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Ein Sommernachtstraum (Zweisprachige Ausgabe: Deutsch-Englisch)

Ein Sommernachtstraum (Zweisprachige Ausgabe: Deutsch-Englisch)

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Ein Sommernachtstraum (Zweisprachige Ausgabe: Deutsch-Englisch)

ratings:
4.5/5 (63 ratings)
Length:
241 pages
2 hours
Publisher:
Released:
Sep 15, 2017
ISBN:
9788027214655
Format:
Book

Description

Die Komödie "Ein Sommernachtstraum" wurde 1595 oder 1596 von William Shakespeare geschrieben und vor 1600 uraufgeführt. Das Stück ist eines der meistgespielten Shakespeare-Stücke.
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A Midsummer Night's Dream is a comedy play by William Shakespeare, believed to have been written between 1590 and 1596. It is one of the most popular Shakespeare plays.
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William Shakespeare (1564-1616) war ein englischer Dramatiker, Lyriker und Schauspieler. Seine Komödien und Tragödien gehören zu den bedeutendsten und am meisten aufgeführten und verfilmten Bühnenstücken der Weltliteratur.
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William Shakespeare (1564-1616) was an English poet, playwright and actor, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist.
Publisher:
Released:
Sep 15, 2017
ISBN:
9788027214655
Format:
Book

About the author

William Shakespeare is widely regarded as the greatest playwright the world has seen. He produced an astonishing amount of work; 37 plays, 154 sonnets, and 5 poems. He died on 23rd April 1616, aged 52, and was buried in the Holy Trinity Church, Stratford.


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Ein Sommernachtstraum (Zweisprachige Ausgabe - William Shakespeare

(englisch)

Englisch

EIN SOMMERNACHTSTRAUM

(german)

Inhaltsverzeichnis

Inhalt

PERSONEN

ERSTER AUFZUG

ERSTE SZENE

ZWEITE SZENE

ZWEITER AUFZUG

ERSTE SZENE

ZWEITE SZENE

DRITTER AUFZUG

ERSTE SZENE

ZWEITE SZENE

VIERTER AUFZUG

ERSTE SZENE

ZWEITE SZENE

FÜNFTER AUFZUG

ERSTE SZENE

ZWEITE SZENE

Englisch

PERSONEN

Inhaltsverzeichnis

Theseus, Herzog von Athen.

Egeus, Vater der Hermi.

Lysander und Demetrius, Liebhaber der Hermi.

Philostrat, Aufseher der Lustbarkeiten am Hofe des Theseu.

Squenz, der Zimmerman.

Schnock, der Schreine.

Zettel, der Webe.

Flaut, der Bälgenflicke.

Schnauz, der Kesselflicke.

Schlucker, der Schneide.

Hippolyta, Königin der Amazonen, mit Theseus verlob.

Hermia, Tochter des Egeus, in Lysander verlieb.

Helena, in Demetrius verlieb.

Oberon, König der Elfe.

Titania, Königin der Elfe.

Droll, ein El.

Bohnenblüte, Spinnweb, Motte und Senfsamen, Elfe.

Pyramus, Thisbe, Wand, Mondschein und Löwe, Rollen in dem Zwischenspiel, das von den Rüpeln vorgestellt wir.

Andre Elfen, im Gefolge des Königs und der Königi.

Gefolge des Theseus und der Hippolyt.

Szene: Athen und ein nahegelegener Wald

Englisch

ERSTER AUFZUG

Inhaltsverzeichnis

ERSTE SZENE

Inhaltsverzeichnis

Ein Saal im Palaste des Theseus

Theseus, Hippolyta, Philostrat und Gefolge treten auf.

Theseus.

Nun rückt, Hippolyta, die Hochzeitsstunde

Mit Eil heran; vier frohe Tage bringen

Den neuen Mond; doch, o wie langsam nimmt

Der alte ab! Er hält mein Sehnen hin,

Gleich einer Witwe, deren dürres Alter

Von ihres Stiefsohns Renten lange zehrt.

Hippolyta.

Vier Tage tauchen sich ja schnell in Nächte,

Vier Nächte träumen schnell die Zeit hinweg:

Dann soll der Mond, gleich einem Silberbogen,

Am Himmel neu gespannt, die Nacht beschaun

Von unserm Fest.

Theseus.

Geh, Philostrat, berufe

Die junge Welt Athens zu Lustbarkeiten!

Erweck den raschen, leichten Geist der Lust,

Den Gram verweise hin zu Leichenzügen:

Der bleiche Gast geziemt nicht unserm Pomp.

