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MIDSUMMER-NIGHT'S DREAM was registered at the

Stationers' October 8, 1600, and two quarto editions of it were published in the course of that year. The play is not known to have been printed again till it reappeared in the folio of 1623, where the repetition of certain misprints shows it to have been printed from one of the quarto copies. In all three of these copies, however, the printing is remarkably clear and correct for the time, insomuch that modern editors have little difficulty about the text. Probably none of the Poet's dramas has reached us in a more satisfactory state.

The play is first heard of in the list given by Francis Meres in his Palladis Tamia, 1598. But it was undoubtedly written several years before that time; and I am not aware that any editor places the writing at a later date than 1594. This brings it into the same period with King John, King Richard the Second, and the finished Romeo and Juliet ; and the internal marks of style naturally sort it into that company. Our Mr. Verplanck, however, thinks there are some passages which relish strongly of an earlier time; while again there are others that with the prevailing sweetness of the whole have such an intertwisting of nerve and vigour, and such an energetic compactness of thought and imagery, mingled occasionally with the deeper tonings of " years that bring the philosophic mind," as to argue that they were wrought into the structure of the play not long before it came from the press. The part of the Athenian lovers certainly has a good deal that, viewed by itself, would scarce do credit even to such a boyhood as Shakespeare's must have been. On the other hand, there is a large philosophy in Theseus' discourse of “the lunatic, the lover, and the poet,” a manly judgment in his reasons for preferring the “tedious brief scene of young Pyramus and his love Thisbe," and a bracing freshness in the short dialogue of the chase, all in the best style of the author's second period. Perhaps, however, what seem the defects of the former, the fanciful quirks and far-fetched conceits, were wisely designed, in order to invest the part with such an air of dreaminess and unreality as would better sort with the scope and spirit of the piece, and preclude a disproportionate resentment of some naughty acts into which those love-bewildered frailties are betrayed.

There is at least a rather curious coincidence, which used to be regarded as proving that the play was not written till after the Summer of 1594. I refer to Titania's superb description, in ii. 1, of the strange misbehaviour of the weather, which she ascribes to the fairy bickerings. I can quote but a part of it:

“ The seasons alter : hoary-headed frosts

Fall in the fresh lap of the crimson rose ;
And on old Hiems' thin and icy crown
An odorous chaplet of sweet summer buds
Is, as in mockery, set : the Spring, the Summer,
The childing Autumn, angry Winter, change
Their wonted liveries ; and the mazed world,
By their increase, now knows not which is which :
And this same progeny of evils comes
From our debate, from our dissension."

For the other part of the coincidence, Strype in his Annals gives the following passage from a discourse by the Rev. Dr. King: “And see whether the Lord doth not threaten us much more, by sending such unseasonable weather and storms of rain among us; which if we will observe, and compare it with what is past, we may say that the course of nature is very much inverted. Our years are turned upside down : our Summers are no Summers; our harvests are no harvests; our seed-times are no seed-times. For a great space of time scant any day hath been seen that it hath not rained.” Dyce indeed scouts the supposal that Shakespeare had any allusion to this eccentric conduct of the elements in the Summer of 1594, pronouncing it “ ridiculous ”; but I do not quite see it so; albeit I am apt enough to believe that most of the play was written before that date. And surely, the truth of the allusion being granted, all must admit that passing events have seldom been turned to better account in the service of poetry.

I can hardly imagine this play ever to have been very successful on the stage; and I am sure it could not be made to succeed there now. Still we are not without contemporary evidence that it had at least a fair amount of fame. And we have authentic information that it was performed at the house of Dr. John Williams, Bishop of Lincoln, on Sunday, the 27th of September, 1631. The actor of Bottom's part was on that occasion sentenced by a Puritan tribunal to sit twelve hours in the porter's room of the Bishop's palace, wearing the ass's head. This Dr. Williams was the very able but far from faultless man who was treated so harshly by Laud, and gave the King such crooked counsel in the case of Strafford, and spent his last years in mute sorrow at the death of his royal master, and had his life written by the wise, witty, good Bishop Hacket.

