Act III - Scene II

[Another part of the wood]

Enter The King of Fairies [Oberon]

I wonder if Titania be awaked;
Then, what it was that next came in her eye,
Which she must dote on in extremity.

Enter Puck

Here comes my messenger.
How now, mad spirit!(5)
What night-rule now about this haunted grove?
My mistress with a monster is in love.
Near to her close and consecrated bower,
While she was in her dull and sleeping hour,
A crew of patches, rude mechanicals,(10)
That work for bread upon Athenian stalls,
Were met together to rehearse a play,
Intended for great Theseus' nuptial-day.
The shallowest thick-skin of that barren sort,
Who Pyramus presented, in their sport(15)
Forsook his scene and ent'red in a brake;
When I did him at this advantage take,
An ass's nole I fixed on his head.
Anon his Thisbe must be answered,
And forth my mimic comes. When they him spy,(20)
As wild geese that the creeping fowler eye,
Or russet-pated choughs, many in sort,
Rising and cawing at the gun's report,
Sever themselves and madly sweep the sky,
So, at his sight, away his fellows fly;(25)
And at our stamp here, o'er and o'er one falls;
He murder cries, and help from Athens calls.
Their sense thus weak, lost with their fears thus strong,
Made senseless things begin to do them wrong,
For briers and thorns at their apparel snatch;(30)
Some sleeves, some hats, from yielders all things catch.
I led them on in this distracted fear,
And left sweet Pyramus translated there;
When in that moment, so it came to pass,
Titania waked, and straightway loved an ass.(35)
This falls out better than I could devise.
But hast thou yet latch'd the Athenian's eyes
With the love-juice, as I did bid thee do?
I took him sleeping,—that is finish'd too,—
And the Athenian woman by his side;(40)
That, when he waked, of force she must be eyed.

Enter Demetrius and Hermia

Stand close; this is the same Athenian.
This is the woman, but not this the man.
O, why rebuke you him that loves you so?
Lay breath so bitter on your bitter foe.(45)
Now I but chide, but I should use thee worse,
For thou, I fear, hast given me cause to curse.
If thou hast slain Lysander in his sleep,
Being o'er shoes in blood, plunge in the deep,
And kill me too.(50)
The sun was not so true unto the day
As he to me. Would he have stolen away
From sleeping Hermia? I'll believe as soon
This whole earth may be bored, and that the moon
May through the centre creep and so displease(55)
Her brother's noontide with the Antipodes.
It cannot be but thou hast murder'd him;
So should a murderer look, so dead, so grim.
So should the murdered look; and so should I,
Pierced through the heart with your stern cruelty;(60)
Yet you, the murderer, look as bright, as clear,
As yonder Venus in her glimmering sphere.
What's this to my Lysander? Where is he?
Ah, good Demetrius, wilt thou give him me?
I had rather give his carcass to my hounds.(65)
Out, dog! out, cur! Thou drivest me past the bounds
Of maiden's patience. Hast thou slain him, then?
Henceforth be never number'd among men!
O, once tell true; tell true, even for my sake!
Durst thou have look'd upon him being awake,(70)
And hast thou kill'd him sleeping? O brave touch!
Could not a worm, an adder, do so much?
An adder did it; for with doubler tongue
Than thine, thou serpent, never adder stung.
You spend your passion on a misprised mood:(75)
I am not guilty of Lysander's blood;
Nor is he dead, for aught that I can tell.
I pray thee, tell me then that he is well.
An if I could, what should I get therefore?
A privilege, never to see me more.(80)
And from thy hated presence part I so;
See me no more, whether he be dead or no.


There is no following her in this fierce vein;
Here, therefore, for a while I will remain.
So sorrow's heaviness doth heavier grow(85)
For debt that bankrupt sleep doth sorrow owe;
Which now in some slight measure it will pay,
If for his tender here I make some stay.

Lie[s] down [and sleeps]

What hast thou done? Thou hast mistaken quite,
And laid the love-juice on some true-love's sight.(90)
Of thy misprision must perforce ensue
Some true love turn'd, and not a false turn'd true.
Then fate o'er-rules, that, one man holding troth,
A million fail, confounding oath on oath.
About the wood go swifter than the wind,(95)
And Helena of Athens look thou find;
All fancy-sick she is and pale of cheer,
With sighs of love that costs the fresh blood dear.
By some illusion see thou bring her here;
I'll charm his eyes against she do appear.(100)
I go, I go; look how I go,
Swifter than arrow from the Tartar's bow.