(Philostrat ab.)

Hippolyta! ich habe mit dem Schwert

Um dich gebuhlt, durch angetanes Leid

Dein Herz gewonnen; doch ich stimme nun

Aus einem andern Ton, mit Pomp, Triumph,

Bankett und Spielen die Vermählung an.

Egeus, Hermia, Lysander und Demetrius treten auf.

Egeus.

Dem großen Theseus, unserm Herzog, Heil!

Theseus.

Mein guter Egeus, Dank! Was bringst du Neues?

Egeus.

Verdrusses voll erschein ich und verklage

Mein Kind hier, meine Tochter Hermia. –

Tritt her, Demetrius. – Erlauchter Herr,

Dem da verhieß mein Wort zum Weibe sie.

Tritt her, Lysander. – Und, mein gnädger Fürst,

Der da betörte meines Kindes Herz.

Ja! Du, Lysander, du hast Liebespfänder

Mit ihr getauscht: du stecktest Reim ihr zu;

Du sangst im Mondlicht unter ihrem Fenster

Mit falscher Stimme Lieder falscher Liebe;

Du stahlst den Abdruck ihrer Phantasie

Mit Flechten deines Haares, buntem Tand,

Mit Ringen, Sträußen, Näschereien (Boten

Von viel Gewicht bei unbefangner Jugend);

Entwandest meiner Tochter Herz mit List

Verkehrtest ihren kindlichen Gehorsam

In eigensinngen Trotz. – Und nun, mein Fürst,

Verspricht sie hier vor Eurer Hoheit nicht

Sich dem Demetrius zur Eh, so fordr ich

Das alte Bürgervorrecht von Athen,

Mit ihr, wie sie mein eigen ist, zu schalten.

Dann übergeb ich diesem Manne sie,

Wo nicht, dem Tode, welchen unverzüglich

In diesem Falle das Gesetz verhängt.

Theseus.

Was sagt Ihr, Hermia? Laßt Euch raten, Kind.

Der Vater sollte wie ein Gott Euch sein,

Der Euren Reiz gebildet; ja, wie einer,

Dem Ihr nur seid wie ein Gepräg, in Wachs

Von seiner Hand gedrückt, wie's ihm gefällt,

Es stehnzulassen oder auszulöschen.

Demetrius ist ja ein wackrer Mann.

Hermia.

Lysander auch.

Theseus.

An sich betrachtet wohl;

So aber, da des Vaters Stimm ihm fehlt,

Müßt Ihr für wackrer doch den andern achten.

Hermia.

O säh mein Vater nur mit meinen Augen!

Theseus.

Eur Auge muß nach seinem Urteil sehn.

Hermia.

Ich bitt Euch, gnädger Fürst, mir zu verzeihn.

Ich weiß nicht, welche Macht mir Kühnheit gibt,

Noch wie es meiner Sittsamkeit geziemt,

In solcher Gegenwart das Wort zu führen;

Doch dürft ich mich zu fragen unterstehn:

Was ist das Härtste, das mich treffen kann,

Verweigr ich dem Demetrius die Hand?

Theseus.

Den Tod zu sterben oder immerdar

Den Umgang aller Männer abzuschwören.

Drum fraget Eure Wünsche, schönes Kind,

Bedenkt die Jugend, prüfet Euer Blut,

Ob Ihr die Nonnentracht ertragen könnt,

Wenn Ihr der Wahl des Vaters widerstrebt,

Im dumpfen Kloster ewig eingesperrt

Als unfruchtbare Schwester zu verharren,

Den keuschen Mond mit matten Hymnen feiernd.

O dreimal selig, die, des Bluts Beherrscher,

So jungfräuliche Pilgerschaft bestehn!

Doch die gepflückte Ros ist irdischer beglückt,

Als die am unberührten Dorne welkend

Wächst, lebt und stirbt in heilger Einsamkeit.

Hermia.

So will ich leben, gnädger Herr, so sterben,

Eh ich den Freiheitsbrief des Mädchentums

Der Herrschaft dessen überliefern will,

Des unwillkommnem Joche mein Gemüt

Die Huldigung versagt.

Theseus.

Nehmt Euch Bedenkzeit; auf den nächsten Neumond,

Den Tag, der zwischen mir und meiner Lieben

Den ewgen Bund der Treu besiegeln wird;

Auf diesen Tag bereitet Euch, zu sterben

Für Euren Ungehorsam, oder nehmt

Demetrius zum Gatten, oder schwört

Auf ewig an Dianens Weihaltar

Ehlosen Stand und Abgeschiedenheit.

