This was my first time reading this play, and I have to say, I really liked it. It is very funny and accessible. And while I have also never seen it performed, the language is so rich that I could easily picture the scenes in my mind’s eye as they would be acted out on stage. The play is full of sexual jokes and puns, which I’m sure went over really well with audiences during Shakespeare’s time. But what interests me the most about this play is the folklore woven in to the story.
When plotting revenge on Sir John Falstaff, Mistress Page presents a folk tale about Herne the Hunter
There is an old tale goes that Herne the Hunter,
Sometime a keeper here in Windsor forest,
Doth all the winter-time, at still midnight,
Walk round about an oak, with great ragg’d horns;
And there he blasts the tree and takes the cattle
And makes milch-kine yield blood and shakes a chain
In a most hideous and dreadful manner:
You have heard of such a spirit, and well you know
The superstitious idle-headed eld
Received and did deliver to our age
This tale of Herne the Hunter for a truth.
(Act IV, scene iv)
While the archetype of horned deities that roam the wooded areas are myriad and ancient, what is fascinating about this myth is that Shakespeare’s reference to Herne is the earliest known reference in existence.
In English folklore, Herne the Hunter is a ghost associated with Windsor Forest and Great Park in the English county of Berkshire. He is said to wear antlers upon his head, ride a horse, torment cattle, and rattle chains. The earliest mention of Herne comes from William Shakespeare’s 1597 play The Merry Wives of Windsor, and it is impossible to know how accurately or to what degree Shakespeare may have incorporated a real local legend into his work, though there have been several later attempts to connect Herne to historical figures, pagan deities, or ancient archetypes.
So this begs the question: Was Shakespeare drawing on local folklore when writing this play, or did he just make up the tale of Herne to help drive the story? There is no way to know, but all mythology and folklore must begin by the telling of a story, and that’s what is really important here. It doesn’t really matter whether Shakespeare made this up, or if he heard it being told around a pub. What matters is that the tale was written down, and the myth was given birth, and it persisted. Herne may just be an artistic personification the archetypal forest god, but in the telling of the story and the acting of the play, Herne is given life and brought into existence within our collective consciousness.
The number three has been considered a mystical number for as long as humans have contemplated the magical nature of numbers, which is why Falstaff’s short passage regarding the number three caught my attention.
Prithee, no more prattling; go. I’ll hold. This is
the third time; I hope good luck lies in odd
numbers. Away I go. They say there is divinity in
odd numbers, either in nativity, chance, or death. Away!
(Act V, scene i)
This concept of the mystical power of 3 has become part of folk belief. The phrases are many: “Third one’s a charmer,” “Death comes in threes,” “Three strikes and you’re out.” Once a concept becomes planted in the collective consciousness, it manifests in folk sayings, as shown in the sayings concerning the number three.
Finally, no exploration of English folklore would be complete without mentioning the Fairy Folk, which Shakespeare also does in this play.
Search Windsor Castle, elves, within and out:
Strew good luck, ouphes, on every sacred room:
That it may stand till the perpetual doom,
In state as wholesome as in state ’tis fit,
Worthy the owner, and the owner it.
The several chairs of order look you scour
With juice of balm and every precious flower:
Each fair installment, coat, and several crest,
With loyal blazon, evermore be blest!
And nightly, meadow-fairies, look you sing,
Like to the Garter’s compass, in a ring:
The expressure that it bears, green let it be,
More fertile-fresh than all the field to see;
And ‘Honi soit qui mal y pense’ write
In emerald tufts, flowers purple, blue and white;
Let sapphire, pearl and rich embroidery,
Buckled below fair knighthood’s bending knee:
Fairies use flowers for their charactery.
Away; disperse: but till ’tis one o’clock,
Our dance of custom round about the oak
Of Herne the Hunter, let us not forget.
(Act V, scene v)
While the fairies in this scene are just people pretending to be fairies in order to tease Falstaff, the imagery is consistent with the folklore surrounding fairies. And of particular interest is the custom of dancing around the oak tree. The idea of the oak as a sacred tree dates back to Greek mythology. It is mentioned in Celtic, Norse, Baltic, Slavic, Druid, and Wiccan mythology. It even has significance in the Bible as being the place where Jacob buries the foreign gods of his people and under which he erects a stone as the first covenant of the Lord. (Source: Wikipedia)
There is one more folk belief that is in this play that I want to mention, and it is a dark one: the “trial by fire.”
With trial-fire touch me his finger-end:
If he be chaste, the flame will back descend
And turn him to no pain; but if he start,
It is the flesh of a corrupted heart.
(Act V, scene v)
This conjures some very dark images for me. I cannot help but envision innocents accused of witchcraft or heresy tied to a stake and set a flame, as a way to test their guilt or innocence. This serves as a warning to us, that while there is much wisdom to be gleaned from folklore, we must also be vigilant and approach these tales with a critical mind.
In spite of the one dark spot, I still think this is a great and funny play. I hope to see it performed sometime in the near future.
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