Flower of this purple dye,
Hit with Cupid's archery,
Sink in apple of his eye.(105)
When his love he doth espy,
Let her shine as gloriously
As the Venus of the sky.
When thou wakest, if she be by,
Beg of her for remedy.(110)

[Re-]enter Puck

Captain of our fairy band,
Helena is here at hand,
And the youth, mistook by me
Pleading for a lover's fee;
Shall we their fond pageant see?(115)
Lord, what fools these mortals be!
Stand aside. The noise they make
Will cause Demetrius to awake.
Then will two at once woo one.
That must needs be sport alone;(120)
And those things do best please me
That befall preposterously.

Enter Lysander and Helena

Why should you think that I should woo in scorn?
Scorn and derision never come in tears.
Look when I vow, I weep; and vows so born,(125)
In their nativity all truth appears.
How can these things in me seem scorn to you,
Bearing the badge of faith, to prove them true?
You do advance your cunning more and more.
When truth kills truth, O devilish-holy fray!(130)
These vows are Hermia's. Will you give her o'er?
Weigh oath with oath, and you will nothing weigh:
Your vows to her and me, put in two scales,
Will even weigh; and both as light as tales.
I had no judgment when to her I swore.(135)
Nor none, in my mind, now you give her o'er.
Demetrius loves her, and he loves not you.
(Awaking) O Helen, goddess, nymph, perfect,
To what, my love, shall I compare thine eyne?(140)
Crystal is muddy. O, how ripe in show
Thy lips, those kissing cherries, tempting grow!
That pure congealed white, high Taurus' snow,
Fann'd with the eastern wind, turns to a crow
When thou hold'st up thy hand. O, let me kiss(145)
This princess of pure white, this seal of bliss!
O spite! O hell! I see you all are bent
To set against me for your merriment.
If you were civil and knew courtesy,
You would not do me thus much injury.(150)
Can you not hate me, as I know you do,
But you must join in souls to mock me too?
If you were men, as men you are in show,
You would not use a gentle lady so:
To vow, and swear, and superpraise my parts,(155)
When I am sure you hate me with your hearts.
You both are rivals, and love Hermia;
And now both rivals, to mock Helena.
A trim exploit, a manly enterprise,
To conjure tears up in a poor maid's eyes(160)
With your derision! None of noble sort
Would so offend a virgin, and extort
A poor soul's patience, all to make you sport.
You are unkind, Demetrius; be not so;
For you love Hermia. This you know I know;(165)
And here, with all good will, with all my heart,
In Hermia's love I yield you up my part;
And yours of Helena to me bequeath,
Whom I do love and will do till my death.
Never did mockers waste more idle breath.(170)
Lysander, keep thy Hermia; I will none.
If e'er I loved her, all that love is gone.
My heart to her but as guest-wise so journ'd,
And now to Helen is it home return'd,
There to remain.(175)
Helen, it is not so.
Disparage not the faith thou dost not know,
Lest, to thy peril, thou aby it dear.
Look where thy love comes; yonder is thy dear.

