Barron's Booknotes (Drama Edition Plus)/BAR1DRAMA_4.ISO/source/bn_smid.txt

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                                      1598

                             WILLIAM SHAKESPEARE'S
                           A MIDSUMMER NIGHT'S DREAM

                                by George Loutro

                               SERIES COORDINATOR
                          Murray Bromberg, Principal,
                Wang High School of Queens, Holliswood, New York
       Past President, High School Principal Association of New York City

                                ACKNOWLEDGMENTS
      Our thanks to Milton Katz and Julius Liebb for their contribution to
                             the Book Notes series.
     Loreto Todd, Senior Lecturer in English, University of Leeds, England,
           prepared the chapter on Elizabethan English in this book.

            (C) Copyright 1985 by Barron's Educational Series, Inc.
   ■iElectronically Enhanced Text (C) Copyright 1993, World Library, Inc.■I

CONTENTS
                               CONTENTS
                        SECTION............................ ■iSEARCH ON■I

      THE AUTHOR AND HIS TIMES............................. ■iSMIDAUTH■I

      THE PLAY
      The Plot............................................. ■iSMIDPLOT■I
      The Characters....................................... ■iSMIDCHAR■I
      Other Elements
           Setting......................................... ■iSMIDSETT■I
           Themes.......................................... ■iSMIDTHEM■I
           Style........................................... ■iSMIDSTYL■I
           Elizabethan English............................. ■iSMIDELIZ■I
           Point of View................................... ■iSMIDVIEW■I
           Form and Structure.............................. ■iSMIDFORM■I
           Sources......................................... ■iSMIDSOUR■I
           The Globe Theatre............................... ■iSMIDGLOB■I
      THE PLAY............................................. ■iSMIDPLAY■I

      A STEP BEYOND
      Tests and Answers.................................... ■iSMIDTEST■I
      Term Paper Ideas and other Topics for Writing........ ■iSMIDTERM■I
      The Critics.......................................... ■iSMIDCRIT■I

      Advisory Board....................................... ■iSMIDADVB■I

      Bibliography......................................... ■iSMIDBIBL■I

AUTHOR_AND_HIS_TIMES
                       THE AUTHOR AND HIS TIMES             (SMIDAUTH)
-
  As we might expect from the range and vitality of Shakespeare's
writing, Elizabethan England was an exciting and changing place.
Though we know little of Shakespeare's own life, we know much about
his world. For England, the sixteenth century was a period of growth
and exploration, contributing to a renaissance in cultural and
economic life. Under the reigns of Elizabeth I (1558-1603) and James I
(1603-1625), London became one of the artistic and mercantile
centers of Europe. We can still see the beauty of its half-timbered
houses, its bridge-towers and churches. But above all, the
literature of the period continues to excite the minds of readers,
offering great riches of imagination and language.
  For Shakespeare and his contemporaries, the English language was
changing and growing. Dictionaries had not yet solidified spelling and
meaning, and sometimes Elizabethan poetry seems to be possessed of a
great unrefined power. Poets and playwrights- among them Edmund
Spenser, Ben Jonson, Christopher Marlowe, as well as Shakespeare-
reveled in the riches of this emerging language and created a
brilliant new drama.
  It is well to remember that in Shakespeare's time theater was a
popular pastime (something like movies are today), attended by both
commonfolk and royalty. It was not merely the province of an
intellectual few. Folk traditions of ballad and song, as well as the
Christian miracle and mystery plays, had accustomed the people to
poetic drama, its speeches cast in rhyme and meter. And the
Elizabethan theater highlighted the spoken word. It used few stage
properties and almost no scenery. Its outdoor circular theaters
surrounded a bare apron-shaped stage. The characters came and left
at a fast pace, and what they said indicated who and where they
were. The Elizabethan audience was attentive to the spoken word. A
playwright might as easily present his ideas and actions in the form
of poetic images or narrative speeches, for the theater was a place in
which the ear, not merely the eye, was dazzled. And this was the
kind of environment especially well suited for William Shakespeare.
  You will see in A Midsummer Night's Dream how appropriate this
poetic method is. The fairy world comes alive not from stage tricks,
elaborate costumes, and airy sets, but through poetry. Detailed
fantastic descriptions, cascades of named flowers, images of a
powerful and mysterious natural world- these are what make the fairy
world vivid. The magic lives in Shakespeare's language.
  The world of his writing is filled with cultural riches,
extraordinary characters, and historical events. But of
Shakespeare's own life we know little. He was born in the small town
of Stratford in 1564, around the 23rd of April. His baptism
certificate tells us that. His father was a somewhat well-to-do
merchant and councilman whose fortunes seemed to slip as Shakespeare
grew older. In all probability he saw to it that William took
advantage of the public education available to all the sons of
Stratford's citizens. But most of what we know about Shakespeare in
this early period is conjecture. The only other certain information we
have is his marriage, in 1582, to Ann Hathaway, a woman eight years
older than he. Since a child Susanna was born six months later, the
bride was already pregnant at the time of the wedding. In 1585, the
twins Hamnet and Judith were born.
                                         {AUTHOR_AND_HIS_TIMES ^paragraph 5}
  For the rest- at least regarding Stratford- there is only legend.
Some say Shakespeare was booted out of town for poaching at a
neighboring estate; others say he taught school. We do know that
around 1587 Shakespeare left Stratford for the creative opportunity to
be found in the big city of London. Its lure would be the same as that
of any metropolis today: a rich and varied cultural life, political
power-broking, history in the making, pageantry, and the good life.
Perhaps he apprenticed himself to one of the local theater companies
right away. But in truth we don't know how he became such an
accomplished writer so quickly. By 1592 he was already being
attacked by a local playwright, Robert Greene, for being an "upstart
crowe," an actor who would be better off leaving the writing of
plays to real playwrights. The furor that followed this famous
accusation shows that Shakespeare had established a considerable
reputation by the time it was written. No one bothers to attack an
unknown writer. And the accusation, importantly, also reminds us
that Shakespeare was an actor as well as a writer. All his life he
combined these two vocations, giving him special entry into the
world of theater, its nuances, and the interplay between the acted and
written word. By 1593 he'd also proved himself a commanding poet
with the publication of the poem Venus and Adonis, followed the next
year by The Rape of Lucrece.
  For the next eighteen or twenty years Shakespeare produced a
succession of plays that mark him as the premier poet and playwright
of his age- perhaps the finest the English language has seen.
Through comedies, histories, and tragedies he speaks of his time and
world with an authority that makes them seem, generation after
generation, completely contemporary. He was fortunate to have a
company of actors throughout his writing life with which he could
work, gaining from the traded insights and from the ability of
seeing his work produced. He was able to benefit from the resources of
the finest Elizabethan outdoor playhouse, the Globe, so that his
work had a state-of-the-art theater in which to be performed. He had
noble patronage to help him at the beginning (the Earl of Southampton)
and even royal favor when his patron became embroiled in an
unsuccessful coup d'etat and was imprisoned. Instead of trouble,
Shakespeare found grace: by the time James I assumed the throne in
1603, Shakespeare's players, formerly associated as the
Chamberlain's Men, were now called the King's Men, receiving royal
patronage and favor.
  Around 1611 Shakespeare retired from London and the theater, to
return to his family at Stratford. He presumably lived out his life
peacefully, dying in 1616. But once again legend obscures fact. A
famous tombstone inscription, ascribed to him, seeks to gain him a
peaceful death as well; it reads, "Blest be the man that spares
these stones, / And curst be he that moves my bones." No one has moved
them.
-
  Shakespeare was unique among the world's great dramatists in his
ability to create the finest examples of both comedy and tragedy. That
the same writer could produce both King Lear and A Midsummer Night's
Dream, Hamlet and The Tempest, has been a source of wonderment to
millions of readers. Also, his complex English-history plays, with
their multiple plots and points of view, have influenced the way we
think of history itself. The wide range of Shakespeare's achievement
was boldly set forth in the first edition of his complete dramatic
works in 1623 when the publishers divided what has come to be known as
the "First Folio" into Comedies, Histories, and Tragedies.
                                        {AUTHOR_AND_HIS_TIMES ^paragraph 10}
  Despite this variety, there are ways in which King Lear could only
have been written by the author of A Midsummer Night's Dream. One
way is that in both plays no character's perspective is sufficient
to judge everyone else's. Also, merely understanding a human problem
will not solve it without a transformation of another sort, a
genuine change of heart. And throughout his comedies, this most
witty writer kept vivid the sense that wit alone is not an adequate
response to people and situations.
  An early comedy, almost overflowing with witty wordplay, is Love's
Labour's Lost. The lesson learned by its principal characters is
that words and wit must be tempered by concern for others' feelings.
And as with most of his comedies, part of the play is set in a special
place where transformations can take place more freely, outside the
busy world of court or city. In A Midsummer Night's Dream, the
lovers expend great energy speaking in witty romantic repartee. And
the fairies' forest is the magical place that surrounds their
transformations. In The Merchant of Venice, another early comedy,
Belmont, where Portia lives, is the special place; in As You Like It
it is the forest of Arden.
  In the so-called "dark" comedies (All's Well That Ends Well, Troilus
and Cressida, Measure for Measure) the magic place where people can be
revealed and healed almost disappears. Lechery, spitefulness, and
selfishness are exposed rather than transformed. But in the later
comedies, sometimes called the "romances," healing magic returns:
Pericles, Cymbeline, The Winter's Tale, and The Tempest. In fact,
the whole of The Tempest takes place on a magic island ruled by a
sorcerer who has the knowledge and power to transform the rational
forces that had exiled him years before. Prospero is a wiser, more
mature Oberon, and his attendant Ariel is a more spiritual Puck.
  A Midsummer Night's Dream was probably written around 1594. Some
scholars suggest it was written to be performed at a noble wedding
ceremony, perhaps that of William Stanley, Earl of Denby, to Elizabeth
Vere in 1595. This is pure speculation, however, fueled by the
importance of marriage to the play. Its similarity in language and
theme to Romeo and Juliet also helps date the play. Though one is a
comedy and the other a tragedy, both deal with the nature of love, its
impulsive judgments and vows. Romeo and Juliet are tricked by their
fate, ending in death. But fate, in the form of Oberon, interferes
on behalf of the lovers in A Midsummer Night's Dream, and their trials
end in marriage.
  Though it comes early in Shakespeare's career, A Midsummer Night's
Dream shows his command of the different strands that combined to make
great Elizabethan drama. In his courtly subplot of Theseus and
Hippolyta, Shakespeare demonstrates his familiarity with classical
subjects. He interweaves mythic and historical material to give his
characters an imposing royal stature. With the lovers, Shakespeare
shows his command of romantic poetry, the formal language of love
developed centuries earlier by the troubadors of France. Though he
is mocking in tone with the lovers, he gives romantic poetry a free
reign with Oberon and Titania, who draw on folk ballads and pastoral
traditions to create the magic of high poetry. And with Bottom and his
rustic comrades, Shakespeare develops a realism based on Christian
folk plays that enables him to bring all kinds and classes of people
into his art. A Midsummer Night's Dream offers a unique blending of
styles, characters, and realms of experience into a unified work of
art.
                                        {AUTHOR_AND_HIS_TIMES ^paragraph 15}
  Shakespeare's life in London was filled with a similar mix of people
and types. It was a throbbing metropolis for its time, bursting the
bounds of its medieval walls. But its modernity was tempered by the
folk traditions and beliefs of the people who streamed to its streets.
In the life of the English countryside the mythic, legendary fairies
and elves- known from centuries of ancient Celtic traditions- still
had a place. Shakespeare was able to combine this magic imaginary
world with the contemporary urban landscape of London. Watch the
ways in which he is able to include all kinds of people, and different
dimensions of experience, to paint a picture that in the largest
possible sense parallels the world in which he lived.

PLOT
                               THE PLAY
-
                               THE PLOT                     (SMIDPLOT)
-
  In the ancient city of Athens a wedding is about to take place
between Theseus, duke of Athens, and Hippolyta, the Amazon warrior
queen whom he has wooed and won. They meet in the duke's palace to
discuss their marriage festivities. Suddenly, Egeus storms in,
extremely upset. He wants his daughter, Hermia, to marry Demetrius,
who is dutifully in love with her. Hermia, however, is in love with
Lysander and refuses to give in to her father's demands. The two
suitors and the woman they both love state their case before the duke.
Theseus explains that Athenian law is on the side of the father:
Hermia must heed his wishes, not follow her own desire. In fact,
Hermia must either obey the law, remain a virgin and enter a
nunnery, or die! Hermia is given until the next new moon- the
wedding day of Theseus and Hippolyta- to make her decision. She and
Lysander secretly plan, instead, to flee Athens and live outside of
town with an aunt of Lysander's. Another young woman, Helena, arrives.
She is in love with Demetrius, but he will have none of her. The
lovers tell her of their plan to elope.
  In the house of Quince, a carpenter, several Athenian workingmen
meet to discuss their plans to present a play as entertainment for the
wedding of the duke. Quince, Snug, Bottom, Flute, Snout, and
Starveling have decided on a play entitled "The most lamentable
comedy, and most cruel death of Pyramus and Thisby." Parts are
assigned to each player, but only after Bottom, full of boundless
energy and enthusiasm, shows how he could play all the parts
himself. They agree to rehearse the following evening in a wood
outside of town.
  The scene shifts to that Athenian wood, but now the players are of
an entirely different order. They are Oberon, the king of the fairies,
his queen, Titania, and Puck (or Robin Goodfellow), a spritely
attendant of the king. Oberon and Titania have been quarreling over
the possession of a young Indian boy that both want, but the Queen
will not hand him over. Oberon, with the aid of Puck, plans his
revenge on Titania. He will drop the juice of a magic flower into
the eyes of his sleeping queen. When she awakes, she will fall in love
with whomever (or whatever) she sees first, preferably "some vile
thing." Then she will forget about the boy!
                                                         {PLOT ^paragraph 5}
  Meanwhile, Demetrius and Helena enter the wood. Seeing Helena's
loveless plight, Oberon instructs Puck to charm the eyes of
Demetrius as well, so that he will love Helena.
  Now Lysander and Hermia arrive, en route to their elopement.
Mistaking Lysander for Demetrius, Puck anoints the eyes of Lysander,
who awakes and declares his love for Helena. Hermia awakes in the
woods alone, having dreamt of a serpent eating her heart.
  On time for their rehearsal, the workingmen also arrive in the
wood and begin to sort out "Pyramus and Thisby." Mischievous Puck
jumps at the chance to cause trouble. He catches Bottom and places
an ass's head on him. The other rustics flee in terror. But
Titania's reaction is different. Charmed by the love juice, she
immediately falls in love with Bottom, ass's head and all.
  The lovers regroup in confusion. Now both Lysander and Demetrius
profess love for Helena instead of for Hermia. Angers flare up and
swords are drawn, but Puck leads everyone in magic circles so no
real harm comes. Oberon, seeing the mistake that has taken place,
has Puck remove the charm from Lysander's eyes so that his love
returns for Hermia. Demetrius remains "enchanted" with his Helena.
  Titania is also released from her enchantment. Reunited with Oberon,
she surrenders the Indian boy to the king. The lovers, startled by the
arrival of Theseus and his court, awaken as if from a mysterious
dream, properly in love with each other, but startled as to how
they've gotten there. Theseus, finding that things have worked out
rather neatly, overrides Egeus and announces that the three weddings
will take place simultaneously. Bottom is relieved of his ass's head
and returns to Quince's house to continue rehearsing the play.
                                                        {PLOT ^paragraph 10}
  In the palace of Theseus, preparations commence for the wedding
festivities. Bottom and company perform their "lamentable comedy." A
comedy it is, and though the duke and the others offer much jesting
commentary about the production, they are ultimately well pleased with
the entertainment. The three sets of newlyweds adjourn to their beds.
  Puck arrives to sweep away the last grains of sleepy enchantment.
Oberon and Titania offer blessings upon the houses of the lovers.
Puck, with a glint in his eye, asks for applause. After all, he
suggests, these proceedings may have been nothing "but a dream."

