4.1.2 Theme of love and its interpretation in the third act
We know from the short Act 1, scene 2 that the workmen have planned to tritium their play of Pyramus and Thisbe in the wood. Conveniently they come to the place just vacated by Hermia, where Titania still lies asleep. (The workmen hope that their play will be performed for Theseus, but we learn from 5.1, that there are many rival attractions: theirs will be chosen because of its amusing (contradictory) title and Philostrate’s harsh comments.)Puck, at first amused by the crudity of the acting, sees how to perfect Oberon’s plan for Titania. Titania’s instant infatuation with Bottom parallels that of Lysander (in the last scene) and Demetrius (in the next) with Helena. Oberon tells Puck (in 4.1) that Titania has readily given up the changeling boy to him. The sight of his queen’s doting on “this hateful fool” awakens a sense of tenderness in Oberon, leading to a renewal of their love, while Bottom’s strange experience leads to his puzzled soliloquy and his seeming-miraculous return to his fellows in 4.2. Pyramus and Thisbe, as performed by the mechanicals in 5.1, is a perfect commentary on how “the course of true love” has run, hitherto, for the young lovers. Structure is a fairly simple scene structurally: the workmen’s rehearsal ends when Puck gives Bottom the ass’s head; Bottom’s efforts to keep his spirits up wake Titania, who declares her love for the bemused Bottom and commands her fairies to minister to him. There is much to admire here, but especially
· the contrast between the grossness and clumsy speech of Bottom and the elegance, beauty and majesty of Titania,
· and the questions raised by Pyramus and Thisbe as to what constitutes a good play.[5]
At first the scene is rather static: the workmen honestly try to solve their own “theatrical problems”; although Bottom is overbearing at times, his essential good nature and his friends’ respect mean that the “players” (in contrast with the four young lovers and the fairy rulers) work harmoniously, though the result of their labors is fatuous. The acting of Pyramus and Thisbe requires movement on (and off) the stage. The “hawthorn brake” could well be off the real stage (so, ironically, the supposed “tiring house” of the workmen could be provided by the real tiring house in the theatre) as the ass’s head must be placed on Bottom off stage, between lines 86 and 102 (see stage directions).
Quince’s comments indicate how the play is being performed:
“This be, stand forth…he goes but to see a noise that he heard, and is to come again…you must not speak that yet…Pyramus, enter». Puck’s “I’ll follow you…” speech is apparently not heard by Bottom, otherwise “Why do they run away?” makes no sense. The speech is evidently to inform the audience and invites mimicry, both in sound and movement, of the animals Puck names. Titania’s promise to make Bottom move “like an airy spirit” is not likely to prove true (as Oberon’s and her own comments in 4.1 shows). The regal, graceful movement of Titania and the delicacy of her fairies contrast with the robustness and “mortal grossness” of Bottom. Bottom is soon at ease in his strange situation, and speaks to Titania and the fairies with the same familiarity he shows to Theseus in 5.1. For different reasons neither ruler takes offence, but Shakespeare’s audience would feel a frisson of danger at the seeming impertinence. The proper (appropriate) attitude to someone of Titania’s or Theseus’ status is awed reverence of the kind the duke describes in 5.1, 93-105. Only a fool would fail to see this. When the fool wears an ass’s head, the impertinence seems greater. Here are some reasons why this will amuse the audience:
· The ass’s head is a visible symbol, and so, theatrically effective;
· “Ass” and “ass-head” are both used as synonyms of stupidity in the 16th century;
· the ass is obstinate and (thought) clumsy and ugly;
· it is a beast of burden, suggestive of Bottom’s “mechanical” (menial) status;
· the pronunciation of the word allows a pun on “are”, suggested by Bottom’s name. (He is called “Bottom”, as he is a weaver; “weaver’s bottom” like “housemaid’s knee” was a well-known medical condition. It is a kind of stichomythic strain injury – isocheimal bursitis in Latin);[6]
· and Oberon has intended that Titania should love a beast.
