Note return to page 1 Kean's production of A MIDSUMMER NIGHT'S DREAM, premiered in 1856, was one of his most lucrative Shakespearean ventures, achieving over one hundred and fifty performances. As this acting edition records, it was dominated by stage effects (such as Puck's entry on a miraculously-rising mushroom), to make room for which Shakespeare's text was drastically shortened.

Note return to page 2 &hand1;For reference to Historical Authorities indicated by Letters, see end of each Act.

Note return to page 3 1Shows.

Note return to page 4 2&lblank; spotted &lblank;] As spotless is innocent, so spotted is wicked. Johnson.

Note return to page 5 3Beteem them &lblank;] Give them, bestow upon them. The word is used by Spencer.

Note return to page 6 4&lblank; the collied night,] Collied, i. e., black, smutted with coal; a word still used in the Midland Counties.

Note return to page 7 5Spleen—a sudden, hasty fit.

Note return to page 8 6Whether the epithet faint has reference to the colour or smell of Primroses, let the reader determine. —Steevens.

Note return to page 9 7That is, emptying our bosoms of those secrets upon which we were wont to consult each other with so sweet a satisfaction.

Note return to page 10 8&lblank; in game &lblank;] Game here signifies sport, jest.

Note return to page 11 9&lblank; Hermia's eyne,] This plural is common both in Chaucer and Spenser.

Note return to page 12 10In this scene Shakespeare takes advantage of his knowledge of the theatre, to ridicule the prejudices and competitions of the players. Bottom, who is generally acknowledged the principal actor, declares his inclination to be for a tyrant, for a part of fury, tumult, and noise, such as every young man pants to perform when he first steps upon the stage. The same Bottom, who seems bred in a tiring-room, has another histrionical passion. He is for engrossing every part, and would exclude his inferiors from all possibility of distinction. He is therefore desirous to play Pyramus, Thisbe, and the Lion, at the same time. —Johnson.

Note return to page 13 11&lblank; the scrip.] id est., the written list.

Note return to page 14 12This is designed as a ridicule on the titles of our ancient moralities and interludes. Thus Skelton's magnificence is called “a goodly interlude and a merry.” —Steevens.

Note return to page 15 13&lblank; spread yourselves.] i.e., stand separately, not in a group.

Note return to page 16 14id. est., Hercules.

Note return to page 17 15Phœbus.

Note return to page 18 16I have been told that a bellows-mender was one who had the care of organs, regals, &c. —Steevens.

Note return to page 19 17&lblank; an 'twere &lblank;] An means as if.

Note return to page 20 18&lblank; properties,] Properties are whatever articles are wanted in a play for the actors, according to their respective parts, dresses and scenes excepted. The person who delivers them out is to this day called the property-man.

Note return to page 21 19At the prince's oak we meet. &lblank; Hold, or cut bow-strings.] To meet, whether bow-strings hold or are cut, is to meet in all events. To cut the bow-string, when bows were in use, was probably a common practice of those who bore enmity to the archer.

Note return to page 22 36000001[A] (A) Athens, the capital of Attica, was situated on a promontory, formed by the confluence of two rivers, the Ilissus and the Cephissus. It was built on the side of an abrupt rocky eminence, rising out of an extensive plain. Its origin, like that of most ancient and renowned cities, is involved in fable. Its reputed founder is Cecrops, described by some as an Egyptian, and also as a contemporary with Moses. B.C. 1556. Athens was burnt by Xerxes in B.C. 480, but was soon rebuilt under the administration of Themistocles, and was adorned with public buildings by Cimon, and especially by Pericles, in whose time (B.C. 460–429) it reached its greatest splendour. Its beauty was chiefly owing to its public buildings, for the private houses were mostly insignificant, and its streets badly laid out. The summit of the Acropolis was covered with temples, statues of bronze and marble, and various other works of art. Of the temples, the grandest was the Parthenon, sacred to the “virgin” goddess Athena (Minerva); and North of the Parthenon was the magnificent Erechtheum, containing three separate temples, one of Athena Polios, or the “Protectress of the State,” the Erechtheum proper, or sanctuary of Erectheus, and the Pandrosium, or sanctuary of Pandrosos, the daughter of Cecrops. Between the Parthenon and Erectheum was the colossal statue of Athena Promachos, or the “Fighter in the Front,” whose helmet and spear was the first object on the Acropolis visible from the sea.— Dr. Smith's “Classical Dictionary.”

