Most critics believe the play was written for and performed at an aristocratic wedding, with Queen Elizabeth I in attendance.
Act III, scene i Summary: Act III, scene i The craftsmen meet in the woods at the appointed time to rehearse their play. Since they will be performing in front of a large group of nobles and since they have an exaggerated sense of the delicacy of noble ladiesBottom declares that certain elements of the play must be changed.
They decide also that, to clarify the fact that the story takes place at night and that Pyramus and Thisbe are separated by a wall, one man must play the wall and another the moonlight by carrying a bush and a lantern.
When the ass-headed Bottom reenters the scene, the other men become terrified and run for their lives.
Delighting in the mischief, Puck chases after them. Bottom, perplexed, remains behind.
In the same grove, the sleeping Titania wakes. When she sees Bottom, the flower juice on her eyelids works its magic, and she falls deeply and instantly in love with the ass-headed weaver.
She insists that he remain with her, embraces him, and appoints a group of fairies—Peaseblossom, Cobweb, Mote, and Mustardseed—to see to his every wish. Bottom takes these events in stride, having no notion that his head has been replaced with that of an ass.
He comments that his friends have acted like asses in leaving him, and he introduces himself to the fairies. Titania looks on him with undisguised love as he follows her to her forest bower.
As Act III is the first act in which all three groups appear, the fantastic contrasts between them are at their most visible. Their proposal to let the audience know that it is night by having a character play the role of Moonshine exemplifies their straightforward, literal manner of thinking and their lack of regard for subtlety.
In their earthy and practical natures, the craftsmen stand in stark contrast to the airy and impish fairies.
It throws love increasingly out of balance and brings the farce into its most frenzied state. Obviously, the delicate fairy queen is dramatically unsuited to the clumsy, monstrous craftsman. Shakespeare develops this romance with fantastic aplomb and heightens the comedy of the incongruity by making Bottom fully unaware of his transformed state.
Rather, Bottom is so self-confident that he finds it fairly unremarkable that the beautiful fairy queen should wish desperately to become his lover.
Further, his ironic reference to his colleagues as asses and his hunger for hay emphasize the ridiculousness of his lofty self-estimation.A Midsummer Nights Dream In Shakespeare's "A Midsummer Night's Dream" the mortal teenage characters fall in love foolishly, and the character Bottom states, "O what fools these mortals be".
They are foolish because they act like children. S&Co: A Midsummer Night’s Dream (Starveling, Philostrate), Shakespeare and the Language that Shaped a World, Emperor of the Moon (Dara, Cupid).
Regional: The Eugene O’Neill Theater Center’s Young Playwrights Festival. Titania has distinct parallels with Hippolyta, another queen who was subdued by an over-eager suitor.
The Titania we know disappears when she becomes the fawning creature in love with Bottom.
Though Titania is arguably the most powerful woman in the play, she, like all the other women, is subject to the machinations of men.
Unlike most of Shakespeare's dramas, A Midsummer Night's Dream does not have a single written source. The story of "Pyramus and Thisbe" was originally presented in Ovid's The Metamorphosis, making it one of many classical and folkloric allusions in the play.
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Plot summary of and introduction to William Shakespeare’s play A Midsummer Night's Dream, with links to online texts, digital images, and other resources. Teenage Photos of Distinguished Elderly Celebrities Illustration from 'Midsummer Nights Dream' by William Shakespeare,