A Midsummer Night's Dream

By William Shakespeare

One of Shakespeare’s most frequently performed plays and regarded as maybe his best comedy, “A Midsummer Night’s Dream” is the story of the events surrounding the wedding of Theseus, Duke and Athens, and the Amazonian queen Hippolyta. At the outset of the play we find Hermia, who is in love with Lysander but is betrothed by her father’s arrangement to Demetrius. Meanwhile Helena laments her unrequited love of Demetrius. Several parallel and interconnecting plot lines complicate the narrative. One of which is the planning of a play, “Pyramus and Thisbe”, to be performed at the wedding. Secondly an element of fantasy is introduced through the story of Oberon, King of the fairies, and his Queen, Titania, whom he conspires against through the use of a magical love potion. The use of this love potion alters the varying affections of the characters of the play resulting in a series of comedic mishaps. Unlike many of Shakespeare’s works “A Midsummer Night’s Dream” does not drawn upon any historical or previous literary work, making it one of his most original compositions. This edition includes a preface and annotations by Henry N. Hudson, an introduction by Charles H. Herford, and a biographical afterword.

• Language: English
• Publisher: Digireads.com Publishing
• Release date: Sep 21, 2020
• ISBN: 9781420977462

William Shakespeare

William Shakespeare (April 26, 1564 (baptised) - April 23, 1616) was an English poet, playwright and actor, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the Bard of Avon. His extant works, including collaborations, consist of approximately 38 plays, 154 sonnets, two long narrative poems and a few other verses, some of uncertain authorship. His plays have been translated into every major living language and are performed more often than those of any other playwright.

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A MIDSUMMER

NIGHT’S DREAM

By WILLIAM SHAKESPEARE

Preface and Annotations by

HENRY N. HUDSON

Introduction by

CHARLES H. HERFORD

A Midsummer Night’s Dream

By William Shakespeare

Preface and Annotations by Henry N. Hudson

Introduction by Charles H. Herford

Print ISBN 13: 978-1-4209-7579-6

eBook ISBN 13: 978-1-4209-7746-2

This edition copyright © 2021. Digireads.com Publishing.

All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law.

Cover Image: Titania and Bottom, from A Midsummer Night’s Dream (oil on canvas), Fitzgerald, John Anster (1832-1906) / Private Collection / Photo © Christie's Images / Bridgeman Images.

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CONTENTS

PREFACE

INTRODUCTION

DRAMATIS PERSONAE

ACT I.

SCENE I.

SCENE II.

ACT II.

SCENE I.

SCENE II.

ACT III.

SCENE I.

SCENE II.

ACT IV.

SCENE I.

SCENE II.

ACT V.

SCENE I.

BIOGRAPHICAL AFTERWORD

Preface

A MIDSUMMER NIGHT’S DREAM

Registered at the Stationers’ October 8, 1600, and two quarto editions of it published in the course of that year. The play is not known to have been printed again till it reappeared in the folio of 1623, where the repetition of certain misprints shows it to have been printed from one of the quarto copies. Few of the Poet’s dramas have reached us in a more satisfactory state as regards the text.

The play is first heard of in the list given by Francis Meres in his Palladis Tamia, 1598. But it was no doubt written several years before that time; and I am not aware that any editor places the writing later than 1594. This brings it into the same period with King John, King Richard the Second, and the finished Romeo and Juliet; and the internal marks of style naturally sort it into the same company. Verplanck, however, thinks there are some passages which relish strongly of an earlier time; while, again, there are others that have such an energetic compactness of thought and imagery, mingled occasionally with the deeper tonings of years that bring the philosophic mind, as to argue that they were wrought into the structure of the play not long before it came from the press. The part of the Athenian lovers certainly has a good deal that, viewed by itself, would scarce do credit even to such a boyhood as Shakespeare’s must have been. On the other hand, there is a large philosophy in Theseus’ discourse of the lunatic, the lover, and the poet, a manly judgment in his reasons for preferring the tedious brief scene of young Pyramus and his love Thisbe, and a bracing freshness in the short dialogue of the chase, all in the best style of the author’s second period.

