74 Facts About Midsummer Nights Dream

Midsummer Night's Dream is a comedy written by William Shakespeare c 1595 or 1596.

Midsummer Nights Dream instructs Puck to retrieve the flower with the hope that he might make Titania fall in love with an animal of the forest and thereby shame her into giving up the little Indian boy.

Midsummer Nights Dream grew to be a beautiful young man, and when Aphrodite returned to retrieve him, Persephone did not want to let him go.

Midsummer Nights Dream bled to death in his lover's arms after being gored by a boar.

Midsummer Nights Dream writes that the fairies make light of love by mistaking the lovers and by applying a love potion to Queen Titania's eyes, forcing her to fall in love with an ass.

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Midsummer Nights Dream found the play to be "the most insipid ridiculous play that ever I saw in my life".

Midsummer Nights Dream did admit that it had "some good dancing and some handsome women, which was all my pleasure".

Midsummer Nights Dream was preoccupied with the question of whether fairies should be depicted in theatrical plays, since they did not exist.

Midsummer Nights Dream concluded that poets should be allowed to depict things which do not exist but derive from popular belief.

Midsummer Nights Dream felt the depiction of the supernatural was among Shakespeare's strengths, not weaknesses.

Midsummer Nights Dream especially praised the poetry and wit of the fairies, and the quality of the verse involved.

Midsummer Nights Dream felt that the poetry, the characterisation, and the originality of the play were its strengths, but that its major weaknesses were a "puerile" plot and that it consists of an odd mixture of incidents.

Midsummer Nights Dream found that the "more exalted characters" are subservient to the interests of those beneath them.

Midsummer Nights Dream assumes that the aristocrats had to receive more attention in the narrative and to be more important, more distinguished, and better than the lower class.

Midsummer Nights Dream noted that the donkey's head is not a random transformation, but reflects Bottom's true nature.

Midsummer Nights Dream identified the tale of Pyramus and Thisbe as a burlesque of the Athenian lovers.

Midsummer Nights Dream found the work to be "a delightful fiction" but when staged, it is reduced to a dull pantomime.

Midsummer Nights Dream concluded that poetry and the stage do not fit together.

Midsummer Nights Dream thought that this was a reflection of the lack of principles in women, who are more likely to follow their own passions and inclinations than men.

Midsummer Nights Dream turned his attention to Theseus' speech about "the lunatic, the lover, and the poet" and to Hippolyta's response to it.

Midsummer Nights Dream regarded Theseus as the voice of Shakespeare himself and the speech as a call for imaginative audiences.

Midsummer Nights Dream viewed Bottom as a lucky man on whom Fortune showered favours beyond measure.

Midsummer Nights Dream was particularly amused by the way Bottom reacts to the love of the fairy queen: completely unfazed.

Midsummer Nights Dream viewed Oberon as angry with the "caprices" of his queen, but unable to anticipate that her charmed affections would be reserved for a weaver with a donkey's head.

Midsummer Nights Dream agreed with Malone that this did not fit their stations in life, but viewed this behaviour as an indication of parody about class differences.

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Midsummer Nights Dream thought that this play indicated Shakespeare's maturity as a playwright, and that its "Thesean harmony" reflects proper decorum of character.

Midsummer Nights Dream viewed Bottom as the best-drawn character, with his self-confidence, authority, and self-love.

Midsummer Nights Dream argued that Bottom stands as a representative of the whole human race.

Midsummer Nights Dream found the writing to be "subtle and ethereal", and standing above literary criticism and its reductive reasoning.

Midsummer Nights Dream denied the theory that this play should be seen as a dream.

Midsummer Nights Dream argued that it should be seen as an ethical construct and an allegory.

Midsummer Nights Dream thought that it was an allegorical depiction of the errors of sensual love, which is likened to a dream.

Midsummer Nights Dream speaks of the Indies as scented with the aroma of flowers and as the place where mortals live in the state of a half-dream.

Midsummer Nights Dream described them as homely creatures with "hard hands and thick heads".

Midsummer Nights Dream commented favourably on their individualisation and their collective richness of character.

Midsummer Nights Dream thought that Bottom was conceited but good natured, and shows a considerable store of imagination in his interaction with the representatives of the fairy world.

Midsummer Nights Dream argued that Bottom's conceit was a quality inseparable from his secondary profession, that of an actor.

