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by
John Hudson
The present work provides an extension of the allegory to all the major
entities in the non-Court part of the play and shows that the religious
satire is much more extensive, and that it has been contrived to form a
coherent narrative. Unlike those allegorical interpretations which can be
criticized for being individually isolated and lacking any overall meaning,
the present understanding of each character in Dream can be inter-
related as part of a consistent allegorical plot.
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messiah (the Changeling). The ‘changeling’, which is a term in rhetoric,
is by implication contained in a book (the Flower) that is associated with
idolatry (idleness), is purple colored, associated with the god of love and
which makes people madly dote upon Jesus (Bottom/Pyramus), all of
which implies that the book in question is the Gospel. Yahweh (Oberon)
plots revenge. With the assistance of the Devil (Puck) who is a Moor
(barber), he administers the Gospels (Flower) to Titus (Titania) while she
is asleep to punish her, so that on waking she falls in love with Jesus
(Bottom/Pyramus). As in the Jewish war, Titus (Titania) orders the limbs
cut off one of the Maccabees (Bees). Yahweh (Oberon) then kills Titus
(Titania) by the administration of Wormwood (another name for Dian’s
Bud)—the same substance supposedly administered to Jesus on the cross,
and resurrects her as a new compliant soul.
Then the Partition between heaven and earth (Wall) falls down, bringing
about the day of Apocalypse on which Jesus and the Church will be re-
united. Saint Peter (Quince) directs a comic playlet in which this takes
place, but Jesus (Bottom/Pyramus) dies a death whose main features are
derived from the Gospel passion stories and which is framed by an
inclusio of two mentions of the word ‘passion’. One of the unusual lines
in the death scene also echoes the crucifixions that Titus ordered at the
end of the Jewish war. This is followed by the death of the Church
(Thisbe/Flute). Finally the spirits come out of their graves, this being the
day of resurrection, and Yahweh (Oberon) distributes dew to the dancers
to “consecrate” the world. This is a unique feature found only in Jewish
accounts of the resurrection on the Last Day, implying that the playlet of
Christianity is over and that this is the first day of a new Jewish world.
Altogether this constitutes a consistent and rational narrative, although
the existence of such a Jewish allegory raises many provocative
implications.
This work suggests that the entire underlying plot is a religious allegory.
It would appear to have been created as revenge literature to parody
Titus Caesar, the man who commissioned the writing of the Gospels and
their literary portrait of a false, literary messiah. As Marlowe put it,
scripture was “all of one man’s making” (C.B. Kuriyama Christopher
Marlowe; A Renaissance Life p.159), Jesus was a “deceiver”, and was “n’er
thought upon till Titus and Vespasian conquered us” as a Jewish voice
complains in The Jew of Malta (II,3,10). This is the same theological
perspective depicted in the allegorical level of all of the Shakespearean
plays, and it matches the latest developments in NT scholarship (see
Joseph Atwill Caesar’s Messiah, 2005 and Das Messias Ratsel, 2008).
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2. WHO ARE THE CHARACTERS?
Much of the religious allegory in Dream had already been detected by
Professor Patricia Parker by reviewing how readers constructed allegorical
meanings from texts in the late medieval period. Especially in her key
article ‘Murals and Morals; A Midsummer Night’s Dream’ published in
Aporemata in 1998, Parker had suggested the allegorical identity of
Pyramus and Thisbe (Jesus and the Church), Wall (the Partition between
Earth and Heaven which comes down at the Apocalypse), Peter Quince
(Saint Peter) , and confirmed the allegorical identity of Puck (the Devil).
A major plot point turns on the war that is taking place between Oberon
and Titania. The whole war has been caused by Titania stealing away a
“Little Indian Boy” whose mother is a Vot’ress, meaning a holy Virgin.
Moreover, Titania crowns him with flowers. We are not told which but the
forest contains several notably thorny flowers like eglantine, primroses
(oxlips) or the musk roses which made Bottom scratch. This is all very
peculiar. A Fairy Queen would hardly have a vot’ress since the term
means a woman consecrated by a vow to a religious life especially
referring to virgins. And holy virgins, even ones those associated with the
sea, by definition, do not have children. In fact, in all of western literature
there was only one who did —the Virgin Mary, sometimes called the star
of the sea. Her son also ended up being crowned---and with thorns.
The Little Indian Boy. Significantly in this play the Boy is three times
called the “changeling”. The superficial reason is that fairies were thought
to steal children and substitute fairy babies as changelings. However the
rhetorical term ‘Changeling’ also was how George Puttenham employed
the fairy tradition in The Art of English Poesie (1589) as the translation
for the Greek rhetorical term hypallage, in which as Miriam Joseph puts it
“the application of words is perverted and sometimes made absurd”.
Hypallage is a variety of the broader grammatical form known as
hyperbaton, meaning a departure from ordinary order. We are therefore
being warned that the Little Indian Boy is associated with such a
departure from the ordinary order in which words are given perverted and
absurd meanings.
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What in any case is an Indian boy doing in the forest? Scholars are
mystified. If this play is set in Athens shouldn’t he be a little Athenian
boy? So bearing in mind that as Professor Parker has shown several of the
other characters come from first century Judea, could he perhaps rather
be a Little Iudean Boy? In Othello, for instance, the reference to a “base
Indian” in the 1622 Quarto becomes “base Judean” in the First Folio.