Note return to page 23 36000002[B] (B) Theseus was the son of Ægeus, king of Athens, and of Æthra, daughter of Pittheus, king of Trœzen. On his return to Athens, Ægeus left Æthra behind him at Trœzen, enjoining her not to send their son to Athens till he was strong enough to lift from beneath a stone of prodigious weight his father's sword and sandals, which would serve as tokens of recognition. Theseus, when grown to manhood, accomplished the appointed feat with ease, and took the road to Athens over the isthmus of Corinth, a journey beset with many dangers from robbers who barbarously mutilated or killed the unhappy wayfarers who fell into their hands. But Theseus overcame them all, and arrived in safety at Athens, where he was recognised by Ægeus, and declared his successor. Among his many memorable achievements, the most famous was his deliverance of Athens from the frightful tribute imposed upon it by Minos, for the murder of his son. This consisted of seven youths and seven maidens, whom the Athenians were compelled to send every nine years to Crete, there to be devoured by the Minotaur, a monster with a human body and a bull's head, which Minos kept concealed in an inextricable labyrinth. The third ship was already on the point of sailing with its cargo of innocent victims, when Theseus offered to go with them, hoping to put an end for ever to the horrible tribute. Ariadne, the daughter of Minos, became enamoured of the hero, and having supplied him with a clue to trace the windings of the labyrinth, Theseus succeeded in killing the monster, and in tracking his way out of the mazy lair. As he returned towards Athens, the pilot forgot to hoist the white sail, agreed on as the signal of success, in place of the black sail usually carried by the vessel which bore that melancholy tribute, whereupon Ægeus thinking that his son had perished, threw himself into the sea which afterwards bore his name. Theseus having now ascended the throne, B. C. 1235, proceeded to lay the foundations of the future greatness of Athens. He united into one political body the twelve independent states into which Cecrops had divided Attica, and made Athens the capital of the new kingdom. In order to accommodate the increased population of the city, he covered with buildings the ground lying to the south of the Cecropian citadel; and in commemoration of the union, he instituted the festivals of the Panathenæa and Synoika, in honour of Athena (Minerva), the patron goddess of the city. He then divided the citizens into three classes, namely Eupatridœ, or nobles, Geomori, or husbandmen, and Demiurgi, or artisans. He is further said to have established a constitutional government, retaining in his own hands only certain definite powers and privileges, so that he was regarded in a latter age as the founder of civil equality at Athens. He also extended the Attic territory to the confines of Peloponnesus, and established the games in honour of Poseidon (Neptune,) which were celebrated on the Isthmus. He subsequently engaged in a variety of adventures in conjunction with Hercules and Pirithous, king of the Lapithæ. But on his return to Athens after these exploits, the Athenians refused to obey him any longer, whereupon he retired to the island of Scyros, and was there murdered through the treachery of King Lycomedes. —Dr. Smith's “History of Greece.”

Note return to page 24 36000003[C] (C) Hippolyta, Queen of the Amazons, marched with her army into Attica, to take vengeance on Theseus for having carried off her sister Antiope, but, being conquered by Theseus, she fled to Megara, where she died of grief, and was buried. In some accounts, Hippolyta, and not Antiope, is said to have been married to Theseus. —Vide Smith's “Classical Dictionary.”

Note return to page 25 1To dew her orbs upon the green:] These orbs are circles supposed to be made by the fairies on the ground, whose verdure proceeds from the fairies' care to water them.

Note return to page 26 2Changeling is commonly used for the child supposed to be left by the fairies, but here for a child taken away. —Johnson.

Note return to page 27 3&lblank; sheen,] Shining, bright, gay.

Note return to page 28 4But they do square;] To square here is to quarrel.

Note return to page 29 5&lblank; no barm;] Barme is a name for yeast.

Note return to page 30 6&lblank; a roasted crab;] i. e., a wild apple of that name.

Note return to page 31 7And never, since the middle summer's spring, &c.] The middle summer's spring, is, I apprehend, the season when trees put forth their second, or, as they are frequently called, their midsummer shoots. —Henley.

