Immaculata Academy - Lilium Convallium Yearbook (Portland, OR)

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38 LILIUM CONVALLIUM A Midsummer N ight is Dream: An Appreciation Shakespeare's comedy, A Midsummer Night's Dream, is perhaps the most original of his dramas. Most of his plots are taken from other stories, but this plot is his own. In creating the fairies, he was, no doubt, influenced by his knowledge of fairy folk-lore, the other characters he drew from classical tradition. But in no other story are these widely different characters brought together. The structure of this play leads critics to believe it was written for some private celebration, most probably for the wedding of some nobleman, and was not written to be produced on the public stage. The ridiculous, if some- times incredulous, actions of the characters do not detract from the drama but make the story much more humorous. Besides the main plot, the complicated love affairs of the Athenian youths, there is also the minor plot, the quarrel of the fairy king and queen. The first act introduces us to one group of characters and tells us what the play will be about. The words of Theseus give us the keynote, mirth, and tells us the play will be merry and light. Stir up the Athenian youth to merrimentsg Awake the pert and nimble spirit of mirth: Turn melancholy forth to funerals, The pale companion is not for our pomp. Four days intervene until the Duke's wedding and until this event we are to pleasantly dream away the time. How pleasantly Shakespeare lets us dream away the time! A fairy song and dance, a joke played by mischievous Puck, or a ridiculous situation of a leading character keep us continually amused. The action is very swift. The author fairly rushes us through the scenes of action and leaves us almost breathless at the end. The flight of Hermia and Lysander into the forest starts the rising action. Rapidly Shakespeare brings all the other characters together in that forest, and how expertly he does it! Sometimes he uses almost impossible means to gain his end, but he does it so skillfully that we do not notice the improbability of the actions of the characters. The real genius of the dramatist can only be appreciated when we look at the variety of unlike characters he brought together in this drama. An Athenian nobleman, an Amazonian queen, two pairs of Athenian lovers, a group of clownish artisans, the classical Pyramus and Thisbe, and the king and queen of a fairyland in India attended by a jester native of England, all take part in this play. As we look back over the widely different groups, does it not seem impossible that they could be brought together in the credible scenes of this one action? But Shakespeare does bring them together and in such a way that their very difference forms a delightful variety and contrast. Shakespeare at the very opening of the drama introduces us to the leading characters, Hermia, Helena, Lysander and Demetrius. In the second act he introduces the minor characters: Oberon, Titania, Puck, and the artisans. Puck is the most important of the minor characters, the one who causes the plot complications. The characters in this play are not so striking as in other Shakespearean dramas. The plot is developed more by comic situations than by the action of any particular character. The characters do not stand out as any particular type, but could be anyone in general. There is not so much outstanding character portrayal, but rather a detailed description of comic situations.

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regim- LILIUM CONVALLIUM 37 to find entrance to his soul, but Senor Mernilo, glancing again at the sweet picture, realized che compassion and power with God of our Lady of Guadalupe. He no longer thought about his position but only longed for God's forgive- ness and our Lady's friendship. For a while a bitter conflict took place within him, but at length he decided to see a priest immediately to make his peace with God. He would then send in his resignation of office. A wholly changed husband greeted Senora Mernilo a few hours later. He showed her more love and affection than usual and a happy smile played around his lips. The gentle lady's sweet face lighted up and her joy over his con- version was boundless, although she wept when she heard of the ruin of the convent. Suddenly, little Marie Peruza, expecting to find Senora alone, burst into the room. She stepped back in consternation when she saw Senor Mernilo, but he entreated her to come ing he had something to tell her. At the story of his return to God, the child was full of joy, because her earnest prayers had been answered completely. Then her face saddened and she said sorrowfully, I have something to tell you, too. Mother just told me that she is not my real mother. She said that she found me after a train wreck when I was two years old, and that no one has ever inquired for me. The childish voice broke on the last words and after a moment she continued sadly, Now I have no name, nor home, nor parents. The lady I call mother, told me, too, that I would have to go to an orphan's home because they are getting too poor. Senor Mernilo and his wife glanced at each other with wet, shining eyes, for now they saw the road to perfect happiness. They both loved this child as a daughter and now she could become their own little Angele. A few days later, the adoption papers having been secured, Marie came to live with her new parents. She wore for the first time a shiny gold locket. Wlien Senora Mernilo saw the locket, she almost fainted. My dear, where did you get that locket? The lady I lived with cold me that I had it on when she found mef' replied the surprised child. As his wife was almost overcome, Senor Mernilo opened it with trembling fingers. Yes, there were the pictures of the Sacred Heart of Jesus and our Lady of Guadalupe, just as they themselves had placed them almost ten years ago. As they were speechless with joy, it was some time before the child understood that she had found her real parents. A rose- shaped birthmark just above the girl's elbow confirmed the fact. As they sank to their knees in thanksgiving, Senor Mernilo murmured with intense feeling: I feel that the loving kindness that our good God has shown in restoring to us our little Angele, great as it is, is but a shadow of what he has reserved for us in eternity. Never again shall I lightly throw away my heavenly birthrightf' A few days later the ideally happy family moved to the United States, after having richly recompensed the people who had taken care of Angele. Keeping only enough money to afford themselves a small income, they gave the rest of their fortune to the Church in Mexico. Senor Mernilo's only aim in life now was to show his hearty gratitude to God for His exceptional favors by an exemplary Christian life. -ADELINE VANDERBECK, 'z6.

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-- g gg-LILIUM CONVALLIUM 39 Shakespeare describes his characters by their own speeches and by the speeches of the other persons of the play. As an example we quote the following passages: The fairies addressing Puck: rc Either I mistake your shape and making quite, Or else you are that shrewd and knavish sprite Called Robin Goodfellow: are not you he That frights the maidens of the villageryg Skim milk, and sometimes labour in the quern And bootlcss make the breathless housewife churng And sometimes make the drink to bear no bearm, Mislead night-wanderers, laughing at their harm? Those that Hobgoblins call you and sweet Puck, You do their work, and they shall have good luck: Are you not he?'i Helena speaking of Hermia, describes her physical features as well as her character. Oli, when she's angry, she is keen and shrewd! She was a Vixen when she went to school, And though she be but little, she is fierce. The setting is very important. This play could probably not have taken place elsewhere. The old Athenian law, brought into use, with the peculiar customs of that time forms an appropriate setting for the story. Though the scene of action is ostensibly Athens, it is in reality Englandv. This again reveals the genius of the author. Athens, with its cruel laws of bygone days, its constant warfare with foreign lands, and mysteries of wondrous tales of the gods and goddesses, and England, with its beautiful scenery, its fairy-lore, and its gay spring festivals, are a wonderful and altogether appropriate setting. The theme of the drama is love. The action is within the noble and beautiful love of the Duke for Hippolyta, and the inconstant love of the Athenian youths. As a contrast We have the light and fickle love of the fairies and the mock-heroic love of the homespuns. The theme is clearly defined and effectively illustrated by the actions of the play. The author does not wish us to be melancholy or serious while reading this drama. The music and laughter keep us constantly delighted. Throughout the play, Shakespeare uses beautiful figures of speech. . . . . she lingers my desires, Like to a step-dame or a dowager Long withering out a young man's revenue. The fairy dances and songs are especially beautiful. They arouse our imagination and we feel that we too are in that beautiful forest in the springtime. The Midsummer Night's Dream is indeed a play that all enjoy. The beautiful music of the lines and the lightness and gaiety must have a delightful effect upon even the most melancholy reader. It shows us that all the little misfortunes of life are not necessarily tragic, and that they should be accepted with a smile. -THERESA HEUP, 327.