Bővebb ismertető
PREFACE
A Midsummer Night's Dream has had a pre-eminent place in my affections ever since my first experience of the theatre: a matinée of Granville Barker's famous production, to which at the age of seven I was taken by my aunts, Dr Lillie and Miss Kathie Johnson. Round their Christmas hearth, shortly after, the family read the play aloud, taking parts: I read from Dr Lillie's copy of the handsome edition illustrated by Arthur Rackham. For these reasons among others I dedicate this edition to her and her sister, as well as to my wife who has been my fellow-Shakespearean for twenty years, and is the authority I invariably consult on Shakespeare's dramatic use of music,
I have referred in the Introduction and Commentary to one or two other productions besides Granville Barker's. I have profited, I hope, from documentation given me by his First Fairy, now Mrs Margaret Greenwood, of Ditchling, Sussex; and from talk with her and with a recent First Fairy, Miss Genevieve Allenbury, an observant and thoughtful actress, who told me also of the thought which had gone into the playing of Puck in the same 1975 production.^ I have tried never to lose sight of performance as the end for which Shakespeare designed the piece (a first performance, I think probable, in the great hall of a mansion, with foreseen revival in the public theatre). I have not, however, included a stage history, though to do so has been a frequent (but not invariable) Arden practice. The space saved has helped to make possible an extensive treatment of the sources and antecedents of the Dream. In view of their number and variety, that seemed to have the prior claim. I regret not citing and placing in context Hazlitt's disappointment with the attempt to realize on stage the magical charm of the play,^ and Pepys's notorious dismissal (29 September 1662):
1. In Regent's Park: cf. below, p. 110, n. 3.
2. Characters of Shakespeare's Plays, World's Classics edn, p. 108. But he appreciated the play as drama, nevertheless; of. his protest in The Examiner, 21 January i8i6: 'Shakespeare knew his job better as a playwright than to deserve such alteration' as the Dream had just received (and, one may add, has sometimes received since).