CHARACTERS
                            THE CHARACTERS                  (SMIDCHAR)
-
  THESEUS
  As duke of Athens, Theseus occupies an important social and
political position that is at the heart of his character. Though he
had a lively past, filled with heroic war exploits and romantic
conquests, he now is a figure of the Athenian establishment, upholding
the social order. As such, he represents, in contrast to the
volatile lovers, the stabilizing force of marriage.
  Theseus is a traditional Greek mythic hero. He is mentioned in
many ancient texts, including Homer, Euripides, Plutarch, and Ovid. He
is probably most famous for having killed the monstrous Minotaur, in
the labyrinth of Minos on Crete. Though there is occasional mention of
his former deeds, the person of Shakespeare's Theseus is as much the
playwright's invention as he is a legendary figure.
  With his upholding of the social order comes Theseus's praise of
reason as a primary power. He and Hippolyta are untouched by the fairy
realm. They seem to be above the magic, but you might also see them as
being outside of it. Theseus's reliance on reason blocks him off
from some of the more mystical realms of human experience. In Act V,
he draws a famous comparison between the lover, the lunatic, and the
poet. He feels they are all under the sway of their imaginations,
which blinds them to reality. In consequence, some realms of passion
and art are closed to him.
  Theseus may be trapped in his position, or he may be filling it
grandly. In either case, he has a kindly awareness of his subjects.
Though he may not be appreciative of art per se, he understands the
good intentions of the actors. He knows that his position alone has
a certain power and seeks to use it with a clear and just mind.
                                                   {CHARACTERS ^paragraph 5}
-
  HIPPOLYTA
  A warrior in her own right, Hippolyta maintains a kind of aloof
dignity. She too is a Greek legendary figure, an Amazon queen of
fierce pride and strength. In the beginning of the play she counters
Theseus's impatience for the wedding day with a cool, imperial
rationality of her own. Yet she doesn't rely so completely on
reason: she is charmed and a little disturbed by the lovers'
stories. She's not willing to discount their tales completely. While
viewing the performance of the rustic workingmen, she seems to be
impatient with the amateur nature of the production, though she
warms to it by the end. Perhaps she too feels the necessity to
temper her natural passions with a stateliness proper to her office.
Compare her to the emotionally stormy lovers. How might her reserve be
seen as a more mature kind of relating? Both she and Theseus bracket
the play, beginning and end, like the pillars of society between which
the Midsummer Madness occurs.
-
  HERMIA
                                                  {CHARACTERS ^paragraph 10}
  Hermia shows her spunkiness right from the beginning. Though the
force of familial and social power are brought heavily to bear upon
her, she sticks to her guns. Her first words are a defense of Lysander
against the accusations of her father, Egeus, and Theseus. She asks
that her father look with her eyes, to try to see her viewpoint. She
stands up for what she believes in even though it may mean her
death. It's easy to side with Hermia- but what could you say in
defense of her father's position?
  Hermia is unswerving in her devotion to Lysander through all his
changes and always gives him the benefit of the doubt. She loves him
with an authenticity that goes beyond "doting," and her pain at
being betrayed by him seems equally real.
  She is described as having a dark complexion and being small, but
you don't get more physical detail than that. Her temper is as
fierce as her love; when it's kindled by jealousy toward Helena, she
turns into a real spitfire. Although, especially in the beginning,
Hermia speaks the proper courtly romantic poetry with Lysander, she
shows that there is something beyond propriety in her character. But
when it comes to defending her virgin modesty in the woods, she's
quick to make Lysander keep his distance.
  Hermia's combination of passion and judgment is set off from the
feelings of all the other lovers. She knows what she wants, is willing
to make great sacrifices for it, will fight like a lioness in
defense of it, and ultimately trusts in her power. She's not above
love-foolishness, but she gives to the romantic comedy a sturdy
foundation.
-
                                                  {CHARACTERS ^paragraph 15}
  LYSANDER
  It's hard to get a grip on the character of Lysander. Indeed,
because of the frustrating interference of Puck, it's hard for him
to keep a grip on himself. As you read the play, you may have
difficulty telling him and Demetrius apart. They both seem to be
defined more by the object of their desires than by any qualities in
and of themselves.
  Lysander has the unlucky distinction of professing his undying
eternal love for two different women, one after the other. It
certainly makes us suspicious of the steadfastness of his character.
Consequently, the beautiful, flowery, romantic poetry he speaks
rings hollow. He's made the butt of Shakespeare's ironic comedy of
fickle love. He goes through all the right motions, says all the right
words, but doesn't show any depth of character. He defends his new
infatuation with Helena by swearing it comes from reason. But since
you know it comes from Cupid's magic flower, both Lysander's love
and reason seem suspect. His normalcy is his main characteristic: he's
just a lover, doing the foolish things that lovers do. Therefore,
don't be too hard on him. Look at him through Hermia's eyes; why do
you think she loves him? We see many ways in which his love seems
false, but in what ways do you view his love as true?
-
  HELENA
                                                  {CHARACTERS ^paragraph 20}
  Helena is primarily defined by her relationship to love, but
unfortunately that love is lacking. The unhappy experience of
unrequited love seems to have penetrated to her very core. Although
attractive, tall, and willowy, she questions her own virtues because
being unloved makes her feel unworthy of love.
  It's true that Demetrius originally loved her, and she has cause for
being upset that he now seems to care for Hermia. But Helena is a
prime example of the ill effects of "doting" too much: she loses
respect for herself and, consequently, some of ours for her. Her
running after Demetrius seems foolish and shallow to many readers.
Do you think she is a prime target for some feminist
consciousness-raising? She's throwing herself away for a man you
have reason to believe isn't all that worthy.
  Helena is so used to being rejected that she might not be able to
recognize real love if it came her way. When both Lysander and
Demetrius turn their loving gazes on her, she can only suspect that
they're making fun of her. Though you know she's right to doubt
their sincerity, what would have happened if one of them were sincere?
Even at the end, she feels that Demetrius is hers, and yet somehow
is not. Since he's the one holdover with charmed eyes, she's more
correct than she knows. Neither she nor Hermia speaks in the last act.
Perhaps they're both wondering about what they've gotten, having
gotten what they supposedly wanted.
-
  DEMETRIUS
                                                  {CHARACTERS ^paragraph 25}
  Like Lysander, Demetrius is difficult to identify except by his
relation to the one he loves, or, more particularly, to the one who
loves him. Helena's chasing after him and his irritation with her
are the primary marks of his character. Since in his uncharmed state
he even threatens Helena with bodily harm, he comes off as not quite
the gracious courtly lover he means to be. And you may wonder, too,
about how easily his eye was distracted from Helena by Hermia in the
first place. His constant remarks at the performance of "Pyramus and
Thisby" show him to be clever, but maybe a little rude, too. In any
event, as the one person still under the spell of fairy magic and
therefore not seeing with true eyes, he seems a bit foolish laughing
at the acted "lovers" in the play. He doesn't know it, but he's
still in a play of his own.
-
  OBERON
  As king of his magical realm, Oberon is the most powerful figure
in the play. Everything about him is commanding, from his language
to his magic spells. He is in essence an artist: he knows his craft
and how it operates, and he can use his skills to their fullest
effect. Since he sets in motion the charmed encounters that are at the
heart of the play, he is the author of the plot. The characters play
out their dramas to fulfill his needs and wishes. He alone has the
overview that an author has.
  At times Oberon seems to be almost an elemental, natural force.
Because of his quarrel with Titania, the world of nature is completely
out of balance. Only a primal power could wreak that kind of havoc
on nature. This doesn't mean he is a perfect, all-powerful being.
His anger toward Titania has overtones of both jealousy and revenge.
You may feel that she has become obsessed with the Indian boy and is
neglecting her royal duties as consort of the fairy king, but
doesn't Oberon's response seem petulant, maybe a little mean? He is,
after all, quite willing to humiliate her and seems to take inordinate
joy in it. Yet from the start he is touched by the lovers' plight, and
his aim is to unite them, as it is to unite himself and Titania. He
knows the power of concord over discord. He isn't all-seeing enough to
prevent Puck from making the mistake that brings about the confusion
for the lovers, but he knows how to right the wrong that's been done.
                                                  {CHARACTERS ^paragraph 30}
  Oberon's brilliant poetry is the key to his importance in the
play. His speeches contain some of the most extravagant writing in all
of Shakespeare. Oberon raises poetry to the level of magic, as if
his words were part of his fairy magic lore. He has a commanding
knowledge of flowers, which seem to be at the heart of the fairy
realm. The dangerous love juice is contained in a flower, as is its
antidote. His famous description of Titania's favorite resting place
calls out the names of flowers as if just to speak them were to induce
a spell. And, indeed, he does induce a spell of poetry. If he
describes something, like the Arrow of Cupid striking the flower, or
the dawn rising, he does so with such command of detail and sensuality
that the scene comes to life before you.
  When Oberon finally restores harmony to his relationship with
Titania, he seems to do so for everyone else too. Bottom has his ass's
head removed in a twinkling, and the lovers are reunited. The
wedding of Theseus and Hippolyta can now proceed. The outer edges of
the play are held down by the orderly Theseus and Hippolyta, but its
inner core burns with the conflict, passion, and magic of the fairy
rulers. Theseus mentions that all theater is made up of
shadow-plays. When Puck refers to Oberon as the "king of shadows,"
he's letting us see that as poet and playwright, Oberon is a master of
the art.
-
  TITANIA
  Titania is a regal and commanding person. She is not readily willing
to give in to the king, and her insistence on keeping the changeling
shows both her strong personal will and the respect she has for her
priestess. Though she may lack Oberon's knowledge of magic, she is
certainly a primary power like him and has her own court of fairy
attendants. She's not about to take any nonsense from him, and she
throws his past romantic exploits right in his face. Try to put
yourself in her position as well as in Oberon's. What do you think her
rights are, especially as a partner in marriage?
                                                  {CHARACTERS ^paragraph 35}
  Though she may not know the spells, she has the fairy charm. The
world she moves in seems to have a special magical grace. She lives
among flowers; even her fairy attendants have floral names. Song and
dance seem to be the nature of her fairy business. She's not a match
for Oberon's magic- he's able to put the doting charm on her. But
her world, even more than his, seems to be an enchanted one, delicate,
strange, of another dimension and size.
  Titania, like Oberon, has the power of poetry. Her description of
the natural world in disarray is one of the high points of the play.
She seems to invest the disturbed natural forces with her own
emotional distress, so that the waves, air, and mud seem to be living,
breathing, personal things. She knows the range and importance of
her and Oberon's power. She may not see that her obsession is as
equally to blame as Oberon's jealousy, but she understands the fullest
dimensions of the resulting quarrel. Her description of the
changeling's mother is a marvel of poetic imagery. The comparison
between the pregnant woman and the sails filled with wind makes the
world seem filled with a female creative force. Titania embodies
that power.
-
  PUCK
  Jester and jokester, Puck, otherwise known as Robin Goodfellow, is
like a wild, untamed member of the fairy clan. Though Oberon tells him
they are "spirits of another sort," Puck, with his connection to
English legend and folklore, seems related to a slightly more
dangerous kind of sprite.
                                                  {CHARACTERS ^paragraph 40}
  Not that he is truly malevolent. Although his tricks make people
uncomfortable, they don't seem to do any permanent damage. He casts an
ironic eye on humanity. Thinking people fools, he loves to make
fools of them. But laughter, not tears, is his aim. He delights in
mischief-making, like a boy bent on fun. He's the childlike antidote
to Oberon's seriousness; that's why he's jester as well as jokester.
  With his quickness, ventriloquism, and shape-changing ability, he
clearly has magic fairy powers of his own. Meddling in the affairs
of lovers and administering Cupid's love juice, he's reminiscent of
Pan. And like him he seems to have some animal nature. He even tells
us that he likes to take the form of animals and that he
communicates with them.
  He is also reminiscent of the Greek god Hermes, the messenger.
Like him, he's a go-between for higher powers. Most of the magic he
does in the play is at Oberon's request. He's more the instrument or
administerer of magic than the creator of it. He is definitely in
the service of Oberon, regarding him with respect and a little fear.
  As the liaison between the various groups of characters in the play,
Puck is also the character who communicates directly with us, the
audience. His swiftness (he can fly around the earth in forty minutes)
may give him the ability to cut through dimensions, too. He steps
out of the play at the end to suggest that all we've seen may be
just a dream- and you can be sure he says it with a wink!
-
                                                  {CHARACTERS ^paragraph 45}
  BOTTOM
  Clown, actor, weaver, even romantic hero- Bottom is a complex
character. He's able to attract sympathy in the midst of his absurd
buffoonery and to elicit concern even though he exhibits some
obnoxious qualities. This mix of characteristics has made readers feel
many contradictory things about him. Some say he is a boor, that he
treats his fellow players with a lack of respect; others note his
large ego and need for being in the spotlight. Still other readers
find him a perfect clown and take his posturing as harmless joking. He
may, of course, reflect all these things. What is your analysis of
Bottom?
  He is certainly filled with energy; it seems to stream out of him
sometimes in ways that he can't stop. He never uses one word when
two will do; in the same way, he'd rather not play just one part
when he could play them all. Bottom is a ham. He's also a bad actor.
The two qualities together make him inevitably funny to us. His
enthusiasm trips him up again and again. He is enamored of words. If
he misuses or mispronounces them he doesn't notice- though we do. He
thinks he knows more than he does know, and it can make him seem
arrogant, just as his overabundant energy can make him seem like a
bully. But the testimony of his fellow workers makes it clear that
they take it all in stride; in fact, they adore him. They seem to
appreciate his energy and his acting ability. They're even a little
bit in awe of him. And his fondness for them is equally apparent. When
he returns to them at last, they are his "lads," his "hearts." The
affection these men share is real and touching, especially amid all
the confused feelings of love in the rest of the play.
  Though he's a bumbler, Bottom also seems to be possessed of a
special grace. As a working-class tradesman unaccustomed to finery and
delicate manners, his treatment of his fairy servants is a model of
courtly behavior. He's not just kind; he's interested in them. He
may look like an ass at first glance, but another look reveals
something deeper.
  Part of his special quality is indicated by the fact that he alone
of the mortals actually becomes involved with the fairy world. That
Bottom doesn't think Titania's love or dalliance with him is
preposterous means he is open to the fairy power in a way no one
else is. He may cut a ridiculous figure, wearing an ass's head, but
what's interesting is that these strange little creatures don't look
ridiculous to him and he's at ease with them as with other persons.
When he wakes from his dream, he's unwilling to completely let go of
his experience. He feels somehow a joke has been played on him, but he
also senses something deeper at the heart of the joke. He tests it
on his tongue, savors it, releases it, and calls it back. He's not
attached to reason like Theseus, and he does have something of the
artist in him. He's willing to absorb his magical experience like a
vision and let it find its own meaning. He acts like a fool, but
Shakespeare shows us he's not a fool.
                                                  {CHARACTERS ^paragraph 50}
  Bottom is larger than life. He has a huge appetite. He'd rather
engage something than let it go by. He's unself-conscious about both
his real abilities and his foibles. That gives him, in the truest
sense, a sense of humility. And it's a peculiarity of human nature
that humility is ennobling. Bottom's not such a joke, after all.
-
  QUINCE, SNUG, FLUTE, SNOUT, AND STARVELING
  These simple folk carve out their own realm in the play, with Bottom
at the front. Shakespeare has them speak prose, serving as a sharp
contrast to the poetry of the lovers and fairies. They stand as
representatives of an innocent real world, plain, good-natured, and
well-meaning. Their preposterous bad acting and terrible attempts at
poetry are made fun of, but their good intentions and shared
fellowship are always apparent. Shakespeare may use them to satirize
elements of his theater, but he does so in a way that makes their
theatrics, not them, the objects of his comedy. Their burlesque may
make them look ridiculous, but as characters they fare better than the
more articulate lovers do. They are a necessary adjunct to the other
worlds of A Midsummer Night's Dream. They counteract the duke's
stiff reliance on reason, the lovers' high moral flights of fancy, and
the fairies' elegant and primal poetry. All of these realms together
make a recognizably human world.

SETTING
                            OTHER ELEMENTS
-
                               SETTING                      (SMIDSETT)
-
  Though A Midsummer Night's Dream takes place in and around Athens in
ancient Greece, you will be hard-pressed to find many details of Greek
life. Instead, you will learn much about Elizabethan courtly and
country life. While it professes to draw a picture of Athens, the play
really seems to take place in England. Puck's descriptions of the
tricks he plays on people are filled with details of English village
life. And when Titania describes the pestilence and floods that have
befallen the countryside since her quarrel with Oberon, she is clearly
talking about England, with its manicured gardens and country games.
  The real exploration of setting in this play has not so much to do
with place as with realms or dimensions of experience. The beginning
and the end of the play take place in the city, in the courtly
urbane atmosphere of the palace of Theseus, the duke of Athens. It
is daylight, and the mood is one of social order and reason. The whole
middle of the play, however, takes place in the woods, during a
moonlit night. The atmosphere here is one of disorder, of emotional
indulgence and magic. ("Wood" was an Elizabethan word for "mad," as
Demetrius observes in a pun.) When the characters enter the woods,
their emotional lives are put in upheaval. Despite their protestations
of rationality (Lysander, for example, pleads this continually), it is
the irrational, romantic side of their natures that is revealed. So
the two main settings are not just backdrops for the action. They
symbolize two different emotional and psychic spheres of experience.

THEMES
                                THEMES                      (SMIDTHEM)
-
  Here are some major themes explored by Shakespeare in this play. You
will find them explained in greater detail in the scene-by-scene
discussion of the novel.
-
  1. TRUE AND FALSE LOVE
  The overriding theme of the play deals with the nature of love.
Though true love seems to be held up as an ideal, false love is mostly
what we are shown. Underneath his frantic comedy, Shakespeare seems to
be asking the questions all lovers ask in the throes of their
confusion: How do we know when love is real? How can we trust
ourselves when we are so easily swayed by passion and by romantic
conventions? Some readers sense a bitterness behind the comedy. But
you will probably also recognize the truth behind Shakespeare's
satire. Often, love leads us down blind alleys and makes us do
things we regret later. The lovers in the play- especially the men-
are made to seem rather shallow. They change the objects of their
affections, all the time swearing eternal love to one or the other.
Though marriage is held up at the end as a kind of unifying sacrament,
and so gives a picture of a true, sensible, and socially sanctioned
love, some critics have found its order a little hollow. The confusion
that precedes the weddings seems, somehow, much more to the point.
-
                                                       {THEMES ^paragraph 5}
  2. SEEING AND BEING BLIND
  From the opening scene, "eyes" and "seeing" are shown to be at the
core of how we perceive things in love. Helena says that "love looks
not with the eyes but with the mind." In Shakespeare's terms, when
lovers are led astray by their feelings they aren't seeing
correctly; their eyes are "blind," in the same way we now say that
love is blind. Lovers frequently see what they want to, not what is
really there. When lovers look with such self-charmed eyes, they are
said to be "doting," a key term in the play. Do you know any such
doting lovers?
-
  3. WAKING AND DREAMING
  All four lovers, plus Bottom and Titania, fall asleep in the
course of the play, and all wake up to have themselves or their
situations changed. An opposition between waking and dreaming is
continually enforced, starting, of course, with the very title of
the play. After waking from their final sleep, the lovers feel that
their experiences were just dreams. Puck also offers us this
explanation in his final monologue: that the play itself was a
dream, and that we, the audience, were its slumbering dreamers.
Moonlight is associated with dreaming, and daylight with waking. So
all the fairy experiences that take place during the moonlit night may
be just dreamlike hallucinations. Shakespeare leaves it for you to
decide. Which of the experiences do you want to call "real"?
                                                      {THEMES ^paragraph 10}
-
  4. REALITY AND ILLUSION
  All of the oppositions point toward our perception of reality. And
nowhere can that perception be more interestingly tricked than in
the theater, which is entirely built on the tension between illusion
and reality, shadow and light. Shakespeare teases the audience about
its gullibility at the same time he tests it. He makes fun of those
who don't think we'd be able to tell the difference between a real
or fake lion. He simultaneously charms the audience with a fairy world
breathtaking in its magical beauty, making them want to believe in the
preposterous. The theater is called a place of shadows, but with the
right lighting it can come into a life of its own, challenging all our
notions about what is real and what illusionary.
-
  5. REASON AND IMAGINATION
                                                      {THEMES ^paragraph 15}
  Theseus is continually aligned with reason. Sometimes he seems to be
held up as a model for social man, clear-sighted (not doting) and
responsible. He intentionally sets himself in opposition to the
imagination when he compares the lover, the lunatic, and the poet to
each other. Their similarity, he says, comes from the fact that they
are all swayed by their imaginations. Looking at the sad plight of the
lovers, we might agree with Theseus's conclusions. But we can also see
that a reliance on reason makes Theseus blind in a different way.
The world of the fairies, of magic, mystery, and creative power, is
closed to him. Shakespeare says, through Theseus, that the poet "gives
to airy nothing / A local habitation and name." Though Theseus seems
to say it with scorn, this is exactly what Shakespeare does for us
by presenting the airy, spectral fairy world in detailed form. In that
case, the workings of the imagination can be seen as something
valuable, indeed. Bottom, waking from his dream, seems somehow able to
hold the two worlds together. His immediate plan is to make his
dream into a song. Perhaps, then, art is the bridge between the
world of reason and the world of the imagination. Bottom says this
is the power of "vision."
-
  6. CHANGE AND TRANSFORMATION
  People are changing their minds, their hearts, and their images
throughout the play. The woods become a special arena in which these
changes take place. Demetrius and Lysander both change the objects
of their affection, triggered by that excellent agent of change, the
love juice of Cupid. So love itself is seen as an agent of
transformation. It turns people around, and sometimes makes asses of
them. That is, of course, exactly what happens to Bottom, though it
may seem at times that Titania is the one who has made an ass of
herself.
  As day changes to night and back again, the fairies present a
world transformed by magic, where nothing is what it seems, and
everything may evolve into something else.

STYLE
                                STYLE                       (SMIDSTYL)
-
  Shakespeare's understanding of a wide range of human experience as
well as different levels of consciousness enables him to adapt his
style to his characters and their worlds. A Midsummer Night's Dream is
unique in that its different sets of characters speak in different
ways. And their styles of speech tell us things about them.
  The ducal court and the romantic lovers speak a conventional courtly
poetry, filled with mythical allusions and witty rhetorical
gamesmanship. Its conventionality tells us as much about the
characters as anything else. The lovers' well-fitted rhymes speak of a
complacency, not a creative fire, at the core of their feelings.
Note Lysander's first words to Hermia:
-
     "How now, my love! Why is your cheek so pale?
     How chance the roses there do fade so fast?"
                                                        {STYLE ^paragraph 5}
                                            (I, i, 128-129)
-
  Considering Hermia has just been threatened with death, the rose
metaphor seems a little flip. The deeper, threatening emotions of
the situation are masked by the poetic rhetoric. But because
Shakespeare presents the lovers as comic, not tragic, figures, we
can enjoy the intricacy of their metaphors and rhymes while we laugh
at their shallowness.
  Except for their acted parts in the play at the wedding, the
workingmen speak in prose. Shakespeare gives them a sense of being
down-to-earth, appropriate to their occupations and simple hearts.
When they try to speak poetically, the results are laughable. They
continually misuse and mispronounce words, but Shakespeare treats them
gently and their simplicity triumphs over their pretensions.
Similarly, the silly verse they spout in "Pyramus and Thisby"
satirizes bad acting but will probably leave you agreeing with Theseus
that the actors' intentions are what matters.
  The most eloquent and beautiful poetry in the play belongs to Oberon
and Titania. Suddenly you feel the force of real poetry, not its false
representatives. Shakespeare clearly aligns his poetry with magic, and
Oberon's use of language seems to work like a magic spell. He names
flowers with full recognition of their magical potentialities-
including the power of the sound of their names.
                                                       {STYLE ^paragraph 10}
-
     "I know a bank where the wild thyme blows,
     Where oxlips and the nodding violet grows,
     Quite overcanopied with luscious woodbine,
     With sweet musk roses, and with eglantine."
                                                       {STYLE ^paragraph 15}
                                           (II, ii, 249-52)
-
  This famous passage is really just a list of flowers, but
Shakespeare is able to infuse the naming with poetic magic,
highlighting the rhythmic and sensual qualities of the language.

ELIZ_ENGLISH
                         ELIZABETHAN ENGLISH                (SMIDELIZ)
-
  All languages change. Differences in pronunciation and word choice
are apparent even between parents and their children. If language
differences can appear in one generation, it is only to be expected
that the English used by Shakespeare four hundred years ago will
differ markedly from the English used today. The following information
on Shakespeare's language will help a modern reader to a fuller
understanding of A Midsummer Night's Dream.
-
  MOBILITY OF WORD CLASSES
  Adjectives, nouns, and verbs were less rigidly confined to
particular classes in Shakespeare's day. Adjectives could be used as
adverbs:
-
                                                 {ELIZ_ENGLISH ^paragraph 5}
     And then the moon, like to a silver bow
     New bent in heaven
                                               (I, i, 9-10)
-
  "New" is used for "newly." Adjectives could also be used as nouns:
-
     Demetrius loves your fair. O happy fair!
                                                (I, i, 182)
-
  Here, "fair" is the equivalent of "fairness" or "beauty." Adjectives
could also be used as verbs. "Coy" means "to caress" in
-
     While I thy amiable cheeks do coy,
                                                 (IV, i, 2)
-
  Nouns could be used as verbs. "Square" means "to fight, quarrel" in
-
     But they do square,
                                                (II, i, 30)
-
  Nouns could also be used as verbals, like "flews" (dog's jowls)
and "sand" (the color of sand) in
-
     My hounds are bred out of the Spartan kind;
     So flewed, so sanded;
                                            (IV, i, 118-19)
-
  CHANGES IN WORD MEANING
  The meanings of words undergo changes, a process that can be
illustrated by the fact that "silly" used to mean "holy" and "quick"
meant "alive." Most of the words in Shakespeare's plays still exist
today but some meanings have changed. The change may be small, as in
the case of "pert," which meant "quick to act," as in
-
     Awake the pert and nimble spirit of mirth
                                                 (I, i, 13)
-
  or more fundamental, so that "gossip" (II, i, 47) meant "old
woman" (possibly a relative), "saddest" (II, i, 51) meant "most
serious," "waxen" (II, i, 56) meant "increase," "weed" (II, i, 256)
meant "garment, clothes," and "favours" (IV, i, 48) meant "flowers
given as a token of love."
-
  VOCABULARY LOSS
  Words not only change their meanings but are frequently discarded
from the language. In the past, "leman" meant "sweetheart," "sooth"
meant "truth," and "mewed" meant "confined, cooped up." The
following words used in A Midsummer Night's Dream are no longer
current in English, but their meanings can usually be gauged from
the contexts in which they occur.
-
  GAUDS (I, i, 33):  showy toys
  PREVAILMENT (I, i, 71):  power
  BELIKE (I, i, 130):  perhaps
  BETEEM (I, i, 131):  allow
  MISGRAFFED (I, i, 137):  badly matched
  COLLIED (I, i, 145):  darkened
  EYNE (I, i, 242):  eyes
  AN (I, ii, 47):  if
  ORBS (II, i, 9):  fairy rings
  LOB (II, i, 16):  fool, clown
  FELL (II, i, 20):  fierce
  BOOTLESS (II, i, 37):  useless
  BUSKINED (II, i, 71):  wearing hunting clothes
  MARGENT (II, i, 85):  shore
  MURRION (II, i, 97):  murrain, disease of animals
  HIEMS (II, i, 109):  winter
  REREMICE (II, ii, 4):  bats
  PARD (II, ii, 37):  leopard
  OWE (II, ii, 85):  own
  BY'R LAKIN (III, i, 12):  by our lady
  OUSEL or WOOSEL (III, i, 118):  blackbird
  THROSTLE (III, i, 120):  thrush
  PATCHES (III, ii, 9):  clowns
  ABY (III, ii, 175):  atone, pay for
  WELKIN (III, ii, 356):  heavens, sky
  WOT (III, ii, 422):  know
  NEAF (IV, i, 19):  fist
  CRY (IV, i, 123):  pack of hounds
  DOLE (V, i, 270):  source of sorrow
-
  VERBS
  Shakespearean verb forms differ from modern usage in three main
ways:
-
  1. Questions and negatives could be formed without using "do/did,"
as when Oberon asks Titania:
-
     How long within this wood intend you stay?
                                               (II, i, 138)
-
  where today we would say, "How long do you intend to stay?" or as
when Demetrius tells Helen:
-
     I love thee not, therefore pursue me not.
                                               (II, i, 189)
-
  where modern usage demands, "I do not love you, so don't follow me."
  Shakespeare had the option of using forms (a) or (b), whereas
contemporary usage permits only the (a) forms:
-
               a                               b
-
     What are you saying?              What say you?
     What did you say?                 What said you?
     I do not love you.                I love you not.
     I did not love you.               I loved you not.
-
  2. A number of past participles and past tense forms are used that
would be ungrammatical today. Among these are "broke" for "broken":
-
     By all the vows that ever men have broke,
                                                (I, i, 175)
-
  "forgot" for "forgotten":
-
     And- to speak truth- I have forgot our way.
                                               (II, ii, 42)
-
  "afeard" for "afraid":
-
     Will not the ladies be afeard of the lion?
                                               (III, i, 25)
-
  "mistook" for "mistaken":
-
     And the youth mistook by me,
                                             (III, ii, 112)
-
  and "writ" for "wrote":
-
     Marry, if he that writ it had played
     Pyramus...
                                                (V, i, 348)
-
  3. Archaic verb forms sometimes occur with "thou" and with third
person subjects:
-
     Thou shalt remain here, whether thou wilt or no.
                                              (III, i, 144)
-
     Music, ho! Music such as charmeth sleep!
                                                (IV, i, 82)
-
     And all their minds transfigured so together,
     More witnesseth than fancy's images,
                                              (V, i, 24-25)
-
  PRONOUNS
  Shakespeare and his contemporaries had one extra pronoun, "thou,"
which could be used in addressing a person who was one's equal or
social inferior. "You" was obligatory if more than one person was
addressed, so "you" is used when Puck addresses the audience:
-
     Think but this, and all is mended:
     That you have but slumbered here,
                                             (V, i, 414-15)
-
  but it could also be used to indicate respect. Lysander and Hermia
show their respect for each other by using "you":
-
     LYS.  Fair love, you faint with wandering in the wood;
           .......
     HER.  Be it so, Lysander; find you out a bed,
           For I upon this bank will rest my head.
                                             (II, ii, 41ff)
-
  Frequently, a person in power used "thou" to a child or a
subordinate but was addressed "you" in return, as when Oberon speaks
to Puck:
-
     OBE.  And look thou meet me ere the first cock crow.
     PUCK  Fear not, my lord, your servant shall do so.
                                            (II, i, 267-68)
-
  but if "thou" was used inappropriately it could cause grave offense.
Oberon intended to offend Titania when he addressed her as "thou":
-
     How canst thou thus, for shame, Titania,
                                                (II, i, 74)
-
  PREPOSITIONS
  Prepositions were less standardized in Elizabethan English than they
are today and so we find several uses in A Midsummer Night's Dream
that would have to be modified in contemporary speech. Among these are
-
  "in" for "on":
-
     Or in the beached margent of the sea,
                                                (II, i, 85)
-
  "upon" for "by":
-
     To die upon the hand I love so well.
                                               (II, i, 244)
-
  "on" for "of":
-
     More fond on her than she upon her love:
                                               (II, i, 266)
-
  "against" for "in anticipation of":
-
     And now have toiled their unbreathed memories
     With this same play against your nuptial.
                                              (V, i, 74-75)
-
  and "to" for "in":
-
     In least speak most, to my capacity.
                                                (V, i, 105)
-
  MULTIPLE NEGATION
  Contemporary English requires only one negative per statement and
regards such utterances as "I haven't none" as nonstandard. However,
Shakespeare often used two or more negatives for emphasis, as when
Helena chides Lysander:
-
     Is't not enough, is't not enough, young man,
     That I did never- no, nor never can-
     Deserve a sweet look from Demetrius' eye,
                                            (II, ii, 131ff)
-
  and Bottom agrees with Titania:
-
     Not so neither;
                                              (III, i, 141)

