Magic, love spells, and an enchanted wood provide the materials for one of Shakespeare's most delightful comedies. When four young lovers, fleeing the Athenian law and their own mismatched rivalries, take to the forest of Athens, their lives become entangled with a feud between the King and Queen of the Fairies. Some Athenian tradesmen, rehearsing a play for the forthcoming wedding of Duke Theseus and his bride, Hippolyta, unintentionally add to the hilarity. The result is a marvelous mix-up of desire and enchantment, merriment and farce, all touched by Shakespeare's inimitable vision of the intriguing relationship between art and life, dreams and the waking world.

One of the many astonishing achievements in A Midsummer Night's Dream (c. 1594-1595) is its deyelopment of the motif of love as an imaginative journey from a world of social conflict into a fantasy world created by the artist, ending in a return to a reality that has itself been partly transformed by the experience of the journey. As the lovers in this play flee from the Athenian law to lose themselves in the forest, they reveal and discover in themselves the simultaneously hilarious and horrifying effects of sexual desire. Moreover, their journey suggests the extent to which love or desire is itself an act of imagination, not unlike the imagination that underlies the creation of art. The fifth act especially invites us to see theatrical experience as like a dream, at times nightmarish but at its best an emancipating foray into an imagined space wholly beyond the realm of ordinary human happenings. Shakespeare gives us an earlier hint of an imaginary sylvan landscape in The Two Gentlemen of Verona, but not until A Midsummer Night's Dream is the idea fully realized.

Introduction
A Midsummer Night's Dream on Stage
A Midsummer Night's Dream on Screen
The Playhouse
A MIDSUMMER NIGHT'S DREAM
Date and Text
Textual Notes
Shakespeare's Sources
Further Reading
Memorable Lines