THE SOURCES AND
ANALOGUES OF 'A
MIDSUMMER-NIGHT'S
DREAM' COMPILED
BY FRANK SIDGWICK

NEW YORK
DUFFIELD & COMPANY
LONDON: CHATTO & WINDUS

1908

"COMBIEN DE ROMANS DU JOUR ET DE GAZETTES AI-JE FERMÉS POUR ÉTUDIER PLUS LONGTEMPS CES ADMIRABLES COMPOSITIONS, IMAGES DE L'ESPRIT, DES MŒURS ET DES CROYANCES DE NOS ANCÊTRES!"

Paulin Paris.

CONTENTS

THE SOURCES AND ANALOGUES

OF

"A MIDSUMMER-NIGHT'S DREAM"

A study such as the present one does not demand any elaborate investigation of the date or circumstances of the first production of the play, unless these throw light on the inquiry into its sources; but in any case it is always well to base a literary study on literary history. Here it will suffice to say shortly that A Midsummer-Night's Dream, first published in 1600, must have been acted before or during 1598, as it is definitely mentioned in Mores' Palladic Tamia of that year. A more exact determination of its date can only be derived from the internal evidence supplied by allusions in the text or by metrical and general style. Such allusions as have been discovered—for example, that reference to "the death of learning," V. i. 52-3—form here as elsewhere a battle-ground for critics of all sorts, but do not really assist us to an answer. More trustworthy testimony, however, is afforded by the general character of the play, and by Shakespeare's handling of his material; these considerations, combined with whatever other evidence is available, have caused the play to be assigned to the winter of 1594-5. So placed, it is the latest of the early comedies of Shakespeare, who makes an advance on The Two Gentlemen of Verona, but has not yet attained the firmness of hand which fills the canvas of The Merchant of Venice with so many well-delineated figures. Once arrived at this conclusion, we need not let ourselves again be led away into vagueness or critical polemics by an attempt to find any aristocratic wedding which this masque-like play seems designed to celebrate; such theorising, however interesting in other ways, does not concern and will not avail us now.

It is none the less of value to recognise at the outset that A Midsummer-Night's Dream is more of a masque than a drama—an entertainment rather than a play. The characters are mostly puppets, and scarcely any except Bottom has the least psychological interest for the reader. Probability is thrown to the winds; anachronism is rampant; classical figures are mixed with fairies and sixteenth-century Warwickshire peasants. The main plot is sentimental, the secondary plot is sheer buffoonery; while the story; of Titania's jealousy and Oberon's method of curing it can scarcely be dignified by the title of plot at all. The threads which bind together these three tales, however ingeniously fastened, are fragile. The Spirit of Mischief puts a happy end to the differences of the four lovers, and by his transformation of Bottom reconciles the fairy King and Queen, while he incidentally goes near to spoiling the performance of the "crew of patches" at the nuptials of Theseus by preventing due rehearsal of their interlude. It is perhaps a permissible fancy to convert Theseus' words "the lunatic, the lover, and the poet," to illustrate the triple appeal made by the three ingredients the grotesque, the sentimental, and the fantastic. Each part, of course, is coloured by the poet's genius, and the whole is devoted to the comic aspect of love, its eternal youth and endless caprice, laughing at laws, and laughed at by the secure. "What fools these mortals be!" is the comment of the immortal; the corollary, left unspoken by those outside the pale, being "What fools these lovers be!"

The sources from which Shakespeare drew the plots of his three dozen of plays are for the most part easily recognisable; and although in each case the material was altered to suit his requirements—nihil tetigit quod non ornavit—there is as a rule very little doubt as to the derivation. We can say with certainty that these nine plays were made out of stories from Boccaccio, Masuccio, Bandello, Ser Giovanni, Straparola, Cinthio or Belleforest; that those six were based on older plays, and another half-dozen drawn from Holinshed; that Chaucer, Gower, Lydgate, Sidney, Greene, and Lodge provided other plots; and so forth, until we are left with The Tempest, founded in part on an actual contemporary event, Love's Labour's Lost, apparently his only original plot—if indeed it deserve the name—and finally our present subject A Midsummer-Nights Dream.

