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84 pages 2 hours read

A Midsummer Night's Dream

Fiction | Play | Adult | Published in 1595

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Act IIIChapter Summaries & Analyses

Act III, Scene 1 Summary

Quince, Bottom, and the other aspiring actors gather in the woods to practice their play. They know that their audience will consist mostly of nobles, aristocrats, and other important people of Athens, so they consider whether they should adjust the more humorous or rude sections of the play to account for the delicate feelings of any female spectators. Bottom in particular insists on changing parts of the play. He is worried that the death by suicide of Pyramus and the roar of the lion will overwhelm any women present, potentially leading to the actors’ execution. The actors decide to include a long, rambling prologue to explain to the audience that the play is not real. They also decide to clarify the play’s nighttime setting and to have one of their members play the wall that separates Pyramus and Thisbe while another plays the moonlight.

Puck arrives and watches the actors rehearse. He is astonished by their inability to act. As he watches, Bottom stumbles to the side of the clearing and vanishes out of sight of the other actors. Puck seizes his moment and uses his magic to turn Bottom’s head into that of a donkey. Bottom stumbles back to his fellow actors. The monstrous sight terrifies them, and they scatter into the woods. Puck is pleased with the mischief he has caused. He gleefully chases after the actors while Bottom stays behind, still confused as to what has happened.

At the same moment, Titania wakes up nearby. The first creature she sees is Bottom. The magical spell takes effect, and she falls in love with the confused, donkey-headed man. Titania speaks to Bottom and insists that he stay with her in the forest. She assigns him a group of fairies to carry out all his wishes. Bottom, who still does not realize that he has the head of a donkey, introduces himself to his new cohort of fairies. Titania leads Bottom into the forest. 

Act III, Scene 2 Summary

Elsewhere in the forest, Puck meets with Oberon. Puck admits that the plan with Titania has proceeded in an unexpected fashion and that she is now in love with Bottom. Oberon is amused and believes that his plan is unfolding just as he intended.

Hermia appears. After she lost Lysander, she came across Demetrius in the forest. Her arrival surprises Puck, who expected her to be with Lysander, upon whom he placed the magic spell. Oberon is equally shocked, as he expected Puck to cast his spell on a different couple. Oberon realizes the mistake and declares that he and Puck will solve the problem. Meanwhile, Hermia quizzes Demetrius about the location of Lysander. She is worried that Lysander may be dead, but Demetrius knows nothing. Hermia’s constant questions about Lysander make Demetrius bitter; he is angry that she would rather be with Lysander than with him. As Hermia grows increasingly frustrated, Demetrius decides that he will achieve nothing by following her. She leaves, and he lies down on the ground to sleep.

Oberon dispatches Puck to locate Helena and places the magical flower juice on Demetrius’s eyes. Puck returns quickly and announces that Helena is about to arrive. Helena enters with Lysander trailing behind her. Lysander is still declaring his love for Helena, and she still believes that he is mocking her. Their argument rouses Demetrius from his sleep. When he opens his eyes, he sees Helena and instantly falls in love. Demetrius and Lysander surround Helena, both insisting that they love her. They argue with one another about who loves her the most. Helena now believes that both men are mocking her.

Hermia returns to the clearing. She is surprised and horrified to learn that Lysander is now in love with Helena. Helena is equally shocked and accuses Hermia of being involved in an elaborate joke at her expense. She criticizes her friend for taking their friendship lightly. Lysander and Demetrius want to fight one another to demonstrate their love for Helena. As they struggle, Hermia tries to restrain Lysander. He insults her, taking Hermia aback. She speculates that Helena has somehow used her height to steal Lysander away. Hermia turns her anger toward Helena and threatens to hurt her. Helena is scared, but both Demetrius and Lysander offer her their protection. Before they can agree on how to protect her, they become angry with one another. They challenge each other to a duel and leave to prepare. Helena flees while Hermia, still shocked by what has happened, also exits.

After witnessing the strange scene, Oberon orders Puck to stop the duel between Demetrius and Lysander. He insists that they resolve the confusion they have created by the morning. Puck flies after the lovesick humans, flinging insults at them and mimicking their voices. His mockery confuses Lysander and Demetrius, who become incredibly lost and unable to duel. 

Act III, Scene 3 Summary

Some time later, the four young lovers wander aimlessly back into the forest clearing. They lie down on the ground and fall asleep. Puck returns, this time placing the love potion on Lysander’s eyes. He hopes that by the morning everything will return to normal.

Act III Analysis

The narrative of A Midsummer Night’s Dream escalates throughout the first three acts. Act I introduces the characters, Act II complicates their situation, and Act III turns these complicated situations into pure farce. The young nobles, the fairies, and the aspiring actors are all tangled up in absurd situations that reflect their delusions. The foremost example of this is the laborers and their desire to perform for the royal wedding. They want to act, but they are bad actors. Bottom, as the most delusional of all, has his head transformed into that of a donkey—an “ass”—making his thick-headedness literal and causing him to appear as outwardly ridiculous as his inward delusion. This straightforward, literal approach to delusion also informs the comic literalism of the laborers, who assign people to play a wall and moonlight. Their belief in the literal and the obvious puts them in danger in the chaotic, abstract, and dreamlike world of the fairies.

Despite the incongruity of the laborers and the world of magic, Bottom quickly familiarizes himself with the fairies. His delusion is so strong that he does not question Titania’s sudden romantic devotion. Her love seems a natural occurrence to Bottom, whose deluded self-importance allows him to believe that a fairy queen is obviously in love with a talented, intelligent man like him. By contrast, Titania’s delusion is magically induced, and her love for Bottom operates across the two groups most diametrically opposed to one another: the laborers and the fairies. The contrast between the earthy, clumsy, literal Bottom and the magical, whimsical, chaotic Titania creates an added degree of comedy through juxtaposition—particularly the visual spectacle of the beautiful fairy queen stroking the head of the monstrous donkey-headed man. The romance between Titania and Bottom portrays the contrast between the order of the Athenian world and the chaotic world of the fairies at its most extreme and absurd. 

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