Criticism and interpretation A Midsummer Night's Dream

1 criticism , interpretation

1.1 critical history

1.1.1 17th century
1.1.2 18th century
1.1.3 19th century
1.1.4 20th century

criticism , interpretation
critical history
17th century

samuel pepys, first literary critic comment on play, found midsummer night s dream insipid ridiculous play ever saw in life.

dorothea kehler has attempted trace criticism of work through centuries. earliest such piece of criticism 1662 entry in diary of samuel pepys. found play insipid ridiculous play ever saw in life. did, however, admit had dancing , handsome women, pleasure. next critic write on play john dryden, writing in 1677. preoccupied question of whether fairies should depicted in theatrical plays, since did not exist. concluded poets should allowed depict things not exist derive popular belief. , fairies of sort, pigmies , extraordinary effects of magick. based on reasoning, dryden defended merits of 3 fantasy plays: midsummer night s dream, tempest, , ben jonson s masque of witches.

18th century

charles gildon in 18th century recommended play beautiful reflections, descriptions, similes, , topics. gildon thought shakespeare drew inspiration works of ovid , virgil, , read them in original latin , not in later translations. james halliwell-phillipps, writing in 1840s, found there many inconsistencies in play, considered beautiful poetical drama ever written. henry austin clapp, writing in 1885, commented on inconsistency of time depicted in play, should take place in 4 days , nights , seems last less two, , felt added unrealistic quality of play.

horace howard furness defended midsummer night s dream claims of inconsistency, , felt did not detract quality of play.

horace howard furness, defending play in 1895, felt apparent inconsistency did not detract play s quality. in 1971, neil taylor argued there double time-scheme in play, making seem last minimum of 4 nights timeless. in 1977, anne paolucci argued play lasts 5 days.

william duff, writing in 1770s, recommended play. felt depiction of supernatural among shakespeare s strengths, not weaknesses. praised poetry , wit of fairies, , quality of verse involved. contemporary francis gentleman, admirer of shakespeare, less appreciative of play. felt poetry, characterisation, , originality of play strengths, major weaknesses puerile (childishly silly , immature) plot , consists of odd mixture of incidents. connection of incidents each other seemed rather forced gentleman.

edmond malone, shakespearean scholar , critic of late 18th century, found supposed flaw in particular play, lack of proper decorum. found more exalted characters (the aristocrats of athens) subservient interests of beneath them. in other words, lower-class characters play larger roles betters , overshadow them. found grave error of writer. malone thought play had , immature work of shakespeare and, implication, older writer know better. malone s main argument seems derive classism of era. assumes aristocrats had receive more attention in narrative , more important, more distinguished, , better lower class.

19th century

william hazlitt preferred reading midsummer night s dream on watching acted on stage.

according kehler, significant 19th-century criticism began in 1808 august wilhelm schlegel. schlegel perceived unity in multiple plot lines. noted donkey s head not random transformation, reflects bottom s true nature. identified tale of pyramus , thisbe burlesque of athenian lovers. in 1817, william hazlitt found play better written work staged production. found work delightful fiction when staged, reduced dull pantomime. concluded poetry , stage not fit together. kehler finds comment more of indication of quality of theatrical productions available hazlitt, rather true indication of play s supposed unsuitability stage. notes prior 1840s, stage productions of play adaptations unfaithful original text.

in 1811–1812, samuel taylor coleridge made 2 points of criticism play. first entire play should seen dream. second, helena guilty of ungrateful treachery hermia. thought reflection of lack of principles in women, more follow own passions , inclinations men. women, in view, feel less abhorrence moral evil, though concerned outward consequences. coleridge earliest critic introduce gender issues analysis of play. kehler dismisses views on helena indications of coleridge s own misogyny, rather genuine reflections of helena s morality.

william maginn thought bottom lucky man , particularly amused treats titania, queen of fairies, carelessly if wench of next-door tapster.

in 1837, william maginn produced essays on play. turned attention theseus speech lunatic, lover, , poet , hippolyta s response it. regarded theseus voice of shakespeare himself , speech call imaginative audiences. viewed bottom lucky man on whom fortune showered favours beyond measure. particularly amused way bottom reacts love of fairy queen: unfazed. maginn argued theseus have bent in reverent awe before titania. bottom treats carelessly if wench of next-door tapster. finally, maginn thought oberon should not blamed titania s humiliation, result of accident. viewed oberon angry caprices of queen, unable anticipate charmed affections reserved weaver donkey s head.