VIEW
                            POINT OF VIEW                   (SMIDVIEW)
-
  Though a playwright does not generally have an all-seeing or
subjective voice to speak from, he does have characters to represent
various points of view. But can you always tell what Shakespeare
himself feels about things in A Midsummer Night's Dream? Do his
characters speak for him? Or do you feel that he sometimes
disappears behind his characters, making the reader decide what to
feel about the issues?
  Theseus is the voice for reason, for civil order and the mature
subjugation of romantic passion in marriage. The four lovers, on the
other hand, speak out for romance. Since their interactions are the
basis of the comedy, and since they are all married in the end, they
too make us feel the frivolity of romance. But Oberon, Titania, and
Puck keep things from getting too structured or domestic. In them we
feel authentic wild powers, a force of nature (we might call it magic)
that need not be tamed. This natural force is also aligned with art.
These different forces keep us from settling too easily into judgments
about love and reason.
  By presenting us with two distinct worlds- the courtly domain of
order and the wild woods- Shakespeare also shows us the necessity
for a balance between the two. Neither one will suffice alone. Theseus
seems too constricted by reason, the lovers too driven and
distracted by emotion. You may feel sympathetic with all the different
characters and levels of experience of the play. Shakespeare's
architecture seems to insist that all together are necessary for a
rounded view of our world.

FORM
                          FORM AND STRUCTURE                (SMIDFORM)
-
  Though Shakespeare's plays are now divided for us into acts and
scenes, these are very likely the work of later editors. We do not
really know where Shakespeare's players made their pauses. The
Elizabethan stage was so bare and fluid that it wasn't necessary to
stop frequently for scene or costume changes, as it is today. It's
more interesting to look at the play itself to get a sense of form and
structure.
-
                        THE FIVE-ACT STRUCTURE
-
               (See illustration: Five-Act Structure.)■Çbn_smid.cif■Ç
                                                         {FORM ^paragraph 5}
-
  ACT I: EXPOSITION. The problem with the four lovers is revealed.
They each seem to be in love with the wrong person.
  ACT II: RISING ACTION. The quarrel between Oberon and Titania
intensifies. Lysander is given the love juice.
  ACT III: CLIMAX. Oberon's plan works: Bottom is transformed and
Titania humiliated. The lovers are in complete disarray.
  ACT IV: FALLING ACTION. The lovers, Titania, and Bottom wake up from
their "dreams." Oberon and Titania are reconciled.
                                                        {FORM ^paragraph 10}
  ACT V: RESOLUTION. The three couples prepare for marriage, and the
play within the play is performed, exorcising the tragic element in
favor of the comic.
-
  The play has a very simple time architecture. Most of the action
takes place during one long frantic night, framed at either end by a
brief spate of day. And time parallels place. The play opens at court,
in the sunny, rational, social world of Theseus the duke. The main
course of the play takes place in the Athenian woods outside of
town. There it is night- a mysterious world filled with spirits and
human passions. At the end we are in court again. Day has returned,
the order of marriage is triumphant, and the bonds of the social world
are re-strengthened.
  You might also find structural beauty in the way Shakespeare juggles
the four realms his characters inhabit. By the way they speak and
the kinds of characters they reveal, the people in the play seem to
occupy distinct realms or zones of existence, which Shakespeare
interweaves throughout the play. Theseus and Hippolyta, as members
of the royal court, live in an extremely social world and stand for
the orderly workings of society. The four lovers, in their travels
from court to wood and back to court again, exist in a realm
governed by the passions, and so come to stand for man's volatile
emotional life. The rustic workingmen, with their simple trades,
physical comedy, and earthy sensibilities, represent the material
world. And the fairies- delicate, mysterious, elemental, with creative
power and poetic art- represent the world of the spirit. All these
worlds exist simultaneously. Shakespeare means us to see that the
structure they combine to create is the human universe.

SOURCES
                               SOURCES                      (SMIDSOUR)
-
  As with most of his plays, Shakespeare drew on many different
sources to help shape A Midsummer Night's Dream. There does not seem
to be an earlier plot that he incorporated- rather, a series of
myths and tales that he drew from to create his own work. But most
of our understanding of Shakespearean sources is like detective
work: we piece together similarities but we have no direct testimony.
  Sir Thomas North's translation of Plutarch's Life of Theseus seems
to have given Shakespeare some of the mythical background for the
play, particularly relating to Theseus's past exploits, romantic and
otherwise. The name Egeus (Hermia's father) probably also came from
Plutarch.
  Shakespeare seems almost certain to have borrowed some information
from the fourteenth-century poet Geoffrey Chaucer, whose "Knight's
Tale," in the Canterbury Tales, opens with lines about Theseus and
Hippolyta. It also mentions observances of May Day.
  Similarly, Ovid's Metamorphosis, translated by Arthur Golding,
gave Shakespeare a very clear working of the story of Pyramus and
Thisby. This is probably where Shakespeare picked up his word
"cranny," through which the unfortunate lovers are forced to speak.
  And it is also likely that Shakespeare knew of the Roman writer
Apuleius's story The Golden Ass. In it a poor man is transformed by
enchantment into an ass. In the description of the transformation,
there are many similar phrases that tie the two together.
                                                      {SOURCES ^paragraph 5}
  For his fairies, Shakespeare had a vast store of folklore to draw
on. Robin Goodfellow was particularly well-known in country lore,
though Shakespeare may have been the first to give him the name of
Puck. May Day (May 1) and Midsummer's Night (June 23/summer
solstice) were two festivals important as background for the play. May
Day (when A Midsummer Night's Dream actually takes place) was a
favorite festival for rural England, a time in which the people left
the city and headed for the woods, where they danced and celebrated. A
king and queen of May were elected, and this "royal" couple went to
the nobles' houses to give their blessings, much the way Oberon and
Titania do at the end of the play. May Day was, above all, a time of
lovers' madness: they, too, went to the woods and frequently spent the
night there. Midsummer was a general celebration of madness and
merriment, a time when magic was afoot and the fairies were
particularly evident. Costumes and dancing played a large part in
the festivities. "Midsummer madness," brought about by the heat,
affected everyone, opening the way for illusion (and delusion) to
transform reality.
  Shakespeare even drew on some of his own work. The situation of
the workmen awkwardly performing their amateur theatricals is
similar to the show of the Nine Worthies in Love's Labour's Lost. In
Two Gentlemen of Verona, the way that couples mix up and transfer
their affections is reminiscent of the Midsummer lovers. And if
Romeo and Juliet was, as is often suggested, written directly before A
Midsummer Night's Dream, it offers an entrance into the fairy world
with Mercutio's famous description of Queen Mab.

GLOBE_THEATRE
                          THE GLOBE THEATRE                 (SMIDGLOB)
-
  One of the most famous theaters of all time is the Globe Theatre. It
was one of several Shakespeare worked in during his career, and many
of the greatest plays of English literature were performed there.
Built in 1599 for L600 just across the River Thames from London, it
burned down in 1613 when a spark from one of the cannons in a battle
scene in Shakespeare's Henry VIII set fire to the thatched roof. The
theater was quickly rebuilt and survived until 1644. No one knows
exactly what the Globe looked like but some scholarly detective work
has given us a fairly good idea. The Folger Shakespeare Library in
Washington, D.C., has a full scale re-creation of the Globe.
-
                (See illustration: The Globe Theatre.)■Çbn_sglob.cif■Ç
-
  When it was built, the Globe was the latest thing in theater design.
It was a three-story octagon, with covered galleries surrounding an
open yard some 50 feet across. Three sides of the octagon were devoted
to the stage and backstage areas. The main stage was a raised platform
that jutted into the center of the yard, or pit. Behind the stage
was the tiring house- the backstage area where the actors dressed
and waited for their cues. This area was flanked by two doors and
contained an inner stage, with a curtain that was used when the script
called for a scene to be discovered. (Some scholars think the inner
stage was actually a tent or pavilion that could be moved about the
stage.) Above the inner stage was the upper stage, a curtained balcony
that could serve as the battlements in Hamlet or for the balcony scene
in Romeo and Juliet. Most of the action of the play took place on
the main and upper stages.
                                                {GLOBE_THEATRE ^paragraph 5}
  The third story held the musicians' gallery and machinery for
sound effects and pyrotechnics. Above all was a turret from which a
flag was flown to announce, "Performance today." A roof (the shadow)
covered much of the stage and not only protected the players from
sudden showers but also contained machinery needed for special
effects. More machinery was under the stage, where several trapdoors
permitted the sudden appearance in a play of ghosts and allowed actors
to leap into rivers or graves, as the script required.
  For a penny (a day's wages for an apprentice), you could stand
with the "groundlings" in the yard to watch the play; another penny
would buy you a seat in the upper galleries, and a third would get you
a cushioned seat in the lower gallery- the best seats in the house.
The audience would be a mixed crowd- sedate scholars, gallant
courtiers, and respectable merchants and their families in the
galleries; rowdy apprentices and young men looking for excitement in
the yard; and pickpockets and prostitutes taking advantage of the
crowds to ply their trades. And crowds there would be- the Globe could
probably hold 2000 to 3000 people, and even an ordinary performance
would attract a crowd of 1200.
  The play would be performed in broad daylight during the warmer
months. In colder weather, Shakespeare's troupe appeared indoors at
Court or in one of London's private theaters. There was no scenery
as we know it, but there are indications that the Elizabethans used
simple set pieces such as trees, bowers, or battle tents to indicate
location. Any props needed were readied in the tiring house by the
book keeper (we'd call him the stage manager) and carried on and off
by actors. If time or location were important, the characters
usually said something about it. Trumpet flourishes told the
audience an important character was about to enter, rather like a
modern spotlight, and a scene ended when all the characters left the
stage. (Bodies of dead characters were carried off stage.) Little
attention was paid to historical accuracy in plays such as Julius
Caesar or Macbeth, and actors wore contemporary clothing. One major
difference from the modern theater was that all female parts were
played by young boys, Elizabethan custom did not permit women to act.
  If the scenery was minimal, the performance made up for it in
costumes and spectacle. English actors were famous throughout Europe
for their skill as dancers, and some performances ended with a dance
(or jig). Blood, in the form of animal blood or red paint, was
lavished about in the tragedies; ghosts made sudden appearances amidst
swirling fog; thunder was simulated by rolling a cannon ball along the
wooden floor of the turret or by rattling a metal sheet. The
costumes were gorgeous- and expensive! One "robe of estate" alone cost
L19, a year's wages for a skilled workman of the time. But the
costumes were a large part of the spectacle that the audience came
to see, and they had to look impressive in broad daylight, with the
audience right up close.
  You've learned some of the conventions of the Globe Theatre, a
theater much simpler than many of ours but nevertheless offering
Shakespeare a wide range of possibilities for staging his plays. Now
let's see how specific parts of A Midsummer Night's Dream might have
been presented at the Globe.
                                               {GLOBE_THEATRE ^paragraph 10}
-
  A Midsummer Night's Dream is unusual in that it takes almost no
advantage of the multiple stages available to Shakespeare at the
Globe. This may well be because the play was originally written to
be performed privately as part of the celebrations of a particular
wedding, and moved to the public theater later. Almost all the
action takes place in the woods near Athens, and all of it could be
performed on the main stage. The setting is, however, one of the
most popular for Elizabethan plays- a woods. There may have been
some standard props brought in to suggest a forest scene, or the
actors may just have treated the pillars as if they were trees.
  You can see how the absence of scenery and lighting affects the
play, though. The characters are constantly mentioning that now it
is nighttime and that they are in the woods. If they didn't say so,
how could the audience know? (In this play, nighttime is
particularly important for many of the scenes, because that is when
the fairies are in charge.)
  The ending of the play is also typically Elizabethan. Since there
was no curtain to fall, there were different conventions: tragedies
frequently ended with a funeral march and bodies being carried off the
stage, while comedies ended the way A Midsummer Night's Dream does,
with music and a dance.

ACT_I|SCENE_I
                               THE PLAY                     (SMIDPLAY)
-
                            ACT I, SCENE I
-
  LINES 1-127
  The scene is the palace of Theseus, duke of Athens. He is
preparing to wed Hippolyta, queen of the Amazons, a famous tribe of
women warriors. She had earlier been taken captive by Theseus. They
are both legendary figures, and their speeches and actions have a kind
of formality. But like any husband-to-be, Theseus is anxious for the
wedding day, which will be marked by a new moon. It is still five days
away, and Theseus complains about how slowly the old moon wanes.
Hippolyta reminds him that the four nights will be filled with
dreams that will quickly pass the time. Theseus sends Philostrate, his
master of the revels (a kind of entertainment coordinator), to prepare
the festivities for the wedding celebration.
-
                                                {ACT_I|SCENE_I ^paragraph 5}
---------------------------------------------------------------------
  NOTE: THE MOON  From the very beginning, the moon shines forth as
the main image of the play. Its mood and its mystical connections
tie the various subplots together. The word moon appears
twenty-eight times in the play, passing through its phases and working
its magic. For Theseus and Hippolyta the moon is the means of
measuring the time till their wedding day, and so, in a way, it is the
light that illumines their marriage. It also lights the woods for
the eloping lovers, Hermia and Lysander, and because of its
nighttime appearance is associated with romance. Moonlight is the
fairies' proper illumination; they are creatures of the night world
and revel under the moon's magic, spectral beams. Even for the
rustics, the workingmen, the moon is important. It is, in fact, one of
the "characters" in their play, as it shines over the garden in
which Pyramus and Thisby secretly meet. And, especially, the moon
symbolizes the night, in which dreams take place, as well as the
mad, bewitching Midsummer's Eve, in which dreams and reality
intermingle.
---------------------------------------------------------------------
-
  Egeus, an Athenian elder, enters, followed by his daughter Hermia
and her two suitors, Lysander and Demetrius. Egeus is extremely upset.
He tells Theseus that he has given consent to Demetrius to marry his
daughter. However, Hermia is of a different mind. Egeus explains
that Lysander has "bewitched" Hermia with poetry, song, and lovers'
trinkets so that she wants to marry him and not Demetrius. Athenian
law says the father has the right to marry off his daughter as he sees
fit- or have her put to death for her disobedience. Egeus asks Theseus
to uphold that law. Notice how the sweet order of marriage established
in the opening lines between Theseus and Hippolyta has immediately
been disrupted. Now there is romantic discord instead of harmony,
and the contrast between the two will run throughout the play. The
conflict has been set up between love and law (or reason, as it is
later called).
                                               {ACT_I|SCENE_I ^paragraph 10}
  Theseus questions Hermia, explaining that a daughter must obey her
father. Hermia, adamant in her refusal, says she wishes her father
would look with her eyes, but Theseus chides her, saying that she must
learn to see with her father's eyes. She asks to know the worst that
can happen to her if she defies Egeus. Theseus explains that she
must either give up men and enter a nunnery, or else be put to
death. As you can see, the stakes in this romantic discord are very
high. Put yourself in Hermia's position. Can you sympathize with her
problem? The proper behavior in love is sometimes hard to decide;
having to choose between a father and two different suitors makes
the decision even harder. If Hermia were to ask your advice, what
would you say to her?
-
---------------------------------------------------------------------
  NOTE: Shakespeare is a poet as well as a playwright, and that
means much of his information is conveyed through imagery as well as
action. Watch carefully the ways in which "eyes" and "seeing" function
throughout the play. You may be reminded of the old saying, "Beauty is
in the eye of the beholder." Our eyes are only one way of judging
reality, and they can be easily fooled. Especially in romantic love,
where appearances are so important, how can we be sure of what we're
feeling (seeing)? A Midsummer Night's Dream is concerned with multiple
layers of reality. Note the ways in which peoples' eyes fool them.
---------------------------------------------------------------------
                                               {ACT_I|SCENE_I ^paragraph 15}
-
  Hermia absolutely refuses to marry Demetrius. Theseus gives her
until the next new moon- his wedding day- to decide her own fate.
Lysander protests that he is as worthy as Demetrius and is, in any
event, loved by Hermia. He can't resist throwing in that Demetrius had
previously sought and won the love of Helena. Therefore, why doesn't
he marry her? But the law is the law. Theseus gives Hermia one more
warning, and the rest exit, leaving her and Lysander alone.
-
  LINES 128-251
  The two frustrated lovers try to comfort each other. They speak in a
poetic, almost courtly manner, trading clever lines and poetic imagery
back and forth. The style reflects the content here. They speak the
way conventional romantic characters do. But how appropriate is that
to their current situation, dangerous and distressing as it is? Does
their reliance on stock romantic speech get in the way of their real
feelings, instead of express them? What's real or true is hard to
see and, as Lysander explains, "the course of true love never did
run smooth." "O hell!" responds Hermia, sticking with her theme, "To
choose love by another's eyes!" Both feel that happiness in love is
fleeting, but agree to take the challenge of making it endure.
                                               {ACT_I|SCENE_I ^paragraph 20}
  Lysander tells Hermia of a secret plan. He has an aunt who lives
outside Athens and who looks on him as a son. Lysander proposes that
he and Hermia flee the city and live together in marriage at his
aunt's house, free from the cruel Athenian law. Both agree to meet the
following night in the woods outside of town and to put their plan
of elopement into action. Hermia swears repeatedly that she will
meet Lysander there. She gets carried away in her romantic poetic
flight, swearing by several "broken" vows as well as true ones. We
understand what she's saying, but her examples don't really inspire
much confidence in the success of romantic entanglement. In spite of
the possible deadly consequences of the couple's actions,
Shakespeare is reminding us we are in a comic situation.
  Suddenly Helena enters, the picture of frustration. Where Hermia and
Lysander are caught up in their mutual love, Helena bears testimony
for love's other side, its false side. She is miserable that Demetrius
loves Hermia rather than her, and explains how she would willingly
change places with Hermia, wishing her voice could be Hermia's and "my
eye your eye."
  But Helena and Hermia do not trade places. Instead, they trade
rhymed lines back and forth, comparing their situations. Hermia frowns
on Demetrius, who nevertheless still loves her; Helena wishes her
smiles could elicit such a good reaction. Hermia curses him and
still he loves her; Helena wishes her prayers could bring the same
results. Their romantic plight, signaled by the high poetic style,
is undercut by the perfect fit of their comically mismatched desires.
-
---------------------------------------------------------------------
                                               {ACT_I|SCENE_I ^paragraph 25}
  NOTE: THE FOUR LOVERS  Many readers have complained that the four
Athenian lovers are difficult to tell apart and are not very richly
characterized. It may be that the ways in which they are alike are
more important than the ways in which they are different. Watch how
they become even more interchangeable through the course of the
play. Do you think they are meant to represent lovers in general,
rather than four particular people?
  Though Hermia and Helena are drawn as opposites, we do not get
very much physical or emotional detail about them. But their situation
highlights their opposition, their differences. They are connected by,
yet also placed in opposition by, their mutually frustrated desires.
In the passage about Demetrius, the end rhymes make us feel the
young women are connected, yet the fact that one has what she
doesn't want but the other does shows us how they are opposed. That
they are lovers aligns them. Love's inconstancy sets them apart. The
plot gives them their definition: they are alternately frustrated
and mated.
---------------------------------------------------------------------
-
  To give Helena a little comfort- and a little hope- Hermia tells her
of their plan to elope. Lysander explains that when the moon rises the
next night (the moon is to light their way, but its enchanted beams
can mislead as well as lead, as they will discover), he and Hermia
will leave the city. Helena knows the meeting place. She and Hermia
used to play and embroider there as children and opened their hearts
to each other. Shakespeare reminds you, with these details of their
past, that there are several kinds of love. The love the two women
shared as children will be tested by the new love they both now
seek. Lysander and Hermia exit.
                                               {ACT_I|SCENE_I ^paragraph 30}
  Helena is left alone with her unhappiness and is quick to spell it
out for you. Imagine yourself in Helena's position. How would your
frustration color your thoughts? Her soliloquy is worth examining
closely because in it she touches on several of the play's themes.
First Helena complains that throughout Athens she is thought to be
as pretty as Hermia. Why doesn't Demetrius agree? He, instead, dotes
on "Hermia's eyes." Here the problem with seeing is doubled: eyes
can bewitch eyes. Demetrius can no longer see what everyone else in
Athens can. But Helena is in a similar predicament. Though she resents
Demetrius, she also loves him. Why?
-
     Things base and vile, holding no quantity,
     Love can transpose to form and dignity.
                                             (I, i, 232-33)
                                               {ACT_I|SCENE_I ^paragraph 35}
-
  The eyes of love are selective and transforming. They can see beauty
where beauty is, but they can also mistake ugliness for beauty. Keep
this power of love in mind; Titania will be seriously under its
influence when she confronts Bottom wearing his ass's head.
  But love is even more complex than that. In fact, says Helena,
love doesn't see "with the eyes, but with the mind." And that is why
Cupid is said to be blind, shooting his arrows aimlessly. The eyes
of lovers do not merely transform the object of their desire;
sometimes they don't really see it at all! (That is Demetrius' problem
with Helena. He can no longer see her.) And, adds Helena, love is a
child because it can be so easily "beguiled." All the oaths that
Demetrius once swore to Helena are worth nothing now. The way Helena
describes it, love is something like looking in a hall of mirrors.
There are reflections behind reflections behind reflections, and
it's not easy to tell the real from the false. The lover's eyes can
see what isn't there, yet not see what is there. The mind can play
tricks on the eyes, and the eyes, on the mind. Most importantly,
love has the power to transform. Under its rule, appearance and
reality become one. This idea recurs throughout the entire play (if
you can only see it!).
-
---------------------------------------------------------------------
                                               {ACT_I|SCENE_I ^paragraph 40}
  NOTE: Another thing that challenges our perceptions about appearance
and reality is the theater itself. If you keep in mind that,
ideally, you would be watching a play instead of reading it, you
will be able to appreciate another layer of meaning in A Midsummer
Night's Dream. The theater, like romantic love, has the power to
enchant our eyes and transform what we see.
---------------------------------------------------------------------