Note return to page 32 8“A mermaid on a dolphin's back” is supposed by some commentators to be an allegorical allusion to Mary Queen of Scots (who was at one time caricatured as a mermaid), and bears reference to her marriage with the Dauphin of France, son of Henry II., while the succeeding line, “uttering such dulcet and unharmonious breath,” alludes to her great abilities of genius and learning. “That the rude sea grew civil at her song,” is conjectured to mean Scotland, encircled with the ocean, which rose up in arms against the Regent while Mary was in France, but her return home presently quieted those disorders. “Certain stars shot madly from their spheres, To hear the sea-maid's music.” By which is meant the Earls of Northumberland and Westmoreland, who fell in Mary's quarrel; and principally the great Duke of Norfolk, whose projected marriage with her was attended with such fatal consequences.

Note return to page 33 9At a fair vestal, throned by the west;] A compliment to Queen Elizabeth.

Note return to page 34 10&lblank; fancy free.] i. e., exempt from the power of love.

Note return to page 35 11&lblank; impeach your modesty &lblank;] i. e., bring it into question.

Note return to page 36 12&lblank; for that.] i. e., For leaving the city.

Note return to page 37 13Discourse—conversation.

Note return to page 38 14To die upon the hand, &c.] To die upon, &c., in our author's language, perhaps, means—“to die by the hand.”

Note return to page 39 15Where ox-lips &lblank;] The oxlip is the greater cowslip.

Note return to page 40 16Nodding violet grows;] Id est., that declines its head, like a drowsy person. —Steevens.

Note return to page 41 17&lblank; with double tongue,] our author means forked.

Note return to page 42 18Newts, and blind-worms,] The newt is the eft, the blind worm is the Cæcilia or slow-worm.

Note return to page 43 19Be it ounce,] The ounce is a small tiger, or tiger-cat

Note return to page 44 20All the power this charm doth owe:] i.e., all the power it possesses.

Note return to page 45 21&lblank; wilt thou darkling &lblank;] i.e., in the dark.

Note return to page 46 22&lblank; my grace.] My acceptableness, the favour that I can gain.

Note return to page 47 23True gentleness.] Gentleness is equivalent to what in modern language we should call the spirit of a gentleman.

Note return to page 48 24By'rlakin, a parlous fear.] By our ladykin, or little lady. Parlous is a word corrupted from perilous, i.e., dangerous.

Note return to page 49 25&lblank; that brake;] Brake signifies here a thicket, or furze bush.

Note return to page 50 26&lblank; juvenal,] i. e., young man.

Note return to page 51 27&lblank; cues and all.] A cue, in stage phrase, is the last few words of the preceding speech, and serves as a hint to him who is to speak next.

Note return to page 52 28The ousel-cock,] The ouzel cock is generally understood to be the cock blackbird; but the Ouzel differs from the Blackbird by having a white crescent upon the breast, and is, besides, rather larger.

Note return to page 53 29The throstle was the nightingale.

Note return to page 54 30&lblank; plain-song cuckoo, &c.] That is, the cuckoo, who, having no variety of strains, sings in plain song, or in plano cantu; by which expression the uniform modulation or simplicity of the chaunt was anciently distinguished, in opposition to prick-song, or variegated musick sung by note.

Note return to page 55 36000004[A] (A) Robin Goodfellow is mentioned by Cartwright (Ordinary Act III., sc. i.), as a spirit particularly fond of disconcerting and disturbing domestic peace and economy. The following anecdote is one out of many related in the life, entitled, “Robin Good-fellow; his mad prankes, and merry jests, full of honest mirth, and is a fit medicine for melancholy,” which was re-printed from a black letter tract of the utmost rarity, published at London in 1628. Robin Good-fellow going over a field met with a clownish fellow, to whom he spake in this manner: “Friend,” quoth he, “what is a clocke?” “A thing,” answered the clowne, “that shewes the time of the day.” “Why then,” sayd Robin Good-fellow, “bee thou a clocke, and tell me what time of the day it is.” “I owe thee not so much service,” answered hee againe, “but because thou shalt thinke thyselfe beholding to mee, know that it is the same time of the day as it was yesterday at this time.” These crosse answers vext Robin Good-fellow, so that in himselfe hee vowed to be revenged of him, which he did in this manner. Robin Good-fellow turned himselfe into a bird, and followed this fellow, who was going into a field a little from that place to catch a horse that was at grasse. The horse being wilde ran over dike and hedge, and the fellow after, but to little purpose, for the horse was too swift for him. Robin was glad of this occasion, for now or never was the time to put his revenge in action. Presently Robin shaped himselfe like to the horse that the fellow followed, and so stood before the fellow: presently the fellow tooke hold of him and got on his backe, but long had he not rid, but with a stumble he hurled this churlish clowne to the ground, that he almost broke his necke; yet tooke he not this for a sufficient revenge for the crosse answers he had received, but stood still and let the fellow mount him once more. In the way the fellow was to ride was a great splash of water of a good depth; thorow this must he of necessity ride. No sooner was hee in the midst of it, but Robin Good-fellow left him with nothing but a pack-saddle betwixt his leggs, and in the shape of a fish swomme to the shore, and ran away laughing, ho, ho, hoh! leaving the poore fellow almost drowned.

