Published. 1600.
Source of the Plot. The fantasy is of Shakespeare's making. Some of it was perhaps current in popular belief. Names and lesser incidents were suggested by various books. He took little bits from various sources, added them to the vision, and turned upon the whole the light of his mind. If any author laid under contribution were to recognise his bantling, he could only cry to it, "Bless thee, Bottom, thou art translated." Shakespeare did never this particular kind of wrong but with just cause.
The Fable. Theseus, Duke of Athens, is about to marry Hippolyta. Bottom, the weaver, and his friends, plan to play the tragedy of Pyramus and Thisbe before the Duke after the wedding.
Hermia and Lysander, two lovers, whose match is opposed, plan to escape from Athens to a state where they can marry.
Demetrius, in love with Hermia, is loved by Helena.
Oberon, King of the fairies, planning to punish his Queen Titania, orders Puck to procure a juice that will make her dote upon the next thing seen by her.
Helena pursues Demetrius into the wood of the fairies. Titania, anointed with the juice, falls in love with Bottom. Lysander, anointed with the juice, falls in love with Helena. The confusion caused by these enchantments (accidentally) makes the main action of the play. When the purpose of Oberon is satisfied, the enchantments are removed. The cross purposes of the lovers cease. Theseus causes Hermia to wed Lysander, and Helena to wed Demetrius. Bottom and his company perform their tragedy, and all ends happily.
It is a strange and sad thing that the English poets have cared little for England; or, caring for England, have had little sense of the spirit of the English. Many of our poets have written botanical verses, and braggart verses, many more have described faithfully the appearance of parts of the land at different seasons. Only two or three show the mettle of their pasture in such a way that he who reads them can be sure that the indefinable soul of England has given their words something sacred and of the land.
Shakespeare attained to all the spiritual powers of the English. He made a map of the English character. We have not yet passed the frontiers of it. It is one of his humanities that the English country, which made him, always meant much to him, so that, now, wherever his works go, something of the soul of that country goes too, to comfort exiles over the sea. Man roams the world, wandering and working; but he is not enough removed from the beasts to escape the prick in the heart that turns the tired horse homeward, and sets the old fox padding through the woods to die near the earth where he was whelped. Shakespeare's heart always turned for quiet happiness to the country where he lived as a boy. In this play, he turned not to the squires and farm-folk, but to the country itself, and to those genii of the country, the fairies, believed in, and often seen by country people, and reverenced by them as the cause of mishaps. Imagination in a work of art is a transmuting of the known by understanding. For some reason, perhaps home-sickness, perhaps weariness of the city-jostle, that those who have lived the country life cannot call life, or it may be, perhaps, from an exultation in the bounty of the world to give pleasure to the mind, the country meant very much to Shakespeare in the months during which he wrote the last of the English plays. In writing this play, his imagination conceived Athens as an English town, possibly Stratford, or some other more pleasant place, with a wood, haunted by fairies, only a league away, where the mind could be happy listening to the voice of the beloved—