Oberon And Titania Quotes

So," she said at last, her voice dripping poisoned icicles, "this is Oberon's little bastard." -Queen Titania

Revelry isn't just the debauched pursuit of mindless, excessive--and often cruel-- pleasures as King Oberon and Titania have turned it into. It is supposed to be a place of art. No matter how seemingly frivolous, art can give a laugh, a light, a spark of pleasure relieves sorrow and uplifts the soul. It can tell truths and reach hearts better than dry, pedantic tomes. That's the true purpose of the Court of Revels.

As the last dish of confections was removed a weird pageant swept across the further end of the banqueting-room: Oberon and Titania with Robin Goodfellow and the rest, attired in silks and satins gorgeous of hue, and bedizened with such late flowers as were still with us. I leaned forward to commend, and saw that each face was brown and wizened and thin-haired: so that their motions and their wedding paean felt goblin and discomforting; nor could I smile till they departed by the further door. ("The Basilisk")

Oberon: Ill met by moonlight, proud Titania. Titania: What, jealous Oberon! - Fairies, skip hence: I have forsworn his bed and his company.

Why should Titania cross her Oberon? 120I do but beg a little changeling boy To be my henchman.

Therefore the winds, piping to us in vain, as in revenge, have sucked up from the sea contagious fogs.…” Pestilential, a note in the text explains, next to the word contagious, in Kirsten’s favorite of the three versions of the text that the Symphony carries. Shakespeare was the third born to his parents, but the first to survive infancy. Four of his siblings died young. His son, Hamnet, died at eleven and left behind a twin. Plague closed the theaters again and again, death flickering over the landscape. And now in a twilight once more lit by candles, the age of electricity having come and gone, Titania turns to face her fairy king. “Therefore the moon, the governess of floods, pale in her anger, washes all the air, that rheumatic diseases do abound.” Oberon watches her with his entourage of fairies. Titania speaks as if to herself now, Oberon forgotten. Her voice carries high and clear over the silent audience, over the string section waiting for their cue on stage left. “And through this distemperature, we see the seasons alter.” All three caravans of the Traveling Symphony are labeled as such, THE TRAVELING SYMPHONY lettered in white on both sides, but the lead caravan carries an additional line of text: Because survival is insufficient.

Two Queens ruled Faerie, a kingdom divided between them. The elder was the Mebd, the Summer Queen. The younger was the Cat Anna, the Queen of Winter, the White Witch. There had been others, Queens and Kings of air and darkness, ghosts and shadows: Oonaugh, Titania, Oberon, Niamh, Finnvarra.

The use of classical names and terms as alternative ways of referring to characters from traditional British folklore was by no means an innovation by Shakespeare. Chaucer, for example, demonstrated his own learning by several times calling his fairy queen Proserpina- and the fairy king Pluto. As the influence of the Renaissance spread, such instances became even more common.40 Somewhat like the name of her consort Oberon (see later), Titania's name is more descriptive than personal.  'Titania' simply means that she is born of Titans- though this naturally begs some very important questions.  Roman writer Ovid tells us in The Metamorphoses that Titania is another name for or aspect of the goddess Diana: he described how she was accidentally seen by a young man when bathing with her nymphs: “while the Titanian Goddess was there bathing in the wonted stream…

A Martian Midsummer Night's Dream by Stewart Stafford On Mars's pristine ruddy hue, we tread, Above, stars as adamantine algae spread. Phobos and Deimos, twin moons fair, Primeval river beds form a spidery lair. Dust storms tower above dried-up seas, A vast red alien desert, shorn of trees. Oberon and Titania's gamesmanship spite, Quarrel deep in the Martian summer night. Puckish antics stir starry lovers' hearts true, As spells and dreams on tangled paths pursue. On Olympus Mons, Vulcan gods watch and scheme, Echoes of old wars fuelling plans extreme; A Wellsian tome of the tripod Martian foe, Of invasive seeds, spread to Earth to sow. In Valles Marineris, where canyons stretch away, Dead of night gives birth to coppery day. A frontier vision, both opaque and diamond clear, Magical flights of fancy on an untamed sphere. © 2024, Stewart Stafford. All rights reserved.

We are all very familiar with the concept of faery queens, whether from Mab, Titania or from Spencer’s famous poem, and British folk tradition gives the strong impression that they are widespread. Other than Oberon, faery kings are rather less frequently mentioned. We hear of an unnamed monarch in the poem King Orfeo, the ‘eldritch king’ of the ballad Sir Cawline, the elf king of Leesom Brand and, finally, the small faery man of the ballad the Wee Wee Man seems to be some sort of faery ruler or noble.113 As mentioned earlier, the sixteenth century Scottish poet Montgomerie wrote of “the King of Pharie with the court of the Elph-quene.’ It’s not apparent whether there is any major significance to his choice of wording, which seems at least to imply that the king is in some manner subservient to his consort.

Oberon could not speak for the burning anger on is tongue. Instead, he drew back his mighty fist and would have knocked his captain clean off the wall, down on the jagged rocks below... Only suddenly, standing between him and his prey was the gloriously golden image of his wife smiling sweetly up at him. "Really, darling, such a display. And so public too!" she said, laughing like the ringing of a bell chorus. "What will all the little ones think?' "Out of my way, Titania!" Oberon bellowed. "Puck has told me of your part in all this nonsense, and I'll be dealing with you next!" But Titania had seen too many of her husband's tempers over the long centuries of their marriage to mind him much now. "Don't be ridiculous," she said lightly, tapping him on the nose with one long, elegant finger. 'Do you really want to stand in the way of true love? When you start meddling with people's hearts, things never go well, as everyone knows.

Thirdly, and rather like Artemis/Diana, Shakespeare's fairy queen is intimately associated with the natural environment.  Her quarrel with Oberon not only damages their marriage and disturbs the harmony of their court; it disrupts the weather and the growing of the crops.  This is summarised by Titania when she tells Bottom that: "I am a spirit of no common rate. The summer still doth tend upon my state."44 She rules over the seasons and they follow her moods.