The rude everyday speech of the workmen, embellished by Bottom’s and Quince’s errors, is to be contrasted with the stilted (unnatural) attempts at eloquence in Pyramus and Thisbe (compounded by mispronunciation) and with the very real eloquence of Titania. The informality of the workmen’s language is shown in their normally speaking in prose, with commonplaces such as “by’r lakin”, “not a whit”, “well”, “nay” and “ay”. Bottom also contributes “more better” and “saying thus, or to the same defect” (for “effect”) while Quince manages “disfigure” (for “figure”) and “to see a noise”. The simple folk-song crudely sung by Bottom is in sharp contrast to the delicate lullaby which has lulled Titania to sleep. Her reaction “What angel wakes me…?” and “Mine ear is much enamoured of thy note” is comically incongruous. There is further comic contrast between Titania’s verse, rhymed after her first waking speech, and Bottom’s prose: the one is eloquent, stately and (in any other context) dignified; the other homely and humble. We fear that Bottom will commit some gross breach of etiquette, but he is saved by Titania’s infatuation. Titania’s power is also shown in the ceremonial order of the fairies’ responses to her (160) and Bottom (172). In contrast with Lysander’s implausible claim to love Helena according to reason, Bottom notes with unusual perception that “reason and love keep little company together nowadays”, as if his present case were but an extreme illustration of a general truth, with which the audience concurs. His suggestion (that “honest neighbours” should “make them friends”) may also hint at the activities of Theseus and Oberon in trying to resolve the problems of those made unreasonable by love. Bottom, because he is uneducated, is prone to errors in speech, especially when trying to impress. But as this and the “Bottom’s dream” speech (in 4.1) show, he is capable of real intelligence, which may account for the regard in which his friends hold him. Finally note the contrast between the fey delicacy of the fairies’ names and the errands they are to perform, and the practical, homely comments of Bottom who thinks of the medical use of the cobweb and the culinary merits of peas and mustard.
Act 3, scene 2 This is the longest scene in the play; indeed it is longer than any of the play’s other acts. The sport Puck unintentionally causes – but greatly enjoys – reaches a climax, which might prove fatal but for his intervention; at the end of the scene he tells the audience that “all shall be well”, and this leads naturally to the reconciliation of the rivals in the next act, and the celebration of the threefold nuptials in Act 5. This is such a long scene that the structure in episodes can be hard to follow; in fact, it is not very complex if one notes that almost half of the scene is taken up with one extended episode (as long as the whole performance, in Act 5, of Pyramus and Thisbe).
· Puck explains to Oberon what he has done;
· seeing Demetrius and Hermia (where and how has she found him?) Puck learns of his error;
· he is to fetch Helena (and, therefore, Lysander, too) while the flower juice is given (by Oberon – there is no stage direction, but he tells us what he is doing) to Demetrius, who wakes at the sound of Helena’s voice and declares his love;
· the confusion is completed by the return of Hermia (it is dark, but she has heard Lysander’s voice);
· when the arguments threaten to turn to physical violence, Puck, commanded by Oberon, uses his skills in mimicry to separate the four, though eventually leading each to a sleeping place near the others. He puts in Lysander’s eyes the antidote (given him by Oberon) to the flower juice, and leaves the lovers sleeping.
The central episode here is perhaps the most amusing part of the play, but the humour is of a wholly different kind from that provided by the mechanicals. The workmen are obviously comic because of their class, their speech and their notions of acting. By contrast, the four lovers are characters of some status and dignity, whose situation in itself is very far from amusing. In the first scene the lovers are amusing in their tendency to sensationalize their predicament, to claim for themselves a tragic grandeur. Here, however, we are entertained by the plight of each character, both because we know so much more than he or she does, and because we see, and the lovers do not, how and why their own attempts to understand their predicament are utterly mistaken. Lysander recalls that he loved Hermia but is now repelled by her, and can only see his former love as an error of judgement. Demetrius has had the same experience, but is able to revert to his even earlier claim to Helena’s love. Neither man can understand why Helena disbelieves his protestations. It seems that each believes the other, however: having been bitter rivals for Hermia’s hand, they now bring the same rivalry to the pursuit of Helena. Helena loves Demetrius still, but assumes that his and Lysander’s courtship of her is a cruel elaboration of Demetrius’ earlier rejection; the men, though enemies, must hate her so much that they have agreed to