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A Midsummer Night's Dream

by William Shakespeare

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Description

A Midsummer Night's Dream features a cast of characters involved in romantic and theatrical pursuits amidst the political and social setting of ancient Athens. The play centres on the romantic entanglements of four young lovers, whose affections are disrupted by fairy mischief in an enchanted forest. The intervention of mischievous fairies, led by Oberon and Titania, creates chaos through the use of magical potions, affecting both the lovers and a group of amateur actors preparing a play for a wedding celebration. The narrative combines elements of comedy, fantasy, and romance, illustrating themes of love's complexity and the illusion of reality.

Written by William Shakespeare around 1595 or 1596, the work exemplifies late 16th-century English dramatic comedy. It reflects the theatrical and literary style of the Elizabethan era, blending poetic dialogue with a fantastical plotting rooted in mythological and fairy lore. The play is part of British literature's important canon of comedic theatrical works from the Renaissance period.

From the opening pages

You were best to call them generally, man by man, according to the scrip. QUINCE. Here is the scroll of every man’s name, which is thought fit through all Athens, to play in our interlude before the Duke and Duchess, on his wedding-day at night. BOTTOM. First, good Peter Quince, say what the play treats on; then read the names of the actors; and so grow to a point. QUINCE. Marry, our play is The most lamentable comedy and most cruel death of Pyramus and Thisbe . BOTTOM. A very good piece of work, I assure you, and a merry. Now, good Peter Quince, call forth your actors by the scroll. Masters, spread yourselves. QUINCE. Answer, as I call you. Nick Bottom, the weaver. BOTTOM. Ready. Name what part I am for, and proceed. QUINCE. You, Nick Bottom, are set down for Pyramus. BOTTOM. What is Pyramus—a lover, or a tyrant? QUINCE. A lover, that kills himself most gallantly for love. BOTTOM. That will ask some tears in the true performing of it. If I do it, let the audience look to their eyes. I will move storms; I will condole in some measure. To the rest—yet my chief humour is for a tyrant. I could play Ercles rarely, or a part to tear a cat in, to make all split. The raging rocks And shivering shocks Shall break the locks Of prison gates, And Phibbus’ car Shall shine from far, And make and mar The foolish Fates. This was lofty. Now name the rest of the players. This is Ercles’ vein, a tyrant’s vein; a lover is more condoling. QUINCE. Francis Flute, the bellows-mender. FLUTE. Here, Peter Quince. QUINCE. Flute, you must take Thisbe on you. FLUTE. What is Thisbe? A wandering knight? QUINCE. It is the lady that Pyramus must love. FLUTE. Nay, faith, let not me play a woman. I have a beard coming. QUINCE. That’s all one. You shall play it in a mask, and you may speak as small as you will. BOTTOM. And I may hide my face, let me play Thisbe too. I’ll speak in a monstrous little voice; ‘Thisne, Thisne!’—‘Ah, Pyramus, my lover dear! thy Thisbe dear! and lady dear!’ QUINCE. No, no, you must play Pyramus; and, Flute, you Thisbe. BOTTOM. Well, proceed. QUINCE. Robin Starveling, the tailor. STARVELING. Here, Peter Quince. QUINCE. Robin Starveling, you must play Thisbe’s mother.

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