It may be observed that for these three plots Shakespeare draws respectively on literature, observation, and oral tradition; for we shall see, I think, that while there can be little doubt that he had been reading Chaucer, North's Plutarch and Golding's Ovid, not to mention other works, probably including some which are now lost, it is also impossible to avoid the conclusion that much if not all of his fairy-lore is derived from no literary source at all, but from the popular beliefs which must have been current in oral tradition in his youth.

§ 1. THE MAIN (SENTIMENTAL) PLOT OF THE FOUR LOVERS AND THE COURT OF THESEUS

I

As the play opens with speeches of Theseus and Hippolyta, it is convenient to treat first of these two characters. Mr. E.K. Chambers has collected (in Appendix D to his edition) nine passages from North's Plutarch's Life of Theseus, of which Shakespeare appears to have made direct use. For example, Oberon's references to "Perigenia," "Aegles," "Ariadne and Antiopa" (II. i. 79-80) are doubtless derived from North; and certainly the reference by Theseus to his "kinsman Hercules" (V. i. 47) is based on the following passage:—

... "they were near kinsmen, being cousins removed by the mother's side. For Aethra was the daughter of Pittheus, and Alcmena (the mother of Hercules) was the daughter of Lysidice, the which was half-sister to Pittheus, both children of Pelops and of his wife Hippodamia."

In modern phraseology, Theseus and Hercules were thus second cousins.

Of the Amazon queen North says:—

"Touching the voyage he [Theseus] made by the sea Maior, Philochorus, and some other hold opinion, that he went thither with Hercules against the Amazons, and that to honour his valiantness, Hercules gave him Antiopa the Amazon. But the more part of the other Historiographers ... do write, that Theseus went thither alone, after Hercules' voyage, and that he took this Amazon prisoner, which is likeliest to be true."

At this point we should interpolate the reason why Hercules went against the Amazons. The ninth (as usually enumerated) of the twelve labours of Hercules was to fetch away the girdle of the queen of the Amazons, a gift from her father Ares, the god of fighting. Admete, the daughter of Eurystheus (at whose bidding the twelve labours were performed) desired this girdle, and Hercules was sent by her father to carry it off by force. The queen of the Amazons was Hippolyta, and she had a sister named Antiopa. One story says that Hercules slew Hippolyta; another that Hippolyta was enticed on board his ship by Theseus; a third, as we have seen, that Theseus married Antiopa. It is not easy to choose incidents from these conflicting accounts so as to make a reasonable sequence; but, as North says, "we are not to marvel, if the history of things so ancient, be found so diversely written." Shakespeare simply states that Theseus "woo'd" Hippolyta "with his sword." Later in the play we learn that the fairy King and Queen not only are acquainted with court-scandal, but are each involved with the past histories of Theseus and Hippolyta (II. i. 70-80).

Apart from these incidents in Theseus' life, Chaucer supplies the dramatist with all he requires in the opening of The Knightes Tale, which we shall discuss in full shortly.^[1]

Egeus, whom Shakespeare makes a courtier of Theseus and father to Hermia, is in the classical legend Aegeus, father of Theseus; both Plutarch and Chaucer so mention him.

The name of Philostrate also comes from Chaucer, where, as we shall see, it is the name adopted by Arcite when he returns to court in disguise, to become first "page of the chamber" to Emelye, and thereafter chief squire to Theseus. It is in this latter capacity that Chaucer's "Philostrate" is nearest to Shakespeare's character, the Master of the Revels.

Of the four lovers, the names of Lysander, Demetrius, and Helena, are of course classical; Shakespeare would find lives of Lysander and Demetrius in North's Plutarch. The name of Hermia, who corresponds with Emilia or Emily of The Knightes Tale, as being the lady on whom the affections of the two young men are set, may have been taken from the legend of Aristotle and Hermia, referred to more than once by Greene. The name cannot be called classical, and appears to be a mistranslation of Hermias.^[7]

The story of Palamon and Arcite has not been traced beyond Boccaccio, that fountain of romance, though he himself says the tale of "Palemone and Arcita" is "una antichissima storia." Possibly the story was taken, as much of Boccaccio's writing must have been taken, from tradition. Palaemon is a classical name,^[8] and Arcite might be a corruption of Archytas. Boccaccio's Teseide (the story of Theseus) which was written about 1344, and may have been first issued wholly or in part under the title of Amazonide, is a poem in the vernacular consisting of twelve books and ten thousand lines in ottava rima.^[9]