offer ironic praise. Hermia’s outrage Helena takes to be part of the game; “she is one of this confederacy”. Hermia is genuinely puzzled by Lysander’s sudden change of heart, but believes Helena to be at fault. An ambiguous insult (“puppet”; Helena means “counterfeit” but Hermia thinks she refers to her size) gives Hermia a reason for Lysander’s inconstancy. The scene requires energy and much action in the performance: the two men are fawning on Helena, while in part struggling with each other; yet they must keep breaking off from this to defend Helena from Hermia. Helena is trying to hold off the men, and escape Hermia’s attacks. Hermia wants to assault Helena but is restrained by the men. All the while Oberon and Puck are watching, invisible to the mortals.Eventually the desire to settle their rivalry causes the men to leave the women alone, whereupon Helena runs away from Hermia, and Puck is able to intervene. Without this, the scene could have gone on for ever, but Shakespeare has allowed time to exploit fully its comic potential. It is essential, in the acting, that the performers do not exhibit self-consciousness or any sense of irony about their ridiculous situation. The men believe as they do because they are drugged; Helena’s response is quite a rational one; Hermia’s less so, but she can see no other, more simple, explanation. In any case, all of them are passionate people, whose motives for being in the wood are not conducive to calm or reason; they may be tired, they are in an unfamiliar place (this is not the wood as described in 1.1) and as much in the dark metaphorically as literally. Heated and excitable behavior is exactly what one would expect, and Puck has seen it coming. Before the men go off to fight, some violence will be threatened in gesture. As each tries to find the other, he may strike at shadows. We know they are to use swords, as Puck, in Demetrius’ voice, calls out (402) that he is “drawn and ready”. Most of the scene is rhymed verse, but in mid-speech Helena (195) switches to blank verse. As with the fairies in 2.1, this indicates a greater seriousness in the four lovers’ dispute. As the threatened violence descends into farcical pursuit it is Helena again (340) who picks up the rhyme. In general the lovers use pentameters arranged as couplets, but more elaborate patterns are used for particular purposes: Lysander and Helena speak in six-line stanzas when they come on stage; with the next two lines (a couplet) they form a sonnet in effect. The same six-line stanza is used by Helena and Hermia at the end of the scene, though for Hermia the metre is subtly varied (suggesting her exhaustion) with “Never so weary, never so in woe”. The fairies use both pentameter and tetrameter, and a more fluid verse form (lines varying in length) for Puck’s final speech. Although the men trade insults and go off to fight, the most sharp verbal exchanges are between Helena and Hermia. Helena speaks at length of their past friendship, accusing Hermia on treachery. Helena’s calling Hermia a “puppet” leads to a series of insults, mostly from the men, at the expense of Hermia’s stature and dark coloring. To this Hermia responds by calling Helena a “painted maypole”. Many of the best lines in the scene are Puck’s: the final speech and the earlier “Lord, what fools these mortals be” stand out. On Hermia’s exit (line 344) Puck’s and Oberon’s exchange is used to describe the passing of the Night’s, preparing us for the hunting in the next act. It also means that Puck must act “in haste” while the darkness he needs to mislead the men lasts. Two other parts of the dialogue are worthy of note. Demetrius’ “goddess, nymph, perfect, divine” and what follows (137ff.; quoted by Helena at 226-7) matches, if it does not surpass, Lysander’s “And run through fire I will for thy sweet sake” in 2.2. Helena’s “O weary Night’s, O long and tedious Night’s” could almost be taken from Pyramus and Thisbe (compare 5.1, 167-9). Helena (not the Night’s) is weary (the epithet is transferred) and it is her speech here which is tedious. In the audience’s view it is a good thing for the Night’s to end now, but it has been far from tedious!
5.1.2 Act4: the approaching of climax
In the Act 4, scene 1 what Puck promises in 3.2 (“Jack shall have Jill/Naught shall go ill”) comes to pass:
· The lovers’ relationships are amicably resolved, though there remains confusion about what has happened in the Night’s;
· Oberon and Titania are reconciled,
· and Bottom is restored to his normal condition.
Only two tasks are left for the last act: these are to celebrate the threefold wedding, and for the fairies to bless the three couples with fertility, and their children, about to be conceived, with good health. In most of Shakespeare’s comedies the comic resolution does not occur until the last act; here all hostilities are ended by the middle of the penultimate act. The scene easily breaks down into a series of short episodes which have a clear narrative sequence, corresponding to the characters who are speaking. With the exception of Puck, everyone whom we know to be in the wood is on stage (somewhere)!