There is at least a rather curious coincidence, which used to be regarded as proving that the play was not written till after the Summer of 1594. I refer to Titania’s description, in ii. 1, of the strange misbehaviour of the weather, which she ascribes to the fairy bickerings. For the other part of the coincidence, Strype in his Annals gives the following from a discourse by the Rev. Dr. King: And see whether the Lord doth not threaten us much more, by sending such unseasonable weather and storms of rain among us; which if we will observe, and compare it with what is past, we may say that the course of Nature is very much inverted. Our years are turned upside down: our Summers are no Summers; our harvests are no harvests; our seed-times are no seed-times. For a great space of time scant any day hath been seen that it hath not rained. Dyce, indeed, scouts the supposal that Shakespeare had any allusion to this eccentric conduct of the elements in the Summer of 1594, pronouncing it ridiculous; but I do not quite see it so, albeit I am apt enough to believe that most of the play was written before that date.

The Poet has been commonly supposed to have taken the ground-work of this play from The Knight’s Tale of Chaucer. But the play has hardly any notes of connection with the Tale except the mere names of Theseus, Hippolyta, and Philostrate, the latter of which is the name assumed by Arcite in the Tale. The Life of Theseus, in North’s translation of Plutarch doubtless furnished something towards the parts of the hero and his bouncing Amazon; while Golding’s translation of Ovid’s story of Pyramus and Thisbe probably supplied hints towards the interlude. So much as relates to Bottom and his fellows evidently came fresh from Nature as she had passed under the Poet’s eye. The linking of these clowns with the ancient tragic tale of Pyramus and Thisbe, so as to draw the latter within the region of modern farce, is not less original than droll. The names of Oberon, Titania, and Robin Goodfellow were made familiar by the surviving relics of Gothic and Druidical mythology. But it was for Shakespeare to let the fairies speak for themselves. So that there need be no scruple about receiving Hallam’s statement of the matter: "A Midsummer-Night’s Dream is, I believe, altogether original in one of the most beautiful conceptions that ever visited the mind of a poet,—the fairy machinery. A few before him had dealt in a vulgar and clumsy manner with popular superstitions; but the sportive, beneficent, invisible population of the air and earth, long since established in the creed of childhood, and of those simple as children, had never for a moment been blended with ‘human mortals’ among the personages of the drama."

HENRY N. HUDSON.

1881.

Introduction

A Midsummer-night’s Dream is first mentioned in 1598 by Francis Meres, in his Palladis Tamia. Two years later it appeared for the first time in print, in two nearly simultaneous quarto editions. Whether the second was issued by the publisher of the first—T. Fisher—or surreptitiously by some one else, only the printer, J. Roberts, being named, cannot be decided. It corrects several blunders, is in general far superior to the texts known to have been pirated, and was afterwards used as the basis of the first Folio. But it commits more blunders than it corrects, conventionalises without insight, and is on the whole decidedly the less authentic and original.

The play had already, as the title-pages of both editions attest, been ‘sundry times publicly acted,’ by Shakespeare’s company. It continued throughout the greater part of the seventeenth century to be one of the most popular of his early comedies. The attraction lay chiefly in two features,—the fairies and the clowns,—and the subtle threads by which they are in woven did not prevent their being detached, adapted, and imitated for the benefit of the distinct audiences to which each feature specially appealed. Thus in 1602 the clowns’ burlesque was imitated in the Oxford play of Narcissus; and after the suppression of the theatres furtive performances were ventured of a droll, afterwards (1661) printed as The Merry Conceited Humours of Bottom the Weaver. The fairy-scenes had a more illustrious after-history. Shakespeare’s fairydom, composed, as we shall see, of many elements, took hold of the contemporary imagination, and has coloured all subsequent fairy literature. Even the splendid attempt of Spenser, a few years before, to found a new spiritualised Faerie in the minds of men, succumbed before the poetic realism of the Midsummer-Night’s Dream, and Gloriana became an alien in the fairy world. The fairy poetry of Drayton (Nymphidia, 1627) and Jonson (The Masque of Oberon the Fairy Prince, 1611), of Herrick and Randolph, is of Shakespeare’s school. Later, the play fell upon evil days and evil tongues. Pepys heralded the age of prose by pronouncing, in effect, upon the most poetic of plays Hippolyta’s scornful verdict upon the clown’s performance: ‘This is the silliest stuff that e’er I heard’ (Diary, 1662). As opera and operette (from 1692) it pleased the eighteenth century. With the dawn of the Romantic Revival the Dream found at length its fit audience. Wieland borrowed the elves in Oberon (1780); Goethe in the Walpurgisnacht of Faust (‘Oberon und Titania’s Goldene Hochzeit’) fantastically sported with Shakespearean motives; Tieck adapted the play under the title Sommernachtstraum, and Mendelssohn provided worthy music, the overture in 1826, the songs in 1843.