Demetrius.

Gebt, Holde, nach; gib gegen meine Rechte,

Lysander, deinen kahlen Anspruch auf.

Lysander.

Demetrius, Ihr habt des Vaters Liebe:

Nehmt ihn zum Weibe; laßt mir Hermia.

Egeus.

Ganz recht, du Spötter! Meine Liebe hat er;

Was mein ist, wird ihm meine Liebe geben;

Und sie ist mein; und alle meine Rechte

An sie verschreib ich dem Demetrius.

Lysander.

Ich bin, mein Fürst, so edlen Stamms wie er;

So reich an Gut; ich bin an Liebe reicher;

Mein Glücksstand hält die Waag auf alle Weise

Dem seinigen, wo er nicht überwiegt;

Und (dies gilt mehr als jeder andre Ruhm)

Ich bin es, den die schöne Hermia liebt.

Wie sollt ich nicht bestehn auf meinem Recht?

Demetrius (ich will's auf seinen Kopf

Beteuern) buhlte sonst um Helena,

Die Tochter Nedars, und gewann ihr Herz:

Und sie, das holde Kind, schwärmt nun für ihn,

Schwärmt andachtsvoll, ja mit Abgötterei

Für diesen schuldgen, flatterhaften Mann.

Theseus.

Ich muß gestehn, daß ich dies auch gehört

Und mit Demetrius davon zu sprechen

Mir vorgesetzt; nur, da ich überhäuft

Mit eignen Sorgen bin, entfiel es mir.

Doch ihr, Demetrius und Egeus, kommt!

Ihr müßt jetzt mit mir gehn, weil ich mit euch

Verschiednes insgeheim verhandeln will.

Ihr, schöne Hermia, rüstet Euch, dem Sinn

Des Vaters Eure Grillen anzupassen;

Denn sonst bescheidet Euch Athens Gesetz,

Das wir auf keine Weise schmälern können,

Tod oder ein Gelübd des ledgen Standes.

Wie geht's, Hippolyta? Kommt, meine Traute!

Ihr, Egeus und Demetrius, geht mit!

Ich hab euch noch Geschäfte aufzutragen

Für unser Fest; auch muß ich noch mit euch

Von etwas reden, was euch nah betrifft.

Egeus.

Dienstwillig und mit Freuden folgen wir.

(Theseus, Hippolyta, Egeus, Demetrius und Gefolge ab.)

Lysander.

Nun, liebes Herz? Warum so blaß die Wange?

Wie sind die Rosen dort so schnell verwelkt?

Hermia.

Vielleicht, weil Regen fehlt, womit gar wohl

Sie mein umwölktes Auge netzen könnte.

Lysander.

Weh mir! Nach allem, was ich jemals las

Und jemals hört in Sagen und Geschichten,

Rann nie der Strom der treuen Liebe sanft;

Denn bald war sie verschieden an Geburt –

Hermia.

O Qual! zu hoch, vor Niedrigem zu knien!

Lysander.

Bald war sie in den Jahren mißgepaart –

Hermia.

O Schmerz! zu alt, mit jung vereint zu sein!

Lysander.

Bald hing sie ab von der Verwandten Wahl –

Hermia.

O Tod! mit fremdem Aug den Liebsten wählen!

Lysander.

Und war auch Sympathie in ihrer Wahl,

So stürmte Krieg, Tod, Krankheit auf sie ein

Und macht' ihr Glück gleich einem Schalle flüchtig,

Wie Schatten wandelbar, wie Träume kurz,

Schnell wie der Blitz, der in geschwärzter Nacht

Himmel und Erd in einem Wink entfaltet;

Doch eh ein Mensch vermag zu sagen: schaut!

Schlingt gierig ihn die Finsternis hinab:

So schnell verdunkelt sich des Glückes Schein.

Hermia.

Wenn Leid denn immer treue Liebe traf,

So steht es fest im Rate des Geschicks.

Drum laß Geduld uns durch die Prüfung lernen,

Weil Leid der Liebe so geeignet ist

Wie Träume, Seufzer, stille Wünsche, Tränen,

Der armen kranken Leidenschaft Gefolge.

Lysander.

Ein guter Glaube! Hör denn, Hermia!

Es liegt nur sieben Meilen von Athen

Das Haus 'ner alten Witwe, meiner Muhme;

Sie lebt von großen Renten, hat kein Kind

Und achtet mich wie ihren einzgen Sohn.