ACT_I|SCENE_II
                           ACT I, SCENE II
-
  We are now in another part of Athens, in the house of Quince, a
carpenter. He and his comrades- Snug, a joiner; Bottom, a weaver;
Flute, a bellows mender; Snout, a tinker; and Starveling, a tailor-
have gathered together to choose the parts in a play they'll be
performing for the duke's wedding. They're a group of simple working
people, not professional actors, and they're also a far cry from any
traditional image of noble Athenian youth.
-
---------------------------------------------------------------------
  NOTE: Unlike the lovers, the rustics speak in prose, which is
appropriate to their more mundane station in life. But like the
lovers, the way they speak tells us a lot about who they are.
They're not particularly literate people, so dramatic dialogue isn't
very comfortable for them. Watch the way they try to impress or
outdo each other, particularly Bottom, who feels he can undertake
any part.
---------------------------------------------------------------------
                                               {ACT_I|SCENE_II ^paragraph 5}
-
  Quince asks if all the company is assembled to rehearse. Bottom says
it would be better to call all the names individually, but he uses the
word "generally" instead. This is one of Bottom's characteristic
traits. He has more enthusiasm than knowledge and is a true ham. He
loves to use big words even if he doesn't really understand them. He
is infatuated with the sound and the flourish of them. But he
approaches language with such relish and gusto that it's hard to fault
him. He may not always be correct, but his heart is in the right
place. Shakespeare knows enough about language to show us that a
word's sound can often override its sense. Even when Bottom's wrong,
he often sounds right to us (as he does to himself), so
Shakespeare's joke is on us as well as on Bottom. Did you ever try
to impress anyone by trying to use a larger word than you could
handle? If you got away with it, were you or your listener the greater
fool?
  Bottom also recommends that Quince tell the name of the play
first, and so we discover the piece to be presented is "The most
lamentable comedy, and most cruel death of Pyramus and Thisby." Its
very title gives you a good indication of its contradictory nature:
"lamentable" but a "comedy." It might also indicate to you how
little these actors really know about the theater. Obviously, this
is going to be a chance for Shakespeare- a trained actor as well as
playwright- to give us some inside jokes.
-
---------------------------------------------------------------------
                                              {ACT_I|SCENE_II ^paragraph 10}
  NOTE: The story of Pyramus and Thisby is not Shakespeare's
invention; it was a stock Elizabethan plot. But notice how cleverly it
fits into A Midsummer Night's Dream. The play within the play concerns
two lovers frustrated by their parents' interference. We have just
seen a similar situation with Hermia, Lysander, and Egeus. Shakespeare
will make great comic use of this traditional story line to comment on
the actions of his own characters.
---------------------------------------------------------------------
-
  Bottom is the first up. When told that his part is to be Pyramus,
Bottom wants to know if Pyramus is a lover or a tyrant. His appetite
is large, and he is ready to bite into a big part and give it his full
dramatic powers. The part, explains Quince, is that of a "lover that
kills himself, most gallant, for love." Quince recognizes Bottom's
need for the large gesture. He adds the words "most gallant" like food
for Bottom's appetite.
  Bottom understands the depths of the dramatic task at hand and
immediately begins pumping himself up for it. He sees that such a
tragic figure will require great poignancy in order both to shed tears
(as Pyramus) and to bring the audience to compassionate tears of their
own. "I will move storms," he assures his fellows. However, he adds,
he could well play a tyrant if asked to do so- and then to prove it,
he does so. Bottom is a one-man band. Though some readers have felt he
is at times egotistical or overbearing, others note his eagerness to
grab onto life and play it to the hilt. Certainly, Bottom doesn't
let much pass him by. If he won't be able to play a tyrant in "Pyramus
and Thisby," he'll play it right now for us. He digs into his speech
with total energy. The too-obvious alliteration ("raging rocks,"
"shivering shocks") and high-blown poetic rhetoric don't matter. Their
overly conscious style may be appropriate for a tyrant anyway. What
does matter is Bottom's enthusiasm. He puts on these parts and takes
them of with utter relish. He really enjoys being the center of
attention. And he is thoroughly pleased with his own powers. After his
speech- almost like coming out of a trance- he admits, "This was
lofty!"
                                              {ACT_I|SCENE_II ^paragraph 15}
  Next up is Francis Flute. His part is to be Thisby. Flute wonders
naively- hopefully- if that's the part of a wandering knight. No
such luck; Thisby is Pyramus's lady love. Flute protests: Can't he
play someone else? He has a beard coming. (Mind you it's not here, but
it's coming.) But that's his assigned part, and Quince assures him
he can play it behind a mask, speaking "small" (softly).
-
---------------------------------------------------------------------
  NOTE: Did you know that all female roles in Elizabethan theater were
played by boys or young men? Women were not allowed on the stage.
The profession of acting was still seen as a socially inferior- if not
immoral- occupation. Since that was the law, men performing as women
was socially accepted at the time. However, Flute is disturbed at
being assigned Thisby's role because he wants to imagine himself a man
rather than a boy (not because he's worried about playing a woman),
though we can certainly guess a good deal of jesting took place in
Shakespeare's time around the issue.
---------------------------------------------------------------------
                                              {ACT_I|SCENE_II ^paragraph 20}
-
  If Flute is reluctant to play the part, someone else is always
ready. That someone, of course, is Bottom, always within dramatic
arm's reach. He offers to play the role, speaking in a "monstrous
little voice." As is often the case, Bottom combines inappropriate
words ("monstrous" and "little") to convey his meaning, but the
ingenuity and verve of this man, who can quickly swoop from raging
tyrant to sweet Thisby is amazing.
  Quince, a resourceful and commanding fellow, has things well in
hand. Bottom must play Pyramus; Flute, Thisby; Starveling, Thisby's
mother; Snout, Pyramus's father; and Quince himself, Thisby's
father. (These parts mysteriously disappear in the final version of
the play as it is performed. The players may have discovered that
their talents or energy were more limited than at first surmised.)
In addition, Snug will play the lion's part. Snug is a little worried.
He asks Quince if the lion's part is already written so that he may
study it now- he's a bit slow at learning. Quince explains handily
that Snug can do the part extemporaneously, for it is "nothing but
roaring."
  Sensing an opening in Snug's reluctance, Bottom makes his move. He's
ready to play the lion, and if given the opportunity he will really
roar. Quince warns that too realistic roaring would frighten the court
ladies, and then they'd all be in trouble. Bottom accommodates; in
that case he will roar as gently as a dove or a nightingale. Does that
make sense? It doesn't matter. His unquenchable zest is what matters
to Bottom.
  Quince holds to his position. Bottom must play only Pyramus. But
Quince, as director, is no fool. He knows how to butter up his
temperamental crew. He flatters Bottom by explaining how appropriate
the part is for him- "sweet-faced," "proper," and "gentlemanlike."
Bottom is caught but not stopped. He wants to know what kind of
beard he should wear and shows off his masterly weaver's knowledge
of color by offering an inventory of possible beards.
                                              {ACT_I|SCENE_II ^paragraph 25}
  Quince gives his final orders: they will meet the next night in
the palace wood about a mile outside of town by- of course-
"moonlight." Quince will draw up a list of the stage properties
needed. Bottom gets in a last lick. He repeats the pledge to meet,
adding the comment that they will be able to rehearse "most
obscenely and courageously." He's used the wrong words again, loving
the pure sound of his speech.
  As he departs, he adds the line "hold or cut bowstrings." This odd
phrase has confused many readers. It's not entirely clear what the
expression means, though it seems to be akin to our American "fish
or cut bait." Even more likely, he has just garbled some Elizabethan
colloquial phrase.

ACT_II|SCENE_I
                           ACT II, SCENE I
-
  LINES 1-59
  In a wood near Athens, the very same one mentioned in the previous
act, two fairies appear. Puck, also known as Robin Goodfellow, asks
the other sprite what she's up to. The fairy explains her
activities. She wanders throughout the countryside, swifter than the
moon, as an attendant of the fairy queen, Titania. Her mission at
the moment is to place dew on the flowers. The cowslips (a yellow
wildflower) are the queen's personal bodyguards, and the fairy is
going to place a drop of dew in the "ear" of each, like a pearl.
-
---------------------------------------------------------------------
  NOTE: THE FAIRIES  The fairies introduce another realm in this
play of transformations and interlocking zones of reality. Shakespeare
immediately gives us a clue to their other-worldly nature by
associating them with flowers. Shakespeare drew on many traditions
in the creation of his fairy folk. Midsummer's Eve was a customary
time for strange happenings (midsummer madness it was called) and
was associated in folklore with fairy people, as well as with
general dancing and cavorting through the woods. Some critics feel
that the tiny flower-sized fairies are Shakespeare's invention. It
is also likely, though, that there were oral traditions of such
creatures that he drew on. What is certain is that ever since
Shakespeare wrote of them, his tiny spirits have created their own
tradition, so that is how we tend to think of them even today. Note,
however, that Oberon and Titania seem to be of human scale, so you
might read Shakespeare's playing with the size of the fairies as a way
of placing them in a strange other-worldly context.
                                               {ACT_II|SCENE_I ^paragraph 5}
---------------------------------------------------------------------
-
  The fairy must get on with her work, as the queen and her elves will
be arriving shortly. This worries Puck. The king, Oberon, is also
coming that evening, and it's important the king and queen don't meet.
They have had a falling-out that is setting the natural world on edge.
Titania has a little Indian boy as an attendant. He is the son of
one of her mortal worshipers or "votaries," and the queen has given
him special attention, crowning him with flowers and taking him
everywhere with her. (The boy is described as a "changeling,"
traditionally a child left by the fairies in exchange for one they
have stolen.) Oberon is furiously jealous. He'd like this child to
be in his train. The situation between the two has become so intense
that anytime they meet of late they clash so violently that the
elves crawl into acorn cups for fear.
  Suddenly the fairy thinks she recognizes Puck. Isn't he the sprite
also called Robin Goodfellow, who plays pranks on the villagers?
This Robin has been known to mischievously interfere with the
milling process, to make the housewife churn her butter in vain, to
see that drink doesn't ferment properly, and generally to mislead
people. Yes, answers Puck, he is that very same Hobgoblin, jester
and companion to Oberon. He's a trickster all right. He doesn't really
hurt people, but he loves to have fun at their expense. Do you know of
someone like this? He can fool horses by neighing like a mare; he
can pose as a crabapple bobbing in a drink and make it spill over
the old woman drinking it. Sometimes he'll even pretend to be a stool-
sit on him and down you go!
-
                                              {ACT_II|SCENE_I ^paragraph 10}
---------------------------------------------------------------------
  NOTE: Puck or Robin Goodfellow also had a rich tradition in
folklore. He could be helpful as well as mischievous, though he seemed
to prefer the latter. Puck is actually a general term for a spirit,
often called "the pook." Notice how thoroughly English his world is, a
true country village. There's nothing much Athenian in it. Shakespeare
seems content to call the place Athens, but to let the details speak
of England. One contemporary of Shakespeare's, however, Thomas
Nashe, suggested that the English elves and pooks were the counterpart
to the Greek satyrs and nymphs, so that though the specific figures
were different, the magical, mythical world was similar.
---------------------------------------------------------------------
-
  LINES 60-187
                                              {ACT_II|SCENE_I ^paragraph 15}
  The chatter between Puck and the fairy is ended by the sudden
appearance of Oberon at one end of the stage and Titania at the other.
The mood, as suggested by Puck, is dark and angry. "Ill met by
moonlight, proud Titania" is Oberon's welcome. The moon's light, which
is generally their natural accustomed light, has turned sour. This
king and queen are in a mutual rage- his, a jealous one, as Titania
points out. She is ready to leave immediately. Oberon upbraids her; is
he not her lord? But Titania is not the kind of woman who can be
easily pushed around. If he is her lord, she asks, why has he gone
running around with Phillida (a familiar figure in romantic poetry)?
And not only that- isn't the real reason he's come to Athens so that
he can bless the union of Theseus and Hippolyta, his "former mistress"
and "warrior love"? Obviously, the jealousy works both ways. Try to
understand both of their sides. Is Oberon being too domineering? Is
Titania neglecting her duties? Oberon and Titania are not nice "airy
sprites" or tiny, funny elves. They are both mighty magical powers.
They rule over an enchanted and mysterious realm, and they are
filled with intelligence, passion, and cunning. They have the full
range of human emotions, but their power is more than human. Oberon
throws back his accusations: Titania is herself in love with Theseus
and has previously caused the duke to break off with other of his
affairs.
  Titania, exasperated, replies that all of that has been concocted by
Oberon's jealous imagination. Ever since the beginning of midsummer,
Oberon has spoiled all their meetings with his jealous rages. More
than that: this disturbance between them has set the whole natural
world out of order. The primal forces themselves seem to be taking
revenge on the king and queen who are so furiously at odds. The
winds have sucked up fogs from the sea and overswollen the rivers with
their contents. The ox and the farmer have labored in vain; the
grain is rotting in the drowned field. The cattle are dead and the
crows fat from feeding off them. The lovely English mazes and lawn
games are full of mud. Even the moon is so angry that she spreads
diseases through the air. The picture is absolutely frightening.
It's almost as if biblical plagues have descended on England,
corrupting its beauty. The very seasons are out of whack. Nobody can
tell whether it's summer or winter. Frost falls on the new rose and
spring buds burst through the snow and ice. And all of this,
explains Titania, has occurred because she and Oberon have lost
their harmony.
-
---------------------------------------------------------------------
  NOTE: This confusion in the natural world indicates how powerful
Oberon and Titania are. You all know how difficult a family
disturbance can be; sometimes it feels as if the whole world is
breaking apart. But with Oberon and Titania it seems to be literally
true. That their quarrel affects nature also displays the ways in
which the different realms of the play affect each other. Each set
of characters (the court, the lovers, the fairies, and the rustics)
reflects and comments upon the others.
                                              {ACT_II|SCENE_I ^paragraph 20}
---------------------------------------------------------------------
-
  Titania's speech contains some of the most beautiful language in the
play. Part of the excitement in experiencing Shakespeare is in
noticing how rich his writing is, how fully he explores and expands
his images and brings them to life. To really make the natural
disasters vivid, he uses personification. All the forces of the
world seem to act with will and emotion, just as people do. The wind
sucks up water from the sea "as in revenge"; the rivers overflow
because they are "proud"; the moon is "pale in her anger." The whole
scene, then, is alive with feeling. And when things have feeling,
don't you have stronger feelings for them?
  Oberon tells Titania it's within her power to restore order to the
world: all she has to do is give the changeling boy to him. Titania is
not interested. She explains how close she was to the boy's mother,
how they gossiped and played together. The woman unfortunately died in
childbirth, and for her sake Titania plans to rear the boy.
  How long does she plan to stay in the woods? Oberon wants to know.
Perhaps till after Theseus's wedding day, she replies. If the king
wants to dance in the moonlight with her, fine; if not, let them be.
Oberon wants only the boy, "Not for thy fairy kingdom," cries Titania,
and off she goes.
                                              {ACT_II|SCENE_I ^paragraph 25}
  Oberon, a haughty and relentless presence, immediately plots his
revenge. He calls Puck to his side, reminiscing about a time he
heard a mermaid on a dolphin's back singing so beautifully that "stars
shot madly from their spheres" to hear her music. (Scholars have
pointed out the similarity between this image and some spectacular
court entertainments for Queen Elizabeth in the late sixteenth
century. This is sometimes used to help date the writing of A
Midsummer Night's Dream.) That same time, adds Oberon, he saw Cupid
flying, armed with arrows of love. He aimed an arrow at a virgin,
but missed. (It has also been suggested that the virgin was a
reference to Queen Elizabeth, known as the Virgin Queen.) Oberon,
being sharp of eye as well as mind, marked exactly where the
misdirected arrow fell. Do you get the feeling this jealous king
doesn't miss a thing? He seems to have stored up potential magic
charms the way a dog might store some bones. He knows they will come
in handy some day.
  The arrow fell on a flower, turning it from milk-white to purple.
This startling sexual imagery makes us feel the dangerous and eerie
power of Cupid's arrow. The wound it makes is "love's wound." The
flower is called love-in-idleness; we know it today as a pansy. Filled
with Cupid's magic, this transformed flower has the power to transform
others. Its juice, squeezed on a sleeper's eyelids, will make that
person fall in love with the next live creature he or she sees. Note
Shakespeare's use of the word "creature" to indicate that the love
object might not necessarily be human.
-
---------------------------------------------------------------------
  NOTE: SHAKESPEARE AND FLOWERS: In trying to give you a picture of
the power of the fairy world, Shakespeare relies heavily on the use of
flowers. They seem to stand as special signposts of magical
transformation. Flowers and plants have traditionally been
associated with magic, and in the case of certain herbs their curative
medicinal powers are well-known. In Shakespeare's time, much
scientific, philosophical, and magical investigation was devoted to
the powers and properties of plants and flowers. But no matter how
much scientific understanding we have of them, their colors and
intricate forms still instill in us a sense of wonder.
                                              {ACT_II|SCENE_I ^paragraph 30}
  Sometimes Shakespeare compares the fairies to flowers in terms of
their height. This makes them seem as if they're part of another
dimension, even if we can see that on the stage they're the size of
people. Some of the fairies even have floral names, connecting them to
some elemental mystery. Later, Oberon will repeat the names of flowers
as if they were magical incantations.
  Here the love-in-idleness plant is symbolic of the power in love
to change people, altering their inner and outer natures. Swollen as
it is with the "poison" of Cupid's arrow, the flower is the essence of
the nature of love. And the nature of love is at the heart of this
play.
---------------------------------------------------------------------
-
  Notice also the recurrent theme of eyesight. In this instance, the
eyes of the sleeping lover-to-be are altered by the juice of the
plant. What "creature" this person sees on awakening- worthy or not-
will become the object of love.
                                              {ACT_II|SCENE_I ^paragraph 35}
  Oberon commands Puck to get that flower. The spriteful Robin obeys
quickly: He'll "put a girdle round about the earth / In forty
minutes." Alone, Oberon tells us his secret plan. Titania is to be the
victim upon whose eyes the charmed juice will work its magic. And
don't expect kindliness from the king; he's not after a prince for his
queen. Rather he hopes for something more grotesque: a lion, a bear, a
wolf, a bull, or even a monkey. And she won't have her "real" eyes
returned until she delivers up the changeling boy to Oberon! How
does this nastiness make you feel about Oberon and his potential
power? Watch how this edge of danger undercuts the comedy of
transformation, keeping dramatic tension alive. With Oberon lurking in
the unseen air, how safe would you feel?
-
  LINES 188-268
  Approaching voices are heard. Oberon makes himself invisible as
Demetrius and Helena enter. They are in the midst of a quarrel.
Remember, Helena had told Demetrius of Lysander and Hermia's elopement
plan. But he's interested in finding them, not in dealing with Helena.
He'll kill the man; the woman is killing him. He commands Helena to go
away; he is "wood" (mad) in the wood. But how can Helena go? She is
drawn to him as though he were a magnet. If he could stop drawing her,
she could stop being drawn. It's a double bind, appropriate to the
topsy-turvy, blind nature of love.
  Demetrius tells her in the plainest possible terms that he does
not and cannot love her. But Helena even loves his honesty in
telling her that! She's more than humble at this point- she's
humiliated. She'll be his spaniel. He can do whatever he wants with
her as long as he does something with her.
                                              {ACT_II|SCENE_I ^paragraph 40}
  We're back to opposites in love. Demetrius becomes ill from
looking at Helena; Helena becomes ill from not looking at Demetrius.
He tries a new tack: she is seriously endangering her precious
virginity by following him in the forest. Helena twists his words. She
is very good at that- her literary cleverness rarely misses an
opportunity to turn a phrase around. She explains that since he is all
the world to her, she is not really alone with him in the woods.
  Demetrius gives up. All he can think of now is to run away and leave
her at the mercy of wild beasts. The wildest of those, Helena points
out, is not as heartless as he. The tables will turn, she warns
prophetically. Demetrius tells her once again to leave him alone,
and exits. Helena declares she's not afraid of any harm to come at his
hands; she's already been hurt. Poor Helena. Her situation is at
once comic and tragic. Her desperate gropings for love are ridiculous,
but painful. The whole reality of romance and the proper relations
to it are being questioned by Shakespeare. Men are supposed to woo
women, says Helena, but she finds herself in the opposite position.
The way things should be and the way they shouldn't change places in
this play. Good and bad, love, life and death are all mixed up for
Helena. "I'll follow thee," she says, "and make a heaven of hell, / To
die upon the hand I love so well."
  Overseeing her predicament, Oberon decides to intercede. Puck
arrives with the magic flower and gives it to his master. Oberon
goes into a dreamy soliloquy, one of the most beautiful passages in
all of Shakespeare's works, filled with glorious language and an
almost sentimental remorse. He describes a favorite place of
Titania's. It is a bank covered in flowers, and the Queen likes to
sleep there, "lulled in these flowers with dances and delight." The
snake sheds its skin there, and that skin is "wide enough to wrap a
fairy in." Such delicate details give us more than an idea of the size
of the fairy folk; they give us a feeling for the sweet enchantment of
their world. But Oberon is not just having a sweet dream. He has a
vengeful purpose. If that's where Titania is likely to be, that's
where she will be given the magic love juice on her eyes. Oberon
also commands Puck to put some juice on the eyes of the Athenian youth
he has just seen. He cautions Puck to do it at just the right
moment, so that the first thing the young man sees will be the lady
who is in love with him. The king would see some things turn out
right- or is he just as eager as Puck to turn the world upside down?
-
---------------------------------------------------------------------
                                              {ACT_II|SCENE_I ^paragraph 45}
  NOTE: TITANIA'S RESTING PLACE  Does the way Shakespeare describes
the favorite place of Titania make you want to sleep there yourself,
surrounded by its beauty? Shakespeare entices you with great economy
of language. The very names of the flowers seem to emit some special
power. The thyme blows in the wind, sending its pungent scent around
the bank. The violet nods its delicate head. The woodbine
("luscious" makes it seem good to eat as well as to see and smell)
forms a canopy over it all, and the musk roses are sweet. To help feel
the magic of this passage you might say these words aloud. "Wild
thyme," "oxlips," "nodding violet," "luscious woodbine," "sweet musk
roses," and "eglantine" roll across the tongue with what seems to be a
magic power.
---------------------------------------------------------------------
-
  With a leap Puck is off on his mission. He'll be back before the
first rooster can crow. By then, midsummer madness will be in full
sway.