Beyond the facts already mentioned, external evidence for the date of the play is wholly wanting, and the internal evidence is far from simple. Palpable marks of the young Shakespeare, as we have seen him in the three preceding comedies, everywhere abound: the symmetrical grouping, the interchange of a lyrical manner in the serious scenes with buffooneries in the comical ones, the tragic terrors rather gratuitously invoked at the outset and somewhat lightly dissipated at the close. The confusions of the Athenian lovers are a

Reviews for A Midsummer Night's Dream

[dinadansfriend · Rating: 3 out of 5 stars]

his is not my favourite Shakespeare play, but it does have a fair number of quotes I do use. A number of Athenian tradesmen are rehearsing a playt to be presented at the marriege of theseus and Hippolita when they become enmeshed with the court of Obernon, the king of the fairies. Hi-jinks ensue.

[thedivineoomba · Rating: 4 out of 5 stars]

As a play, this is great to watch, especially with a cast that understands the text and can play up to the brilliant comedy of Shakespeare. But, as someone who is reading it as literature, it becomes a much darker entity. From the pranks pulled on Titania, Hermia's possible sentence of death if she doesn't marry Demetrius. I was surprised at how how Shakespeare handled the tradesmen's play of Pyramus and Thisbe, Hippolyta and Theseus make gentle fun at the players. The best parts of the story really is the the play within a play - As for this specific edition - I liked the information about Shakespeare, his theater, his day to day life. It even accounts for Shakespeare's education. I found the explanation of certain phrases and words paired WITH the actual play very useful, although at times, it was more distracting than not.

[mickyfine · Rating: 3 out of 5 stars]

Well this audio production of one of my favourite Shakespearean comedies is a mixed bag. The cast is great but some of the direction/sound choices are not so good. Any time a production writes music for one of Shakespeare's songs it has the potential to get weird and this version does for sure. And while I've listened to audio productions of plays that have significant physical comedy elements and do it well, this one missed more than a hit. It took me longer than it should have to realize that Bottom's transformation into an ass had occurred. I also think they cut down Puck's speeches, which I will never forgive as he's my favourite. Ultimately, a good play but not served well by this production.

[arewenotben · Rating: 3 out of 5 stars]

Saw at the Young Vic, London. Haven't read this since High School, think it needs a strong production to make it really sing - the play within a play is a riot though.

[bobbybslax · Rating: 4 out of 5 stars]

It's a consistently fun romance with a larger dose of humor than some of his plays, which I appreciated.

[thornton37814 · Rating: 4 out of 5 stars]

This classic Shakespeare comedic play features two men in love with the same woman who both end up falling for another woman after Puck errs. Shakespeare, who often incorporates elements of fantasy, included faeries in the play. There's even a play within the play in this one. It's not my favorite Shakespeare play, but it's a good one.

[pilgrimjess · Rating: 4 out of 5 stars]

" The course of true love never did run smooth."This is one of Shakespeare's most performed comedies and as such probably one of his best known. Consequently I'm not going to going to say anything about the plot. I personally studied this whilst at school as part of an English Literature course and despite my callow years I remember enjoying. However, I haven't read it since.Now, far too many decades later, I read Bernard Cornwell's novel 'Fools and Mortals' which centres around a speculative and fictional première of the play. Having really enjoyed reading that book decided to revisit the original. Once again I found it a highly enjoyable read which made me smile and a piece of true genius.

