Hamlet and a Midsummer Night's Dream
In one of AMND’s most enduring passages, Lysander states (Act one scene one, line 134) ‘The course of true love never did run smooth.’ The conflict that is inevitably born out of love is a central theme at the heart of Midsummer’s Night’s Dream and Hamlet, but is extended by Shakespeare not only to romantic relationships, but to familial bonds as well. The conflict is ultimately resolved in diametrically opposing ways in each play, according to the conventions of their respective genres. Hamlet is a tragedy, and therefore can result only in death, but AMND, as a comedy, uses the traditional method of marriage to resolve its conflict.
Shakespeare opens AMND with the relationship between Athenian Duke Theseus and Amazonian warrior Hippolyta, thereby framing the enfolding drama with the portrayal of a union in which romance and military conflict are inextricably bound: ‘Hippolyta, I woo’d thee with my sword/and won thy love doing thee injuries.’ (1:1:16) Shakespeare incongruously conflates military imagery withthe language of romance, establishing the theme of love, initially at least, as being fraught with conflict. This is highlighted further as the discussion of Theseus and Hippolyta’s forthcoming nuptials is juxtaposed with the dramatic introduction of Hermia and Lysander, young lovers forbidden to marry by Egeus, Hermia’s domineering father.
Lysander and Hermia decide to ‘from Athens turn away our eyes’ (1.1.218) and elope to the forest. Shakespeare’s use of the forest as a backdrop to the young lovers’ elopement is significant. It would have reminded members of the Jacobean audience of ‘Saturnalia’, an ancient Roman festival in honour of the deity Saturn, which took place in the forest and was famous for subverting Roman social norms. A carnival atmosphere pervaded the festival, which included features – such as masters waiting on their servant’s tables - which defied the etiquette of the time.
The allusion to Saturnalia emphasises Lysander and Hermia’s
Shakespeare opens AMND with the relationship between Athenian Duke Theseus and Amazonian warrior Hippolyta, thereby framing the enfolding drama with the portrayal of a union in which romance and military conflict are inextricably bound: ‘Hippolyta, I woo’d thee with my sword/and won thy love doing thee injuries.’ (1:1:16) Shakespeare incongruously conflates military imagery withthe language of romance, establishing the theme of love, initially at least, as being fraught with conflict. This is highlighted further as the discussion of Theseus and Hippolyta’s forthcoming nuptials is juxtaposed with the dramatic introduction of Hermia and Lysander, young lovers forbidden to marry by Egeus, Hermia’s domineering father.
Lysander and Hermia decide to ‘from Athens turn away our eyes’ (1.1.218) and elope to the forest. Shakespeare’s use of the forest as a backdrop to the young lovers’ elopement is significant. It would have reminded members of the Jacobean audience of ‘Saturnalia’, an ancient Roman festival in honour of the deity Saturn, which took place in the forest and was famous for subverting Roman social norms. A carnival atmosphere pervaded the festival, which included features – such as masters waiting on their servant’s tables - which defied the etiquette of the time.
The allusion to Saturnalia emphasises Lysander and Hermia’s