Enter Hermia

Dark night, that from the eye his function takes,(180)
The ear more quick of apprehension makes;
Wherein it doth impair the seeing sense,
It pays the hearing double recompense.
Thou art not by mine eye, Lysander, found;
Mine ear, I thank it, brought me to thy sound.(185)
But why unkindly didst thou leave me so?
Why should he stay whom love doth press to go?
What love could press Lysander from my side?
Lysander's love, that would not let him bide,
Fair Helena, who more engilds the night(190)
Than all yon fiery oes and eyes of light.
Why seek'st thou me? Could not this make thee know,
The hate I bare thee made me leave thee so?
You speak not as you think; it cannot be.
Lo, she is one of this confederacy!(195)
Now I perceive they have conjoin'd all three
To fashion this false sport, in spite of me.
Injurious Hermia! most ungrateful maid!
Have you conspired, have you with these contrived,
To bait me with this foul derision?(200)
Is all the counsel that we two have shared,
The sisters' vows, the hours that we have spent,
When we have chid the hasty-footed time
For parting us,—O, is all forgot?
All school-days' friendship, childhood innocence?(205)
We, Hermia, like two artificial gods,
Have with our needles created both one flower,
Both on one sampler, sitting on one cushion,
Both warbling of one song, both in one key;
As if our hands, our sides, voices, and minds,(210)
Had been incorporate. So we grew together,
Like to a double cherry, seeming parted,
But yet an union in partition,
Two lovely berries moulded on one stem;
So, with two seeming bodies, but one heart;(215)
Two of the first, like coats in heraldry,
Due but to one, and crowned with one crest.
And will you rent our ancient love asunder,
To join with men in scorning your poor friend?
It is not friendly, 'tis not maidenly;(220)
Our sex, as well as I, may chide you for it,
Though I alone do feel the injury.
I am amazed at your passionate words;
I scorn you not; it seems that you scorn me.
Have you not set Lysander, as in scorn,(225)
To follow me and praise my eyes and face?
And made your other love, Demetrius,
Who even but now did spurn me with his foot,
To call me goddess, nymph, divine, and rare,
Precious, celestial? Wherefore speaks he this(230)
To her he hates? And wherefore doth Lysander
Deny your love, so rich within his soul,
And tender me, forsooth, affection,
But by your setting on, by your consent?
What though I be not so in grace as you,(235)
So hung upon with love, so fortunate,
But miserable most, to love unloved?
This you should pity rather than despise.
I understand not what you mean by this.
Ay, do, persever, counterfeit sad looks,(240)
Make mouths upon me when I turn my back,
Wink each at other; hold the sweet jest up;
This sport, well carried, shall be chronicled.
If you have any pity, grace, or manners,
You would not make me such an argument.(245)
But fare ye well; 'tis partly my own fault,
Which death, or absence, soon shall remedy.
Stay, gentle Helena; hear my excuse;
My love, my life, my soul, fair Helena!
O excellent!(250)
Sweet, do not scorn her so.
If she cannot entreat, I can compel.
Thou canst compel no more than she entreat;
Thy threats have no more strength than her weak prayers
Helen, I love thee, by my life, I do;(255)
I swear by that which I will lose for thee
To prove him false that says I love thee not.
I say I love thee more than he can do.
If thou say so, withdraw, and prove it too.
Quick, come.(260)
Lysander, whereto tends all this?
Away, you Ethiope!
No, no, he will
Seem to break loose—take on as you would follow,
But yet come not. You are a tame man; go!(265)
Hang off, thou cat, thou burr; vile thing, let loose,
Or I will shake thee from me like a serpent.
Why are you grown so rude? What change is this,
Sweet love?
Thy love! Out, tawny Tartar, out!(270)
Out, loathed medicine! O hated potion, hence!
Do you not jest?
Yes, sooth; and so do you.
Demetrius, I will keep my word with thee.
I would I had your bond; for I perceive(275)
A weak bond holds you; I'll not trust your word.
What, should I hurt her, strike her, kill her dead?
Although I hate her, I'll not harm her so.
What! Can you do me greater harm than hate?
Hate me! wherefore? O me! what news, my love?(280)
Am not I Hermia? Are not you Lysander?
I am as fair now as I was erewhile.
Since night you loved me; yet since night you left me.
Why then, you left me,—O, the gods forbid!—
In earnest, shall I say?(285)
Ay, by my life!
And never did desire to see thee more.
Therefore be out of hope, of question, of doubt;
Be certain, nothing truer; 'tis no jest
That I do hate thee and love Helena.(290)
O me! you juggler! you canker blossom!
You thief of love! What! Have you come by night,
And stolen my love's heart from him?
Fine, i' faith!
Have you no modesty, no maiden shame,(295)
No touch of bashfulness? What! Will you tear
Impatient answers from my gentle tongue?
Fie, fie! you counterfeit, you puppet you!
‘Puppet!’ why so? Ay, that way goes the game.
Now I perceive that she hath made compare(300)
Between our statures; she hath urged her height;
And with her personage, her tall personage,
Her height, forsooth, she hath prevail'd with him.
And are you grown so high in his esteem
Because I am so dwarfish and so low?(305)
How low am I, thou painted maypole? Speak.
How low am I? I am not yet so low
But that my nails can reach unto thine eyes.
I pray you, though you mock me, gentlemen,
Let her not hurt me. I was never curst;(310)
I have no gift at all in shrewishness;
I am a right maid for my cowardice;
Let her not strike me. You perhaps may think,
Because she is something lower than myself,
That I can match her.(315)
‘Lower’ hark, again.
Good Hermia, do not be so bitter with me.
I evermore did love you, Hermia,
Did ever keep your counsels, never wrong'd you;
Save that, in love unto Demetrius,(320)
I told him of your stealth unto this wood.
He followed you; for love I followed him;
But he hath chid me hence, and threatened me
To strike me, spurn me, nay, to kill me too;
And now, so you will let me quiet go,(325)
To Athens will I bear my folly back,
And follow you no further. Let me go.
You see how simple and how fond I am.
Why, get you gone! Who is't that hinders you?
A foolish heart that I leave here behind.(330)
What! with Lysander?
With Demetrius.
Be not afraid; she shall not harm thee, Helena.
No, sir, she shall not, though you take her part.
O, when she is angry, she is keen and shrewd;(335)
She was a vixen when she went to school;
And, though she be but little, she is fierce.
‘Little’ again! Nothing but ‘low’ and ‘little’!
Why will you suffer her to flout me thus?
Let me come to her.(340)
Get you gone, you dwarf;
You minimus, of hind'ring knot-grass made;
You bead, you acorn.
You are too officious
In her behalf that scorns your services.(345)
Let her alone; speak not of Helena;
Take not her part; for if thou dost intend
Never so little show of love to her,
Thou shalt aby it.
Now she holds me not.
Now follow, if thou darest, to try whose right,
Of thine or mine, is most in Helena.
Follow! Nay, I'll go with thee, cheek by jowl.