ACT_II|SCENE_II
                           ACT II, SCENE II
-
  LINES 1-83
  Titania and her loyal group of fairies are in another part of the
wood. The queen asks for a ring dance and a song, and then suggests
they set about some of their regular fairy business. This includes
killing cankers in the musk-rose buds (remember the "sweet musk roses"
Oberon spoke of- this must be Titania's favorite resting place!),
obtaining bat wings to make coats for her elves, and keeping the
hoot owl quiet so it doesn't disturb them. You can see again how these
nature-related details used by Shakespeare give us a special awareness
of the dimensions of the fairies' world.
  The fairies sing a lullaby for their queen. It is a charm that seeks
to ward off creepy and crawly things from Titania: snakes,
hedgehogs, newts, and worms. They ask for a little musical
assistance from Philomele, the nightingale, to lull their lady to
sleep. Try to imagine how this chorus of fairies might actually sound.
As they repeat their magic syllables- "Lulla, lulla, lullaby, lulla,
lulla, lullaby"- feel the sweet drowsiness their birdlike voices
induce. Again they warn off some disturbing things: spiders,
beetles, worms, and snails. And again the nightingale's sweet song
is called for. Shakespeare makes his fairies' natures apparent by
the kind (and size) of animals he associates with them. Titania
sleeps.
  And now it's Oberon's moment. He squeezes the juice from the charmed
flower onto Titania's eyelids and requests a different kind of
spell. He asks that Titania love whatever she first sees on awakening,
and he hopes that will be some "vile thing" like a lynx, cat, bear,
leopard, or boar. Again, he reinforces the eyesight theme: "In thy eye
that shall appear, / When thou wak'st, it is thy dear." Can you hear
Oberon's malicious chuckle as he leaves?
-
                                              {ACT_II|SCENE_II ^paragraph 5}
---------------------------------------------------------------------
  NOTE: The fairies' magic is associated with natural imagery, and
like the natural world it can be good or bad, sweet or scary.
Titania and her fairies call up the images of small animals and
insects. They seem frail (as their potential enemies are small), and
their magic spell seeks protection from harm. Oberon, on the other
hand, is working a nastier magic. He is causing trouble, not seeking
protection from it. Accordingly, the animals he wishes for are more
frightening, indicating his more dangerous spell.
---------------------------------------------------------------------
-
  Lysander and Hermia enter, exhausted from wandering through the
wood. It seems Lysander has lost his way. You can guess that these
lovers will be losing more than this particular way. Hermia chooses
a soft bank for her bed and suggests Lysander find one for himself.
Note that all the while the two are speaking the rhymed poetry of
romantic lovers, a courtly and civilized kind of dialogue. But
Lysander is suggesting something a little less genteel. He proposes
that one "turf" is good enough for both of them. He tries an elaborate
sort of poetic seduction. He says that his heart is knit to hers so
that they have but one heart and that their lives are pledged together
with but one love, so why not share one bed? Hermia agrees his
"riddles" are clever, but evades their answer. Modesty decrees they
must sleep apart. Hermia here, as usual, retains her feisty
independent spirit. The two sleep apart, Lysander pledging eternal
loyalty to Hermia and wishing that sleep give her rest. For her
part, Hermia wishes Lysander's eyes get half that wish for rest. We
will see in a moment just what kind of challenge his lover's eyes
receive. Note how Shakespeare has utilized his plot devices.
Lysander needs to be alone so he can be mistaken by Puck, and
Shakespeare creates this comic scene to support it.
                                             {ACT_II|SCENE_II ^paragraph 10}
  Puck arrives, having scoured the forest for the proper Athenian on
whom to lay the love charm. He notices Lysander and Hermia, assumes
incorrectly they are Demetrius and Helena, and anoints Lysander's eyes
with the magic juice. When he wakes, says Puck, there will be no
more simple sleep for the eyes of Lysander!
-
  LINES 84-156
  As Puck exits, Demetrius and Helena arrive, running. The pace of the
plot has picked up now; it's in full farcical swing. Like the Marx
brothers or Laurel and Hardy, who go in and out of trick revolving
doors in search of each other, these lovers are hot on one another's
heels, but always missing each other. A true comedy of errors has
begun. Demetrius and Helena are still arguing- one is fleeing, the
other pursuing. Finally Demetrius makes his getaway, and Helena is
left out of breath.
  Helena moans how much better off Hermia is; the latter's eyes are
"blessed and attractive," but they didn't get so bright from being
washed with tears. If so, Helena's would be brighter. Helena feels
sorry for herself. Everyone (in other words, Demetrius) runs away from
her. She must be really ugly. How could she presume to match her
eyes with Hermia's? This is Helena's lowest point in the play. She
knows the power of the eyes of love and feels she just doesn't have
it. In this play of transformations (and split-second timing) what
do you think is needed at a character's low point? Of course, a
magic charm. Awaking, and rhyming Helena's lament ("Lysander, if you
live, good sir, awake"), Lysander leaps up and tells Helena he would
"run through fire" for her "sweet sake." For Helena's? Yes. The love
juice is working its magic. Lysander is ready simultaneously to love
Helena and to kill the vile Demetrius for her sake.
                                             {ACT_II|SCENE_II ^paragraph 15}
  Helena thinks Lysander is angry because Demetrius loves Hermia.
She tells him to be content; Hermia still loves him. But that's not
the way things are going. It's "not Hermia but Helena I love," vows
Lysander. Duped Lysander makes claims for reason. While speaking the
most flowery poetry, he says only now reason has led him to Helena's
eyes to read the true story of love.
-
---------------------------------------------------------------------
  NOTE: Shakespeare really drives home his message. Lysander is
completely bewitched by magic, yet claims to be speaking with total
reason. How do we know what we know? Have you ever been in, then out
of love, and seen with different eyes what you saw before? Shakespeare
is telling us there is no reason in love. There may be magic in a
lover's eyes, but reason? Look again.
---------------------------------------------------------------------
                                             {ACT_II|SCENE_II ^paragraph 20}
-
  Helena feels she is being cruelly mocked and has done nothing to
deserve such treatment. It's bad enough to be unloved; does Lysander
have to rub it in? She leaves, exasperated. Lysander turns his
wandering attentions to the sleeping Hermia. He is sick of her
sweetness and ashamed of having been duped by her. From now on, all
the love and honor of this noble knight will be directed toward
Helena. He leaves to pursue her. Shakespeare's mockery of heroic
illusion rubs Lysander's eyes and tongue in the mud. This is a lover
truly lost in love.
  Hermia awakes from a bad dream, screaming for Lysander to help
her. She has dreamed a serpent was eating her heart while Lysander
smiled. She goes in search of either death or her false lover.

ACT_III|SCENE_I
                           ACT III, SCENE I
-
  LINES 1-114
  As Titania lies asleep nearby on her bank of flowers, the workingmen
arrive in the wood to rehearse "Pyramus and Thisby." Quince finds
the spot suitable enough, and they plan to enact the play just as they
will perform it later before the duke. But first Bottom has a
question: If in this comedy Pyramus must draw a sword and kill
himself, wouldn't that unnecessarily scare the women?
  Snout and Starveling agree; maybe it would be better to leave the
killing out. But Bottom has a better plan. Why not write a prologue
that explains that the sword is not real, that Pyramus is not really
dead, and, what's more, that Pyramus is actually Bottom the weaver!
Bottom's plans always enlarge the role for himself. Though he seems to
have the welfare of the whole company in mind, he's always looking out
for some special effect for himself.
-
---------------------------------------------------------------------
                                              {ACT_III|SCENE_I ^paragraph 5}
  NOTE: THEATRICAL CONVENTIONS  Remember how the theater itself is
connected to the tension between illusion and reality? It's funny to
think Bottom might be worried about people's believing that he (as
Pyramus) is really dead. The conventions of theater make it easy for
us to believe in some things and not in others. But the interplay is
very subtle. In some way we "believe" in Bottom, that these words
and thoughts are his. And yet, keeping in mind that, ideally, we'd
be watching the play performed, we know the words would actually be
spoken by an actor who certainly is not Bottom. And even beyond
that, the words are actually Shakespeare's. While we may laugh at
Bottom for thinking the audience takes his killing as real,
Shakespeare slyly laughs at us for taking his character Bottom as
real. A great artist makes us believe in his characters and events. An
even greater artist can show us his conventions- the strings that hold
up the puppet- and still make us believe, laughing at the power of our
imaginations. Watch how this tension is heightened by challenging
other conventions. What element of theater, for instance, might the
discussion of the man in the moon and his lantern be pointing to?
---------------------------------------------------------------------
-
  Quince agrees to the prologue. Then Snout brings up the problem of
the lion: mightn't it be too frightening as well? Bottom agrees,
characteristically showing off his ignorance with a verbal flourish,
calling the lion a "fearful wild fowl." Foul he may be, but fowl,
no. (Scholars often use the somewhat similar appearance of a lion
before an Elizabethan court performance to help date this play.)
Bottom really gets into it now, making sure no spectator will miss the
difference between theatrical illusion and reality. He suggests that
the lion wear only a partial mask and give a short explanation to
the audience (Bottom offers four different ways to begin this short
apology, resourceful as always) that reveals the lion to be none other
than an actor- Snug, to be precise. Can you feel Shakespeare's
tease? He's really stretching the limit of what we might believe
"before our eyes." Quince nicely agrees to that suggestion too and
adds a problem of his own. What will they do about moonlight, which
shines when Pyramus and Thisby meet? Consulting a calendar, the
rustics find that the real moon will be shining the night of the
performance. If they leave a casement window open, it will shine for
their play. Then the real moon will also be the theatrical moon.
Bottom suggests a person might play the man in the moon, with his
legendary Elizabethan properties (firewood and a lantern). And since
Pyramus and Thisby converse through a chink in a wall, they'll need
someone to represent a wall, too. You can see how far this absurd play
between illusion and reality could go. All that taken care of, they
begin to rehearse.
  Suddenly Puck appears. He can't resist playing with the players.
Bottom begins his flowery speech, using the word "odious" instead of
"odors," then exits. Thisby (Flute) hesitatingly begins his poetic
call to Pyramus, a ridiculous, confused bit of poetic language. Like
the contradictory "lamentable comedy," Pyramus is described as both
"lily-white of hue" and colored "like the red rose." Like Bottom,
Flute also mispronounces a word. (Ninus's tomb- Ninus was a
legendary hero, founder of the Biblical city Nineveh- becomes
Ninny's tomb.) In addition, he's jumped his cue: he's added the
wrong line at the wrong time. When he repeats the correct cue line,
Bottom appears, sporting an ass's head the mischievous Puck has placed
on him. The company flees in terror. Puck swears to follow them around
the forest, appearing in the forms of various animals. He knows he has
them scared at night in the woods and is going to have some fun.
Bottom's reply is touching: "Why do they run away?" He's left alone,
transfigured but unaware of it.
                                             {ACT_III|SCENE_I ^paragraph 10}
-
---------------------------------------------------------------------
  NOTE: Now all the interplay between illusion and reality, and the
metamorphosis from one to the other, begins to compound. The fairy
magic moves from realm to realm. The themes of illusion in love and
illusion in the theater begin to interweave. And in case we were
taking comfort that the character Bottom at least was real, he too
is changed. Is he really an ass, or does he just appear that way in
one light? In another light, especially to Titania, he will appear
differently, indeed. Bottom seems to act like an ass at times. Yet his
simple, well-meaning ignorance in a way makes him lovable; he's really
not such an ass. If you feel that way- and Shakespeare surely leads us
toward that sympathetic feeling- how far are your eyes from Titania's?
Shakespeare's comedy mercilessly attacks all the conventions by
which we measure and establish someone's beauty and lovability.
---------------------------------------------------------------------
-
                                             {ACT_III|SCENE_I ^paragraph 15}
  LINES 115-201
  Snout reappears. "O Bottom," he says, "thou art changed! What do I
see on thee?" Bottom replies that it's an ass head of Snout's own,
again pointing to the responsibility in the seer for what he's seeing.
Bottom, of course, doesn't know what his own head looks like. Quince
takes another look and flees again. Bottom thinks he sees their
jest; they are making fun of him. (Helena has this same feeling when
love is turned her way.) But he won't fall for their trick and get
scared. He'll hold his ground and sing to pass the time.
  He sings a little nature tune about birds, and you can imagine
what Bottom might sound like singing a sweet little folk melody, and
how he'd look with his new head. But to Titania, awaking from sleep,
there is nothing silly about it. "What angel wakes me from my
flow'ry bed?" is her classic question. Angel? Looking at Bottom and
hearing that word, suddenly we know the terrible and ridiculous
power of Cupid's dart. How easily our eyes can be fooled!
  Bottom breaks off his song, questioning the meaning of a line.
Titania, entranced with the music, begs him to continue. She's in a
dreamy, swoony delight. See how our very language fools us- she's
awake, but her mind's eye is still dreaming. And that same "eye" is
"enthralled" by the sight of Bottom, enough so that- on first sight-
she must say to him, "I love thee." It's the kind of remark that
should make anyone who's ever been in love wince. If you could see
yourself as others see you, how would you look with your arms entwined
around an ass?
  Bottom takes her declaration in stride, questioning the aptness of
that statement. "And yet," he adds, "to say the truth, reason and love
keep little company together nowadays."
                                             {ACT_III|SCENE_I ^paragraph 20}
  Remember, Lysander claimed to be speaking out of reason when he
proclaimed his charmed love for Helena. Bottom's statement couldn't be
more basic to the play.
  But such reasoning doesn't unhook Titania; it drives her into deeper
trouble. In fact, it makes Bottom seem "deep" to her. Now she thinks
he is wise, not just beautiful. She wants him to stay with her.
Queenlike, she commands him, though it's also the command of
seduction. She will give him fairies to attend to his needs. They'll
bring him jewels and sing to him while he sleeps on a bed of
flowers, and she will give his mortal body the lightness of a
spirit. She calls four fairies and instructs them in their fairy
duties with characteristic Shakespearean detail, the kind of minute
and magical descriptions that make us believe- or want to believe-
that a fairy world might be real. They'll feed him little fruits and
berries, steal honey bags from the bees, and "pluck the wings from
painted butterflies / To fan the moonbeams from his sleeping eyes."
Noticing these tiny things opens up a new perspective on the world for
us, and through that opening Shakespeare lets his fairies flit
through.
  Peaseblossom, Cobweb, Moth, and Mustardseed salute Bottom. He rather
gallantly speaks to each in turn, joking with them and enjoying his
pampered part. The goodness of Bottom's heart shows through his
respectful treatment of the fairies. Although probably large and
certainly gross with his ass's head, he is gentle- even genteel-
with the delicate fairies. Bottom, who as his name implies is as
down-to-earth as could be, also possesses the ability to reach
across into this other realm. His is the one human voyage that
explores all the levels of Shakespeare's meaning in the play: love,
theater, and magic. Other characters are affected by the fairies'
charms, but Bottom is actually involved in their ethereal world. Is he
gross, is he ugly, is he a bore? Maybe so. But see how Bottom's
reactions with the fairies make your feelings about him more complex.
  Titania is impatient with love. The moon (at every turn we are
reminded of the moon) seems to be weeping for some violation of
chastity. Is this grotesque romance about to be consummated? Titania
has her conquest. She's not too much bewitched by love, though, to
notice that Bottom can get awfully long-winded. "Tie up my lover's
tongue," she commands; "bring him silently."

