1. Act 5, Scene 1

2. What is his view on the lovers’ story?
HIPPOLYTA: 'Tis strange my Theseus, that these lovers speak of.
THESEUS: More strange than true: I never may believe These antique fables, nor these fairy toys. Lovers and madmen have such seething brains, Such shaping fantasies, that apprehend More than cool reason ever comprehends. The lunatic, the lover and the poet Are of imagination all compact: One sees more devils than vast hell can hold, That is, the madman: the lover, all as frantic, Sees Helen's beauty in a brow of Egypt: The poet's eye, in fine frenzy rolling, Doth glance from heaven to earth, from earth to heaven; And as imagination bodies forth The forms of things unknown, the poet's pen Turns them to shapes and gives to airy nothing A local habitation and a name. Such tricks hath strong imagination, That if it would but apprehend some joy, It comprehends some bringer of that joy; Or in the night, imagining some fear, How easy is a bush supposed a bear!
AO2: How does Theseus’ speech address the theme of imagination and reality?
What is his view on the lovers’ story?

3. Irony – Theseus himself is a character from an ‘antique fable’
HIPPOLYTA: 'Tis strange my Theseus, that these lovers speak of.
THESEUS: More strange than true: I never may believe These antique fables, nor these fairy toys. Lovers and madmen have such seething brains, Such shaping fantasies, that apprehend More than cool reason ever comprehends. The lunatic, the lover and the poet Are of imagination all compact: One sees more devils than vast hell can hold, That is, the madman: the lover, all as frantic, Sees Helen's beauty in a brow of Egypt: The poet's eye, in fine frenzy rolling, Doth glance from heaven to earth, from earth to heaven; And as imagination bodies forth The forms of things unknown, the poet's pen Turns them to shapes and gives to airy nothing A local habitation and a name. Such tricks hath strong imagination, That if it would but apprehend some joy, It comprehends some bringer of that joy; Or in the night, imagining some fear, How easy is a bush supposed a bear!
Is he dismissive of the fairies here?
Reason cannot comprehend fantasy
Link between lunacy, love, and poetry = imagination. The lunatic’s imagination causes him to hallucinate; the lover’s to see beauty where others do not; the poet’s (where ‘poet’ is all writers, including dramatists) to invent. He acknowledges the illogic of love and the power of imagination. Does he use it to dismiss the lovers’ tales and experiences?
Imagination belongs to the night; reason to the day

4. Is Theseus’ opinion on the power of imagination undermined by the fact that he himself is a figment of imagination? He is, after all, a character in a play, and is reliant on the imagination of the audience accepting him in his role.
‘transfiguration’ – Christ’s transfiguration was when his divinity was revealed; this word implies the lovers have been improved by their experiences. Does ‘constancy’ suggest their love is now constant and true?
HIPPOLYTA: But all the story of the night told over, And all their minds transfigured so together, More witnesseth than fancy's images And grows to something of great constancy; But, howsoever, strange and admirable.
THESEUS: Here come the lovers, full of joy and mirth.
Enter LYSANDER, DEMETRIUS, HERMIA, and HELENA
Joy, gentle friends! joy and fresh days of love Accompany your hearts!
Hippolyta points out that the lovers’ stories have something more than “fancy’s images” – something “strange and admirable” but constant. The audience know this to be true. What happened in the woods was more than “airy nothing”.
Her husband gives her no reply.
Theseus moves his attention to the happiness and joy of marriage. “Joy /joy!” is reminiscent of wedding bells.