Chaucer, in the Prologue to The Legend of Good Women (which is presumably earlier than the Canterbury Tales) states that he had already written

Skeat says "some scraps are preserved in other poems" of Chaucer; he instances (i) ten stanzas from this Palamon and Arcite in a minor poem Anelida and Arcite, where Chaucer refers to Statius, Thebais, xii. 519;^[11] (ii) three stanzas in Trolius and Crheyde; and (iii) six stanzas in The Parlement of Foules, where the description of the Temple of Love is borrowed almost word for word from Boccaccio's Teseide.^[12] Finally, Chaucer used Palamon and Arcite as the basis of The Knightes Tale. By this time, while he retains what folk-lorists call the "story-radical," he has reduced Boccaccio's epic to less than a quarter of its length, and improved it in details. It stands as the first of The Canterbury Tales.

ANALYSTS OF CHAUCER'S KNIGHTES TALE

Old stories relate that once there was a Duke Theseus, lord of Athens, a conqueror of many lands. His latest conquest was "Femenye" (once called Scythia), whose queen Hippolyta he wedded and brought home, accompanied by her young sister Emilia. Now as he drew near to Athens, a company of ladies met him in the way, and laid before him their complaint, to the effect that, their husbands having fallen at the siege of Thebes, Creon the tyrant of Thebes would not let the bodies be buried or burned, but cast them on a heap and suffered the dogs to eat them. Duke Theseus, having sworn to avenge this wrong, sent Hippolyta and Emilia to Athens, and rode to Thebes, where in full battle he fought and slew Creon, and razed the city. The due obsequies were then performed.^[13]

Amongst the slain were found, half-dead, two young knights named Palamon and Arcite, whom the heralds recognised, from the cognisances on their armour, as of blood-royal, and born of two sisters. Theseus sent them to Athens to be held to ransom in prison perpetually, and himself returned home in triumph.

So years and days passed, and Palamon and Arcite dwelt in durance in a tower; till on a morrow of May it befel that the fair and fresh Emilia arose to do observance to May, and walked in the garden, gathering flowers and singing. Now in a high chamber of the tower, which adjoined the garden-wall, Palamon by leave of his gaoler was pacing to and fro and bewailing his lot, when he cast his eyes through the thick-barred window, and beheld Emilia in the garden below; whereat he blenched, and cried out as though struck to the heart. Arcite heard him, and, asking him why he so cried out, bade him suffer imprisonment in patience; but Palamon replied that the cause of his crying out was the beauty of the lady in the garden. Thereupon Arcite spied out of the window at Emilia, and was so struck by her fairness

So strife began between the two. Palamon said it were small honour for Arcite to be false to his cousin and sworn brother, since each had taken an oath not to hinder the other in love; nay, as a knight Arcite was bound to help him in his amour. But Arcite replied that love knows no law; decrees of man are every day broken for love; moreover Palamon and he were prisoners, and were like two dogs fighting for a bone which meantime a kite bears away. Let each continue in his love, for in prison each must endure.

Now a duke name Pirithous came to visit his friend Theseus; who being also a friend to Arcite begged Theseus to let him go free out of prison, which Theseus did. And Arcite was set free without ransom, but on condition that his life should be forfeit if he ever set foot again in any domain of Duke Theseus.

Yet now Arcite found himself in no better stead, being banished from the sight of his lady; and could even find it in his heart to envy Palamon, who might still blissfully abide in prison—nay, not in prison, in Paradise, where sometimes he might see her whom both loved. And on his part Palamon was jealous of Arcite, who might even now be calling together his kin in Thebes to make onslaught on Athens and win his lady Emilia.

Now when Arcite had for a year or two endured this torment, he dreamed one night that the god Mercury appeared to him, and said to him, "To Athens shalt thou wend." Whereupon Arcite started up, and saw in the mirror that his sufferings had so changed him that he might live in Athens unknown. So he clad himself as a labourer, and went with one squire to Athens, and offered his service at the court, where for a year or two he was page of the chamber to Emilia, and passed under the name of Philostrate. And in the course of time he was so honoured that Theseus took notice of him, and made him squire of his own chamber, and maintained him nobly.

