window sung, With feigning voice, verses of feigning love; And stolen the impression of her fantasy With bracelets of thy hair, rings, gawds", conceits, Knacks, trifles, nosegays, sweetmeats; messengers Of strong prevailment in unhardened youth. With cunning hast thou filched my daughter's heart; Turned her obedience, which is due to me, To stubborn harshness;–And, my gracious duke, Be it so she will not here before your grace Consent to marry with Demetrius, I beg the ancient privilege of Athens, As she is mine, I may dispose of her; Which shall be either to this gentleman, Or to her death; according to our law, Immediately provided in that case. The. What say you, Hermia o Be advised, fair - maid. To you your father should be as a god; One that composed your beauties; yea, and one To whom you are but as a form in wax, By him imprinted, and within his power
! Duke, in our old language, was used for a leader or chief, as the
8 Baubles, toys, trifles.
To leave the figure, or disfigure it.