Queen Mab is a fairy referred to in William Shakespeare's play Romeo and Juliet, where "she is the fairies' midwife". Later, she appears in other poetry and literature, and in various guises in drama and cinema. In the play, her activity is described in a famous speech by Mercutio published originally in prose and often adapted into iambic pentameter, in which she is a miniature creature who performs midnight pranks upon sleepers. Being driven by a team of atomies, she rides her chariot over their noses and "delivers the fancies of sleeping men". She is also described as a midwife to help sleepers "give birth" to their dreams. Later depictions have typically portrayed her as the Queen of the Fairies.

Origin

Shakespeare may have borrowed the character of Mab from folklore, but this is debated and there have been numerous theories on the origin of the name. A popular theory holds that Mab derives from Medb (pronounced "Maive"^{[1] [2]}), a legendary queen from 12^th-century Irish poetry; however, scholar Gillian Edwards notes “little resemblance” between the two characters.^[3] There is marked contrast between the formidable warrior Medb and the tiny dream-bringer Mab.^[2]

Other authors such as Wirt Sikes argued that Mab comes from the Welsh "mab" ("child" or "son"), although critics noted the lack of supporting evidence.^[3][2] Thomas Keightley suggested a connection to Habundia or Dame Habonde, a goddess associated with witches in medieval times and sometimes described as a queen.^[4]

A more likely origin for Mab's name would be from Mabel and the Middle English derivative "Mabily" (as used by Chaucer)^[5] all from the Latin amabilis ("lovable").^[6] Simon Young contends that this fits in with fairy names in British literature of the time, which tended to be generic and monosyllabic. "Mab" was a nickname for a low-class woman or prostitute, or possibly for a haglike witch.^[7] Similarly, "queen" is a pun on "quean," a term for a prostitute.^[3]

Mercutio's speech

"O, then, I see Queen Mab hath been with you.
She is the fairies' midwife, and she comes
In shape no bigger than an agate-stone
On the fore-finger of an alderman,
Drawn with a team of little atomies
Athwart men's noses as they lies asleep;
Her wagon-spokes made of long spinners' legs,
The cover of the wings of grasshoppers,
The traces of the smallest spider's web,
The collars of the moonshine's wat'ry beams,
Her whip of cricket's bone; the lash of film;
Her waggoner a small grey-coated gnat,
Not half so big as a round little worm
Pricked from the lazy finger of a maid:
Her chariot is an empty hazelnut
Made by the joiner squirrel or old grub,
Time out o’ mind the fairies’ coachmakers.
And in this state she gallops night by night
Through lovers’ brains, and then they dream of love;
O’er courtiers’ knees, that dream on court'sies straight,
O’er lawyers’ fingers, who straight dream on fees,
O’er ladies' lips, who straight on kisses dream,
Which oft the angry Mab with blisters plagues,
Because their breaths with sweetmeats tainted are:
Sometime she gallops o’er a courtier's nose,
And then dreams he of smelling out a suit;
And sometime comes she with a tithe-pig's tail
Tickling a parson's nose as a’ lies asleep,
Then dreams, he of another benefice:
Sometime she driveth o’er a soldier's neck,
And then dreams he of cutting foreign throats,
Of breaches, ambuscadoes, Spanish blades,
Of healths five-fathom deep; and then anon
Drums in his ear, at which he starts and wakes,
And being thus frighted swears a prayer or two
And sleeps again. This is that very Mab
That plaits the manes of horses in the night,
And bakes the elflocks in foul sluttish hairs,
Which once untangled, much misfortune bodes:
This is the hag, when maids lie on their backs,
That presses them and learns them first to bear,
Making them women of good carriage:
This is she—"

— Mercutio in Romeo and Juliet, Act I, scene IV

In other works

Since then, Queen Mab re-appears in works of 17th century poetry, notably Ben Jonson's "The Entertainment at Althorp" and Michael Drayton's "Nymphidia". In Poole's work Parnassus, Mab is described as the Queen of the Fairies and consort to Oberon, emperor of the Fairies.^[8] Further works include a 1750 pantomime by actor Henry Woodward,^[9][10]and Queen Mab, the first large poetic work written by Percy Bysshe Shelley (1792–1822).^[11] The composer Hector Berlioz wrote a "Queen Mab" scherzo in his Romeo et Juliette symphony (1839). Hugh Macdonald describes this piece as "Berlioz's supreme exercise in light orchestral texture, a brilliant, gossamer fabric, prestissimo and pianissimo almost without pause... The pace and fascination of the movement are irresistible; it is some of the most ethereally brilliant music ever penned."^[12] In modern times, she appears frequently as a character in works of fiction, including television shows, music, and novels.