Meantime Palamon had lain seven years in prison, when it befel on the third day of May (as the old books that tell this story say) that, aided by a friend, he broke prison, having given his gaoler to drink of drugged wine, and so fled the city, and lay hid in a grove. Hither by chance came Arcite to do observance to May; and first Palamon heard him sing

and thereafter fall into a study, as lovers will, lamenting his hard fate that he should be passing under a false name, and daily be slain by the eyes of Emilia. Whereat Palamon started up, and reproached him, and challenged him to fight; and Arcite answered him no less boldly, saying he would bring him arms and weapons on the morrow, as well as meat and drink and bedding for the night.

So on the morrow the two donned their harness, helping each other to arm, and then fell a-fighting, Palamon like a wild lion, and Arcite like a cruel tiger, till they were ankle-deep in blood.

On the same day rode forth Theseus with Hippolyta and Emilia to hunt the hart, and Theseus was aware of the two knights fighting. He spurred his steed between them, and cried to them to hold their hands. And Palamon told him who they were, and why they fought. Theseus at first was angry, and condemned them both to death; but when the queen Hippolyta and Emilia and the ladies of their train pleaded for them, he relented, bethinking himself of what love is, for he himself had been a servant [lover] in his time; wherefore, at the request of the queen and Emilia, he forgave them, if they would swear to do his country no harm, and be his friends. And when they had sworn, he reasoned with them, that each was worthy to wed Emilia, but that both could not so do; therefore let each depart for a year, and gather to him a hundred knights, and then return to tourney in the lists for the hand of Emilia.

Royal were the lists which Theseus made, a mile in circuit, and walled with stone. Eastward and westward were marble gates, whereon were built temples of Venus and Mars, while in a turret on the north wall was a shrine of Diana goddess of chastity. And each temple was nobly carven and wrought with statues and pictures.

Now the day of the tourney approached, and Palamon and Arcite returned each with a hundred knights.

Palamon brought with him Ligurge king of Thrace, and with Arcite was Emetreas, the king of India, each a giant in might. So on a Sunday they all came to the city.

And in the night, ere dawn, Palamon arose and went to the temple of Venus to pray that he might win Emilia for his wife; and, as it seemed, in answer to his prayer, the statue of Venus shook, and Palamon held it for a sign that the boon he asked was granted. Emilia meanwhile went to the temple of Diana, and prayed to the goddess, that she might remain a virgin, and that the hearts of Palamon and Arcite might be turned from her; or, if she needs must wed one of the twain, let him be the one that most desired her. To her appeared the goddess Diana, and told her that she must be wedded to one of the two, but she might not tell which that one should be.

And Arcite went to the temple of Mars, and prayed for victory; whereat the door of the temple clattered, and the fires blazed up on the altar, while the hauberk on the god's statue rang, and Arcite heard a murmur of "Victory." So rejoicing thereat he returned home

Thereafter in the heavens above strife began betwixt Mars and Venus, such that Jupiter himself was troubled to quell it; till Saturn (the father of Venus) comforted his daughter with assurance that Palamon should win his lady.

That day was high festival in Athens, and all Monday they justed and feasted, but went betimes to rest that they might rise early to see the great fight. And on the morrow there were lords and knights and squires, armourers, yeomen and commoners, and steeds and palfreys, on every hand, and all was ready.

Now a herald proclaimed from a scaffold the will of Duke Theseus, decreeing the weapons with which the tourney should be fought, and the rules of the combat. Then with trumpets and music, Theseus and Hippolyta and Emilia in a noble procession took their places; and from the west gate under the temple of Mars came Arcite with a red banner, and from the east, under the temple of Venus, Palamon with a white banner. And the names of the two companies were recited, the heralds left pricking up and down, the trumpet and clarion sounded, and the just began. Sore was the fight, and many were wounded and by the duke's proclamation removed from the fight; and many a time fought Palamon and Arcite together. But everything must have an end; Emetreus gave Palamon a wound; and though Ligurge attempted his rescue, he was borne down; and though Emetreus was thrust from his saddle by Palamon, Palamon was wounded, and had to give up the combat and the hope of winning Emilia. And Theseus cried to them that the tourney was finished, and that Arcite should have the lady; whereat the rejoicing of the people was loud.