5. “Say, what abridgement have you for this evening. / What masque
“Say, what abridgement have you for this evening?/ What masque? what music? How shall we beguile/ The lazy time, if not with some delight?”
Inappropriate because:
theme of violence
presented by a eunuch
Theseus himself took part in this battle, disrupting a wedding feast
'The battle with the Centaurs, to be sung By an Athenian eunuch to the harp.'
Inappropriate because:
theme of violence
'The riot of the tipsy Bacchanals, Tearing the Thracian singer in their rage.'
Inappropriate because:
theme of poverty and death
“mourning”
'The thrice three Muses mourning for the death Of Learning, late deceased in beggary.'
Pyramus and Thisbe seems ridiculous but actually fits the themes of the play – “how shall we find the concord of this discord?”
'A tedious brief scene of young Pyramus And his love Thisbe; very tragical mirth.'

6. How does this affect our view of Theseus and Hippolyta?
THESEUS: I will hear that play; For never anything can be amiss, When simpleness and duty tender it. Go, bring them in: and take your places, ladies.
Exit PHILOSTRATE
HIPPOLYTA: I love not to see wretchedness o'er charged And duty in his service perishing.
THESEUS: Why, gentle sweet, you shall see no such thing.
Intentions matter most
She does not want to see the mechanicals humiliated
How does this affect our view of Theseus and Hippolyta?
Do they seem more united and ‘constant’?

7. How is this generous attitude undermined by what follows?
HIPPOLYTA: He says they can do nothing in this kind.
THESEUS: The kinder we, to give them thanks for nothing. Our sport shall be to take what they mistake: And what poor duty cannot do, noble respect Takes it in might, not merit. Where I have come, great clerks have purposed To greet me with premeditated welcomes; Where I have seen them shiver and look pale, Make periods in the midst of sentences, Throttle their practised accent in their fears And in conclusion dumbly have broke off, Not paying me a welcome. Trust me, sweet, Out of this silence yet I pick'd a welcome; And in the modesty of fearful duty I read as much as from the rattling tongue Of saucy and audacious eloquence. Love, therefore, and tongue-tied simplicity In least speak most, to my capacity.
effort, not value
How is this generous attitude undermined by what follows?
Is it?

8. AO4: it was a common complaint of dramatists in Shakespeare’s time that some upper class members of the audience liked to show off by making loudly patronising and offensive comments about the performance that they were watching. Ben Jonson called them ‘fastidious impertinents’.

9. Theseus, Lysander, Demetrius, and even Hippolyta, make sarcastic comments throughout the play. Moonshine, in particular, seems to have his contribution ruined (Hippolyta: “I am aweary of this moon. Would he would change.”) and abandons his lines entirely (“All that I have to say is..”)
Bottom takes the chance to show his mettle and boldly steps out of role to address the comments, explaining- in as patronising a manner as their own- what the nobles should be appreciating.
N.B. Hermia and Helena do not interrupt.

10. Pyramus and Thisbe
Pyramus and Thisbe is a version of what might have happened to Hermia and Lysander. Is this why Hermia and Helena do not criticise it? Or is it simply that it would be impolite of them as women to join in with the men and Duchess?
AO3: Performance
For the humour of the play to be communicated, it must be acted ‘badly’. It is “a masterpiece of incompetence” (York notes).

11. Quince’s poor delivery of the prologue is indicated by the punctuation of his speech, which alters its meaning considerably.
This is sometimes performed as a consequence of severe stage fright, making the comments of the nobles even crueller.
Prologue: If we offend, it is with our good will. That you should think, we come not to offend, But with good will. To show our simple skill, That is the true beginning of our end. Consider then we come but in despite. We do not come as minding to contest you, Our true intent is. All for your delight We are not here. That you should here repent you, The actors are at hand and by their show You shall know all that you are like to know.
THESEUS: This fellow doth not stand upon points.
LYSANDER: He hath rid his prologue like a rough colt; he knows not the stop. A good moral, my lord: it is not enough to speak, but to speak true.
Punctuation/ detail