ACT_III|SCENE_II
                          ACT III, SCENE II
-
  LINES 1-121
  Oberon encounters Puck in another part of the woods. The king
wonders if his plans of vengeance for Titania have taken place. Puck's
ecstatic answer meets all of Oberon's "vilest" wishes: "My mistress
with a monster is in love." Puck gleefully recounts his mischief
with the troupe of actors. You can almost see him acting out the
entire scene as he tells it to Oberon, laughing all the while. He
explains how Bottom's appearance with the ass's head exploded their
calm rehearsal, as the actors flew away like birds hearing a
gunshot. In their confusion and fear they ran through the woods,
with both Puck and the briars plucking at their clothing. We know
the punchline: "Titania waked, and straightway loved an ass."
  Oberon agrees this turned out better than expected. But how about
the Athenian? he wants to know. Puck tells him that has also been
taken care of. As if to prove the point, Hermia and Demetrius enter.
This plot, so ripe with perfect timing and coincidences, sometimes
seems magical itself. Oberon and Puck discover the mistake.
-
---------------------------------------------------------------------
                                             {ACT_III|SCENE_II ^paragraph 5}
  NOTE: Just as you learn from your own mistakes, see what you can
learn from the "mistakes" in the play. Imagine what the play would
have been like if Hermia and Lysander loved each other and if Helena
and Demetrius loved each other, in simple order. Then look what
happens because of the mix-ups. See how the twists of fate reveal
Shakespeare's meaning about the nature of love.
---------------------------------------------------------------------
-
  Demetrius, as usual, is doting on Hermia. She, as usual, is fed up
with him. But this time she has the added suspicion that he has killed
Lysander while she slept. Hermia is still sure of Lysander's devotion.
She couldn't possibly imagine the trick that's about to be revealed to
her. To her, Lysander's love is truer than the sun is to the day.
Since you have already heard how Oberon and Titania's quarrel has
upset the order of the natural world, you may realize Hermia's
comparison is not as stable as it might first seem. But Hermia can't
believe Lysander would have stolen away from her, and she piles up
more images of natural harmony to prove her case to Demetrius.
  Demetrius would rather speak love poetry than answer the accusation.
He feels murdered by Hermia's cruelty. Hermia has no patience for
his extravagant phrases. Where, she wants to know, is her Lysander?
Will he give him to her? Demetrius responds coldly that he'd rather
give the carcass to his hounds. This really works up Hermia to a point
of agitation. You can feel the threat of physical violence in her
mood. He, she says, is the dog. She insists on the truth: Has he
killed Lysander while he slept? Demetrius replies he has neither
seen nor killed Lysander. His tone tells us he'd rather be talking
about other things with Hermia. Since he can't give her the
information she seeks, Hermia leaves in a huff, hoping to see
Demetrius no more. He, for his part, is thoroughly worn out. Sorrow,
he says, is made heavier in him by his lack of sleep. To ease it, he
lies down and sleeps.
                                            {ACT_III|SCENE_II ^paragraph 10}
  Oberon admonishes Puck for his mistake. Because of it, a true love
has been turned, "and not a false turned true." Puck replies that
those are the rules of fate. For every man holding true in love, a
million fail, breaking their oaths again and again. This twist is
not exactly what Oberon had in mind. He was hoping to remedy a
situation, not make it worse. Though he is angry at Titania, he does
have some sympathy for love. He instructs Puck to find Helena and
bring her to him. Puck flies off like an arrow. Oberon, holding the
purple flower swollen with the wound from Cupid's dart, drops the
magic juice on the eyelids of sleeping Demetrius. When he sees Helena,
she will shine like Venus, the evening star. In a twinkle Puck
returns. He has with him not just Helena but Lysander, too. Puck never
chooses the simple route. He'll always try to throw something extra
into the bargain. He likes these complications. They're
entertainment to him. "Lord," he exclaims, "what fools these mortals
be!" He knows what will happen when Demetrius wakes up. Two will woo
one, and that will be sport for Puck. He admits it: he is best pleased
by those things that turn preposterous. Is that unfair? Is Puck just a
troublemaker, or do his manipulations reveal us to ourselves?
-
---------------------------------------------------------------------
  NOTE: Truth and falseness now are spelled out as themes in the play.
Did you think love was always "True Love"? Puck makes it clear the
odds are very different. The odds on true love versus false love are a
million to one. It becomes clear that humans are going to need very
special, accurate eyes to be able to see love clearly. Puck's mischief
turns a supposedly true love inside out. Maybe Lysander's love was
that one-in-a-million. But after seeing the ease with which the potion
changes lovers' feelings, don't you begin to wonder if they might be a
little changeable anyway- even without the juice? In what ways are
human lovers fools, or in what ways is Puck just making fools of them?
---------------------------------------------------------------------
                                            {ACT_III|SCENE_II ^paragraph 15}
-
  LINES 122-277
  Lysander is defending himself against Helena's accusations. He shows
off his tears as badges of his true feeling. Twice he mentions
truth, which must ring as hollowly in our ears at this point as it
does in Helena's. She says his truths kill each other. The vows
weigh nothing; they're empty if he deals them equally to Hermia and
herself. Lysander says his vows to Hermia lacked judgment- a clear
picture of the value of a lover's judging ability! Helena replies he's
really lacking judgment if he gives Hermia up. Lysander tries
another tack. Demetrius, he insists, loves Hermia, not Helena. Could
there be a better cue? Demetrius, awakening, leaps to his feet,
calls Helena a goddess, and spouts an outlandish set of swoony,
ecstatic, romantic lines. This language begins to mock not just love
but Elizabethan love poetry, too. In fact, it sounds like a takeoff on
one of Shakespeare's own sonnets: "Shall I compare thee to a
summer's day," for instance. Demetrius is full tilt into his
romantic rhetoric, going first for the eyes (not surprisingly, given
what we've seen about the importance of eyes in the play), then the
cherry lips, then Helena's white hand. Love poetry has rarely
sounded so hollow. Who could trust someone spouting phrases like that?
Lack of trust, of course, goes hand in hand with lack of truth.
  Helena sees the mockery, but thinks both men are part of a plot to
make fun of her. Couldn't they just hate her, she asks, instead of
mocking her? She's weepy and pouty and very perturbed, knowing they
both love Hermia.
  Not liking to see their "true love" so upset, the two men let fly
with accusations. Lysander offers a pretty little speech, yielding
up Hermia to Demetrius and accepting Helena in exchange. Demetrius
is not interested. If he ever did love Hermia, it was just
temporary. Now his heart has returned home to Helena. But here, he
adds, as Hermia enters, is Lysander's dear love.
                                            {ACT_III|SCENE_II ^paragraph 20}
  Though the night has clouded her sight, Hermia's "ear" has helped
her find Lysander. Why, she wants to know, did he leave her?
-
---------------------------------------------------------------------
  NOTE: Hermia remains constant in her love for Lysander (as does
Helena in her love for Demetrius). Her eyes see truly, not falsely.
But in this magic, changeable moonlight, her eyesight isn't able to
penetrate the dark. Her "true" Lysander isn't really there to be seen.
---------------------------------------------------------------------
                                            {ACT_III|SCENE_II ^paragraph 25}
-
  Lysander instantly shows his changed mood. Love made him go- love
for fair Helena. In fact, after some flowery building up of Helena's
beauty, he declares he hates Hermia. She, of course, is astonished. So
is Helena. She now thinks all three are out to make fun of her. She
chides Hermia. Is this what comes from all their days of friendship,
when they embroidered and sang as if they were one person? Like a
double cherry or berry, they grew together. Will Hermia cut apart
their friendship now with her mockery?
  Hermia, of course, doesn't know what Helena's talking about. She
feels scorned herself. Helena asks if Hermia didn't put Lysander and
Demetrius up to all that puffy poetry. It has to be through Hermia's
goading. Though Hermia continues to protest, Helena is too wound up to
stop. She's so used to being unloved she knows there has to be some
trickery behind this new situation. (Unfortunately, she doesn't know
the right mischief maker to suspect.) Paranoid, she projects her
insecurity onto all of them, imagining winks and laughs behind her
back. She'll leave rather than endure this mockery. If you've ever
been in a situation where you imagine there is a conspiracy against
you, you may realize what pain Helena is in.
  Lysander tries poetry again. Hermia, still lovingly faithful to
Lysander, herself begins to think he's making fun of Helena. Then
the two men have a contest of vows, each protesting his love for
Helena. Words fly back and forth. The men are ready to fight it out.
Hermia tries to hold Lysander back, and he lets loose a startling
run of rude remarks to her. She is an "Ethiope," a "cat," a "burr,"
a "vile thing," a "tawny Tartar." These remarks are hitting below
the belt. Her dark beauty is now cruelly devalued, and Hermia begins
to see that Lysander is not joking. Though Lysander wants to fight
Demetrius, he can't hurt Hermia to make her let him go- even though he
hates her.
  That's the final blow to Hermia. What harm, she asks, could be worse
than his hate? She doesn't understand what's happened. "Am not I
Hermia? Are not you Lysander?" She's the same woman she was, but
"since night you loved me; yet since night you left me." If she's
the same, then Lysander must indeed be different.
                                            {ACT_III|SCENE_II ^paragraph 30}
  Hermia's question is right to the point. Is he or is he not
Lysander? Isn't the character of a lover measured by his love? How
do Lysander's actions make you feel about him and Hermia? Can you hold
someone accountable who has been charmed by Cupid's dart? Notice, too,
how the implied danger keeps a dark current of satire running
through the comic farce.
-
  LINES 278-400
  Lysander puts it plainly. He's not jesting. He hates Hermia and
loves Helena. Now Hermia turns to her rival. Her temper is up and
she thinks now that she's the one being made a fool of. Helena, she
says, is a "thief of love." The confusion works both women up to a
fever. Helena still thinks she's being mocked. Hermia, she says, is
a puppet, a counterfeit. Hermia takes this as another slur on her
physical nature- she's small. She thinks Helena must have used her
height to gain the attention of Lysander. You can see the argument's
becoming laughable as each woman projects her confusion and insecurity
onto the other. Hermia, formerly so sweet and steadfast in her love,
becomes something of a terror. It seems in anger these women reveal
more of their character than when they're holding to love. While the
men project the same sappy romantic lyricism, the women battle it out.
  Hermia throws back the slurs at Helena, the "painted maypole." She's
ready to scratch out her eyes. Helena, taken aback, appeals to the men
for protection. Nevertheless, she slyly lets loose another arrow,
again mentioning Hermia's "lower" stature. But really Helena just
wants out of the situation. She can't quite understand what's gone on.
She refers to her fond and simple nature. She just loves Demetrius
as always. She's been true to Hermia, she explains, and merely
followed Demetrius into the woods. It's foolishness, not cunning, that
got her there. And even though she wants to go, her loving heart keeps
her there with Demetrius.
                                            {ACT_III|SCENE_II ^paragraph 35}
  The men take Helena's part, offering to protect her. Again the slurs
fly, with Lysander's comments to Hermia rudest of all. If he is
flowery in love, he is downright dirty in disaffection. Even Demetrius
is shocked. With Hermia temporarily knocked out by rudeness, the men
are free to fight. They exit with fists raised.
  Now the women are left alone. Hermia turns in anger toward Helena,
but Helena takes advantage of her longer legs and runs away. Hermia,
dazed by it all, leaves as well.
  Oberon and Puck have been watching the confusion. Oberon puts the
blame on Puck. He either made a mistake or acted willfully. Puck
protests his innocence. He was merely told of "the Athenian"; it
really wasn't his fault. He's not sorry though, since he's gotten some
entertainment from his mistake. We know that's what he likes best. But
Oberon has more compassion. He's a king, remember, and a powerful
spirit. He doesn't want the men to hurt each other. He explains in
detail a further mission for Puck: he's to spread a thick fog over the
two lovers. Then Puck is to lead them around, faking his voice first
as Lysander, then as Demetrius, thoroughly confusing them, and
tiring them out.
-
---------------------------------------------------------------------
                                            {ACT_III|SCENE_II ^paragraph 40}
  NOTE: Oberon's speech befits his royal power. In contrast to that of
the lovers, his poetry rings with grandeur and truth. It lends his
thoughts a knowledge that seems more than mortal. He does have eyes
that can see beyond the blindness of love, and he will work the lovers
toward a true love's end.
---------------------------------------------------------------------
-
  Oberon instructs Puck to once again apply a magic juice to
Lysander's eyes, this time from the flower that has the ability to
release the Cupid charm, returning Lysander to his original
devotion. "When they next wake," he says, "all this derision / Shall
seem a dream and fruitless vision." You begin to see how the power
of love is likened to the power of dream. Midsummer madness clouds
sight. True love's eyes are needed to see through its "dream."
  This business taken care of, Oberon will tend to his queen. He'll
once again ask Titania for the changeling, then release her from her
spell. Puck warns that this must be done fast. The charmed night is
ending, and the ghosts and "damned spirits" will be returning to their
proper haunts, ashamed to be seen in daylight. Oberon agrees, but
explains "we are spirits of another sort." He has frequently made love
to the Morning spirit. He's not afraid of daylight. He often confronts
the dawn, glorying in the "blessed beams" of the sun as it turns the
ocean gold. Even so, he agrees they must act fast. Bouncing up and
down, Puck takes off to remedy the situation.
                                            {ACT_III|SCENE_II ^paragraph 45}
-
---------------------------------------------------------------------
  NOTE: Oberon makes clear that he and his fairy folk are
essentially good spirits. They're not demons like other night
creatures. We have seen they are powerful; now Shakespeare shows us
that their power works ultimately for the resolution of love. Again
you can measure Oberon by the power of his poetry. His description
of the sunrise is itself beautiful magic. There's no better way to
feel the spirit of the fairies than to let yourself experience
Oberon's charmed language.
---------------------------------------------------------------------
-
                                            {ACT_III|SCENE_II ^paragraph 50}
  LINES 401-463
  Lysander stumbles back onto the scene, chasing his phantom
Demetrius. As he exits, Demetrius enters, lured by Puck's
imitations. Puck plays with him mercilessly, goading him onward.
When Demetrius leaves, Lysander returns. He can't figure out what's
going on. Every time Demetrius calls, Lysander follows- only to find
no one there. Tired and confused, he lies down to sleep. Once more
Demetrius is lured back, with Puck running circles around him.
Demetrius is worn out from the mockery. He's just an angry lover who
wants to fight but can't seem to find the enemy. Faint and weary, he
too lies down to sleep.
  If there is to be reunion from this confusion, everybody must be
assembled. Sure enough, Helena wanders into sight. It's been a long
night. She appeals to the dawn to come so that she can return to
Athens, and looks toward sleep to deliver her from her heavy
sorrows. Did she just happen to appear? No, Puck is behind it all,
counting bodies. Only three? Two couples need four lovers: here's
the last. Hermia drags herself in, "Bedabbled with the dew and torn
with briars." Her legs can't move anymore. With the true sweetness and
devotion of her character, she prays that Lysander be protected if
he and Demetrius really do fight.
  As the lovers sleep, Puck speaks his magic rhymes. He anoints
Lysander's eyes with the redeeming juice: "True delight" in Hermia
will return to him. Puck promises order will be restored. "Jack
shall have Jill," just as the story says, "...and all shall be well."
-
                                            {ACT_III|SCENE_II ^paragraph 55}
---------------------------------------------------------------------
  NOTE: The frantic comedy of the lovers draws to a close. The farce
is worked up to a fever pitch, with entrances and exits made so fast
you can hardly keep track of them. But as you laugh at the mix-ups
of these poor bedraggled lovers, notice how Shakespeare is able to
raise real questions about truth and love, right in the midst of
your laughter.
---------------------------------------------------------------------

ACT_IV|SCENE_I
                           ACT IV, SCENE I
-
  LINES 1-104
  Titania now enters the scene with her fairies and Bottom in tow.
Oberon follows, unseen by them. Titania asks Bottom to sit beside
her so she may stroke his cheeks, place musk roses on his head, and
kiss his "fair large ears." Her eyes are still charmed, and Bottom's
ass's ears are beautiful things to her. Bottom is enjoying all the
attention. His transformed nature seems to have made him a bit
lethargic- maybe the new head is too heavy for him. He asks
Peaseblossom to scratch it. Cobweb's services are also required; he is
to bring Bottom a honey bag from the top of a thistle, being careful
that it doesn't break. True to his current kingly position, Bottom
cares about his new subjects; he doesn't want the honey to spill all
over Cobweb. Some genuine kindness always seems to come through him,
even in his most preposterous situations.
  Next Bottom calls to Mustardseed to help with the scratching. The
humor comes from Bottom's innocence about how he looks. He marvels
at his itchy hairiness as if it were just an overgrown beard. And if
he itches, he must scratch. Titania, still doting in love, asks if
Bottom would like to hear some music. She probably has in mind some
ethereal fairy music. Bottom, true to his workingman's nature, calls
for the "tongs and the bones"- metal and bone clappers used by the
poorer classes. You can see how Shakespeare always tries to heighten
the ridiculousness of the situation by pointing out with details the
differences between Bottom's and Titania's natural worlds. It makes
their relationship even more absurd. They remain blissfully ignorant
of a situation that is perfectly obvious to us. Have you ever wondered
how someone in love can "see" what he or she does in another person?
Titania swooning over ass-headed Bottom highlights just that
predicament. What would her sweet like to eat? Oh, some "good dry
oats" or a bundle of "sweet hay" would suit him just fine. Titania
says her fairy shall seek him out some nuts. Bottom responds that some
dried peas sound more like it. But in truth he needs to sleep.
That's fine for Titania. She'll wind her arms around him just as the
ivy twists around the elm. (Plant life, again, is the appropriate
image for fairy magic.) She loves Bottom- she "dotes" on him.
-
---------------------------------------------------------------------
                                               {ACT_IV|SCENE_I ^paragraph 5}
  NOTE: "Doting" is Shakespeare's code word for love under the spell
of romantic illusion, love that is, in fact, blind. In Act I, Scene I,
Lysander, describing Demetrius's unworthiness, mentions how Helena
cannot see this. Instead, she "dotes, / Devoutly dotes, dotes in
idolatry" on him. She doesn't see his character. She only sees what
her eyes want her to see. The same is true for Titania. This time
the illusory mechanism of love is highlighted by the use of the love
juice to turn Titania's eyes from true to false sight.
---------------------------------------------------------------------
-
  Puck enters and Oberon welcomes him. Oberon says he is beginning
to pity Titania's doting on Bottom. He may also be a little jealous.
He recently ran into her winding flowers in Bottom's hair, and the
sight was too much for him.
  Notice how Oberon always has a command of poetry, even when he is
merely describing an event. First he describes the dew that normally
lies on flower buds as round and lustrous pearls. But since that image
is not appropriate to the current situation, he changes "pearls" to
"tears," thus reflecting his sadness about his and Titania's quarrel
and separation.
                                              {ACT_IV|SCENE_I ^paragraph 10}
  While Oberon was taunting Titania, and while she was thoroughly
distracted with her new love, he asked again for the changeling boy,
and this time Titania gave him to Oberon. Now that the king has gotten
what he wanted he is ready to undo the charm from his queen's eyes. He
also instructs Puck to remove the ass's head from Bottom. When
Bottom awakens, he will "think no more of this night's accidents / But
as the fierce vexation of a dream." But first, with another rhyming
spell, he removes the charm of Cupid's flower with the remedy of
"Dian's bud."
-
---------------------------------------------------------------------
  NOTE: Diana, moon goddess, was the protector of virgins. Thus it
is mythically appropriate to have her flower counteract the magic of
Cupid's all-too-ready passion.
  Notice, also, how Oberon brings the theme of "dreaming" into the
play. Sleeping/dreaming now takes on the same kind of opposition as
reality/illusion and truth/falsehood have had. The characters will all
begin to awaken from their "Midsummer Night's Dream" into their
true, natural "seeing." Think about how dreaming relates to the
major themes of the play. How is love like a dream? How is the
spectacle of theater like dream images?
                                              {ACT_IV|SCENE_I ^paragraph 15}
---------------------------------------------------------------------
-
  Titania awakes as if from a vision. In her dream she thought she was
in love with an ass. Oberon points to the very ass in question. Now
Titania's eyes loathe the sight of him. Oberon instructs Puck to
remove the charmed head from Bottom and calls for music. Puck says now
Bottom will see with his "own fool's eyes." Oberon and Titania dance
and Oberon celebrates the return of love by pledging that they will
dance again the next night to honor the wedding of Theseus and
Hippolyta. Then, too, the other lovers will be blessed in marriage. As
Puck remarks the lark's announcement of morning, Titania and Oberon
leave together. She asks that he explain the night's strange
proceedings. How much of the story do you think Oberon will tell her?
-
  LINES 105-222
                                              {ACT_IV|SCENE_I ^paragraph 20}
  Theseus and Hippolyta enter, with Egeus and their train of
attendants. They have been observing the rites of May (such as
Lysander mentioned in Act I, Scene I, line 167), and now, since it's
still early, Theseus wants Hippolyta to hear the music his hunting
hounds make as they bark.
  The abrupt difference between Theseus's hunting music and the
music we just heard in fairyland is telling. Now it is morning; the
magical moonlit night of the play's title is over. Theseus's hounds
trumpet a return to reality, to social order as opposed to madness,
and to marriage as opposed to passionate doting.
  Hippolyta mentions that once when she was in Crete with Hercules and
Cadmus she heard Spartan hounds as they cornered a bear. The entire
surroundings seemed to resound with the barking, like thunder. Theseus
notes his hounds are bred from the Spartan kind; they have the same
sandy color, hanging cheeks, and long ears. Though they are slow,
their voices are matched like bells.
-
---------------------------------------------------------------------
                                              {ACT_IV|SCENE_I ^paragraph 25}
  NOTE: ELIZABETHAN HOUNDS  Though it sounds strange to us, in
Elizabethan times the music of hunting hounds was well prized.
Often, different kinds and sizes of dogs were chosen for a pack in
order to create a kind of barking harmony.
---------------------------------------------------------------------
-
  But before Theseus can sound off the dogs for Hippolyta, he sees
something. This spot, of course, is still the same place where the
lovers and Bottom all fell asleep- and they are still there
sleeping. Egeus, Hermia's father, at once recognizes his daughter, her
two suitors, and Helena. Though Egeus wonders what they might be doing
there, Theseus charitably supposes they had gotten up early to perform
the rites of May and pay homage to the duke and his bride-to-be.
Then he remembers: Isn't this the day Hermia was to have given her
answer about her choice, to live with Demetrius, die, or join a
nunnery? Egeus nods; Theseus commands the huntsmen to sound their
horns. Once again people are waking up. But now the enchanted night is
over; the solemnities of approaching marriage are enforcing reality.
  Theseus greets the lovers with a bawdy remark about birds mating
on St. Valentine's day. Then he sizes up the situation. He knows
Demetrius and Lysander are bitter rivals. Then why are they sleeping
near each other without thought of their safety? Lysander, amazed,
half asleep and half awake, tries to piece the puzzle together for
Theseus. All that we have seen transpire is but a foggy dream to
Lysander now. He can't even remember it, though he seems to know
he's been through something. Going back to the beginning, he
explains his and Hermia's plans for escape. Egeus is outraged and
calls for the law to be enforced. He explains to Demetrius that
Lysander would have stolen Hermia from him.
                                              {ACT_IV|SCENE_I ^paragraph 30}
  This Demetrius knows through Helena, though he too is disoriented
from the midsummer dream. Remembering, he describes how he trailed
Hermia and Lysander into the woods, with Helena following him. He
doesn't know how, but somehow his love for Hermia has melted like snow
and seems like a memory of some childhood fascination with a trinket
that he used to "dote" upon. Now, his heart is focused on Helena, whom
he was engaged to before he first saw Hermia. His love for Hermia
was like a sickness; now he has come back to his "natural taste."
Demetrius has been doubly charmed. First he loved Helena; then
Hermia charmed his eyes; then Oberon charmed his eyes back to
Helena. What's "natural" in this affection is hard, indeed, to tell!
  Theseus finds that things have turned out rather neatly. He
overrules Egeus and declares the two couples will be married at the
same time as he and Hippolyta. Theseus, as the representative of
social and political order, legislates the final harmony of love and
matrimony for Hermia and Lysander, Helena and Demetrius. This done,
the duke and his courtiers return to Athens.
  The lovers are still in a bit of a stupor. Demetrius can't quite
make out what's gone on. The happenings are like a far-off vista where
mountains melt into clouds. To Hermia everything is slightly out of
focus, as if he has double vision. Demetrius puts it succinctly:
"Are you sure / That we are awake?" he asks. "It seems to me / That
yet we sleep, we dream." Shakespeare doesn't let us completely off the
hook. Though for now things are resolved in marriage, the nature of
love will remain as perplexing as ever. How did these revelations make
you feel about the lovers? What level of trust do you have in them
now? They all agree, at least, that the duke was there. Therefore,
they must be awake. They too resolve to return to Athens, recounting
their dreams along the way.
  Bottom is left to rouse himself. He awakens as if he were still in
the middle of rehearsing "Pyramus and Thisby"- the very point at which
he was "transformed" by Puck. He calls to his fellow actors,
thinking they must have stolen away while he slept. Then he
remembers... well, he half remembers. But Bottom didn't have just a
dream; he had a "vision." And it seems to him beyond the ability of
man to say what his dream was. Man would be an "ass" to try to recount
it. He tries- but no, he can't reach it. It's beyond his mortal grasp.
He's back to characteristic form, his senses and words all jumbled.
His eyes can't hear and his ears can't see well enough to recount
the dream. His hand can't taste it, his tongue can't conceive it,
and his heart can't speak about it. He resolves to have Quince write a
"ballet" (he means "ballad") about it. It will be called "Bottom's
Dream" because it has no bottom. The actor in him revives: he'll
sing the ballad at the end of the play to entertain the duke!
-
                                              {ACT_IV|SCENE_I ^paragraph 35}
---------------------------------------------------------------------
  NOTE: BOTTOM'S DREAM  Unlike the lovers, Bottom had actual
connections to the fairy world and seems also to be more deeply
connected to his dream than anyone else. He, alone, recognizes its
visionary nature. He was, after all, literally transformed by his
experience, and some of that transformation remains. For all his
foolishness and arrogance, Bottom is able to hold onto some of the
magic that transpired. Though he isn't smart enough to fathom it
all, he isn't stupid enough to discount it as a mere dream. Man, he
seems to say, must be willing to rest in some kind of mystery. In a
way this is like the Christian doctrine of faith: people cannot know
God's mind and will, and so must rely on faith. Bottom has a kind of
purity of faith. The humor is still there: his mix-up of the senses is
a take-off on a passage from I Corinthians about man's inability to
understand God's will. But something innocent and reverent shines
through the humor. His amazed state keeps things alive, keeps them
in question. He won't let there be a final resolution between dreaming
and being awake. There is still some fairy dust on his head.
---------------------------------------------------------------------

ACT_IV|SCENE_II
                           ACT IV, SCENE II
-
  Back in Quince's house in Athens the would-be actors are in
distress. Where is their star, Bottom? Starveling suggests he must
have been "transported"- carried off by the fairies. This joke, we
know, is all too true. If he doesn't come, Flute wants to know, can
the play still be performed? Quince says there's not another man in
Athens able to play Pyramus. Flute glumly agrees: Bottom is the
wittiest of the workingmen in town. Quince notes Bottom is also the
handsomest and a "very paramour for a sweet voice." He meant to say
"paragon," as Flute points out. A "paramour" is a worthless man.
(After what we've seen of paramours in the preceding acts, Flute
clearly has a point.)
  Snug enters with even more upsetting news. It turns out there will
be several weddings, not just the duke's. If they'd been able to
perform, adds Flute, they'd have been given sixpence a day for life by
the duke.
  Before things get too gloomy, Bottom strides in, calling for his
"lads," his "hearts." It's clear from both their previous distress and
his affectionate terminology that these men have great feeling for
each other. Their comradely manner, easy and spontaneous, is in
great contrast to the courtly and complex relations of the lovers.
Quince expresses his delight in seeing Bottom. Bottom, still
somewhat transfixed from his vision, promises to give a discourse on
the wonders that have befallen him. Then he changes his mind; then
again swears to tell all. Why do you think he has trouble describing
his dream? Put yourself in Bottom's shoes. How much would you want
to tell of your transformation? And if you tried, would you be able to
find the words to describe it?
  Now Bottom takes charge of the troupe. Their play has been chosen.
He has his crew gather their motley properties. With good strings on
their beards, new ribbons on their shoes, clean linen for Thisby,
and unclipped nails for the lion, they should be able to work some
good effects. One more thing, says Bottom: don't eat onions or garlic:
sweet breath will produce sweet comedy. You've heard Bottom do a
bombastic speech before, with its hard-pressed alliterations. You
can see why he makes this final admonition. The troupe leaves to
prepare the performance of their "lamentable comedy."