Some hints towards the part of Theseus and Hippolyta appear to have been taken from The Knight's Tale of Chaucer. The same poet's Legend of Thisbe of Babylon, and Golding's translation of the same story from Ovid, probably furnished the matter of the Interlude. So much as relates to Bottom and his fellows evidently came fresh from Nature as she had passed under the Poet's eye. The linking of these clowns with the ancient tragic tale of Pyramus and Thisbe, so as to draw the latter within the region of modern farce, is not less original than droll. How far it may have expressed the Poet's judgment touching the theatrical doings of the time, were perhaps a question more curious than profitable. The names of Oberon, Titania, and Robin Goodfellow were made familiar by the surviving relies of Gothic and Druidical mythology; as were also many particulars in their habits, mode of life, and influence in human affairs. Hints and allusions scattered through many preceding writers might be produced, showing that the old superstition had been grafted into the body of Christianity, where it had shaped itself into a regular system, so as to mingle in the lore of the nursery, and hold an influential place in the popular belief. Some reports of this ancient Fairydom are choicely translated into poetry by Chaucer in The Wife of Bath's Tale.

But, though Chaucer and others had spoken about the fairy nation, it was for Shakespeare to let them speak for themselves : until he clothed their life in apt forms, their thoughts in fitting words, they but floated unseen and unheard in the mental atmosphere of his fatherland. So that on this point there need be no scruple about receiving Hallam's statement of the matter: 66 A MidsummerNight's Dream is, I believe, altogether original in one of the most beautiful conceptions that ever visited the mind of a poet, — the fairy machinery. A few before him had dealt in a vulgar and clumsy manner with popular superstitions; but the sportive, beneficent, invisible population of the air and earth, long since established in the creed of childhood, and of those simple as children, had never for a moment been blended with “human mortals' among

the personages of the drama.” How much Shakespeare did as the friend and saviour of those sweet airy frolickers of the past from the relentless mowings of Time, has been charmingly set forth in our day in Hood's Plea of the Midsummer Fairies.

What, then, are the leading qualities which the Poet ascribes to these ideal or fanciful beings ? Coleridge says he is “ convinced that Shakespeare availed himself of the title of this play in his own mind, and worked upon it as a dream throughout." This remark no doubt rightly hits the true genius of the piece; and on no other ground can its merits be duly estimated. The whole play is indeed a sort of ideal dream; and it is from the fairy personages that its character as such mainly proceeds. All the mate rials of the piece are ordered and assimilated to that central and governing idea. This it is that explains and justifies the distinctive features of the work, such as the constant preponderance of the lyrical over the dramatic, and the free playing of the action unchecked by the conditions of outward fact and reality. Accordingly a sort of lawlessness is, as it ought to be, the very law of the performance. King Oberon is the sovereign who presides over the world of dreams; Puck is his prime minister; and all the other denizens of Fairydom are his subjects and the agents of his will in this capacity. Titania's nature and functions are precisely the same which Mercutio assigns to Queen Mab, whom he aptly describes as having for her office to deliver sleeping men's fancies of their dreams, those “ children of an idle brain.” In keeping with this central dream-idea, the actual order of things everywhere gives place to the spontaneous issues and capricious turnings of the dreaming mind; the lofty and the low, the beautiful and the grotesque, the world of fancy and of fact, all the strange diversities that enter into “ such stuff as dreams are made of,” running and frisking together, and interchanging their functions and properties, so that the whole seems confused, flitting, shadowy, and indistinct, as fading away in the remoteness and fascination of moonlight. The very scene is laid in a veritable dream-land, called Athens indeed, but only because Athens was the greatest beehive of beautiful visions then known; or rather it is laid in an ideal forest near an ideal Athens, - a forest peopled with

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