40 L. A. Sherman 



It is a delightful medley, and almost as intricate in point of 

 plot as Cymbeline. The domestic affairs of Titania and Oberon 

 constitute a transcendental comedy, ingeniously developed as a 

 sort of interlude in the Second Act. The finest poetry in the 

 play is centered here, and compliment to Elizabeth is contrived 

 by use of an incident, as told by Oberon, too sublimated to be 

 witnessed by mortals, or even the eyes of Puck. With this, 

 along with the story of Titania's changeling, the occult harrying 

 of farmer folk, and the jealousy of Oberon, the business of the 

 play seems shifted bodily to the plane of the supernatural. Thus 

 the author prepares us for his meddling, through fairy influence, 

 with the destinies of the middle figures — the pairs of Athenian 

 lovers — as also with the preposterous rehearsal of the mechan- 

 icals, in the next act. 



The Third Act begins, typically, with new action, — here with 

 the stampede of Quince and Snug and Flute and Snout and 

 Starveling, as led on by Puck, ' through bog, through bush, 

 through brake, through brier;' and with the exquisite doting of 

 Titania upon Bottom. Now follows the harrying of the misfit 

 couples, — Helena, big of frame, begging to be shielded from the 

 nails of petite Hermia, and bewildered the while by the insistent 

 wooing of both Demetrius and Lysander, who presently exhaust 

 themselves trying to hunt each other out for mortal combat. The 

 human and the elvish are most veritably brought together, philis- 

 tine mortals, less and greater, are delivered into the hand of 

 Shakespeare's unseen and unsuspected ministers. And at this 

 point, as the swains pant from following the simulated challenges 

 of Puck, the 'subjective climax^ of the play is reached. This 

 prevision of the outcome is effected through Oberon's order (III. 

 ii. 366-369) to restore to Lysander's eyes their wonted admira- 

 tion of Hermia's charms. The reform of Demetrius's vision, as 

 may happen from magical anointing even outside the boundaries 

 of fairyland, is lasting. 



from plots. Both are eliminated in Macbeth, Othello, Twelfth Night, 

 Merchant of Venice, and other plays. Both obstacles stay and become 

 integral parts of the piece in Lear, Cymbeline, As You Like It, Much Ado, 

 and The Winter's Tale. 



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