ACT_V|SCENE_I
                            ACT V, SCENE I
-
  LINES 1-107
  In the palace of the duke, Theseus, Hippolyta, Philostrate, and
the royal court assemble to begin the wedding festivities. Having
heard the lovers speak of their adventures, Hippolyta admits their
tales sound a little strange, but she half believes them. Theseus,
ever the rational man, thinks their stories more strange than true.
They're just fairy tales to him, and you can see how his rational mind
blocks out even the possibility that fairies are real. Theseus says
that lovers and madmen create fantasies in their overheated minds that
are way beyond what reasonable minds can comprehend. In fact, he adds,
the lunatic, the lover, and the poet are similar. The first sees
more devils than there are in hell. The second looks at the face of
a gypsy and sees there the great mythic beauty Helen. And the poet
looks all around him, and as his imagination busies itself with
phantom forms, his pen gives them shape and substance. He says that
imagination is able to perform these tricks: if it wants some joy,
it creates a bringer of that joy; if it perceives some fear, then it
can turn a bush into a bear.
-
---------------------------------------------------------------------
  NOTE: This speech of Theseus is one of the most famous passages in
the play. In it Shakespeare shows the power of the mind to deceive
itself, but also to engage in true creation. There are two sides to
the mind's dialogue with illusion and reality. You have seen how the
lovers' false sight can lead them astray into "doting." But clearly
Shakespeare's own art, that of the "poet," is able, by its
shape-creating, to bring you to deeper values and understandings of
human nature.
                                                {ACT_V|SCENE_I ^paragraph 5}
  Readers have also seen Theseus in two ways. Some feel his speech
indicates an inability to see things outside the realm of reason, like
true passion or art. Others feel that Theseus is a ruler exercising
the caution proper to his office, but that his speech about the poet
indicates a real sympathy for the magical workings of art. Which
side are you on? Watch the way Theseus responds to the announcement of
the workingmen's entertainment for a clue to his feelings toward art.
---------------------------------------------------------------------
-
  The lovers enter and salute the duke. Theseus inquires what
entertainments have been scheduled to while away the time before the
newlyweds can go to bed. He is, just as at the beginning, the
impatient lover- three hours are a torturous "long age" to him.
Philostrate, the master of the revels, presents him with a choice of
plays. Theseus reads through the list. It's really a ridiculous
array of the stock, corny, and inappropriate theatricals common to
Elizabethan entertainments, though Shakespeare seems to be pushing
it far toward the improbable in his satire. A battle of the centaurs
to be sung by a eunuch doesn't sound quite right for a
pre-wedding-night ceremony. Nor does a presentation of the Bacchanals,
devotees of the god Dionysus, who in their drunken frenzy ripped
people to pieces. The Muses mourning "for the death / Of Learning"
is certainly inappropriate and tedious sounding. In this company,
"Pyramus and Thisby" stands out as a possible goof, if nothing else.
Theseus immediately gets the irony (though unintended) of the
combination "tragical mirth." Though Philostrate tries to dissuade him
(having seen the rehearsal), Theseus chooses the "lamentable
comedy." Even if, as Philostrate says, the company has no skill in
acting, Theseus is willing to hear them out. He believes that their
simple earnestness will be enough to justify their art. Hippolyta,
though, is anxious. She doesn't like to see people embarrass
themselves by attempting more than they are capable of.
  Again you can see the dual nature of Theseus. He may not have much
understanding of the artistic process, but he has respect for
people- his subjects- and their attempts at fulfilling their duties to
him. He's used to seeing people stumble and stutter in his presence.
He's enough of a statesman to understand that intentions are what
matter. He's even had scholars greet him, getting their punctuation
all confused and putting periods in the middle of sentences. Which
is right to the point, because here comes nervous Quince doing just
that in his bumbling prologue to the play.
                                               {ACT_V|SCENE_I ^paragraph 10}
-
  LINES 108-218
  Quince sets forth a puzzle, and you can play with it to unravel it
and make sense. He is so discombobulated that he stops and starts in
all the wrong places. It's just a simple prologue about coming to
entertain with good will, but you've got to look very carefully to
find it. Theseus realizes immediately that Quince isn't "standing"
on the right punctuation marks. Lysander sees he doesn't know when
to stop. Hippolyta likens him to a child playing on a recorder. But
after all, says Theseus, the speech was like a tangled chain: out of
order but not broken.
  As the characters of the play enter, Quince continues his
prologue. He introduces Pyramus, the beauteous Thisby, the vile wall
across which the lovers had to speak, and the man in the moon.
Introducing the lion, he explains the slight plot. Stealing forth to
secretly meet Pyramus by night at Ninus's tomb, Thisby was surprised
and scared off by a lion. Her mantle fell as she fled, and the lion
bloodied it with his mouth. When Pyramus sees it he thinks Thisby
has been killed, and he draws his dagger and kills himself. The rest
will be revealed by the play. Notice that Quince works himself up to a
lyric pitch by the end. You may feel he has been receiving some
coaching from Bottom, whose overwrought, alliterative style is
noticeable in the climactic lines: "Whereat, with blade, with bloody
blameful blade, / He bravely broached his boiling bloody breast."
-
                                               {ACT_V|SCENE_I ^paragraph 15}
---------------------------------------------------------------------
  NOTE: The "Pyramus and Thisby" plot is very similar, in some
respects, to that of Shakespeare's own Romeo and Juliet, in which
Romeo kills himself after mistakenly thinking that Juliet herself is
dead. Shakespeare may have been poking fun at his own work in this
parallel, and his audience may even have recognized it. The two
plays were probably written around the same time.
---------------------------------------------------------------------
-
  Now it is the wall's (Snout's) turn to speak. Try to visualize all
of this play within a play as it happens, and you'll be able to
appreciate more fully its burlesque comedy. As in a children's play,
seeing someone dressed up as a wall is a lot more ridiculous than just
thinking about it. The wall explains that through a hole or "chink" in
it the lovers whispered. Theseus and Demetrius exchange sarcastic
comments, though the duke graciously admits that one couldn't expect a
wall to speak better.
                                               {ACT_V|SCENE_I ^paragraph 20}
  And here comes the noble Pyramus, with all of Bottom's pent-up
theatrical energy. He immediately explodes with a series of
exclamations and "O's"; why say something once when you can say it
three times, "alack, alack, alack"? Pyramus decries the night and
praises the wall, and takes eight lines to say what might have been
said in one. The wall holds up his fingers as the chink, but Pyramus
peers through to no avail and curses the wall. Imagine Bottom actually
looking through Snout's fingers, and you can see some of the problem
these actors are going to have in getting their tragicomedy taken
seriously.
  Theseus says, as an aside, that since the wall is a person, it ought
to curse back at Pyramus. He meant it as a joke to his fellow
members of the audience, but Bottom has no sense of where the proper
parameters of the stage are. He steps out of character and addresses
Theseus directly, explaining that the wall shouldn't speak, because
the line is actually Thisby's cue to come on stage.
  The "lovely" Thisby (Flute) then enters. She speaks to the wall,
lamenting how frequently it has kept her and Pyramus apart. How
often her cherry lips have kissed its stones, its stones all mixed
up with lime and hair. Yecch! Shakespeare never misses a chance to
poke fun at his pompous lyricism! The two lovers encounter each
other through the hole in the wall, exchanging a trite but confused
set of lovers' vows involving the hero Leander (though Bottom mixes up
his name with Alexander's) and Helen, and other twisted namings. Their
passionate connection reaches its height as they kiss through the
chink, though Thisby admits, "I kiss the wall's hole, not your lips at
all."
  After arranging to meet at "Ninny's" tomb (Bottom has still not
gotten the name right), they exit. Having discharged his part (and,
one senses, glad to be done with it), the wall also graciously leaves.
Theseus and Demetrius continue joking while again Hippolyta
expresses her discomfit with the amateurs. Theseus says that all plays
are but shadows, and the worse ones can be made better by the
imagination. Theseus suggests his testy wife believe as much in the
players as the players do in themselves. That way, they may be seen as
excellent men.
-
                                               {ACT_V|SCENE_I ^paragraph 25}
---------------------------------------------------------------------
  NOTE: Again Theseus weaves in his theme of the power of the
imagination. Theater is all made up, in a way, of light and shadow. It
takes belief and imagination on the part of the audience to make
something more substantial. This play within a play and its characters
within characters test and challenge our ability to engage our
imaginations.
---------------------------------------------------------------------
-
  LINES 219-372
                                               {ACT_V|SCENE_I ^paragraph 30}
  Now the lion and the moon enter. The lion delivers just the prologue
Bottom had suggested, revealing himself- so as not to frighten the
ladies- to be Snug the joiner. The men in the audience dig in,
exchanging jokes about the gentle lion and punning back and forth.
When the moon starts to say his part, he is continually interrupted by
the heckling of Theseus, Demetrius, Hippolyta, and Lysander. They're
having fun at his expense, and you can feel his growing
uncomfortableness, at which they only laugh more. He finally
finishes his lines, which merely tell who he is and what he
represents. When you think of the magical and powerful ways in which
the moon and moonlight have been presented in A Midsummer Night's
Dream, this moon is absurdly mundane. Again, Shakespeare is poking fun
at theatrical conventions. He's already thoroughly bewitched us with
his moonshine, so he doesn't have to worry.
  Thisby enters, the lion roars, and Thisby flees. Both are
commended by the audience. Even the moon draws applause from
Hippolyta, who seems finally to have gotten into the spirit of the
thing. Now is Pyramus's big moment. With his inflated alliteration
("gracious, golden, glittering gleams"), relentless rhyme scheme,
exclamations, and inappropriate terms ("O dainty duck!"), you can
recognize Bottom in his high style. And you can also see Shakespeare
(an actor himself, remember) mercilessly satirizing a pompous style in
Elizabethan theater that he obviously did not think well of.
(Critics suggest two kinds of acting were at war in Shakespeare's
time. The other, which it is said he preferred, was a more relaxed,
natural style.) He calls to the fates to conclude his life. But
wait! He's not done yet. Why stop now when you can recite ten more
lines? So Bottom curses lions, extols Thisby, calls forth his tears,
and draws his sword. Yet more! Bottom won't just do it; he'll tell
us he's dying. Finally, at the height of his acting power, he
proclaims his own death: "Now am I dead." And proclaims it: "Now
die, die, die, die, die."
  Again the audience are all over the actors with their joking
comments; they don't wait a moment to chime in. When you think about
it, Lysander and Demetrius were just recently in a play of their
own, acting out their own romantic trials. It's a bit smug of them
to be presuming such distance from their complications, now. You, of
course, have seen them as players in a plot constructed by Oberon.
Their poking fun at the actors reminds us how recently we poked fun at
them.
  Thisby enters and finds Pyramus dead. She mourns his passing,
extolling his "lily lips" and "cherry nose," his "yellow cowslip
cheeks," and eyes "green as leeks." Is this a lover's lament or a
recipe? Again you can see the ridiculous heights (or depths) to
which bad poetry can climb. She calls to the sisters of Fate to end
her life since they have already ended Pyramus's. She stabs herself,
bidding farewell to her friends, "Adieu, adieu, adieu."
-
                                               {ACT_V|SCENE_I ^paragraph 35}
---------------------------------------------------------------------
  NOTE: Notice how the play "Pyramus and Thisby" mirrors the situation
of the lovers in A Midsummer Night's Dream. Though the lovers come
to happy wedded ends, remember how serious a situation Hermia was in
at the beginning of the play. She was threatened with death. This
underlying tragic element shows the serious nature of Shakespeare's
critique of love. The workingmen's play serves to diffuse this
tragic element by virtue of its comedy. It serves almost like an
exorcism. Pyramus and Thisby meet their terrible ends amid laughter,
not tears. And the lovers, if they can only see it, are presented with
a comic rendition of ill-fated, doting love.
---------------------------------------------------------------------
-
  Theseus and Demetrius note that the moon, the lion, and the wall are
left to bury the dead. This is enough to make Bottom rise from the
dead, offering his opinion that the wall has now come down.
                                               {ACT_V|SCENE_I ^paragraph 40}
  He asks if they'd like to see an epilogue to the play, or hear a
dance, and you may recognize his typical switching of the words for
each action. Theseus pleads for no epilogue. But he agrees that a
dance (the country "bergomask") sounds good. And so the company
dances.
  Theseus announces it's midnight, time for the lovers to go to
their beds. He adds, knowing less than we know, that it's almost fairy
time, as well. The play, he finds, has done its job of passing the
long hours. And can you feel the way in which the performance has
relieved the tension for the lovers, giving them a chance to laugh
at themselves? Now the newlyweds can retire to their beds, and the
celebration of their marriages will continue for two weeks. The duke
and duchess and the four lovers, all firmly united in the social and
sacred bonds of marriage, leave together. Their world of love has come
into its proper order.
-
  LINES 373-440
  Now it is moonlight again, and the fairy world returns for a bow,
lest- in our sense of social order- we forget the reality of its
magical powers. Puck enters with a broom. He describes the scary night
world, with its lions roaring and wolves howling, the owl screeching
like the dead. This is the time, says Robin, when the graves open
and the sprites leap out. But it's also the time of Puck and his
fellow fairies. Remember, Oberon previously told us they are
"spirits of another sort." Though they too are creatures of the night,
they have come to frolic, not to menace. They are here to bless the
house of the duke. Puck will even help clean, sweeping out the dust
from behind the door.
                                               {ACT_V|SCENE_I ^paragraph 45}
-
---------------------------------------------------------------------
  NOTE: It was popular folklore that Puck helped sweep the house clean
at midnight. But notice, as well, how poetically apt his action is.
It's as if he were cleaning the stage (not just the house) of its
illusions, or sweeping the sand from our charmed eyes.
---------------------------------------------------------------------
-
                                               {ACT_V|SCENE_I ^paragraph 50}
  Oberon enters with Titania and all the fairies. He sends light
throughout the house and commands his fairies and elves to hop like
birds, singing and dancing, bringing cheer. Titania has them all
rehearse their song. It's clear that the fairy way of giving blessings
is through a magical rite of song and dance. And this lovely gift of
grace we get to experience. Oberon sends his sprites through the
palace. He and Titania shall bless the bride-bed of Theseus and
Hippolyta and assure that their offspring will be happy. All the
lovers shall be so blessed: their children will be healthy and well
formed, not prey to accidental birth defects. Though again this was
a traditional realm attended to by the fairies, Oberon's blessing of
natural grace upon the children of the lovers seems to indicate that
the natural world has been restored to harmony. Remember the
terrible picture he painted when he and Titania were at odds? Now with
field-dew he consecrates the house to the ultimate order of peace
and harmony. Everyone but Puck leaves the stage.
  And Puck, with his usual mischievous gleam, offers us this
apology. If you didn't like the play, he says, just pretend that you
have "slumb'red here, / While these visions did appear." In that case,
all you have seen is "but a dream." Like Theseus, you can pretend that
it was all some airy construction of the imagination. Like the
lovers you can cover it over, as if the dream were best forgotten.
Or like Bottom you can test it, move toward it, glimpse it, respect
its power, and think it over. In the end Shakespeare teases you,
pretends innocence, and leaves the serious matter of his comedy for
you, the reader or viewer, to judge. Puck admits he is just an
actor; theater and spirit magic are the two sides of his face. If he
can escape the hisses from his audience, he will play the part the
best he can. If you befriend him with your applause, he'll befriend
you with his magic.