12. Ill-used alliteration
Gentles, perchance you wonder at this show; But wonder on, till truth make all things plain. This man is Pyramus, if you would know; This beauteous lady Thisby is certain. This man, with lime and rough-cast, doth present Wall, that vile Wall which did these lovers sunder; And through Wall's chink, poor souls, they are content To whisper. At the which let no man wonder. This man, with lanthorn, dog, and bush of thorn, Presenteth Moonshine; for, if you will know, By moonshine did these lovers think no scorn To meet at Ninus' tomb, there, there to woo. This grisly beast, which Lion hight by name, The trusty Thisby, coming first by night, Did scare away, or rather did affright; And, as she fled, her mantle she did fall, Which Lion vile with bloody mouth did stain. Anon comes Pyramus, sweet youth and tall, And finds his trusty Thisby's mantle slain: Whereat, with blade, with bloody blameful blade, He bravely broach'd is boiling bloody breast; And Thisby, tarrying in mulberry shade, His dagger drew, and died. For all the rest, Let Lion, Moonshine, Wall, and lovers twain At large discourse, while here they do remain.
A ‘padded line’ – Quince lacks skill in verse so has to ‘pad out’ his lines to make them fit the metre
Ill-used alliteration
Quince’s verse is unable to contain the high emotions he wishes it to express. Is this a parody of some contemporary forms of drama which lacked the craft and skill of Shakespeare himself? Or was it just done for humour?
It certainly seems intended to show what happens when rhetorical devices and rhyme are used without skill or sensitivity.

13. Wall:
In this same interlude it doth befall That I, one Snout by name, present a wall; And such a wall, as I would have you think, That had in it a crannied hole or chink, Through which the lovers, Pyramus and Thisby, Did whisper often very secretly. This loam, this rough-cast and this stone doth show That I am that same wall; the truth is so: And this the cranny is, right and sinister, Through which the fearful lovers are to whisper.
Weak rhymes
AO3: The presentation of ‘wall’ is often a source of great humour. His references (echoed by Pyramus) to ‘stone’ and ‘cranny’ can be interpreted quite lewdly, especially as the lovers attempt to communicate – and kiss! – ‘through’ him.

14. This must be hammed up in performance.
Pyramus: O grim-look'd night! O night with hue so black! O night, which ever art when day is not! O night, O night! alack, alack, alack, I fear my Thisby's promise is forgot! And thou, O wall, O sweet, O lovely wall, That stand'st between her father's ground and mine! Thou wall, O wall, O sweet and lovely wall, Show me thy chink, to blink through with mine eyne!
Wall holds up his fingers
Thanks, courteous wall: Jove shield thee well for this! But what see I? No Thisby do I see. O wicked wall, through whom I see no bliss! Cursed be thy stones for thus deceiving me!
“O!” = melodrama
This must be hammed up in performance.
Cf. with Helena’s “O weary night!” in the last act.

15. Crude references (can be amplified in performance)
THESEUS: The wall, methinks, being sensible, should curse again.
Pyramus: No, in truth, sir, he should not. 'Deceiving me' is Thisby's cue: she is to enter now, and I am to spy her through the wall. You shall see, it will fall pat as I told you. Yonder she comes.
Bottom shows courage here; he responds to the comments of the nobles rather than ignoring them.
Thisbe: O wall, full often hast thou heard my moans, For parting my fair Pyramus and me! My cherry lips have often kiss'd thy stones, Thy stones with lime and hair knit up in thee.
Pyramus: I see a voice: now will I to the chink, To spy an I can hear my Thisby's face. Thisby!
Thisbe: My love thou art, my love I think.
Pyramus: Think what thou wilt, I am thy lover's grace; And, like Limander, am I trusty still.
Thisbe: And I like Helen, till the Fates me kill.
Crude references (can be amplified in performance)
See also: crude use of stichomythia – cf. lovers’ earlier use
Garbled references to mythology: the correct couples are Leander and Hero; Cephalus and Procris
Pyramus: Not Shafalus to Procrus was so true.
Thisbe: As Shafalus to Procrus, I to you.
Pyramus: O kiss me through the hole of this vile wall!

