Act 3 of A Midsummer Night Dream .
In Act 3 of William Shakespeare's A Midsummer Night's Dream, the play reaches a peak of
comedic confusion, primarily driven by the effects of the magical love potion administered
by Puck.
Scene 1:
The act opens with the group of amateur actors, the "rude mechanicals," rehearsing their
play within the forest. They are comically inept, and their rehearsal is full of humorous
mistakes. Puck, observing them, decides to play a prank. He magically transforms Bottom's
head into that of a donkey. The other actors, terrified by Bottom’s transformation, flee the
scene.
Titania, the queen of the fairies, is under the influence of the love potion, which Oberon had
instructed Puck to apply to her eyes. Upon awakening, she sees Bottom, transformed with a
donkey's head, and falls madly in love with him, as the potion dictates she must fall for the
first creature she sees.
Lines 1-15: The scene opens with the Mechanicals, a group of amateur actors, entering the
forest to rehearse their play, "Pyramus and Thisbe." Quince, the director, is concerned
about finding a place where they won't be disturbed and where they can rehearse in peace.
This sets the stage for the comedic chaos that follows.
Lines 16-39: Quince instructs the actors on how to deliver their lines and act naturally.
Bottom, who plays Pyramus, is overly confident and offers suggestions on how to improve
the play, showing his comedic arrogance. This foreshadows the humorous mishaps that
occur during the rehearsal.
Lines 40-58: Bottom expresses concern that the ladies in the audience might be frightened
by the violence in their play, particularly the scene where Pyramus kills himself. He
suggests a prologue to assure the audience that no harm is actually being done. This is an
example of dramatic irony, as the Mechanicals are unaware of the true nature of theater.
Lines 59-80: The actors discuss how to handle the presence of a lion in the play, worrying
that it might scare the audience. They decide to have the actor playing the lion, Snug, reveal
his identity to the audience to prevent any fear. This adds to the comedic element of the
scene, as their lack of understanding of theatrical conventions is evident.
Lines 81-108: As they continue to rehearse, Puck, a mischievous fairy, enters unseen by
the actors. Puck is amused by their clumsy attempts at acting and decides to play a trick on
them. This introduces the magical element to the scene and sets up Bottom's
transformation.
Lines 109-126: Puck transforms Bottom's head into that of a donkey. The other actors are
terrified and flee, leaving Bottom alone on stage. This transformation is a key comedic
moment, as Bottom is initially unaware of what has happened to him.
Lines 127-145: Bottom, confused by his friends' reactions, believes they are trying to
frighten him. He decides to sing to show he's not afraid. His singing attracts the attention of
Titania, the fairy queen, who has been enchanted by Oberon to fall in love with the first
creature she sees upon waking.
Lines 146-169: Titania awakens and, under the spell, immediately falls in love with
Bottom, despite his donkey head. Her declaration of love is filled with poetic imagery,
contrasting with Bottom's comical appearance. This juxtaposition heightens the humor and
absurdity of the situation.
Lines 170-200: Titania orders her fairy attendants to care for Bottom and grant his every
wish. Bottom, enjoying the attention, revels in his newfound status, unaware of the
enchantment. This further develops the theme of transformation and illusion present
throughout the play.
Lines 201-224: The scene ends with Bottom being led away by Titania and her fairies. The
audience is left with the comedic image of Bottom, now a beloved figure in the fairy realm,
as the play continues to explore themes of love, identity, and the blurring of reality and
fantasy.
Scene 2:
The lovers' confusion continues to escalate in the forest. Puck mistakenly applied the
potion to Lysander instead of Demetrius, causing Lysander to fall in love with Helena and
abandon Hermia. Oberon, realizing the mistake, instructs Puck to fix the situation by
applying the potion to Demetrius as well. As a result, both Lysander and Demetrius are now
in love with Helena, leaving Hermia bewildered and distraught.
Helena believes that the two men are mocking her, as she cannot comprehend why they
would both suddenly declare their love for her. The situation leads to a confrontation
between Hermia and Helena, and the two men nearly come to blows over Helena. Puck is
ordered by Oberon to create a dense fog and mimic the voices of the lovers to separate
them and lead them astray until they fall asleep.
Lines 1-2:
"Then will two at once woo one; / That must needs be sport alone."
These lines reflect Puck's mischievous delight in the confusion he has caused. He is amused
by the idea of two people wooing one person simultaneously, seeing it as entertainment.