Dort, Holde, darf ich mich mit dir vermählen,

Dorthin verfolgt das grausame Gesetz

Athens uns nicht: liebst du mich denn, so schleiche

Aus deines Vaters Hause morgen nacht

Und in den Wald 'ne Meile von der Stadt,

Wo ich einmal mit Helena dich traf,

Um einen Maienmorgen zu begehn;

Da will ich deiner warten.

Hermia.

Mein Lysander!

Ich schwör es dir bei Amors stärkstem Bogen,

Bei seinem besten, goldgespitzten Pfeil

Und bei der Unschuld von Cytherens Tauben;

Bei dem, was Seelen knüpft in Lieb und Glauben;

Bei jenem Feur, wo Dido einst verbrannt,

Als der Trojaner falsch sich ihr entwand;

Bei jedem Schwur, den Männer je gebrochen,

Mehr an der Zahl, als Frauen je gesprochen;

Du findest sicher morgen mitternacht

Mich an dem Platz, wo wir es ausgemacht.

Lysander.

Halt, Liebe, Wort! Sieh, da kommt Helena.

Helena tritt auf.

Hermia.

Gott grüß Euch, schönes Kind! Wohin soll's gehn?

Helena.

Schön nennt Ihr mich? – Nein, widerruft dies Schön!

Euch liebt Demetrius, beglückte Schöne! –

Ein Angelstern ist Euer Aug; die Töne

Der Lippe süßer, als der Lerche Lied

Dem Hirten scheint, wenn alles grünt und blüht.

Krankheit steckt an; o tät's Gestalt und Wesen!

Nie wollt ich, angesteckt von Euch, genesen.

Mein Aug lieh' Euren Blick, die Zunge lieh'

Von Eurer Zunge Wort und Melodie.

Wär mein die Welt, ich ließ damit Euch schalten,

Nur diesen Mann wollt ich mir vorbehalten.

O lehrt mich, wie Ihr blickt! Durch welche Kunst

Hängt so Demetrius an Eurer Gunst?

Hermia.

Er liebt mich stets, trotz meinen finstern Mienen.

Helena.

O lernte das mein Lächeln doch von ihnen!

Hermia.

Ich fluch ihm, doch das nährt sein Feuer nur.

Helena.

Ach, hegte solche Kraft mein Liebesschwur!

Hermia.

Je mehr gehaßt, je mehr verfolgt er mich.

Helena.

Je mehr geliebt, je ärger haßt er mich.

Hermia.

Soll ich denn schuld an seiner Torheit sein?

Helena.

Nur Eure Schönheit: wär die Schuld doch mein!

Hermia.

Getrost! ich werd ihm mein Gesicht entziehen.

Lysander wird mit mir von hinnen fliehen.

Vor jener Zeit, als ich Lysandern sah,

Wie schien Athen ein Paradies mir da!

Nun denn, wofür sind Reize wohl zu achten,

Die einen Himmel mir zur Hölle machten?

Lysander.

Laß,

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Reviews

What people think about Ein Sommernachtstraum (Zweisprachige Ausgabe

4.3
63 ratings / 63 Reviews
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Reader reviews

