The Sources and Analogues of 'A Midsummer-Night's Dream'/Introduction

by Frank Sidgwick

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.

The problem—given the play—is to discover what parts of it Shakespeare conveyed from elsewhere, and to investigate those sources as far as is compatible with the limits of this book. For this purpose, it is most convenient to adopt the above-mentioned division into three component plots or tales; and because these are rather loosely woven together, the characters in the play may be simultaneously divided thus:—

1.	Theseus. Hippolyta. Egeus. Philostrate. Lysander. Demetrius. Helena. Hermia.	The main (sentimental) plot of the four lovers at the court of Theseus.
2.	Bottom. Quince. Snug. Flute. Snout. Starveling.	The grotesque plot, with the interlude of Pyramus and Thisbe.
3.	Oberon. Titania. Puck. Fairies.	The fairy plot.

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.