Puck: From Myth to Stage by Daniella Marchese The jester or fool is an archetypal role in literature, often Although Puck insists it was an accident, Oberon reminds a comic confidant to a figure of power, who can teach him that while as fairies they may have fun, they are not lessons to those of a higher social ranking though comic guided by darkness and must not commit evil. situations or clowning. As Oberon’s confidant, Puck is certainly a mischievous jester though his “lessons” don’t Britten’s interpretation of Puck is not quite as devilish as seem to teach anyone to do more than watch their backs that presented by Shakespeare. According to Britten, when in the woods! “Puck is absolutely amoral but innocent,” as if Puck’s age and immaturity may play a large part in his mischief. Shakespeare’s original audiences of the 16th century Britten’s Puck is also somewhat of an acrobat, tumbling would have immediately recognized the ill-behaved nature throughout the production showing off his carefree nature. of Puck just by hearing his name. The name Puck is derived Britten further distinguishes Puck from the fairy and human from the Old English sprite Puca, who was known to trick world by keeping the role spoken rather than sung. Oberon those traveling in the woods at night. Germanic and Celtic is played by a countertenor, Tytania, a soprano, and the traditions also had similar mythological figures known as rest of the fairies are written as trebles and, as in the COC puki (Norse) and pwca (Welsh) respectively. Shakespeare production, played by a chorus of children. In this case, also refers to Puck as Robin Goodfellow, a name which is Puck is singled out even more by his size compared with often associated with the devil in English literature. the rest of the fairies. Similar to the role of a jester, Puck is set apart from the rest of his kind by these features, which By naming the character Puck, Shakespeare helped provides him an opportunity that the others wouldn’t have. audiences immediately recognize that trickery would ensue when the character is introduced in Act II, scene i. While Puck may like to indulge in trickery, he is obedient Accusations of misbehaviour from one of Tytania’s fairies and follows Oberon’s orders to right his wrongdoings. At are not even denied! Puck is quite open about his naughty the end of the play, Puck addresses the audience with an behaviour and admits: apology – of sorts: I am that merry wanderer of the night. Give me your hands, if we be friends, I jest to Oberon and make him smile. (Act II, scene i) And Robin shall restore amends. (Act V, scene i) While Puck claims that all of his mischief is to make Usually the audience has been charmed enough by Oberon smile, sometimes his mischief goes too far. Oberon Puck that they are willing to forgive. Like the fool, Puck’s feels remorse when Tytania falls in love with Bottom whom charisma saves his skin in the end. Oberon is too Puck has turned into a donkey. He also instructs Puck to distracted by his reunion with Tytania to find fault with reverse the spell he has put on the lovers. Oberon hints Puck’s means. He has his new attendant and the mischief that Puck has committed these acts knowingly: is righted. The midsummer night awakens to a beautiful dawn. This is thy negligence: still thou mistakest, Or else committ’st thy knaveries wilfully. (Act III, scene ii) Daniella Marchese is the Community Outreach Associate in the COC’s Education and Outreach Department. Canadian Opera Company ~ Education and Outreach ~ A Midsummer Night’s Dream Study Guide 2008/2009 ~ coc.ca ~ 416-306-2307.