Note return to page 56 36000005[B] (B) Those that Hobgoblin call you, and sweet Puck, You do their work,] An account of Puck is given by Drayton, in his Nymphidia:— “He meeteth Puck, which most men call “Hobgoblin, and on him doth fall. “This Puck seems but a dreaming dolt, “Still walking like a ragged colt, “And oft out of a bush doth bolt,   “Of purpose to deceive us; “And leading us, makes us to stray, “Long winter's nights out of the way, “And when we stick in mire and clay,   “He doth with laughter leave us.” The name Puck signifies fiend or devil. It seems that in the fairy mythology, Puck or Hobgoblin, was the trusty servant of Oberon, and always employed to watch or detect the intrigues of Queen Mab, called by Shakespeare, Titania.

Note return to page 57 36000006[C] (C) Enter Oberon,] Shakespeare may have taken the name of Oberon from the early French romance of Huon of Bourdeaux, which was translated into English, in 1570, by Lord Berners, and is probably the work in which Shakespeare had read of Oberon and Fairy-land. The earliest edition of the English translation now known to exist, bears date in 1601. The editor of The Canterbury Tales of Chaucer, in his Introductory Discourse (See Vol. IV., p. 161), observes that Pluto and Proserpina, in The Merchant's Tale, appear to have been the true “progenitors of Oberon and Titania.”

Note return to page 58 36000007[D] (D) Titania,] As to the Fairy Queen (says Mr. Warton, in his Observations on Spenser), considered apart from the race of fairies, Chaucer, in his Rime of Sir Topas, mentions her, together with a fairy land. Again, in The Wif of Bathes Tale, v. 6439: “In olde dayes of the king Artour, “Of which that Bretons speken gret honour; “All was this lond fulfilled of faerie, “The Elf-quene, with hire joly compagnie “Danced ful oft in many a grene mede: “This was the old opinion as I rede.”

Note return to page 59 36000008[E] (E) Henchman, page of honour.—This office was abolished by Queen Elizabeth, but probably remained in the city. Henchmen were a certain number of youths, the sons of gentlemen, who stood or walked near the person of the monarch on all public occasions. They are mentioned in the sumptuary statutes of the 4th of Edward IV., and 24th of Henry VIII. Henchman or Heinsmen, is a German word, as Blount informs us in his “Glossographia,” signifying a domestic, whence our ancients term Hind, a servant in the house of a farmer. Dr. Percy, in a note on the Earl of Northumberland's “Household Book,” with less probability, derives the appellation from their custom of standing by the side, or haunch of their lord. —Reed. At the funeral of Henry VIII., nine Henchmen attended with Sir Francis Bryan, master of the Henchmen. —Strype's “Eccl. Mem., V. II., app. n. 1.”

Note return to page 60 36000009[F] (F) In the time of Shakspeare there were many companies of players, sometimes five at the same time, contending for the favour of the publick. Of these some were undoubtedly very unskilful and very poor, and it is probable that the design of this scene was to ridicule their ignorance, and the odd expedients to which they might be driven by the want of proper decorations. Bottom was perhaps the head of a rival house, and is therefore honoured with an ass's head. —Johnson.