in 1839, philosopher hermann ulrici wrote play , depiction of human life reflected views of platonism. in view, shakespeare implied human life nothing dream, suggesting influence plato , followers thought human reality deprived of genuine existence. ulrici noted way theseus , hippolyta behave here, ordinary people. agreed malone did not fit stations in life, viewed behaviour indication of parody class differences.

in 1849, charles knight wrote play , apparent lack of proper social stratification. thought play indicated shakespeare s maturity playwright, , thesean harmony reflects proper decorum of character. viewed bottom best-drawn character, self-confidence, authority, , self-love. argued bottom stands representative of whole human race. hazlitt felt work best appreciated when read text, rather acted on stage. found writing subtle , ethereal , , standing above literary criticism , reductive reasoning.

georg gottfried gervinus thought hermia lacking in filial piety , devoid of conscience running away lysander, himself not shining beacon of virtue (here seen wooing helena).

also in 1849, georg gottfried gervinus wrote extensively play. denied theory play should seen dream. argued should seen ethical construct , allegory. thought allegorical depiction of errors of sensual love, likened dream. in view, hermia lacks in filial obedience , acts if devoid of conscience when runs away lysander. lysander guilty disobeying , mocking prospective father-in-law. pyramus , thisbe lack in filial obedience, since woo moonlight behind parents backs. fairies, in view, should seen personified dream gods . represent caprices of superficial love, , lack in intellect, feeling, , ethics.

gervinus wrote on fairyland of play located. not in attica, in indies. views on indies seem kehler influenced orientalism. speaks of indies scented aroma of flowers , place mortals live in state of half-dream. gervinus denies , devalues loyalty of titania friend. views supposed friendship not grounded in spiritual association. titania merely delight in beauty, swimming gait, , powers of imitation . gervinus further views titania immoral character not trying reconcile husband. in resentment, titania seeks separation him, gervinus blames for.

gervinus wrote elitist disdain mechanicals of play , acting aspirations. described them homely creatures hard hands , thick heads . are, in view, ignorant men compose , act in plays merely financial reward. not real artists. gervinus reserves praise , respect theseus, thinks represents intellectual man. several of predecessors, gervinus thought work should read text , not acted on stage.

charles cowden clarke appreciated mechanicals, , in particular found nick bottom conceited natured , imaginative.

in 1863, charles cowden clarke wrote on play. kehler notes husband of famous shakespearean scholar mary cowden clarke. charles more appreciative of lower-class mechanicals of play. commented favourably on individualisation , collective richness of character. thought bottom conceited natured, , shows considerable store of imagination in interaction representatives of fairy world. argued bottom s conceit quality inseparable secondary profession, of actor.

in 1872, henry n. hudson, american clergyman , editor of shakespeare, wrote comments on play. kehler pays little attention writings, largely derivative of previous works. notes, however, hudson believed play should viewed dream. cited lightness of characterisation supporting of view. in 1881, edward dowden argued theseus , reflections on art central play. argued theseus 1 of heroic men of action central shakespeare s theatrical works.

henry a. clapp (1885) , horace howard furness (1895) both more concerned problem of play s duration, though held opposing views. in 1887, denton jacques snider argued play should read dialectic, either between understanding , imagination or between prose , poetry. viewed play representing 3 phases or movements. first real world of play, represents reason. second fairy world, ideal world represents imagination , supernatural. third representation in art, action self-reflective. snider viewed titania , caprice solely blame marital strife oberon. therefore deserves punishment, , oberon dutiful husband provides one. failing live in peace oberon , kind, titania sentenced fall in love human. , human, unlike oberon horrid brute .

towards end of 19th century, georg brandes (1895–6) , frederick s. boas (1896) last major additions midsummer night s dream criticism. brandes approach anticipates later psychological readings, seeing oberon s magic symbolic , typifying sorcery of erotic imagination . brandes felt in play, shakespeare looks inward @ domain of unconscious . boas eschews play ethical treatise or psychological study , instead takes more historicist , literal approach. boas play is, despite fantastical , exotic trappings, english , elizabethan. sees theseus tudor noble; helena mere plot device concentrate 4 lovers on single spot ; , pyramus , thisbe play-within-the-play parody of prominent topos of contemporary plays. summing contributions, kehler writes: recognizably modern criticism.