16. Theme: imagination and acting
HIPPOLYTA: This is the silliest stuff that ever I heard.
THESEUS: The best in this kind are but shadows; and the worst are no worse, if imagination amend them.
HIPPOLYTA: It must be your imagination then, and not theirs.
Theme: imagination and acting
These comments highlight the need for the audience’s imagination, if theatre is to work.
Link to earlier reference to ‘shadows’ and Puck’s use in the upcoming epilogue

17. “Beshrew my heart, but I pity the man”
Pyramus: Sweet Moon, I thank thee for thy sunny beams; I thank thee, Moon, for shining now so bright; For, by thy gracious, golden, glittering gleams, I trust to take of truest Thisby sight. But stay, O spite! But mark, poor knight, What dreadful dole is here! Eyes, do you see? How can it be? O dainty duck! O dear! Thy mantle good, What, stain'd with blood! Approach, ye Furies fell! O Fates, come, come, Cut thread and thrum; Quail, crush, conclude, and quell!
A typically over-blown performance from Bottom:
over-use of “O!”
ill-used alliteration
the usual mix-ups
“Beshrew my heart, but I pity the man”
- unexpected?

18. ‘pap’ – usually used to refer to women
Pyramus: O wherefore, Nature, didst thou lions frame? Since lion vile hath here deflower'd my dear: Which is--no, no--which was the fairest dame That lived, that loved, that liked, that look'd with cheer. Come, tears, confound; Out, sword, and wound The pap of Pyramus; Ay, that left pap, Where heart doth hop:
Stabs himself
Thus die I, thus, thus, thus. Now am I dead, Now am I fled; My soul is in the sky: Tongue, lose thy light; Moon take thy flight:
Exit Moonshine
Now die, die, die, die, die.
Dies
devoured
‘pap’ – usually used to refer to women
Extravagant repetition

19. Ill-used alliteration
Thisbe:
Asleep, my love? What, dead, my dove? O Pyramus, arise! Speak, speak. Quite dumb? Dead, dead? A tomb Must cover thy sweet eyes. These My lips, This cherry nose, These yellow cowslip cheeks, Are gone, are gone: Lovers, make moan: His eyes were green as leeks. O Sisters Three, Come, come to me, With hands as pale as milk; Lay them in gore, Since you have shore With shears his thread of silk. Tongue, not a word: Come, trusty sword; Come, blade, my breast imbrue:
Stabs herself
And, farewell, friends; Thus Thisby ends: Adieu, adieu, adieu.
Dies
Shakespeare’s skill is obvious here: the short lines speed up the rhythm of the scene and emphasise the rhymes; the rhymes show the errors in language which undermine the emotion of the scene – however, remember the way this was acted in the film? Performance can change everything!
Ill-used alliteration
AO4: A remark in Edward Sharpham’s play The Fleire, from the 1600s, seems to refer to Shakespeare’s original production of this scene. When Thisbe came to kill herself, she was unable to find Pyramus’ sword and instead stabbed herself to death with the scabbard. Is this how Shakespeare directed it?

20. A dance
What does this symbolise?

21. Theseus:
The iron tongue of midnight hath told twelve: Lovers, to bed; 'tis almost fairy time. I fear we shall out-sleep the coming morn As much as we this night have overwatch'd. This palpable-gross play hath well beguiled The heavy gait of night. Sweet friends, to bed. A fortnight hold we this solemnity, In nightly revels and new jollity.
[Exeunt]
Is this a joke at the lovers’ expense or does he really believe the fairies are on their way? Either way, this comment gives the audience a sense of anticipation for the final scenes of the play.
Compare this to 1.i: “Pomp, triumph and revelling”.
In a reversal of Act 4 Scene 1, as Theseus and Hippolyta leave the stage, Oberon and Titania enter. Think again about the symmetry between these couples, even if they are not performed by the same actors.