But in heaven Venus wept, so that her tears fell down into the lists; yet Saturn promised that her sorrow should be eased soon.

And in truth as Arcite rode in triumph down the lists, looking up at Emilia, Pluto, at the bidding of Saturn, sent from hell a fury, that started from the ground in front of Arcite's horse, which shied and threw his rider; and Arcite pitched on his head, and lay as though dead. They bore him to Theseus' palace, cut his harness from off him, and laid him in a bed.

Theseus for three days entertained the knights of the tourney, and then all of them went their several ways. But Arcite lay dying; no longer had Nature any power;

And his speech failed him, and his strength went out of him: but he still kept his eyes fixed on his lady, and his last word was "Mercy, Emilye!"

Theseus gave Arcite a costly funeral, and built his funeral pyre in the grove where Palamon had heard him lament on the morning of May. And when by process of time the grief and mourning for Arcite had ceased, Theseus sent for Palamon and Emilia; and with wise words bidding them be merry after woe, gave Emilia to Palamon, who wedded her, and they lived in bliss and in richness and in health.

Such is Chaucer's tale of Palamon and Arcite. It was dramatised before Shakespeare's day by Richard Edwardes in a play now lost. Possibly the play of "Palamon and Arcite" four times recorded—in for different spellings—by Henslowe in his Diary^[14] is Edwardes' play, but as the latter was performed at Oxford before Queen Elizabeth as early as 1566, it is at least equally possible that Henslowe's play is another version.

The complete Chaucerian form of the story of Palamon and Arcite is dramatised in The Two Noble Kinsmen, a play to which Shakespeare undoubtedly^[15] contributed. The changes made by the authors—Fletcher and Massinger or Shakespeare, or all three—are little more than such limitations as are demanded by dramatic form; for instance, the Kinsmen, when discovered fighting, are dismissed for a month to find three knights, instead of being given a year to find one hundred. Chaucer's hint, that Palamon was assisted to escape from prison by a friend, is developed by the dramatists to make the sub-plot of the gaoler's daughter. The character-drawing is far more subtle than the poet's; Chaucer leaves the reader's sympathies equally divided, despite the fact that he says plainly that Arcite was in the wrong, because he violated the compact of the two kinsmen to assist each other in love.

We must now consider what justification there is for believing that the main plot of A Midsummer-Night's Dream was suggested by The Knightes Tale. Firstly, as has already been pointed out, the nuptials of Theseus form the beginning of both play and poem; though in the poem the actual ceremony has been performed, and it is his triumphant return to the city of Athens that is interrupted by the widows' appeal for justice; and in the play the action passes in the three or four days before the marriage. Secondly, the wedding-day is the first of May, and there are two references to that "observance of May"^[16] which is given by Chaucer as the reason both for Emilia's walking in the garden and for Arcite's seeking of the grove where Palamon lay hid.^[17] Thirdly, it can hardly be doubted that Shakespeare took the name of Philostrate from Chaucer; Egeus he would find also in North's Plutarch as the name of the father of Theseus; and it is possible that Chaucer's names for the champions, Ligurge and Emetreus, may have suggested Lysander and Demetrius. Finally, there are two or three minor indications; Lysander and Demetrius fight, or attempt to fight, for Helena, in the "wood near Athens," just as Palamon and Arcite fight for Emilia in the grove^[18]; Theseus is a keen huntsman both in the poem and in the play^[19]; and he refers^[20] to his conquest of Thebes, which, as we have seen, is described in The Knightes Tale.

Apart from these details, I do not think Shakespeare is indebted to Chaucer. It is conceivable that the story of Palamon and Arcite affected, but did not supply, the plot of the four lovers in A Midsummer-Night's Dream; but Shakespeare has added a second woman. This completion of the antithesis is characteristic of his early work; with a happy ending in view, the characters must fall into pairs, whereas with Palamon, Arcite, and Emilia, one of the men must be removed. There is nothing to prevent the supposition that Shakespeare was acquainted from boyhood with Chaucer's story—either in Chaucerian form or possibly in the shape of a chap-book—and that he constructed a first draft of The Two Noble Kinsmen quite early in his career as a playwright, subsequently laying it aside as unsatisfactory, and, in his declining years, collaborating with another or others to produce the play on that theme.