20th century

the 20th century brought new insights play. in 1961, elizabeth sewell argued shakespeare aligns himself not aristocrats of play, bottom , artisans. task produce wedding entertainment, precisely purpose of writer on working in play. in 1961, frank kermode wrote on themes of play , literary sources. counted among them fantasy, blind love, , divine love. traced these themes works of macrobius, apuleius, , giordano bruno. bottom briefly alludes passage first epistle corinthians paul apostle, dealing divine love.

in 1964, r.w. dent argued against theories exemplary model of love in play rational love of theseus , hippolyta. argued in work, love inexplicable. offspring of imagination, not reason. exemplary love of play 1 of imagination controlled , restrained, , avoids excesses of dotage . genuine love contrasted unrequited love (and dotage) of demetrius hermia, , supposed love (and dotage) of titania unworthy object.

dent denied rationality , wisdom typically attributed theseus. reminded readers character of theseus greek mythology, creation himself of antique fable . theseus views on art far rational or wise. can t tell difference between actual play , interlude. interlude of play s acting troop less art , more of expression of mechanicals distrust of own audience. fear audience reactions either excessive or inadequate, , on stage. theseus fails message.

also in 1964, jan kott offered own views on play. viewed main themes of play violence , unrepressed animalistic sexuality . both lysander , demetrius are, in view, verbally brutal lovers, love interests exchangeable , objectified. changeling oberon desires new sexual toy . aristocrats of play, both mortal , immortal, promiscuous. athenian lovers following night in forest, ashamed talk because night liberated them , social norms, , allowed them reveal real selves. kott s views controversial , contemporary critics wrote, either in favour of or against kott s views, few ignored them.

in 1967, john a. allen theorised bottom symbol of animalistic aspect of humanity. thought bottom redeemed through maternal tenderness of titania, allowed him understand love , self-sacrifice of pyramus , thisbe. in 1968, stephen fender offered own views on play. emphasised terrifying power of fairies , argued control play s events. powerful figures featured, not theseus thought. emphasised ethically ambivalent characters of play. finally, fender noted layer of complexity in play. theseus, hippolyta, , bottom have contradictory reactions events of night, , each has partly valid reasons reactions, implying puzzles offered play s audience can have no singular answer or meaning.

in 1969, michael taylor argued previous critics offered cheerful view of play depicts. emphasised less pleasant aspects of otherwise appealing fairies , nastiness of mortal demetrius prior enchantment. argued overall themes painful aspects of love , pettiness of people, here include fairies.

in 1970, r.a. zimbardo viewed play full of symbols. moon , phases alluded in play, in view, stand permanence in mutability. play uses principle of discordia concors in several of key scenes. theseus , hippolyta represent marriage and, symbolically, reconciliation of natural seasons or phases of time. hippolyta s story arc must submit theseus , become matron. titania has give motherly obsession changeling boy , passes through symbolic death, , oberon has once again woo , win wife. kehler notes zimbardo took granted female subordination within obligatory marriage, social views challenged in 1960s.

in 1971, james l. calderwood offered new view on role of oberon. viewed king specialising in arts of illusion. oberon, in view, interior dramatist of play, orchestrating events. responsible play s happy ending, when influences theseus overrule egeus , allow lovers marry. oberon , theseus bring harmony out of discord. suggested lovers identities, blurred , lost in forest, recall unstable identities of actors change roles. in fact failure of artisans play based on chief flaw actors: can not lose own identities temporarily replace them of fictional roles.

also in 1971, andrew d. weiner argued play s actual theme unity. poet s imagination creates unity giving form diverse elements, , writer addressing spectator s own imagination creates , perceives unity. weiner connected unity concept of uniformity, , in turn viewed shakespeare s allusion eternal truths of platonism , christianity.

also writing in 1971, hugh m. richmond offered entirely new view of play s love story lines. argued passes love in play self-destructive expression of passion. argued play s significant characters affected passion , sadomasochistic type of sexuality. passion prevents lovers genuinely communicating each other. @ same time protects them disenchantment love interest communication inevitably brings. exception rule bottom, chiefly devoted himself. own egotism protects him feeling passion else. richmond noted there parallels between tale of pyramus , thisbe, featured in play, , of shakespeare s romeo , juliet.

in 1972, ralph berry argued shakespeare chiefly concerned epistemology in play. lovers declare illusion reality, actors declare reality illusion. play reconciles seemingly opposing views , vindicates imagination. in 1972, thomas mcfarland argued play dominated mood of happiness , 1 of happiest literary creations ever produced. mood lovely audience never feels fear or worry fate of characters.