Note return to page 61 36000010[G] (G) No, I am no such thing; I am a man as other men are:—and there, indeed, let him name his name; and tell them plainly, he is Snug, the joiner.] There are probably many temporary allusions to particular incidents and characters scattered through our author's plays, which gave a poignancy to certain passages, while the events were recent, and the persons pointed at yet living.—In the speech now before us, I think it not improbable that he meant to allude to a fact which happened in his time, at an entertainment exhibited before Queen Elizabeth. It is recorded in a manuscript collection of anecdotes, stories, &c., entitled, Merry Passages and Jeasts, MS. Harl. 6395: “There was a spectacle presented to Queen Elizabeth upon the water, and among others Harry Goldingham was to represent Arion upon the dolphin's backe; but finding his voice to be verye hoarse and unpleasant, when he came to perform it, he tears off his disguise, and swears he was none of Arion, not he, but even honest Harry Goldingham; which blunt discoverie pleased the queene better than if it had gone through in the right way:—yet he could order his voice to an instrument exceeding well.”

Note return to page 62 1What night-rule &lblank;] Night-rule in this place should seem to mean, what frolick of the night, what revelry is going forward?

Note return to page 63 2&lblank; patches,] Patch was in old language used as a term of opprobry; perhaps with much the same import as we use raggo-muffin, or tatterdemalion.

Note return to page 64 3An ass's nowl &lblank;] a head.

Note return to page 65 4&lblank; latch'd &lblank;] signifies to infect.

Note return to page 66 5&lblank; in a mispris'd flood:] that is, in a mistaken torrent.

Note return to page 67 6all yon fiery oes &lblank;] Shakespeare uses O for a circle.

Note return to page 68 7virtuous property,] id est, healthy property.

Note return to page 69 1&lblank; do coy,] To coy, is to sooth, to stroke.

Note return to page 70 2&lblank; neif,] i.e., fist.

Note return to page 71 3&lblank; and be all ways away.] i.e., disperse yourselves, and scout out severally, in your watch, that danger approach us from no quarter.

Note return to page 72 4Dian's bud o'er Cupid's flower &lblank;] Dian's bud, is the bud of Agnus Castus, or Chaste Tree. Cupid's flower is the Viola Tricolor, or Love in Idleness.

Note return to page 73 5&lblank; patched fool,] That is, a fool in a parti-colour'd coat.

Note return to page 74 6&lblank; the vaward of the day,] Vaward is compounded of van and ward, the forepart.

Note return to page 75 7&lblank; such gallant chiding;] Chiding in this instance means only sound.

Note return to page 76 8So flew'd,] Sir T. Hanmer remarks, that flews are the large chaps of a deep-mouth'd hound.

Note return to page 77 9&lblank; so sanded:] Of a sandy colour, which is one of the true denotements of a blood-hound.

Note return to page 78 10&lblank; an idle gawd,] i. e., bauble, toy, or trifle.

Note return to page 79 1Say, what abridgment, &c.] By abridgment our author may mean a dramatick performance, which crowds the events of years into a few hours. It may be worth while, however, to observe, that in the North, the word abatement had the same meaning as diversion or amusement.

Note return to page 80 2&lblank; a brief,] i. e., a short account or enumeration.

Note return to page 81 3&lblank; unbreath'd &lblank;] Unexercised, unpractised.

Note return to page 82 4&lblank; addrest.] That is ready.

Note return to page 83 5Flourish of trumpets.] It appears that the prologue was anciently ushered in by trumpets.

Note return to page 84 6The lantern used by Starveling, as Moonshine, is copied from one found at Herculaneum.

Note return to page 85 7“Lion's fell” means “lion's skin;” and Snug intends to assure the ladies that he is no more than a man in a lion's hide.

Note return to page 86 8Well moused, lion.] To mouse signified to mammock, to tear in pieces, as a cat tears a mouse.

Note return to page 87 9Cut thread and thrum;] Thrum is the end or extremity of a weaver's warp; it is popularly used for very coarse yarn. The maids now call a mop of yarn a thrum mop.

Note return to page 88 10&lblank; and quell!] To quell is to murther, to destroy.

Note return to page 89 11&lblank; cheer.] i. e., countenance.

Note return to page 90 12&lblank; heavy gait &lblank;] i. e., slow passage, progress.

Note return to page 91 13&lblank; fordone.] i. e., overcome.

Note return to page 92 14I am sent, with broom, before, To sweep the dust behind the door.] Cleanliness is always necessary to invite the residence and the favour of the fairies.

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