One tale involving Theseus concerns his expedition to a land of warrior women. The women, the legend tells us, cauterized the left breast in infancy so that it never developed and left that side free for the maneuvering of a shield. They were called "Amazons," from a Greek word meaning "breastless."
Theseus defeated the Amazons and captured their queen, Antiope, keeping her as his love. He married her and by her had a son, Hippoly-tus. The name of Hippolytus was famous in Greek legend because he was the center of a very famous tale involving the hopeless love for him of his stepmother, Phaedra.
A feminine version of Hippolytus' name, Hippolyta, worked its way backward therefore and was given to his mother in place of the older name, Antiope. This was all the easier to do because in the tale of another expedition against the Amazons, that of Hercules, Hippolyta was indeed given as the name of their queen. Shakespeare makes use of Hippolyta as the name of Theseus' Amazon queen, not only here, but also in The Two Noble Kinsmen (see page I-56).
Theseus is listed in the cast of characters as "Duke of Athens." This is an anachronism, for Athens was not a duchy or anything analogous to it in Theseus' time. It was what we would today call a kingdom and Theseus was its king.
The title "Duke of Athens" did not, however, come out of nowhere. In 1204 a party of Crusaders from the West (overthrew the Byzantine Empire, which then ruled Greece, took and sacked its capital, Constantinople, and divided up what they could of the Empire among themselves, fashioning new states, Western style. One of these fragments was the "Duchy of Athens," which included the regions about Athens and Thebes.
The Duchy of Athens continued in existence for • two and a half centuries. Finally, in 1456, it was absorbed into the empires of the Ottoman Turks. Shakespeare's play, probably written about 1595, \was only a century and a half removed from this Duchy of Athens, and the title of "Duke" would seem a natural one to the Elizabethan audience.
Since A Midsummer Night's Dream centers about a wedding, since it is gay and frothy and all about love and lovers, it seems natural to suppose that it was written for, and originally produced as, part of the entertainmerit at a wedding feast. Scholars have tried to guess which wedding it might have been and six different ones have been suggested, but none is very likely. The marriages of the two men most likely to have the use of Shakespeare's services in this way, the Earl of Southampton (see page I-3) and the Earl of Essex (Elizabeth's favorite and a great friend of Southampton), both took place in 1598, which is too late for the play.
The marriage festivities of Theseus and Hippolyta serve as the background plot, or the "frame," of the play. In the foreground are three other sets of events, Involving totally disparate groups of characters whom Shakespeare cleverly weaves together.
The first of these subplots is introduced at once, as a set of well-born Athenians break in upon Theseus. At their head is Egeus, who is vexed and annoyed because his daughter, Hermia, will not agree to marry a young man named Demetrius. Hermia insists stubbornly that she is in love with Lysander, of whom her father does not approve.
Lysander himself points out that Demetrius had previously been in love with Helena, a friend of Hermia's, and that Helena still returned that love.
All will not do. Despite Hermia's emotion and Lysander's reason, Egeus insists on having his way, as is his legal right. Theseus decides that by his own wedding day Hermia must have agreed to obey her father. The alternatives are death or lifelong celibacy. All then leave the stage, but Lysander and Hermia.
No recourse but flight seems left them. Lysander suggests that Hermia meet him in the wood outside Athens and that they flee to a rich aunt of his who lives outside Athenian territory. There they can marry.
Hermia agrees to meet him that very night, swearing to do so in a lyrical outburst of romantic vows:
—Act I, scene i, lines 169-74
Cupid is the Latin version of the Greek Eros, both of whom were personifications of sexual passion. Cupid (Eros) is earliest mentioned in the works of the Greek poet Hesiod, who wrote in the eighth century b.c. There he represented the impersonal force of attraction that created all things. In later centuries Cupid was personified as a young man, then as a boy, and finally as an infant rather like the cherubs in our own art.
In the Greek myths he was given various sets of parents; Venus and Mars (see page I-11) in the best-known version. He was considered to be mischievous, of course, as anyone could see who witnesses the ridiculous events brought about by love. He was sometimes depicted as blind, since love seemed to afflict the most mismatched couples (mismatched by all standards except those clearly visible to the lovers themselves).
He was supposed to possess a bow and arrows, for the onset of love (which is sometimes sudden, or seems sudden in later reminiscence) resembles a quick arrow in the heart. In later tales, Cupid was given two types of arrows, one with a golden tip to produce love, and another with a leaden tip to produce hate. Sometimes the hate arrows were made the property of a companion deity, Anteros ("opposed to Eros").
Doves were birds sacred to Venus (see page 1-15) and they too served as appropriate vehicles for lovers' oaths.
The "Carthage queen" is a reference to one of Shakespeare's favorite personages in classical legend and one to which he often refers. She is Dido, who in 814 b.c. (according to legend), founded the North African city of Carthage, which in later centuries dominated the western Mediterranean and rivaled Rome itself.
The best-known story in connection with Dido involves the Trojan hero Aeneas. Aeneas is one of the fighters on the Trojan side who survived the destruction of Troy. Indeed, at one point in the Iliad, Aeneas is on the point of being destroyed by the invincible Achilles, and is saved by the intervention of the gods. The excuse is that Jupiter (Zeus) "intends that Aeneas shall rule the surviving Trojan stock, and his children's children after him."
Naturally, numerous tales were later invented that gave Aeneas adventures after the fall of Troy. Of these, the one that is best known today was not told by a Greek at all but by a Roman poet, Publius Vergilius Maro (best known among English-speaking people as Vergil). In the reign of Augustus, first of the Roman emperors, in the last decades of the first century b.c., Vergil wrote a tale, in imitation of Homer, regarding the escape of Aeneas from burning Troy and his wanderings over the Mediterranean Sea. The epic poem he wrote was named Aeneid for its hero.
Eventually, Aeneas lands in Carthage and meets Queen Dido. (To be sure, the Trojan War was in 1200 b.c. and Queen Dido lived in 800 b.c., making four centuries between them, but Vergil didn't care about that and neither-if the truth be known-do we, in reading the Aeneid.)