sprang from her hiding place and Cephalus, in reflex action, threw his never-missing spear and killed her.
O Sisters Three
The Play of Pyramus and Thisbe ends with a pair of the most terrific death scenes ever seen as first Pyramus and then Thisbe commit elaborate suicide. Thisbe cries out in her turn:
O Sisters Three,
Come, come to me,
With hands as pale as milk;
Lay them in gore,
Since you have shore
With shears his thread of silk.
- Act V, scene i, lines 338-43
The "Sisters Three" are the Fates, who govern all events and whose edicts neither gods nor men can defy. There are three of them by the natural division of time into past, present, and future.
Clotho represents the past and she spins the thread of life, causing life to originate and an individual to be born. Lachesis guides the thread, representing the present and its events. Dreadful Atropos is the future, for she carries the shears with which she snips the thread and brings death.
The three Fates play a much more serious part in Macbeth (see page I-160).
... the triple Hecate's team
The play within a play ends with a dance and with its audience amused and ready for bed.
Nothing remains but the final bit of entertainment, supplied by the fairy band. Puck comes on the stage alone to say that with the coming of night once more the fairies are back:
... we fairies, that do run
By the triple Hecate's team,
From the presence of the sun,
Following darkness like a dream,
Now are frolic.
- Act V, scene i, lines 385-89
Hecate was supposed to be one of the Titanesses in Greek mythology, but in the struggle that resulted in their supplanting by Jupiter (Zeus) and the other later gods, Hecate sided with Jupiter and remained in power. She was probably another personification of the moon.
There were three common goddesses of the moon in the later myths: Phoebe, Diana (Artemis), and Hecate. All three might be combined as the "triple Hecate" and Hecate was therefore frequently portrayed with three faces and six arms.
Later mythologists also tried to rationalize the difference in names by saying that Phoebe was the moon goddess in the heavens, Diana on earth, and Hecate in the underworld.
This connection with the underworld tended to debase her and make her a goddess of enchantments and magic spells, so that the fairies in following "triple Hecate's team" were following not only the pale team of horses that guided the moon's chariot (hence were active at night rather than by day) but also shared her power of enchantment and magic.
Her enchantments and magic made her sink further in Christian times until Hecate finally became a kind of queen of witches, and she appears in this guise in Macbeth (see page II-185).
Now in come Oberon and Titania with the rest of their fairies. They make their concluding pretty speeches, placing a good luck charm on all the couples being married in the play (and perhaps on the couple being married in the audience, if A Midsummer Night's Dream was performed to celebrate a marriage). Puck then delivers the epilogue and the play is over.
Nothing in the play indicates a tragic end to the love tale of Theseus and Hippolyta, and though it seems a shame to mention it after such a happy time, I will.
The Amazons, offended at Theseus' kidnapping of their queen, mounted an attack against him. They were defeated, but Hippolyta, fighting Amazonlike at the side of her husband, and against her own subjects of the past, was killed.
Part I. Greek 3. The Two Noble Kinsmen
In 1613, at the very end of his career, Shakespeare collaborated with John Fletcher in writing two plays.
Fletcher was fifteen years Shakespeare's junior and between 1606 and 1625 (he died in the latter year) he wrote, alone or in collaboration, some fifty plays. The most notable of these were with Francis Beaumont, so that "Beaumont and Fletcher" is almost a single word in the history of English literature.
The Shakespeare-Fletcher collaborations have all but vanished, as such. One of them, Henry VIII is generally included in editions of Shakespeare's collected works and is presented as solely by him, with no mention of Fletcher. The other collaboration, The Two Noble Kinsmen, is treated quite the reverse. It is generally omitted from Shakespeare's collected works.
Recent scholarship, however, seems to make it reasonably certain that Shakespeare wrote a major part of it, and it is included as one of the volumes of the Signet Classic Shakespeare. The authorship is given as by "William Shakespeare and John Fletcher."
Chaucer,