[clq_2 · Rating: 3 out of 5 stars]

I've been meaning to catch up on various Shakespeare plays that "everyone" has read, and after finishing a book and having no immediate plans for what to read next, A Midsummer Night's Dream was conveniently waiting for me on my Kindle.In short, I didn't really like reading it much. I can see how it would probably work much better on stage, but read as a book it didn't really do much for me.If I ever get the opportunity to see it on stage I probably will, and I'll be prepared to be pleasantly surprised at how well it can work as a play.That said, I do enjoy poems, and I found the lyrical nature of the dialogue, the rhythm and the rhyme, to be quite fun. But as a story I just didn't really appreciate it as much as I had expected.

[fredacochran · Rating: 5 out of 5 stars]

Read it in high school. Loved it, it was funny

[deckla_1 · Rating: 5 out of 5 stars]

Perfect comedy.

[meandmybooks-1 · Rating: 4 out of 5 stars]

Well, what do you know? Third time wasn't the charm with this one – between reading it during my own education and with my kids for theirs, this is more like my fifth go with this play – but it's finally growing on me! I've always thought of this as “that stupid play with the lovers, the donkey, and all the irritating fairies,” but this time it seemed less stupid! I give the credit, as usual this year, to the amazing Marjorie Garber. Her essay, in Shakepeare After All, on this play was particularly good. Having just read “Romeo and Juliet” last week, I could fully appreciate the parallels she drew between the two plays, and she persuasively illustrated the ways the themes of love and envy, dreams and rationality, transformation and imagination give depth, meaning, and coherence to the play that I just hadn't seen before. The lovers are still silly and Theseus is still obnoxious, sure, but the play isn't quite the silly fluff I'd previously thought. A solid four stars.As well as Garber's book, my reading was enhanced by an audio performance from L.A. Theatre Works (2013) and the BBC's creative retelling of the play from their “Shakespeare Retold” series. The notes in the Folger Shakespeare Library (Updated) edition are quite adequate without being excessive, though in the mass market paperback edition I have the inside margin is so skimpy that the text threatens to disappear into the gutter.

[antao-3 · Rating: 4 out of 5 stars]

The Physics of the Impossible: "A Midsummer Night's Dream" by William Shakespeare, Burton Raffel, Harold Bloom Published 2005.

I have had a most rare vision. I have had a dream, past the
wit of man to say what dream it was. Man is but an ass, if
he go about to expound this dream. Methought I was—
there is no man can tell what. Methought I was—and
methought I had—but man is but a patch’d fool, if he
will offer to say what methought I had. The eye of man
hath not heard, the ear of man hath not seen, man’s hand
is not able to taste, his tongue to conceive, nor his heart
to report, what my dream was.
(4.1.203–212)

(Paraphrase: I had the strangest dream. It is outside of the abilities of mankind to explain it: a man is as foolish as a donkey if he tries to about to expound this dream. Methought I was—there explain the dream of mine. I thought I was – well no one can really say what exactly. I thought I was – and I methought I had, -- but man is but a patched fool, if thought I had – but someone would be an idiot to say what I thought I had).

I remember watching the play for the first time in Quinta da Regaleira, Sintra in 2002 (staged by Rui Mário). Shakespeare has always been an over-riding need for me. I don't have the ability to act, though I do write betimes, but there's nothing like the thrill of a life performance, like the one I watched in 2002.

The rest of this review can be found elsewhere.

[composingcomposer · Rating: 4 out of 5 stars]

"If we shadows have offended,/Thing but this--and all is mended--/That you have but slumber'd here/While these visions did appear./And this weak and idle theme,/No more yielding but a dream,/Gentles, do not reprehend;/If you pardon, we will mend./And, as I'm an honest Puck,/If we have unearned luck/Now to' scape the serpent's tongue,/We will make amends ere long;/Else the Puck a liar call:/So, good night unto you all./Give me your hands, if we be friends,?/And Robin shall restore Amends"

By ending the play with this quote, Shakespeare seems to leave it for us to decide whether the events that occurred in the woods, or if they were dreams. Perhaps this play is what inspired Louis Carroll and Frank L. Baum to do the same in their famous stories.