Exeunt Lysander and Demetrius

You, mistress, all this coil is 'long of you.
Nay, go not back.(355)
I will not trust you, I;
Nor longer stay in your curst company.
Your hands than mine are quicker for a fray;
My legs are longer though, to run away.


I am amazed, and know not what to say.(360)


This is thy negligence. Still thou mistakest,
Or else committ'st thy knaveries wilfully.
Believe me, king of shadows, I mistook.
Did not you tell me I should know the man
By the Athenian garments he had on?(365)
And so far blameless proves my enterprise,
That I have 'nointed an Athenian's eyes;
And so far am I glad it so did sort,
As this their jangling I esteem a sport.
Thou seest these lovers seek a place to fight.(370)
Hie therefore, Robin, overcast the night;
The starry welkin cover thou anon
With drooping fog as black as Acheron,
And lead these testy rivals so astray
As one come not within another's way.(375)
Like to Lysander sometime frame thy tongue,
Then stir Demetrius up with bitter wrong;
And sometime rail thou like Demetrius;
And from each other look thou lead them thus,
Till o'er their brows death-counterfeiting sleep(380)
With leaden legs and batty wings doth creep.
Then crush this herb into Lysander's eye;
Whose liquor hath this virtuous property,
To take from thence all error with his might
And make his eyeballs roll with wonted sight.(385)
When they next wake, all this derision
Shall seem a dream and fruitless vision;
And back to Athens shall the lovers wend,
With league whose date till death shall never end.
Whiles I in this affair do thee employ,(390)
I'll to my queen, and beg her Indian boy;
And then I will her charmed eye release
From monster's view, and all things shall be peace.
My fairy lord, this must be done with haste,
For night's swift dragons cut the clouds full fast;(395)
And yonder shines Aurora's harbinger,
At whose approach, ghosts, wandering here and there,
Troop home to churchyards. Damned spirits all
That in crossways and floods have burial,
Already to their wormy beds are gone,(400)
For fear lest day should look their shames upon;
They wilfully themselves exile from light,
And must for aye consort with black-brow'd night.
But we are spirits of another sort:
I with the morning's love have oft made sport;(405)
And, like a forester, the groves may tread
Even till the eastern gate, all fiery-red,
Opening on Neptune with fair blessed beams,
Turns into yellow gold his salt green streams.
But, notwithstanding, haste, make no delay;(410)
We may effect this business yet ere day.

[Exit Oberon]

Up and down, up and down,
I will lead them up and down.
I am fear'd in field and town.
Goblin, lead them up and down.(415)
Here comes one.

Enter Lysander [Lysander and Demetrius wander on stage as if in the dark.]

Where art thou, proud Demetrius? Speak thou now.
Here, villain, drawn and ready. Where art thou?
I will be with thee straight.
Follow me, then,(420)
To plainer ground.