22. Now the hungry lion roars, And the wolf behowls the moon; Whilst the heavy ploughman snores, All with weary task fordone. Now the wasted brands do glow, Whilst the screech-owl, screeching loud, Puts the wretch that lies in woe In remembrance of a shroud. Now it is the time of night That the graves all gaping wide, Every one lets forth his sprite, In the church-way paths to glide: And we fairies, that do run By the triple Hecate's team, From the presence of the sun, Following darkness like a dream, Now are frolic: not a mouse Shall disturb this hallow'd house: I am sent with broom before, To sweep the dust behind the door.
Puck’s imagery is dark and ghostly, but will soon be set aside in favour of the reassuring, domestic imagery of fireplaces and beds. It does, however, remind us of the darkness and mystery of the fairy world (versus rational daylight).
Does this sum up the atmosphere of the play?
Symbolises bringing of peace

23. Oberon, Titania and Puck speak in tetrameter couplets, fitting their role of magical spirits.
OBERON: Through the house give gathering light, By the dead and drowsy fire: Every elf and fairy sprite Hop as light as bird from brier; And this ditty, after me, Sing, and dance it trippingly.
TITANIA: First, rehearse your song by rote To each word a warbling note: Hand in hand, with fairy grace, Will we sing, and bless this place.
Song and dance
The imagery is light and reflects the harmony and joy of the ending.
“Song and dance” both symbolise this unity, in the fairy and human worlds.

24. Now, until the break of day, Through this house each fairy stray
Now, until the break of day, Through this house each fairy stray. To the best bride-bed will we, Which by us shall blessed be; And the issue there create Ever shall be fortunate. So shall all the couples three Ever true in loving be; And the blots of Nature's hand Shall not in their issue stand; Never mole, hare lip, nor scar, Nor mark prodigious, such as are Despised in nativity, Shall upon their children be. With this field-dew consecrate, Every fairy take his gait; And each several chamber bless, Through this palace, with sweet peace; And the owner of it blest Ever shall in safety rest. Trip away; make no stay; Meet me all by break of day.
1. The children from the start of the play have become adults, and will have children of their own
2. These children will be blemish-free and perfect, being blessed by the fairies – compare this with ‘Queen Mab’ from Romeo and Juliet. These are “spirits of a different sort”.

25. The epilogue: “If we shadows have offended...”
Cf. earlier mentions – Puck brings them together here. They are ‘shadows’ as actors and as fairies.
If we shadows have offended, Think but this, and all is mended, That you have but slumber'd here While these visions did appear. And this weak and idle theme, No more yielding but a dream, Gentles, do not reprehend: if you pardon, we will mend: And, as I am an honest Puck, If we have unearned luck Now to 'scape the serpent's tongue, We will make amends ere long; Else the Puck a liar call; So, good night unto you all. Give me your hands, if we be friends, And Robin shall restore amends.
AO2: What is the purpose of these references to sleep and dreams?
AO3: Read your handout on these final scenes. Do you agree with what is said?
Hissing versus applause – accepted theatrical conventions for audience response

26. The epilogue: “If we shadows have offended...”
If we shadows have offended, Think but this, and all is mended, That you have but slumber'd here While these visions did appear. And this weak and idle theme, No more yielding but a dream, Gentles, do not reprehend: if you pardon, we will mend: And, as I am an honest Puck, If we have unearned luck Now to 'scape the serpent's tongue, We will make amends ere long; Else the Puck a liar call; So, good night unto you all. Give me your hands, if we be friends, And Robin shall restore amends.
AO2: Puck’s speech – directly aimed at the audience – removes the illusion of theatre and switches our attention from the events on stage to the relationship between play and audience. It invites us to decide how we will assess ‘A Midsummer Night’s Dream’. Is our experience of it as idle as a dream, or is it something more substantial?
AO4: In Peter Brook’s production, the house lights were turned on for the final speech and the actors took “give me your hands” as a cue to make their way out through the audience, shaking hands as they went.