Midsummer Nights Dream cited the lightness of the characterisation as supporting of his view.

Midsummer Nights Dream argued that Theseus was one of the "heroic men of action" so central to Shakespeare's theatrical works.

Midsummer Nights Dream viewed the play as representing three phases or movements.

Midsummer Nights Dream therefore deserves punishment, and Oberon is a dutiful husband who provides her with one.

Midsummer Nights Dream sees Theseus as a Tudor noble; Helena a mere plot device to "concentrate the four lovers on a single spot"; and the Pyramus and Thisbe play-within-the-play a parody of a prominent topos of contemporary plays.

Midsummer Nights Dream counted among them fantasy, blind love, and divine love.

Midsummer Nights Dream traced these themes to the works of Macrobius, Apuleius, and Giordano Bruno.

Midsummer Nights Dream reminded his readers that this is the character of Theseus from Greek mythology, a creation himself of "antique fable".

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Midsummer Nights Dream cannot tell the difference between an actual play and its interlude.

Midsummer Nights Dream thought Bottom was redeemed through the maternal tenderness of Titania, which allowed him to understand the love and self-sacrifice of Pyramus and Thisbe.

Midsummer Nights Dream emphasised the "terrifying power" of the fairies and argued that they control the play's events.

Midsummer Nights Dream emphasised the ethically ambivalent characters of the play.

Midsummer Nights Dream emphasised the less pleasant aspects of the otherwise appealing fairies and the nastiness of the mortal Demetrius prior to his enchantment.

Midsummer Nights Dream argued that the overall themes are the often painful aspects of love and the pettiness of people, which here include the fairies.

Midsummer Nights Dream viewed the king as specialising in the arts of illusion.

Midsummer Nights Dream is responsible for the play's happy ending, when he influences Theseus to overrule Egeus and allow the lovers to marry.

Midsummer Nights Dream suggested that the lovers' identities, which are blurred and lost in the forest, recall the unstable identities of the actors who constantly change roles.

Midsummer Nights Dream argued that what passes for love in this play is actually a self-destructive expression of passion.

Midsummer Nights Dream noted that in this play, the entry in the woods is a dream-like change in perception, a change which affects both the characters and the audience.

Midsummer Nights Dream was certain that there are grimmer elements in the play, but they are overlooked because the audience focuses on the story of the sympathetic young lovers.

Midsummer Nights Dream viewed the characters as separated into four groups which interact in various ways.

Midsummer Nights Dream focused on the role of the fairies, who have a mysterious aura of evanescence and ambiguity.

Midsummer Nights Dream concluded that therefore their love life is "unknowable and incomprehensible".

Midsummer Nights Dream argued that the play is about traditional rites of passage, which trigger development within the individual and society.

Midsummer Nights Dream argued that the lovers experience release into self-knowledge and then return to the renewed Athens.

Midsummer Nights Dream viewed the donkey and the trees as fertility symbols.

Midsummer Nights Dream interpreted the dream of Hermia as if it was a real dream.

Midsummer Nights Dream viewed the play as suggesting that the healing force of love is connected to the acceptance of death, and vice versa.

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Midsummer Nights Dream even viewed Titania's loving acceptance of the donkey-headed Bottom as a metaphor for basic trust.

Midsummer Nights Dream used not only the Midsummer Night's Dream music but several other pieces by Mendelssohn.

Director Harley Granville-Barker introduced in 1914 a less spectacular way of staging the Midsummer Nights Dream: he reduced the size of the cast and used Elizabethan folk music instead of Mendelssohn.

Midsummer Nights Dream replaced large, complex sets with a simple system of patterned curtains.

Midsummer Nights Dream portrayed the fairies as golden robotic insectoid creatures based on Cambodian idols.

Midsummer Night's Dream has been produced many times in New York, including several stagings by the New York Shakespeare Festival at the Delacorte Theatre in Central Park and a production by the Theatre for a New Audience, produced by Joseph Papp at the Public Theater.

Midsummer Nights Dream incorporated the existing Overture into the incidental music, which was used in most stage versions through the 19th century.

Midsummer Nights Dream later reworked the music for a final version, completed in 1964.

Midsummer Nights Dream wrote the pieces for a cappella SATB choir in 1951 for the British Federation of Music Festivals, and they remain a popular part of British choral repertoire today.