Enter Demetrius

Lysander, speak again.
Thou runaway, thou coward, art thou fled?
Speak! In some bush? Where dost thou hide thy head?
Thou coward, art thou bragging to the stars,
Telling the bushes that thou look'st for wars,(425)
And wilt not come? Come, recreant, come, thou child;
I'll whip thee with a rod. He is defiled
That draws a sword on thee.
Yea, art thou there?
Follow my voice; we'll try no manhood here.(430)


[Re-enter Lysander]

He goes before me, and still dares me on;
When I come where he calls, then he is gone.
The villain is much lighter-heel'd than I.
I followed fast, but faster he did fly,

Shifting places

That fallen am I in dark uneven way,(435)
And here will rest me. Come, thou gentle day.

Lie[s] down

For if but once thou show me thy grey light,
I'll find Demetrius, and revenge this spite.


[Re]-enter [Puck] and Demetrius

Ho, ho, ho! Coward, why com'st thou not?
Abide me, if thou darest; for well I wot(440)
Thou runnest before me, shifting every place,
And darest not stand, nor look me in the face.
Where art thou now?
Come hither; I am here.
Nay, then, thou mock'st me. Thou shalt buy this(445)
If ever I thy face by daylight see;
Now, go thy way. Faintness constraineth me
To measure out my length on this cold bed.
By day's approach look to be visited.(450)

[Lies down and sleeps]

Enter Helena

O weary night, O long and tedious night,
Abate thy hours! Shine comforts from the east,
That I may back to Athens by daylight,
From these that my poor company detest.
And sleep, that sometimes shuts up sorrow's eye,(455)
Steal me awhile from mine own company.

[Lies down and] sleep[s]

Yet but three? Come one more;
Two of both kinds makes up four.
Here she comes, curst and sad.
Cupid is a knavish lad,(460)
Thus to make poor females mad.

Enter Hermia

Never so weary, never so in woe,
Bedabbled with the dew, and torn with briers,
I can no further crawl, no further go;
My legs can keep no pace with my desires.(465)
Here will I rest me till the break of day.
Heavens shield Lysander, if they mean a fray!

[Lies down and sleeps]

On the ground
Sleep sound;
I'll apply(470)
To your eye,
Gentle lover, remedy.

[Squeezing the juice on Lysander's eyes]

When thou wakest,
Thou takest
True delight(475)
In the sight
Of thy former lady's eye;
And the country proverb known,
That every man should take his own,
In your waking shall be shown:(480)
Jack shall have Jill;
Nought shall go ill;
The man shall have his mare again, and all shall be well.



  1. As mentioned earlier in Act II, scene ii, a “canker" is a kind of insect which eats through the blossoms of plants. More generally though, it can refer to something that destroys or makes bad things happen. The word "blossom" refers to plant blossoms, but the context here tells us that it means a “blossom of love.” Therefore, Hermia is calling Helena a destroyer of Hermia’s and Lysander’s blossoming love.

    — Wesley, Owl Eyes Editor
  2. Puck adheres to Oberon’s wishes and uses his magic to make sure that love between the four humans is in balance. Puck’s supernatural trickery further reveals itself here as he is able to speak as any character and make them fall asleep. Notice though, that rather than removing the effects of the love potion on Lysander himself, Oberon has Puck use the love potion again. This ensures that the love will happen rather than leaving anything up to chance, which further underscores Oberon’s role as playwright because of his preference for using plot devices like the love potion.

    — Wesley, Owl Eyes Editor
  3. Helena’s soliloquy demonstrates how she is very aware of the complexity of gender roles. By saying that the men are only men “in show” rather than in reality. Furthermore, she sarcastically calls their behavior “A trim exploit, a manly enterprise,” meaning that their behavior is manipulative and therefore not masculine. Also in this speech, Helena takes on the typical female-gender roles of “gentle lady” and “poor maid,” which is very different from her earlier desire to do away with gender roles so she can be the pursuer or wooer in a romantic relationship. By pointing out these divisions in masculine and feminine behavior, Helena reveals another part of how the supernatural forest influences the identities of the characters.

    — Wesley, Owl Eyes Editor
  4. Oberon’s hope that Titania would awaken to a “vile” being that she would fall in love with has been fulfilled. Titania’s object of affection is not only a “vile” human being but someone who is now actually part animal. Note that Puck presents this development in his usual singsong rhyme, reminding the viewer again that this is not meant to be a malicious plot, but a playful and light-hearted prank. Note too, that Puck’s perspective on the matter is distanced, much like a playwright or storyteller might be. Puck and Oberon are thus established as the creators of the plot that the audience is watching unfold, and Shakespeare further emphasizes the ways in which one can act as playwright in one’s own life and the lives of others.