Because that is indeed the allegorical identity of the character, this is
unlikely to be a printing error as sometimes supposed. Moreover,
contrary to Honigmann’s supposition, the term ‘Iudean’ was in use within
Lord Hunsdon’s literary circle at around the time that Dream was written
so this pun could have been implied.
Titania. The reason why the author deliberately chose this peculiar name,
Titania from the Latin text of Ovid, where it refers to the two goddesses
who are shape-shifters, Diana and Circe, has never been discovered. In
my reading however, this episode is the first major clue that Titania’s
name was deliberately chosen because she is a literary allegory for Titus
Caesar—the man who destroyed Jerusalem.
Oberon; We are told that “jealous Oberon would have the child" who
Titania "perforce witholds" from him (line 26). We are later told that
Oberon has "Come from the farthest step of India" (line 69). We also know
that Oberon is a King. So Oberon appears to be that "Indian" ie. Judean
king from whom Titania has stolen the boy. Furthermore the appearance
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of the terms “jealous” and “Lord” in close succession echo the passage in
Exodus 20;5 about the Lord being a jealous god. This suggests that the
war is the Roman Jewish war in which Titus Caesar is fighting against the
Lord God of the Jews. This war was caused by the Jewish insistence on
monotheism, which is the term underlying Yahweh’s supposed ‘jealousy’
since the Jews refused to worship Caesar.
The Wall and the Jewish Apocalypse; Parker‘s work had identified the
wall as the partition that comes down on the day of Apocalypse. It is the
Day of Judgment, when the spirits come out of the graves and are blessed
with dew. This peculiar characteristic is found in no Christian apocalypse,
but does appear in the Zohar as the actions of the Hebrew God Yahweh,
in which case his opponent Titania should be identified as Titus Caesar.
The ‘Flower’. The so called ‘flower’ that Puck fetches should make us
pause. Why should the Hebrew God send the Devil off around the world
to collect pansies? They are not a flower normally associated with
containing hateful fantasies. Looking at the evidence in detail, the words
for flower gathering in Greek are the same as the words for anthology,
and to the Elizabethans the word ‘flower’ was another name for a book—
such as the 100 poems in A Hundreth Sundrie Flowers (1573). We are
also told the flower’s name is ‘idleness’, which was an Elizabethan pun on
idolatry, and therefore meant love of a false god—which is a constant
theme throughout the play. We also know it is colored in the imperial
purple and can fill someone with hateful fantasies. In Dream we even
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have a specifically dramatized example of how this book or ‘flower’
misleads someone into falling in love with a “vile thing” who is separately
identified as Bottom/ Pyramus ie. Jesus.
There is only one book that fulfils these criteria, namely the Gospels. In
this production the allegorical understanding of the ‘flower’ is conveyed
by having Oberon point to a chart which bears the following words, while
he speaks to Puck in a didactic tone: Flower = A Book, Purple = Imperial
Color, Idleness = Idolness, Dote = love a fantasy.
The Bees. The strange instruction that Titania gives to crop the waxen
thighs of the bees has never been explained. It appears to be the only
example in western literature of anyone amputating the legs of bees and
is normally passed over in productions. In the present production
however it is made extremely visible by the Fairies actually amputating
the limbs of the bees and arranging some of the limbs to decorate
Titania’s bower—leaving the bees dead on stage for the next ten minutes.
The reason for emphasizing this peculiar activity is that at the end of the
Jewish war Titus Caesar is described in the works of Josephus as having
caught a Jewish leader. His family all bore the names of the family of the
Maccabees, and Titus had him crucified alive, and then ordered his torso
to be cut down, being ‘pruned like an almond tree’ by having his limbs
amputated. The suggestion is that if Titania is an allegory for Titus, then
the Bees are an allegory for the Jewish rebels the Maccabees, and that
they have their limbs cut off accordingly.
Men say “no die but an ace for In the Gospel story men played
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him” and play dice lots or dice at foot of the cross
(see Arden footnote) (Mt 27;35)
Spirits come out of the grave Tombs open and spirits come out
(Mt 27;52)
Wall between heaven and Earth comes down Judgement day is expected
Even more significantly, the line ‘with the help of a surgeon he might yet
recover and yet prove an ass’ (V,i,299) is an inter-textual allusion to the
three men who were crucified by Titus Caesar and taken down, one of
whom recovered at the hands of the surgeon as described in the
Autobiography of Josephus.
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characters in the central part of the play, rather than in the court scenes,
the passages involving the Duke and the Lovers were extensively cut.
However two outlying framing scenes of Theseus and Hippolyta are
preserved in order to maintain structural integrity. In order to make the
perspectives on allegory more prominent in this adaptation, the passage
from the start of Act V, which as in other plays represents a kind of
summary or recapitulation of the play—and which concerns Dante’s two
approaches to allegory- has been moved to the beginning to serve as an
introduction rather than as a summary. The adaptation begins with a
dumb-show to visually illustrate the capture of the Little ‘Indian’ Boy, and
concludes with a formal Elizabethan dance on the day of resurrection.
John Hudson
Darkladyplayers@aol.com