in 1974, marjorie garber argued metamorphosis both major subject of play , model of structure. noted in play, entry in woods dream-like change in perception, change affects both characters , audience. dreams here take priority on reason, , truer reality seek interpret , transform. in 1974, alexander leggatt offered own reading of play. there grimmer elements in play, overlooked because audience focuses on story of sympathetic young lovers. viewed characters separated 4 groups interact in various ways. among four, fairies stand sophisticated , unconstrained. contrasts between interacting groups produce play s comic perspective.

in 1975, ronald f. miller expresses view play study in epistemology of imagination. focused on role of fairies, have mysterious aura of evanescence , ambiguity. in 1975, david bevington offered own reading of play. in part refuted ideas of jan kott concerning sexuality of oberon , fairies. pointed oberon may bisexual , desire changeling boy may sexual in nature, kott suggested. there little textual evidence support this, writer left ambiguous clues concerning idea of love among fairies. concluded therefore love life unknowable , incomprehensible . according bevington, main theme of play conflict between sexual desire , rational restraint, essential tension reflected throughout play. tension between dark , benevolent sides of love, reconciled in end.

in 1979, m. e. lamb suggested play may have borrowed aspect of ancient myth of theseus: athenian s entry labyrinth of minotaur. woods of play serve metaphorical labyrinth, , elizabethans woods allegory of sexual sin. lovers in woods conquer irrational passion , find way back. bottom animal head becomes comical version of minotaur. bottom becomes ariadne s thread guides lovers. in having new minotaur rescue rather threaten lovers, classical myth comically inverted. theseus himself bridegroom of play has left labyrinth , promiscuity behind, having conquered passion. artisans may stand in master craftsman of myth, , builder of labyrinth, daedalus. theseus best known speech in play, connects poet lunatic , lover may metaphor of lover. challenge poet confront irrationality shares lovers , lunatics, accepting risks of entering labyrinth.

also in 1979, harold f. brooks agreed main theme of play, heart, desire , culmination in marriage. other subjects of lesser importance, including of imagination , of appearance , reality. in 1980, florence falk offered view of play based on theories of cultural anthropology. argued play traditional rites of passage, trigger development within individual , society. theseus has detached himself imagination , rules athens harshly. lovers flee structure of society communitas of woods. woods serve here communitas, temporary aggregate persons asocial desires require accommodation preserve health of society. rite of passage asocial can contained. falk identified communitas woods, unconscious, dream space. argued lovers experience release self-knowledge , return renewed athens. societas , resolution of dialectic between dualism of communitas , structure.

also in 1980, christian critic r. chris hassel, jr. offered christian view of play. experience of lovers , of bottom (as expressed in awakening speech) teach them new humility, healthy sense of folly . realise there things true despite fact can not seen or understood. learned lesson of faith. hassel thought theseus speech on lunatic, lover, , poet applause imagination. laughing rejection of futile attempts perceive, categorise, or express it.

alex aronson considered puck representation of unconscious mind , contrast theseus representation of conscious mind.

some of interpretations of play have been based on psychology , diverse theories. in 1972, alex aronson argued theseus represents conscious mind , puck represents unconscious mind. puck, in view, guise of unconscious trickster, while remaining subservient oberon. aronson thought play explores unauthorised desire , linked concept of fertility. viewed donkey , trees fertility symbols. lovers sexual desires symbolised in forest encounters. in 1973, melvin goldstein argued lovers can not return athens , wed. first, have pass through stages of madness (multiple disguises), , discover authentic sexual selves . in 1979, norman n. holland applied psychoanalytic literary criticism play. interpreted dream of hermia if real dream. in view, dream uncovers phases of hermia s sexual development. search options defence mechanism. both desires lysander , wants retain virginity.

in 1981, mordecai marcus argued new meaning of eros (love) , thanatos (death) in play. in view, shakespeare suggests love requires risk of death. love achieves force , direction interweaving of life impulse deathward-release of sexual tension. viewed play suggesting healing force of love connected acceptance of death, , vice versa.

in 1987, jan lawson hinely argued play has therapeutic value. shakespeare in many ways explores sexual fears of characters, releases them, , transforms them. , happy ending reestablishment of social harmony. patriarchy challenged , transformed, men offer women loving equality, 1 founded on respect , trust. viewed titania s loving acceptance of donkey-headed bottom metaphor basic trust. trust enables warring , uncertain lovers achieve sexual maturity. in 1988, allen dunn argued play exploration of characters fears , desires, , structure based on series of sexual clashes.

in 1991, barbara freedman argued play justifies ideological formation of absolute monarchy, , makes visible examination maintenance process of hegemonic order.

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