Lines 15-18:
"This is the woman, but not this the man."
Oberon realizes that Puck has made a mistake and has enchanted the wrong Athenian man.
This is crucial because it sets the stage for the further chaos that unfolds as a result of
Puck's error.
Lines 40-42:
"Thou hast mistaken quite / And laid the love juice on some true-love's sight: / Of thy
misprision must perforce ensue / Some true love turn'd and not a false turn'd true."
Oberon scolds Puck for his mistake, pointing out that instead of fixing a false love, Puck's
actions have disrupted a true love. This highlights the theme of mistaken identity and the
complexity of love.
Lines 90-98:
"O Helen, goddess, nymph, perfect, divine! / To what, my love, shall I compare thine eyne?"
Lysander, under the influence of the love potion, praises Helena extravagantly. This sudden
shift in affection is comical and ironic, as just moments before, he was in love with Hermia.
It's an example of the capriciousness of love under magical influence.
Lines 123-127:
"You juggler! you canker-blossom! / You thief of love! what, have you come by night / And
stolen my love's heart from him?"
Hermia accuses Helena of stealing Lysander's love. The language here is filled with anger
and betrayal, showcasing the tension and misunderstanding caused by the enchantment.
Lines 145-148:
"I am amazed at your passionate words. / I scorn you not: it seems that you scorn me."
Helena is bewildered by Hermia's accusations and denies any wrongdoing. This adds to the
dramatic irony, as the audience knows that the confusion is due to Puck's mistake, not any
intentional deceit by Helena.
Lines 200-210:
"Be certain, nothing truer; 'tis no jest / That I do hate thee and love Helena."
Lysander bluntly tells Hermia that he hates her and loves Helena. The starkness of his
words underscores the absurdity of the situation, as he is completely under the spell's
influence.
Lines 268-270:
"Lord, what fools these mortals be!"
Puck's famous line reflects his amusement at the chaos among the humans. It captures the
essence of the play's comedic exploration of love's irrationality and folly.
Lines 366-368:
"Jack shall have Jill; / Nought shall go ill; / The man shall have his mare again, and all shall
be well."
Puck reassures that despite the confusion, everything will be resolved. This promise of
harmony is a key theme, as the play ultimately seeks to restore order and balance.
This scene is rich in comedic elements and highlights the chaos that can ensue from
misunderstandings and magical interference in love. Shakespeare uses this confusion to
explore themes of love, identity, and the fine line between reality and illusion.
Themes in Act 3
1. Love and Transformation: One of the central themes in Act 3 is the transformative
power of love, often portrayed as irrational and unpredictable. This is most vividly
illustrated through the use of the love potion, which causes characters to fall in love
with the first creature they see upon waking. The potion leads to comedic chaos,
particularly in the confusion between the lovers—Lysander, Hermia, Demetrius, and
Helena. Shakespeare uses dramatic irony here, as the audience is aware of Puck’s
mistake in administering the potion, which the characters are not. This creates a
humorous situation where love is shown to be a fickle and transformative force,
subject to the whims of magic rather than reason.
2. Reality and Illusion: Act 3 also delves into the blurred lines between reality and
illusion. The enchanted forest serves as a setting where the normal rules of reality do
not apply. The transformation of Bottom, who is given the head of an ass, exemplifies
this theme. Titania’s enchantment to fall in love with Bottom further emphasizes the
absurdity and illusionary nature of love under the influence of magic. Shakespeare
uses visual and situational comedy to highlight how easily perception can be altered,
questioning the nature of reality itself.
3. Order and Chaos: The act is characterized by a descent into chaos, as the orderly
world of Athens contrasts with the disorderly happenings in the forest. The
misapplication of the love potion by Puck results in a comedic mix-up among the
lovers, showcasing how quickly order can give way to chaos. Shakespeare employs the
motif of the forest as a place of wildness and unpredictability, where societal norms
are upended. The chaos reaches its peak when all the lovers are in disarray, leading to
a physical comedy that underscores the theme.
Shakespeare’s use of language and dramatic devices, such as mistaken identity, magic, and
transformation, effectively convey these themes. Through witty dialogue, comedic
misunderstandings, and enchanting settings, Act 3 of A Midsummer Night's Dream brings to
light the complexities of love, the fluidity of perception, and the delicate balance between
order and chaos.