Everything that happens in the woods is somewhat confusing--for the characters at least. We know more-or-less what is going on, being party to Puck and Oberon's doings, but, as will sometimes happen in a dream, the characters are buffeted by abrupt changes to themselves, and those they care about. One moment Demetrius is cruel to Helena, the next he loves her. At one time Lysander loves Hermia, then claims to despise her, then back again. No wonder the characters were confused. These kind of character changes only happen in dreams, or if a person is crazy.

Every character in the play is victim to Oberon's whims, including Puck, and every character is the subject of Puck's gaffe or impishness. Oberon wants Titania's changeling. A child to whom she is attached because she was friends with his mother, and so Oberon devises a cruel game to trick Titania into giving the child to him. Along the way he decides to help Helena, but tells Puck only to find a man in Athenian clothing to enchant into love with Helena, so Puck finds Lysander, who then upsets Helena by claiming to love her, and breaks Hermia's heart. Demetrius and Lysander could have hurt one another--therefore further breaking their lady's hearts--in the turmoil that followed.

Bottom is the subject of Titania's manipulated love and Puck's parody on the two of them. Through that the rest of Bottom's troupe is also victim, being frightened, and having their practice interrupted (maybe their play wouldn't have been so painful to read if they had been able to practice more).

A Midsummer Night's Dream has got to be the most popular Shakespearean play there is. It's one of the one's that I became familiar with through Jim Weiss (though this is my first time reading the actual play) and it has been brought into books and movies, it has been adapted into movies. It has become a ballet via Felix Mendelssohn (part of which is a violinist's nightmare,) an opera by Benjamin Britten, and has shorter pieces written for it by Henry Purcell and Ralph Vaughn-Williams.

(Please note that this review was written as a discussion post in an online Shakespeare class.)

[cathywoolbright · Rating: 5 out of 5 stars]

Every read of this classic reveals another tongue in cheek pun. This humorous comedy of errors deals with love, romance, fairies in an enchanted forest, a traveling actors' troupe that passes itself as professional, but offers comic relief, mistaken identity, and of course parents at the crux who will not let true love have its way. Just a simple, straightforward Shakespearean tale. Enjoy!

[kristina_brooke-1 · Rating: 5 out of 5 stars]

I love sharing Shakespeare with my 5 year old. This is a very good children's version of one of my favorites. She loved it and was scolding Puck for being such a bad boy!

[mrsdanaalbasha · Rating: 5 out of 5 stars]

I have read this book twice and I really like it, it even might be my favorite among Shakespear books, for some reason the song "Strange And Beautiful (I'll Put A Spell On You)" Lyrics by Aqualung always reminds me of this book:

I've been watching your world from afar
I've been trying to be where you are
And I've been secretly falling apart... Unseen
To me, you're strange and you're beautiful
You'd be so perfect with me
But you just can't see
You turn every head but you don't see me

I'll put a spell on you
You'll fall asleep
When I put a spell on you
And when I wake you I'll be the first thing you see
And you'll realize that you love me

Sometimes the last thing you want comes in first
Sometimes the first thing you want never comes
But I know that waiting is all you can do
Sometimes

I'll put a spell on you
You'll fall asleep
When I put a spell on you
And when I wake you I'll be the first thing you see
And you'll realise that you love me

I'll put a spell on you
You'll fall asleep
Cause I put a spell on you
And when I wake you I'll be the first thing you see
And you'll realize that you love me

[soulflower1981 · Rating: 4 out of 5 stars]

While I am not a huge Shakespeare fan I did find this particular play to be pretty darn good. I enjoyed the fact that there was this mix of fantasy with ideas that we can all relate to with unrequited love. It was fascinating to see how Shakespeare made fun of his own play "Romeo and Juliet" within the story as well. There is such a great woven story here that anyone that enjoys reading plays should read this. This was another book that I had to read for my Theatre course.

[jennaelf · Rating: 5 out of 5 stars]

Nothing is funnier than the reversal of social degrees, is it?