TESTS_AND_ANSWERS
                            A STEP BEYOND
                          TESTS AND ANSWERS                 (SMIDTEST)
-
                                TESTS
-
  TEST 1
-
  _____  1. The three kinds of people Theseus says are under the sway
            of the imagination are:
-
            A. the fairies, the lovers, and the workingmen
            B. the lunatic, the lover, and the poet
            C. the audience, the actors, and the playwright
-
  _____  2. The flower's juice that has the ability to make someone
            fall in love with the next person he or she sees is
            infused with the power of
-
            A. Cupid
            B. Diana
            C. Oberon
-
  _____  3. Titania's favorite resting place is surrounded by
-
            A. birds and bumblebees
            B. fairies
            C. flowers
-
  _____  4. Puck's other name is
-
            A. Pyramus
            B. Robin Goodfellow
            C. King of Shadows
-
  _____  5. The moon's light is symbolic of
-
            A. the true, clear power of love
            B. the ability of reason to shine through the dark
            C. madness, romance, and magic
-
  _____  6. By having the three weddings take place at the end of the
            play, Shakespeare makes us feel
-
            A. that mistaken love and discord have come into a
               harmonious order
            B. that the fairies are not real, and their magic is just
               another way of seeing peoples' problems
            C. how ruthless society can be in enforcing its laws
-
  _____  7. Bottom's Dream
-
            A. unlike the lovers', fades as soon as he wakes up
            B. shows that the entire play was conjured up by him
            C. lingers, holding the mystery of the fairy world
-
  _____  8. Athenian law says Hermia must
-
            A. obey her father's wishes, live as a nun, or die
            B. marry the person she was engaged to first
            C. do as Theseus tells her
-
  _____  9. "Seeing" is a theme of the play because
-
            A. those who are charmed have special vision
            B. love sees with its own eyes, and sometimes love is
               blind
            C. reality can be seen only with the eyes of reason
-
  _____ 10. When Oberon and Titania quarrel
-
            A. it makes all the lovers quarrel too
            B. Bottom is turned into an ass
            C. the natural world is out of order
-
  11. Why are the two sets of young lovers so hard to tell apart?
-
  12. How is the theme of theatrical illusion woven into the play?
-
  13. Describe the importance of flower imagery in the play.
-
  14. How does Theseus's reliance on reason affect his general
understanding?
-
  15. What is "doting," and what is its significance in the play?
-
  TEST 2
-
  _____  1. Helena calls Hermia a puppet because she
-
            A. can't make up her mind and is pulled by everyone else's
               desires
            B. is small
            C. has a funny way of moving when she is angry
-
  _____  2. When Bottom worries about the lion scaring the audience,
            it
-
            A. reminds us that theater deals with the dynamics between
               reality and illusion
            B. is annoying, because he wants to play all the parts
            C. is fascinating because the audience really does show
               fear during the play
-
  _____  3. Lysander vows eternal love to
-
            A. Hermia
            B. Helena
            C. both Hermia and Helena
-
  _____  4. Oberon's use of poetic language
-
            A. shows how his flowery speech is influenced by flowers
            B. is used by Shakespeare to mock the bad poets of his day
            C. shows us his magic; the sounds themselves are like a
               spell
-
  _____  5. Flower symbolism is appropriate to the fairy world because
-
            A. the names of flowers sound like magic spells
            B. flowers are small miracles of the natural world, whose
               size helps give a picture of the fairies' size
            C. reason is behind fairy magic, and flowers show the
               power of scientific reasoning
-
  _____  6. When Oberon says the fairies are "spirits of another
            sort," he means that
-
            A. although they are tiny, they are not to be trifled with
            B. unlike the lovers, they're possessed of true sight
            C. although they are night creatures, their intentions are
               good
-
  _____  7. In the play, activity in the woods is characterized by
            emotional indulgence and magic. Activity in the city is
            characterized by
-
            A. unruly behavior by boisterous persons
            B. social order and reason
            C. total concentration on commerce
-
  _____  8. It is hard to tell the sets of lovers apart because
-
            A. they're meant to represent lovers in general, not
               specific characters
            B. they are rarely on stage together
            C. when their eyes are charmed, their appearances change
               also
-
  _____  9. Theseus and Hippolyta represent
-
            A. the power of social institutions, marriage, and law
            B. the triumph of Greek over English mythology
            C. the blind nature of romantic love
-
  _____ 10. The one mortal who really interacts with the fairy world
            is
-
            A. Lysander
            B. Bottom
            C. Philostrate
-
  11. Compare Bottom's recollection of his magical experiences to that
of the lovers.
-
  12. How does Titania's description of the natural world out of order
affect our understanding of the fairies?
-
  13. Why is moonlight so important in the play?
-
  14. Discuss the different ways in which the three groups of
characters speak.
-
  15. How does the content of "Pyramus and Thisby" reflect on the rest
of the play?
-
                               ANSWERS
-
  TEST 1
-
  1. B     2. A     3. C     4. B     5. C     6. A     7. C
  8. A     9. B    10. C
-
  11. Though Hermia is described as small and dark, and Helena as tall
and thin, Lysander and Demetrius are not given physical descriptions
at all. They seem to be almost interchangeable. Of course, once the
love juice has worked its magic they are, in terms of their love,
interchangeable. First they both love Hermia; then they both love
Helena. By having these lovers so ill-defined, Shakespeare makes
them stand for lovers in general, rather than appear as specific
characters. All four young people speak the high courtly poetry and
romantic cliches of people in love. But love is a power that, like the
magic juice, transforms people to its own purposes. In a way they
are no longer themselves, but agents of its power- lovers. By
keeping his lovers indistinct, Shakespeare shows how love levels
people to its own ends, blinding them from seeing the reality of other
people in the process.
-
  12. The rustic actors rehearsing their production of "Pyramus and
Thisby" give Shakespeare the chance to satirize theatrical conventions
and to play with his audience around the limits of the theater's
illusion. Bottom worries about how the audience might react to the
appearance of a lion or to Pyramus dying. He's afraid they will take
these acted roles seriously and not understand that they are in the
realm of theater, not "reality." He wants the actors to explain that
they are just actors. But theater is based on the audience's ability
or willingness to suspend for a time their normal perception of
reality and to believe in illusion. Shakespeare tests this
suspension to the limit in A Midsummer Night's Dream by portraying a
mythical, magical world of fairies that is entirely built on illusion.
You are asked to believe that this mysterious, fanciful world is real.
-
  13. The fairy world is continually associated with flowers, as
well as with other nature-related imagery. This makes flowers part
of a world slightly beyond human perception or influence. Flowers
and plants have traditionally been associated with magic, and in the
case of certain herbs their "magic" curative powers are well proven.
And they imbue us with a sense of wonder at their colorful and
beautiful forms, in spite of the depth of our scientific knowledge
about how they grow. Shakespeare's association of the fairies with
these small miracles makes the flowers seem part of an elemental
creative power. The fairies are also constantly compared in size to
the flowers, giving us an imaginary yardstick by which to measure
and to view the fairies (since they are played by human actors on
the stage). The conflicting realities of the size we hear about and
the size we actually see test our power of imaginative perception.
-
  14. Theseus's reliance on reason removes him, in some degree, from
understanding the creative worlds of art and magic. He does not really
believe the lovers' story of their magical encounters. His world of
war conquests and social order keep him materially grounded. He can
only scoff at tales of fairies and magic. We who have already
experienced the power and poetry of the fairy world can see that
reason, for all its virtue, can also lead to blindness. Theseus
compares lovers, madmen, and poets. He says that imagination can
lead them all astray. In one way he has a point: we've already seen
the ways in which people can be blinded and misled by romantic love.
But we've also glimpsed- like Bottom- an unspeakable beauty, a dream
vision of flowers, magic, moonlight, and poetic art. A world without
these elements might be materially sound, but it lacks a powerful
dimension of human experience.
-
  15. "Doting" is used again and again to describe the kind of
romance-inspired seeing (and loving) that is essentially blind. In
other words, doting is not seeing at all. When Helena is described
by Lysander as doting on Demetrius, he means she is so foolishly in
love that she can't really judge Demetrius's character; her love
stands in the way of her reasonable sight. Similarly, Titania is
described by Oberon as doting on Bottom, ass's head and all. Her
situation is even clearer. Though we can plainly see the ass before
her, her love-transformed eyes see only what they want to see.
Ass-headed Bottom is a handsome prince to her. According to
Shakespeare, when people dote they are in a dangerous, intoxicated
realm, seeing what their mind and heart tell them to see, not what may
actually be before them.
-
  TEST 2
-
  1. B     2. A     3. C     4. C     5. B     6. C     7. B
  8. A     9. A    10. B
-
  11. The lovers wake up from their dream almost as if they had been
knocked out. They have only fuzzy recollections of their strange
experiences but are willing to believe that they were just dreaming.
Mostly, they seem to want to forget the events and move on toward
their now more stable marriages. Bottom, too, wakes up with fuzzy
perceptions, but he seems closer to his "dream" experience than do the
lovers. It seems almost as if he remembers what happened; his
difficulty is in finding a way to talk about it. He approaches the
experience and retreats from it, but ultimately holds it in a kind
of suspension. Even if he can't fully talk about this "vision," he
won't dismiss it. Intuitively, Bottom seeks to keep hold of his
dream through the transforming means of art: he immediately decides to
write a ballad called "Bottom's Dream" to be performed during the
play.
-
  12. Because of the fairies' constant association with flowers and
winged insects and because of Shakespeare's emphasis on their
diminutive size, we may get the initial impression that these
spirits are cute, tiny, dainty, and harmless. Though Oberon shows a
humanlike jealousy and vengeance, he doesn't cause any intense trouble
(except with his use of the love juice). But Titania's description
of the disorder in the natural world resulting from her quarrel with
Oberon gives us an entirely different sense of their powers. Now the
king and queen of fairyland seem like elemental forces. Their
emotional life has gigantic force: it can cause tidal waves and
terrible storms, disrupting the general calm and order of human
life. Because of the terrifying picture Titania paints, filled with
disease and death, our conception of the benign fairies is altered
into something more respectful. Their magic world has behind it a
primary power, and as its representatives, Oberon and Titania are
mighty rulers.
-
  13. Except for the beginning and the end, most of the action of
the play takes place at night. Oberon makes clear that night is the
fairies' time. Theseus, who is aligned with reason, appears during the
daylight portions. The fairies, with all the midsummer madness they
set in motion, work their magic at night. Moonlight thus symbolizes
emotions, as contrasted to reason, and of course is the favored
trysting time of lovers. Oberon is referred to by Puck as the king
of shadows, and the shadowy night world he presides over is one of
mysterious glimpses and strange behavior. Puck and Theseus both
refer to the theater as a place of shadows, so the moonlit night
also represents the realm of theater, where theatrical illusions
take on the appearance of real life. And for human beings, it is
much harder to see in the dark. Since so much of the play is concerned
with the difficulty lovers have in "seeing," moonlight thus symbolizes
the cloudy light of love in which lovers "dote."
-
  14. The lovers tend to speak a courtly poetry, filled with
high-sounding vows and mythical allusions. Their formal speech
almost always rhymes- especially in the longer speeches- giving the
lovers an artificial sound. Their dialogues contain many clever
turns of phrases. Yet nothing much individual comes through about
any one of them.
  The fairies- especially Oberon and Titania- also speak poetically.
But their poetry is distinguished by elegance and grace, not by
cliches. It is filled with the names of flowers and small animals,
linking the fairies to nature. Oberon's descriptions are precise yet
lyrical; his language seems often to be a magical charm in itself.
In Titania's description of the natural world off balance, she
personifies all the elements of the natural world so that they seem to
be human.
  The workingmen speak in prose, not poetry. This gives them a feeling
of earthiness, of being grounded in the daily world. They
continually misuse and mispronounce words. Their discomfit with
language makes them perfect vehicles for Shakespeare's satire of bad
acting.
-
  15. "Pyramus and Thisby," a story about two lovers kept apart by
their parents, reveals a frustrated romantic intrigue similar to
that of the lovers in A Midsummer Night's Dream. Remember, Hermia
and Lysander try to flee Athens at the beginning of the play,
because her father's wishes stand between them. "Pyramus and Thisby"
shows the unfortunate result that can befall young lovers caught up in
their passions. Although Hermia is threatened with death, Thisby and
Pyramus do actually die in their play. The material is dealt with
comically, but the tragedy is there as a cautionary sign. Things
work out well for Hermia and Lysander and for Helena and Demetrius,
who end their play comfortably married. Through its comic shenanigans,
"Pyramus and Thisby" diffuses the tragic element in its story and
releases it through laughter.

TERM_PAPER_IDEAS
            TERM PAPER IDEAS AND OTHER TOPICS FOR WRITING   (SMIDTERM)
-
  CHARACTERS
-
  1. What are the two sides to Theseus's reliance on reason?
-
  2. Describe what is unique about Bottom's dream.
-
  3. Discuss the importance of Puck's final monologue.
-
  4. How are we made to feel Oberon and Titania's power?
-
  5. Discuss the limits Shakespeare places on his characterization
of the lovers.
-
  IMAGERY
-
  Discuss the importance of the following images:
-
  1. Flowers
-
  2. Moonlight
-
  3. The woods
-
  4. Discuss the imagery in Titania's speech about the result of her
quarrel with Oberon.
-
  LANGUAGE
-
  1. How are different kinds of language used for the different sets
of characters?
-
  2. Discuss Oberon's use of poetry. In what ways is it magical?
-
  3. Describe and analyze the ways in which the workmen misuse
language.
-
  THEMES
-
  1. How are the lunatic, the lover, and the poet alike?
-
  2. Discuss the importance of "seeing" for the lovers.
-
  3. Discuss the relation between illusion and reality in the theater.
-
  4. Discuss the importance of dreaming in the play.
-
  5. Does Shakespeare intend us to see the fairy world as real? How
does he play with our perceptions?
-
  6. Relate Bottom's dream to the interplay between reason and
imagination.
-
  7. Love is blind. How does the play show that?
-
  8. Discuss the difference in this play between the city and the
woods.
-
  9. How does the idea of marriage function in the play?
-
  THEATER
-
  1. In what ways do the settings give meaning to the play?
-
  2. How would you portray the fairy world if you were a director?
What would be its properties?
-
  3. In what ways does "Pyramus and Thisby" reflect on the rest of the
play and on the nature of theater itself?
-
  4. How do the different realms interrelate and give a sense of
structure to the play?
-
  5. How is Oberon a director or playwright?
-
  6. Puck calls Oberon the king of shadows. In what ways might we
see Shakespeare as the king of shadows?
-
  THE PLAY
-
  1. Compare and contrast the treatment of love in A Midsummer Night's
Dream and Romeo and Juliet.
-
  2. Compare and contrast the magic spirit worlds of A Midsummer
Night's Dream and The Tempest.
-
  3. How do A Midsummer Night's Dream and Romeo and Juliet
illustrate the difference between comedy and tragedy?

CRITICS
                             THE CRITICS                    (SMIDCRIT)
-
  THE PLAY
  "A Midsummer Night's Dream" shines like "Romeo and Juliet" in
darkness, but shines merrily. Lysander, one of the two nonentities who
are its heroes, complains at the beginning about the brevity of love's
course...:
-
     So quick bright things come to confusion.
-
  This, however, is at the beginning. Bright things will come to
clarity in a playful, sparkling night while fountains gush and
spangled starlight betrays the presence in a wood near Athens of magic
persons who can girdle the earth in forty minutes and bring any cure
for human woe. Nor will the woe to be cured have any power to elicit
our anxiety.... There will be no pretense that reason and love keep
company, or that because they do not death lurks at the horizon.
                                   -Mark Van Doren, Shakespeare, 1939
-
  CHARACTERIZATION
  In A Midsummer Night's Dream, then, Shakespeare defines his
characters according to what they represent, according to their
labels. The lovers are not individuals, they are "lovers," and the
definition of that word will determine their behaviour; Puck's actions
too are predicated by the definition of "Puck." Nor is the process
restricted to characters; even places stand for something, are labels.
Athens, established in literary tradition as the legendary seat of
reason (in Boccaccio's Teseida and "The Knight's Tale") is here almost
a byword for rational order. The wilderness outside Athens is called a
"wood" and not a forest, as is the corresponding locale in As You Like
It, because it must also be a label for "mad," and in case we miss the
point, Demetrius is made to pun on "wood" (for "mad" and "forest") and
"wooed"; "And here am I, and wood within this wood...." With
everything so clearly defined and with the infinite complexities of
realistic character and "real life" settings so firmly excised, no
wonder those who came looking for realism go away convinced that the
play is a little too simple.
                                      -Stephen Fender, Shakespeare: A
                                       Midsummer Night's Dream, 1968
-
  THE END OF THE PLAY
  If ever the son of man in his wanderings was at home and drinking by
the fireside, he is at home in the house of Theseus. All the dreams
have been forgotten, as a melancholy dream remembered throughout the
morning might be forgotten in the human certainty of any other
triumphant evening party; and so the play seems naturally ended. It
began on the earth and it ends on the earth. Thus to round off the
whole midsummer night's dream in an eclipse of daylight is an effect
of genius. But of this comedy, as I have said, the mark is that genius
goes beyond itself; and one touch is added which makes the play
colossal. Theseus and his train retire with a crashing finale, full of
humour and wisdom and things set right, and silence falls on the
house. Then there comes a faint sound of little feet, and for a
moment, as it were, the elves look into the house, asking which is the
reality. "Suppose we are the realities and they the shadows." If
that ending were acted properly any modern man would feel shaken to
his marrow if he had to walk home from the theatre through a country
lane.
                   -G. K. Chesterton, Chesterton On Shakespeare, 1971
-
  SHAKESPEARE'S POETIC SPEECHES
  No, his heart was in these passages of verse, and so the heart of
the play is in them. And the secret of the play- the refutation of all
doctrinaire criticism of it- lies in the fact that though they may
offend against every letter of dramatic law they fulfil the inmost
spirit of it, inasmuch as they are dramatic in themselves. They are
instinct with that excitement, that spontaneity, that sense of
emotional overflow which is drama. They are as carefully constructed
for effective speaking as a messenger's speech in a Greek drama. One
passage in particular, Puck's "My mistress with a monster is in love,"
is both in idea and form, in its tension, climax, and rounding off,
a true messenger's speech. Shakespeare, I say, was from the first a
playwright in spite of himself. Even when he seems to sacrifice
drama to poem he- instinctively or not- manages to make the poem
itself more dramatic than the drama he sacrifices.
         -Harley Granville-Barker, More Prefaces to Shakespeare, 1974
-
  BOTTOM'S "VISION"
  By contrast "vision," as it is introduced into the play, is a code
word for the dream understood, the dream correctly valued. Often the
user does not know that he knows; this is another of the play's
thematic patterns, supporting the elevation of the irrational above
the merely rational. As a device it is related to a character type
always present in Shakespeare, but more highly refined in the later
plays, that of the wise fool. Thus Bottom, awakening, is immediately
and intuitively impressed with the significance of his "dream,"
which we of course recognize as not a dream at all, but rather a
literal reality within the play.
                      -Marjorie B. Garber, Dream In Shakespeare, 1974
-
  THE FAIRIES
  What is true of the moon applies to the fairies. They are a
curious mixture of wood spirits and household gods, pagan deities
and local pixies. They inhabit the environs of Athens and follow the
fortunes of Theseus and Hippolyta, but they are clearly the spirits
whom we can consider "almost essential to a Midsummer Play,"
detectably English in character and habit. Through Titania and her
train, Shakespeare emphasizes their innocence and delicacy; in
Oberon and Puck, he expresses their darker side, potentially
malevolent in the lore of the time.
                       -David P. Young, Something of Great Constancy:
                           The Art of A Midsummer Night's Dream, 1966
-
  THE COMEDY OF LANGUAGE
  The Dream's comedy of language attains its peak of extravagance in
"Pyramus." One favourite effect is continued from the play proper: the
misassignment of sense-experience- Pyramus sees a voice, hopes to hear
his Thisby's face, and bids his tongue lose its light. In the
rehearsal-scene he is supposed to have gone "but to see a noise that
he heard," and the effect has been taken to its highest point in
Bottom's garbling of St. Paul: "The eye of man hath not heard...."
That parody would not have been possible in anything but comic
prose; and prose, as is normal in Shakespeare, is the vehicle for
the scenes of plebeian comedy. Bottom's adherence to it in
fairyland, while Titania speaks verse, adds to the characterization
and the comic effect, emphasizing how unshakeably he remains
himself, and how out of touch, inhabiting still their disparate
worlds, they are with each other.
                            -Harold F. Brooks, Introduction to Arden,
                                      A Midsummer Night's Dream, 1979

ADVISORY_BOARD
                            ADVISORY BOARD                  (SMIDADVB)
-
  We wish to thank the following educators who helped us focus our
Book Notes series to meet student needs and critiqued our
manuscripts to provide quality materials.
-
  Sandra Dunn, English Teacher
  Hempstead High School, Hempstead, New York
-
  Lawrence J. Epstein, Associate Professor of English
  Suffolk County Community College, Selden, New York
-
  Leonard Gardner, Lecturer, English Department
  State University of New York at Stony Brook
-
  Beverly A. Haley, Member, Advisory Committee
  National Council of Teachers of English Student Guide Series
  Fort Morgan, Colorado
-
  Elaine C. Johnson, English Teacher
  Tamalpais Union High School District
  Mill Valley, California
-
  Marvin J. LaHood, Professor of English
  State University of New York College at Buffalo
-
  Robert Lecker, Associate Professor of English
  McGill University, Montreal, Quebec, Canada
-
  David E. Manly, Professor of Educational Studies
  State University of New York College at Geneseo
-
  Bruce Miller, Associate Professor of Education
  State University of New York at Buffalo
-
  Frank O'Hare, Professor of English and Director of Writing
  Ohio State University, Columbus, Ohio
-
  Faith Z. Schullstrom, Member, Executive Committee
  National Council of Teachers of English
  Director of Curriculum and Instruction
  Guilderland Central School District, New York
-
  Mattie C. Williams, Director, Bureau of Language Arts
  Chicago Public Schools, Chicago, Illinois
-
-
                    THE END OF BARRON'S BOOK NOTES
           WILLIAM SHAKESPEARE'S A MIDSUMMER NIGHT'S DREAM


                               BIBLIOGRAPHY                 (SMIDBIBL)

MIDSUMMER_NIGHTS_DREAM
                           FURTHER READING
-
                            CRITICAL WORKS
-
  Arthos, John. Shakespeare's Use of Dream and Vision. Totowa, N.J.:
Rowman and Littlefield, 1977.
-
  Chesterton, G. K. Chesterton on Shakespeare. Chester Springs, Pa.:
Dufour Editions, 1971. Readable essays with a very English
sensibility.
-
  Chute, Marchette. Shakespeare of London. New York: E. P. Dutton,
1949. A biography that reads like a novel.
-
  Coleridge, S. T. Shakespearean Criticism. New York: E. P. Dutton,
1960. A great poet's grasp of Shakespeare's music.
-
  Fender, Stephen. Shakespeare: A Midsummer Night's Dream. London:
Edward Arnold, 1968.
-
  Garber, Marjorie B. Dream in Shakespeare. New Haven and London: Yale
University Press, 1974. A penetrating look at Shakespeare's
visionary world, including a psychological analysis of dreams.
-
  Granville-Barker, Harley. More Prefaces to Shakespeare. Princeton,
N.J.: Princeton University Press, 1974. Insightful essays by a great
Shakespearean director.
-
  Kermode, Frank. Shakespeare, Spenser, Donne. New York: Viking Press,
1971. An essay that includes the occult philosophical tradition behind
Shakespeare's magic.
-
  Lerner, Lawrence, ed. Shakespeare's Comedies: An Anthology of Modern
Criticism. Baltimore, Md.: Penguin Books, 1978.
-
  Nagler, Alois M. Shakespeare's Stage. New Haven: Yale University
Press, 1981. The classic introduction to the Elizabethan stage.
-
  Parott, Thomas Marc. William Shakespeare: A Handbook. New York:
Charles Scribner's Sons, 1955.
-
  Shakespeare, William. A Midsummer Night's Dream. Edited by Harold F.
Brooks. The Arden Shakespeare. London: Methuen, 1979. Fully annotated,
with extensive introductory notes.
-
  Van Doren, Mark. Shakespeare. New York: Henry Holt, 1939.
-
  Young, David P. Something of Great Constancy: The Art of a Midsummer
Night's Dream. New Haven: Yale University Press, 1966.
-
                            AUTHOR'S WORKS
-
  Shakespeare wrote 37 plays (38 if you include The Two Noble Kinsmen)
over a 20-year period, from about 1590 to 1610. It's difficult to
determine the exact dates when many were written, but scholars have
made the following intelligent guesses about his plays and poems:
-
        PLAYS
-
             1588-93          The Comedy of Errors
             1588-94          Love's Labour's Lost
             1590-91          2 Henry VI
             1590-91          3 Henry VI
             1591-92          1 Henry VI
             1592-93          Richard III
             1592-94          Titus Andronicus
             1593-94          The Taming of the Shrew
             1593-95          The Two Gentlemen of Verona
             1594-96          Romeo and Juliet
             1595             Richard II
             1594-96          A Midsummer Night's Dream
             1596-97          King John
             1596-97          The Merchant of Venice
             1597             1 Henry IV
             1597-98          2 Henry IV
             1598-1600        Much Ado About Nothing
             1598-99          Henry V
             1599             Julius Caesar
             1599-1600        As You Like It
             1599-1600        Twelfth Night
             1600-01          Hamlet
             1597-1601        The Merry Wives of Windsor
             1601-02          Troilus and Cressida
             1602-04          All's Well That Ends Well
             1603-04          Othello
             1604             Measure for Measure
             1605-06          King Lear
             1605-06          Macbeth
             1606-07          Antony and Cleopatra
             1605-08          Timon of Athens
             1607-09          Coriolanus
             1608-09          Pericles
             1609-10          Cymbeline
             1610-11          The Winter's Tale
             1611-12          The Tempest
             1612-13          Henry VIII
-
        POEMS
-
             1592             Venus and Adonis
             1593-94          The Rape of Lucrece
             1593-1600        Sonnets
             1600-01          The Phoenix and the Turtle
-
-
         THE END OF THE BIBLIOGRAPHY FOR BARRON'S BOOK NOTES
           WILLIAM SHAKESPEARE'S A MIDSUMMER NIGHT'S DREAM