  • (5/5)
    My favorite Shakespearean comedy, a miracle.
  • (4/5)
    Having taken a Shakespeare class in college, I've read, studied and analyzed a number of the bard's plays. This was a sleeper as it turned out to be my favorite. If a book this old can make me laugh, that says something, especially when most television shows today can't make me smirk.
  • (4/5)
    A comedy by Shakespeare on love and marriage. The way he mixes English culture with ancient mythology is brilliant.
  • (3/5)
    Was promted to re-read this by reading Neil Gaiman's eponymous Sandman short story. Learned:That my English has gotten a hell of a lot better in the last 11 years. This was the first Shakespeare play I tried to read, and I read it by myself at the time, so I didn't really get it.That I still don't really get the "brilliance" of this particular Sandman story.That I should probably read more Shakespeare.That some of the notes to this edition are utterly useless, and that Reclam can't quite decide what level of audience they're aiming their notes and translations at.
  • (4/5)
    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.
  • (2/5)
    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.
  • (4/5)
    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
  • (5/5)
    Bottom stands just a couple of steps below Iago, Othello, and Falstaff among the beings created by Shakespeare. Not a "rutting" donkey, but an innocent, good-natured, modern man who knows that the world has gone made, but who is too gentle and nice to tell that to the characters that surround him. His is the play's true story, the rest is a comic masque designed to delight some of the most powerful in England - including the Queen. Obregon's speech in the Queen's honor is some of Shakespeare's best writing.
  • (5/5)
    This is my second favorite Shakespeare play, just narrowly being beaten out by "The Tempest" (if you want to know how much I love these books, I'm tempted to name future children Miranda, Lysander, and Demetrius). I love all the subplots that occur throughout the story (the play within a play and the men acting in it are just hilarious!) and I love all the humor throughout. And this play has Puck- what a great character; he's definitely up there as one of my favorite characters written by the Bard.This is just such a fun play that I'll heartily recommend it to anyone who hasn't read it- and if you have, you should go reread it (I must be up to about six or seven rereads by now). ;) Hands down, this gets 5 stars out of 5; if I could give it more, I would!
  • (4/5)
    You have to give it to the greatest playwright who ever lived to write a complicated comedy on true love. In this play, Shakespeare intertwines the lives of four sets of characters in four plots. In begins with Theseus, the Duke of Athens complaining to his bethrothed Hippolyta how four days is a long time to wait for his wedding to her, the Queen of the Amazons. He wounded and defeated her in battle, but wooed her in captivity. Then enters the second set of characters: Egeus, who asks that Theseus explains the Athenian law to Hermia, his daughter, who either follows her father's wishes and marry Demetrius or be condemned to a life of virginity in a nunnery. This consequence is considered worse than death at that time. Hermia loves Lysander instead and the couple plan to meet in the woods to elope. Helena, on the other hand, is in love with Demetrius, tells him about the plan, and goes with him to the woods. The third set of characters is a group of local laborers led by Nick Bottom, a weaver, also a "pompous ass". They come to the woods to rehearse "Pyramus and Thisbe" for Theseus' wedding celebration. The play is about a love affair that ends in a tragedy. The fourth set of characters are Oberon and Titania, King and Queen of the fairies and their attendant sprites led by Puck, a mischievous one. Oberon and Titania meet in the woods and jealously argue over their mortal loves. The main characters fall asleep in the woods and Oberon sets Puck's mischiefs rolling when he orders him to squeeze the "love-at-first-sight" juice of the pansy, "love-in-idleness" on Titania's eyes while sleeping to teach her a lesson. Puck also was to apply it on Demetrius eyes so he reciprocates Helena's affections. Titania wakes up and falls in love with Bottom, whose head Puck turns into that of an ass. He mistakes Lysander for Demetrius; squeezes juice on Lysander's eyes; gets reprimanded by Oberon; squeezes juice on Demetrius' eyes. Now both knaves are in love with Helena who thinks they are mocking her and leaves a puzzled Hermia. It is up to Puck to mend his mischiefs. The 16th century language and the script format of the play makes it a difficult reading. Reading it out loud and playing the part helps in understanding. I eventually got the subtle pun after reading it several times. I had a good glimpse of how a genius' mind works after comprehending this play.
  • (3/5)
    I know as an educator and librarian, it is assumed by most that I am a lover of Shakespeare. However, I must come clean. I am not. I actually truly dislike reading the 16th century language and I have trouble getting past that to try and enjoy the story. That being said however, I chose to read this because the majority of English teachers at my school teach this classic and I wanted to be able to have conversations with the students about it. I will say, A Midsummer Night's Dream is my favorite Shakespeare play so far and I feel like I accomplished something by reading it.
  • (4/5)
    " 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.
  • (4/5)
    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.
  • (5/5)
    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.
  • (5/5)
    I consider this my first Shakespeare: this is the play that made me fall in love with the master. It's a supremely delightful work that never wears thin with time. It's that immortal "O lord, what fools these mortals be" that does me in every time. Humorous and splendidly human despite the fairies dancing across the words.
  • (3/5)
    As hard as I've tried, I could never quite get into this one. I've read it once and seen it performed twice. Both productions were classy. Still, I found the play tedious.
  • (5/5)
    One of my favorite comedies. Significant to me because I've actually been in a love rhombus, as it were; therefore, I can relate some of the characters.
  • (4/5)
    One of my favourite Shakespeare plays, very witty and funny.
  • (4/5)
    "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.)
  • (4/5)
    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.
  • (5/5)
    Perfect comedy.
  • (5/5)
    Read it in high school. Loved it, it was funny
  • (3/5)
    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.
  • (4/5)
    A reasonably mild edition of a great play, but one that will be eminently suitable for highschool students and actors.
  • (5/5)
    It's Shakespeare. Wonderful story but I prefer his tragedies.
  • (4/5)
    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.
  • (4/5)
    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.
  • (5/5)
    "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!
  • (3/5)
    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.
  • (5/5)
    I was a stagehand for this. Incredibly fun.