C'mon, the mighty Titania falls in love with a working class sod who has the head of an ass! AND his name is Bottom!

Shakespeare, you cheeky bastard.

[jljaina · Rating: 4 out of 5 stars]

Lyrical and mesmerizing! I got a dramatized audio copy of this book. It really brings this story to life!

A very different love story for the ages. Couplings, love triangles, love quads, and love chases. It is all here. Thank you fantasy forest for all this wonderful chaos. Some parts a whimsical, others near tragic, some comedy. You never know what the next scene will hold.

When just listening to this, it can take a bit to follow the story at first. I had no idea who anyone was and names are not mentioned enough to quickly catch on. The only indication to the setting is the sounds you here. It really is just like listening to a play. They even have a full cast for the audio so each character is voiced by someone new. While it makes it far more enjoyable it just made things take a little longer.

I finally got to learn where several famous quotes and expressions came from. Hearing certain lines brought a smile to my face. Now I just need to read the print version of this book so I can be sure I didn't miss anything. I now have a mental soundtrack to go with it.

[meditationesmartini · Rating: 5 out of 5 stars]

"The course of true love never did run smooth"; but oh my friends and neighbours, when was love ever "true"? This is the jolly cynic's Romeo and Juliet, with English country faire elements displaced to Theseus's Athens (itself a place that hardly did exist) and the mythological, metaphysical backdrop, the ridiculous-but-still-great-and-terrible Olympians, disinvited from the party in favour of the fairies, magnificent and dreadful but still ridiculous (it sounds like the same thing as the gods but it's actually the opposite): Oberon, equal parts virile intensity and cat-chasing-his-tail; Titania, majestic and intoxicating and yet you also just want to pat her on the head; Puck, with all the mystique of a trickster spirit and all the bathos of a cigar-smoking baby. Lord, what fools these immortals be!They elevate the humans as the humans drag them into the mundane, to the benefit of the action in both cases. Just a quartet of pretty young goofballs bouncing through the sacred groves on a wave of hormonal exuberance, as the rules get mixed up and upside-downed and love-potion-number-nined till it's all reduced to the lowest common denominator. Bucolic rumpus--pratfalls and sex. They seem too quick and alive for the law to catch up with them, and indeed Theseus and Hippolyta do present a fairly mellow or enlightened face on disciplining authority, as the king reassures us that EVEN IF things fall over the precipice and go all two-households-both-alike-in-dignity on us, Hermia can choose forcible cloisterment over death--but is this really such a comfort? We see Demetrius and Lysander play fistfights for laughs and never think about how close either of them is to braining himself on a rock, the other being strung up. Skulking around somewhere in the background is always the deeply unfunny Egeus, the patriarch with filicide in his fist.The estimable Bottom and his bunch of goony players (special shout out to Wall--I see you, Wall!) bring it all home by staging the tragic romance of Pyramus and Thisbe farcically for a bunch of complacent chuckleheads who don't know that they're in a play themselves, and that comedy and tragedy are a mere knife-edge apart. And ever if we manage to keep it light and nobody falls on a dagger, love fades and everyone you know will one day still certainly die. The comic dignity of the man with the donkey's head sums up the message quite nicely: The play's an ass, and it is a matter of life and death that we keep it that way. Laugh at that! No, I mean it!

[cebellol · Rating: 4 out of 5 stars]

Still one of my favorites, but I am reminded that some plays can be read and some are better watched. This is one that is better on the stage, but that doesn't mean that it shouldn't be experienced in some way or another. I got a little twisted up a couple times because some of the names are similar & I wasn't paying complete attention to who was supposed to be reading.