§ 2. THE GROTESQUE PLOT: BOTTOM AND THE ASS'S HEAD: WITH THE INTERLUDE OF PYRAMUS AND THISBE

II

The second portion of our study will not detain us long, as there are no literary sources for the "rude mechanicals," and their interlude of Pyramus and Thisbe is derived from a well-known classical story. Shakespeare draws them from life, and from his own observation of Warwickshire rustics, as he drew the two Gobbos, Launce, Christopher Sly, and a host of minor characters. Doubtless he had met many of the crew of patches, perhaps beneath the roof of "Marian Hacket, the fat ale-wife of Wincot," where we may suppose him to have made merry with "Stephen Sly, and old John Naps of Greece, and Peter Turf, and Henry Pimpernell."

Bottom takes his name from the wooden reel or spool on which thread is wound; "bottom" simply meaning the base or foundation of the reel. The names of his comrades have no specific connection with the trades they ply; but "Starveling" is appropriate by tradition for a tailor—it takes seven tailors to make a man.

The episode of Bottom's "translation," or transformation into an ass, may have been suggested to Shakespeare by a passage in Reginald Scot's Discovery of Witchcraft (1584)—a book with which he must have been acquainted, as we shall see in discussing the fairy-section of the play. Scot mentions the supposed power of witches to change men into animals, and quotes (in order to discredit) some recorded instances. Chief among these is the story^[21] of an English sailor abroad, who got into the power of a witch and was transformed by her into an ass, so that when he attempted to rejoin his crew, he was beaten from the gangway with contempt. This will be found in the third chapter of Scot's fifth book: Of a man turned into an asse, and returned againe into a man by one of Bodin's witches: S. Augustine's opinion thereof. "Bodin" is Jean Bodin, who wrote a book de Magorum Daemonomania (1581; a French version was published in the previous year), and mentions this story (lib. 2, cap. vi.). According to Scot, Bodin takes the story "out of M. Mal. [Malleus Maleficarum], which tale was delivered to Sprenger by a knight of the Rhodes."

Scot mentions further the famous story of the Golden Ass of Apuleius^[22]; a legend of the reappearance of one of the Popes, a hundred years after his death, with an ass's head; and gives a charm to put an ass's head on a man.^[23]

From these instances a literary origin for Bottom's transformation seems probable but Shakespeare may himself have fallen in with a survival of the witch-superstition Almost while writing these words I receive first-hand evidence that such a tradition is not yet extinct in Welford-on-Avon, a village, four miles from Stratford, with which Shakespeare must have been perfectly familiar. The witch, as usual, was an old woman, credited with the "evil eye" and the power of causing the death of cattle and farm-stock by "overlooking" them; and the native of Welford, from whom the story was communicated to me, would be prepared to produce eye-witnesses of various transformations of the old woman into some kind of animal—transformations effected not only at Welford, but even in the centre of Stratford on market-day!

Shakespeare had probably met with the story of Pyramus and Thisbe in more than one form. Golding's translation in 1575 of the story in Ovid's Metamorphoses^[24] is reprinted in this book^[25]; Chaucer included the Legend of Thisbe of Babylon as the second story in the Legend of Good Women; and there appears to have been also "a boke intituled Perymus and Thesbye," for which the Stationers' Register record the granting of a license in 1562. There is, too, a poem on the subject by I. Thomson in Robinson's Handeful of Pleasant Delites (1584).

The Historia de Piramo e Tisbe was very early in print in Italy, and continued to be popular in chap-book form until the nineteenth century at least.

The play is in blank verse of a poor kind with occasional rhyming couplets. After a prologue begins "Actus Primus and ultimus"; there are only five scenes in all, and the whole is quite short. The characters consist of Iphidius, father of Pyramus; Labetrus, father of Thisbe; their children, the protagonists; their respective servants, Straton and Clitipho; and Casina, "ancilla" or handmaid to Thisbe. There is also "a raging liones from ye woods." The moral of the play, as stated by Iphidius, is that

These lines, and others in the play, would gain by being "reduc'd to a regular form."

§ 3. THE FAIRY PLOT