Critics widely concur that Shakespeare's unmatched poetic language is the key to bringing his world to life. By meticulously choosing the appropriate language, metrical patterns, allusions, and figures for each character and situation, he elevates his plays to unforgettable heights of literary brilliance. For example, a character's psychological journey is often illustrated through shifts in tone or rhythm. Additionally, there are numerous occasions when the characters' eloquence surpasses mere dramatic dialogue, venturing into the realm of pure poetry. This verbal genius was particularly emphasized in Peter Brook's revolutionary 1970 Royal Shakespeare Company production, where the focus was on the text, significantly reducing visual elements by staging the play in a minimalist white box setting.

Shakespeare's dramatic poetry is rich, allusive, melodious, and deeply layered, fully exploiting the potential of the English language while also drawing on the power of mythology. In the complex mythological structure of A Midsummer Night's Dream, one encounters a blend of pre-Classical, Classical, Celtic, Anglo-Saxon, and Germanic folklore, particularly in the poet's portrayal of the fairy world. Some supernatural characters that Shakespeare introduces are powerful archetypes appearing in various traditions under different names and forms. One such figure, as scholars have noted, is Diana, the triple goddess. Diana embodies her celestial role as a moon deity, takes on the earthly guise of the virginal hunting goddess (known as Titania in Ovid's works), and wanders the underworld as the witch-goddess Hecate. The moon, over which Diana presides, serves as a potent poetic symbol, hinting at possible connections between higher realms and our world, which the Elizabethans described as "sublunar" or "under the moon." In the final act, Theseus refers to "the lunatic, the lover and the poet" (V.i.7), using the term "lunatic" to emphasize the links between madness, love, and poetry. However, some critics suggest an alternative origin for Shakespeare's fairy world, arguing that the Elizabethan fairies in A Midsummer Night's Dream are not sourced from folklore but rather from literary and religious traditions. These commentators trace Shakespeare's supernatural elements back to Arthurian legend and the Christianized version of the Cabala, a Jewish system for mystical interpretations of Scriptures. They see the moon goddess as a representation of the Virgin Queen, or Elizabeth I. Thus, Shakespeare's references to the lunar deity could be interpreted as homage to the existing cult of Queen Elizabeth.