[charleshollis · Rating: 4 out of 5 stars]

I wish I could have been more fair with my grade for this book. The concept of condensing and rewording Shakespeare's plays into a format that a much younger audience could understand is certainly valuable. This series serves the laudable purpose of introducing the Bard to an elementary age audience, the benefit of which is an even earlier exposure to good literature. I will say that this would be a middle school audience would be too old for this book as they would be ready for the real thing, or at least an unabridged translation. I would also add that the book, understandably so, didn't deal very much in nuance, or interpretations. I know that the main action in the story centers upon the young lovers in the forest, and Titania and her being bewitched to fall for Bottom by Oberon's machinations, however, there are glaring thematic omissions. The biggest of these missteps would have to be the (author's? editors?) decision not to focus upon the forest itself, specifically the fact that this isn't an ordinary forest, but rather a magical realm of fae beings. Instead of presenting the woods as being a separate world (Shakespeare's intent) its presentation was rather mundane. Furthermore, there is something to be said about promoting Puck. In this version, Puck is presented as mixing up the lovers due to carelessness rather than out of the agency of mischief. Still, the book was solid and I would recommend it to elementary classes.

[rbeene-1 · Rating: 5 out of 5 stars]

It's Shakespeare. Wonderful story but I prefer his tragedies.

[mstrust · Rating: 4 out of 5 stars]

Hermia's father brings her before Theseus to be judged, as Hermia refuses to marry her father's choice, Demetrius. Instead she loves Lysander, who loves her back. With the threat of death if Hermia doesn't follow her father's wishes, the couple run into the woods, but are pursued by Demetrius and the girl who loves him, Helena. Also in the woods are the King and Queen of the Fairies and their followers. When the King attempts to smooth love's way for the mortals, he makes things much worse.Not one of my favorites from Shakespeare, but I can see where it would be a great choice for the stage. Romance in the forest and fairies would be difficult to resist

[aliceanna-1 · Rating: 2 out of 5 stars]

Far too contrived for my reading enjoyment. I'm certain that it is charming when performed on stage, but the premise wore thin upon reading. I really had no feel for the characters and cared little for their fate.

[writercity · Rating: 4 out of 5 stars]

One of my favorite Shakespeare tales that give me a new laugh every time. I've re-read it and love the characters of Helena and Hermia more every time.

[dmtcer-1 · Rating: 4 out of 5 stars]

I was on a Shkespeare kick!

[grytajme · Rating: 5 out of 5 stars]

I was a stagehand for this. Incredibly fun.

[leslie398 · Rating: 3 out of 5 stars]

While I liked the overall plot, I found this to be one of the plays in which Shakespeare's language is hard for me. I have seen some of the film versions (most notably the 1935 movie with Olivia de Havilland & Jimmy Cagney and the BBC Production with Helen Mirren as Titania) & seeing the action does help (especially in the 'humorous' parts!).One thing that I noticed in reading this was how unpleasant I found Oberon to be.

[seraphinac.b4 · Rating: 3 out of 5 stars]

In "A Midnight's Summer Dream", there are four lovers, Lysander and Hermia, and Demetrius and Helena. Hermia wishes to marry Lysander but Demetrius is also in love with her. Hermia's father, Egeus, wants her to marry Demetrius. If she refuses, she could receive the full extent of the law and be executed. Nevertheless, Hermia and Lysander plan to flee Athens the next night and marry in the house of Lysander's aunt. They tell Helena, who was once engaged to Demetrius, who still loves him even though he dumped her for Hermia. Helene wanting to regain Demetrius's love, tells him about Lysander and Hermia escaping. Demetrius follows Lysander and Hermia while Helena follows Demetrius. Fairy king, Oberon, notices how cruelly Demetrius acts towards Helena. Oberon orders Puck, a fairy messenger, to spread the juice of a magic flower on Demetrius's eye lids so that the first person he sees, he will love. Puck mistakes Lysander for Demetrius and when Lysander wakes up he immediately falls in love with Helena, who was the first person he saw. Later that night, Puck tries to fix his mistake, but it ends up that they both now love Helena. The next night Puck succeeds in making Lysander love Hermia, and Demetrius love Helena. Theseus, a duke, and Hippolyta, the queen of the Amazons, find them sleeping and take them to Athens to be married. Overall, this book was lacking. I thought this because it was dull. I found it dull because you would know what happened next. it didn't have any cliffhangers. I thought it was slow to get to the climax... if there was one. Shakespeare wrote using strong literal and metaphorical language, which makes it confusing. It was not my cup of tea.