· Bottom, led on stage by Titania and her train, continues to enjoy the treatment accorded him in 3.1;
· as he and Titania sleep, Puck arrives to be told by the watching Oberon that he now has the Indian boy;
· Titania, given the antidote (“Dian’s bud”) and woken, is repelled by the sight of Bottom (whom Puck is told to return to his proper appearance), but dances joyfully with Oberon;
· as they depart, Theseus, Hippolyta and Egeus appear, ready for the hunt;
· their finding and waking of the lovers leads to a confused account of their presence, but a very clear statement of Demetrius’ love for Helena, allowing Theseus to “overbear” Egeus’ choice of Demetrius, and favor the two couples with a joint wedding ceremony (an honor which should compensate Egeus for any loss of face);
· everyone else having at length left the wood, Bottom wakes, and has the stage to himself for his virtuoso prose soliloquy.
As noted above, this scene is remarkable for the number of characters on stage, and movements must take account of this. As it is now daylight, the sleepers will be seen by anyone who comes near them. When Bottom and Titania come on stage, they must, therefore avoid the lovers. Titania’s words describe her actions as does Bottom’s asking Mustardseed to help Cobweb scratch his face: Titania sees the “sleek smooth head” and “fair large ears” but loves Bottom because, rather than in spite, of these. There is continued humour in the incongruity here: offered fairy music, Bottom calls for “the tongs and the bones”; when Titania offers a dainty delicacy (“the squirrel’s hoard”), Bottom seeks huge quantities of animal fodder. When Titania comes to her senses, her dancing with Oberon is very important: their movement in time to the fairy music and rhythmic verse anticipates their activity in the next act. To “rock the ground” is what they have for long failed to do (with the dire results described by Titania in 2.1).Theseus and Hippolyta come on stage as the fairy king and queen leave it: this order is reversed in the next act; in each case we recognize a symmetry in the two pairs of rulers. The duke and his consort seek a vantage-point from which to watch the hunt. For obvious reasons the audience will not see the hounds, so a word-picture is required; once the lovers are found, the hunting can be “set aside”. Theseus evidently approaches the part of the stage where the young lovers (but not Bottom) sleep. “But soft, what nymphs are these?” may be ironic (he would recognize them if he looked) but he may not have a clear view. Egeus is able to identify his own daughter, and the others, and has to state the obvious in voicing his surprise at “their being here together” (the surprise is as much at their being “together”, as in the wood at all). When the lovers wake, their words are in striking contrast to their previous waking: in the Night’s both Lysander and Demetrius have woken instantly, filled with certain love for Helena; now both are hesitant, unsure what to say. We have not seen either of them exhibit such careful introspection nor attempt to be so conciliatory before. But Demetrius’ renewal of love for Helena solves Theseus’ problem. He cannot confirm Egeus’ choice because Demetrius cannot (unlike Hermia) be compelled to marry against his will. So Egeus is over-ruled and the Athenian law has not been compromised. Bottom,on waking, experiences equal confusion, if not greater. Where the young lovers have no idea why their affections have altered so radically (and back, in Lysander’s case), Bottom has had sight of the fairy world, but will find it difficult now to believe. He attempts to put his “dream” in words but is unequal to the task, though he hopes Peter Quince may be able to turn it into a ballad. If the action of the scene is marked by waking, the language is marked by references to dreaming. Oberon suggests (line 70) that Bottom and the lovers will think of “this Night’s’s accidents” as “the fierce vexation of a dream”, while Titania wakes believing she has had “visions”. Lysander, speaking to Theseus thinks he is “half sleep, half waking”, Hermia thinks she is seeing double (a faithless and a faithful Lysander?) and has already dreamed of Lysander’s watching a serpent eat her heart away. Demetrius suggests they are still dreaming, but sees he must be awake when he realizes that the other three have seen and heard the same things as himself. Bottom’s soliloquy repeats the word “dream” six times and also refers to a “vision”. He does not attempt to describe what he has seen, suggesting that only a “patched fool” (that is, a jester or “professional” Fool) would attempt it. (A Fool of this kind would have the learning and wit indeed to explain the dream.) Saint Paul’s comment on spiritual gifts is called in evidence, but as usual Bottom assigns sense-experiences, not to the organs which experience them, but to others. He and Quince confuse sight and sound elsewhere (Quince in 3.1, 90; Bottom in 5.1, 188-9). This idea of the events in the wood as a dream, is continued in the next act: Hippolyta argues that the common elements in what the lovers say indicate that something odd occurred. Later, Puck, in speaking the epilogue will argue that the play is the audience’s, as much as the performers’, dream.