    — Kayla, Owl Eyes Staff
  5. Now that Puck has attempted to correct his mistake, Helena is pursued by Lysander and Demetrius, throwing the situation into disarray. Her soliloquy here drastically points out distinctions between expected forms of behavior: She says that the men’s actions do her “injury” and “mock” her because, she claims, they are acting “in show” and “merriment.” While she does point out the falsehood of their actions, she cannot see that they are acting out the roles given them by the love potion. Her language furthermore supports the way that Oberon and Puck have played playwright in the tale by staging this romance.

    — Wesley, Owl Eyes Editor
  6. Oberon is upset at Puck because he discovers that Puck has applied the love potion to the wrong Athenian. Instead of giving it to Demetrius to bring forth true love and restore balance among the Athenians, he has created a false love in Lysander, which only wreaks more havoc. Oberon’s desire to restore balance by bringing forth true love demonstrates how love, while at times irrational and chaotic, can help to equalize imbalance.

    — Wesley, Owl Eyes Editor
  7. “Russet-pated” is a term that means reddish brown or red-haired. A chough is a bird of the crow family, often formerly referring to any of the small chattering birds, especially the Jackdaw.

    — Kayla, Owl Eyes Staff
  8. The rivalry between Lysander and Demetrius over Helena has escalated quickly, prompting the men to depart for a duel in the woods. Throughout the play characters have emphasized the many ways in which love can cause emotional distress, but here we see that love has the ability to cause physical pain and suffering as well. Shakespeare again highlights the potentially destructive side of love.

    — Kayla, Owl Eyes Staff
  9. Lysander, under the effects of the love juice, uses this racist insult, along with “Away, you Ethiope!”, to rebuke Hermia so he can continue expressing his love for Helena. At the time of writing, non-Europeans were considered undesirable, and Lysander’s insults focus on how Hermia has darker features, like her hair and skin color, than Helena does. The adjective “tawny” means that something has a light brown to brownish orange color.

    — Wesley, Owl Eyes Editor
  10. Neptune is the Roman god of freshwater and the sea. Neptune here refers to the sea itself, and Oberon is describing his love for the way the sun hits the water and changes its color from “salt green” to “gold.” After Puck claims the night is a kind of liberating time for fun and mischief, Oberon corrects him, saying that they are not dark and sinister creatures who only really come out at night. However, note that we rarely do see Oberon out during the day, and his mischievous plots take place in the night. Although Oberon may like to believe that he is very different from Puck, they, and all supernatural creatures, are actually quite similar in some ways.

    — Kayla, Owl Eyes Staff
  11. One of the definitions of a "confederacy" is a group of people united to commit an unlawful act, similar to a conspiracy. In this case, Helena is accusing Hermia of having joined Lysander and Demetrius in mocking Helena with false declarations of love.

    — Wesley, Owl Eyes Editor
  12. The Taurus Mountain range is located in Asia Minor, or today’s southern Turkey. The range is noted for its high peaks which are covered in snow year round. Since the mountains are so high and eternally white, Demetrius invokes them to emphasize Helena’s purity and virtue, like the snow on the mountains.

    — Wesley, Owl Eyes Editor
  13. “Welkin” is an archaic word for sky, and “Acheron” is a river located in the Epirus region of northwest Greece. In ancient Greek mythology, Acheron was believed to be one of the five rivers of the underworld, and Homer described it as the river of Hades in his epics. Oberon tells Puck “The starry welkin cover thou anon/With drooping fog as black as Acheron,” which means something like “Cover the sky with a fog that is as dark as hell.”

    — Kayla, Owl Eyes Staff
  14. As we can see from context, this word refers to the group of men, called clowns in the stage direction, who are practicing for their performance at Theseus and Hippolyta's wedding. The word “mechanicals” therefore refers to craftsmen or manual workers considering their professions.

    — Wesley, Owl Eyes Editor
  15. Puck's line is ironic because Puck's love potion, which made Lysander and Demetrius fall in love with Helena, is the reason these mortals are acting so foolish. Puck's obvious delight and sense of pride in the mischief he has created creates an interesting presentation of love within this romance. Puck seems to to hold these mortals in contempt because they becomes foolish and weak when they are in love. While most Shakespearian dramas and comedies trumpet the importance of love and relationships, Puck, one of the most memorable and beloved characters in this play, openly mocks love and denies its importance.

    — Caitlin, Owl Eyes Staff