Act V
[Athens. The palace of Theseus] |
Enter Theseus, Hippolyta, Philostrate, and Lords |
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Enter Lysander, Demetrius, Hermia, and Helena |
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[Giving a paper] |
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[Exit Philostrate] |
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[Re-enter Philostrate] |
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Flourish trumpets |
Enter [Quince as] the Prologue |
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Enter, with a trumpet before them, [as in dumb show,] [Bottom as] Pyramus and [Flute as] Thisbe, [Snout as] Wall, [Starveling as] Moonshine, and [Snug as] Lion |
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Exeunt all but Wall |
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Enter [Bottom as] Pyramus |
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Enter [Flute as] Thisbe |
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[Exeunt] |
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Enter Lion and Moonshine |
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[Re-]enter Thisbe |
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[The Lion tears Thisbe's mantle, and exits] |
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[Re-]enter [Bottom as] Pyramus |
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[Dies] |
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[Re-]enter [Flute as] Thisbe] |
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Exeunt |
Enter Puck [with a broom] |
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Enter [Oberon and Titania], with all their train |
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The Song |
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Exeunt [all but Puck] |
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[Exit] |
THE END |
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— Kayla, Owl Eyes Staff
Puck’s speech also alludes to the physical space of a theater. After A Midsummer Night’s Dream has ended, all will actually be silent, and the theatre will have to be cleaned and swept with a “broom.” Here, Puck essentially verifies that he has been helping Oberon to stage this play from the beginning. Shakespeare thus illustrates the ephemeral nature of theatre; the performance must eventually come to an end, at which point the theatre will return to the “hallow’d house” it was, awaiting the next performance.
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— Kayla, Owl Eyes Staff
Puck acts as it the play is actually real and promises to clean up anything that remains from the play. His speech here not only shows how all that has happened will soon fade into the past, but also that the play will leave its mark on the audience. This emphasis on the real and the unreal again highlights the potential of theatre: to find common ground between reality and the imaginary, wherein the actors, the characters, and the audience can all coexist.
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— Kayla, Owl Eyes Staff
Consider that although this speech is comical due to Snug’s silly assumption that the audience will be unable to distinguish reality from make believe, the characters of A Midsummer Night’s Dream have actually struggled to distinguish between the two throughout the play. Characters have doubted their experiences in the forest, unsure of whether they were real or simply very vivid dreams. So while Snug’s speech can seem ridiculous, it also underscores that the line between reality and illusion may not be quite so easily defined. Furthermore, Snug’s worries also highlight the real magic of good theatre—it has the incredible potential to feel real even while the audience knows that it is not.
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— Kayla, Owl Eyes Staff
Snug and the other laborers assume that the “ladies” in the audience will be frightened by his character, meaning that they will think he is an actual lion rather than a fictional one. Snug’s speech illustrates the way in which the actors constantly misunderstand the viewer’s experience of theatre. The scene is comical because the actors constantly “break the fourth wall” (address the audience directly, pulling them out of the fictional world of the play). No audience member would really believe that the Snug was really a lion; they know that they are watching a performance. His speech functions as an amusing breach of theatrical conventions.
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— Kayla, Owl Eyes Staff
The actors in Quince’s play have often worried that Theseus would not be able to see that they are actually acting, implying that they think themselves highly skilled actors. We know this is a silly concern, because the actors are actually quite terrible. Here, Theseus says that he is always able to see the real behind the act, and he extends the notion of acting into day-to-day life. Theseus suggests that people are essentially actors in their own lives, and that life is itself a play in a sense.
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— Wesley, Owl Eyes Editor
In yet another example of how badly the laborers are acting, Bottom breaks character to speak directly to Theseus because he is worried that his acting is so good that no one will be able to tell that he is just an actor playing Pyramus. This is ironic, of course, because the audience (meaning Theseus and the others) as well as Shakespeare’s audience know that they are watching a play and that there never was a risk of someone mistaking Bottom for actually being Pyramus.
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— Wesley, Owl Eyes Editor
The performance of the laborers parallels Shakespeare’s performance of the lovers in the woods with the fairies. Quince’s prologue provides the exposition and rhythm, and the audience (Theseus, et al) laugh at the performance much in the same way that the fairies laughed at the “performance” of the lovers in the forest. This parallel emphasizes the theme of play within a play.
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— Kayla, Owl Eyes Staff
Note also that Theseus contrasts “apprehend” and “comprehends,” further emphasizing the motif of perception by contending that what lunatics see is different from what the rational people with “cool reason” see. This illustrates how Theseus sees logic as more valuable and reliable than empirical knowledge. However consider that rationality was ultimately unsuccessful in resolving the lovers’ discord. Shakespeare thus highlights the limitations of Theseus’ mindset, implying that there is value in the perceptions and practices of the artist even if they seem irrational at times.
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— Wesley, Owl Eyes Editor
While the word government refers to an organization of people who create and enforce laws, Hippolyta uses it in a more general sense to say that the sounds are not harmonious, that they are not working together towards the same purpose.
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— Kayla, Owl Eyes Staff
Theseus insists that rather than experiencing something supernatural, love has merely caused the lovers to experience reality in an altered way, which he seems to suggest is natural. He compares “the lunatic, the lover, and the poet,” and states that these are all people whose perception of reality is fantastical. This line echoes a theme that we have seen throughout the play that love has the power to determine one’s perception, but the comparison of the poet to the lunatic is interesting. Shakespeare is a poet himself, and many characters in the play have functioned as playwrights and poets, documenting both the “real” and the “unreal” via art.
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— Wesley, Owl Eyes Editor
Bottom and Flute get the names of these two characters from Greek myth wrong. The story of Cephalus and his wife Procris as related in Ovid’s Metamorphoses has several versions, but generally the plot revolves around Cephalus’s accidental killing of his wife. It’s not a terribly romantic story of love, making its location here in the laborer’s play another example of how poorly written their script is.
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— Caitlin, Owl Eyes Staff
Dreams are a major motif throughout this play. The characters's fluctuation between sleeping and waking, forest and city, enchanted love and real love, plays with social boundaries that operated within Shakespeare's time period. Puck concludes this play by telling the audience to treat the play itself like a bad dream if they were offended by the content.