Oberon: oh, I’m often up this early/late, to watch the sun rise! (3.2.388-395) #MoonMad #SlowShakespeare

OBERON         But we are spirits of another sort.

I with the morning’s love have oft made sport,

And like a forester the groves may tread

Even till the eastern gate, all fiery red,

Opening on Neptune with fair blessed beams,

Turns into yellow gold his salt green streams.

But notwithstanding, haste, make no delay.

We may effect this business yet ere day. [Exit.]     (3.2.388-395)

Oberon reassures Puck with surprisingly gentle lyricism that no, we’re not like the ghosts or the unquiet souls who fear the light, who must be hidden away before the light of dawn: but we are spirits of another sort. There’s no need to be afraid, of daylight or of ghosts. He amplifies his claim with a sensual evocation of a sunrise landscape, in which he is gloriously at home: I with the morning’s love have oft made sport—dallied with the rosy-fingered Aurora, and mocked her other lovers; I’m often up this early/late—and like a forester the groves may tread, because these are my woods, I can wander in them, walk their paths and boundaries, even till the eastern gate, all fiery red, opening on Neptune with fair blessed beams, turns into yellow gold his salt green streams. I’m here until the sun rises out of the ocean in a great glowing arch, spilling, streaking a golden path across the waves, as if I could walk into the sun itself. Oberon, in anticipation, makes the sunrise, and everyone sees the greatest sunrises of their lives in their mind’s eye… But notwithstanding, haste, make no delay. YOU can’t stick around to see the sunrise, Mr Puck: we may effect this business yet ere day. Still a good chance that we can get this all wound up before sunrise! (This little exchange sounds like an anticipation, just for a moment, of Prospero and Ariel.)

View 4 comments on “Oberon: oh, I’m often up this early/late, to watch the sun rise! (3.2.388-395) #MoonMad #SlowShakespeare

  1. Romeo & Juliet Act III Sc 5
    Look, love, what envious streaks
    Do lace the severing clouds in yonder east.
    Night’s candles are burnt out, and jocund day
    Stands tiptoe on the misty mountain-tops.
    (and more references to dawn throughout the scene)
    Richard II Act III Sc 2
    …But when from under this terrestrial ball
    He fires the proud tops of the eastern pines
    And darts his light through every guilty hole,

    All three of his poetic masterpieces seem to find astonishing ways of using dawn imagery for different dramatic purposes. In R&J, it is literally life and death. In R2, it is more a metaphor for king as sun. Here, it ends the madcap dream state and we have to return to reality such as it is.

    1. Yes, absolutely! It’s partly because the rhetorical figure of chronographia – descriptions of time of day – is a bit of a set piece for Renaissance writers. But I think that it’s important that all 3 of these 1595-ish plays explore these devices and this language – especially at moments in the play when, at the theatre (and the Theatre) the sun might have been starting to be lower in the sky…

      1. Regarding late afternoon sun mimicking dawn, I once saw an afternoon production of ‘Romeo and Juliet’ at American Players Theatre (2026 Regional Tony winner, woo hoo!) when the lark/nightingale scene happened as the sun was dipping. As Romeo ran through the audience away from Juliet, tears streaming down his eyes, his face illuminated with the slanting rays, there could be no dry eye in the house.
        [The intensity of that scene unfortunately made the climax weaker, but I am still glad to have experienced it]

        1. that sounds WONDERFUL… the stage in the Theatre was at the west end (at the Curtain it was at the east end) – so the sun would have been getting lower in the sky behind the stage. It’s a wonderful effect that Shakespeare repeats, at the end of the play, and then again in Antony and Cleopatra (and other places!)

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