A Midsummer Night’s Dream

Though there is little character development in A Midsummer Night’s Dream and no true protagonist, critics generally point to Puck as the most important character in the play. The mischievous, quick-witted sprite sets many of the play’s events in motion with his magic, by means of both deliberate pranks on the human characters (transforming Bottom’s head into that of an ass) and unfortunate mistakes (smearing the love potion on Lysander’s eyelids instead of Demetrius’s).

More important, Puck’s capricious spirit, magical fancy, fun-loving humor, and lovely, evocative language permeate the atmosphere of the play. Wild contrasts, such as the implicit comparison between the rough, earthy craftsmen and the delicate, graceful fairies, dominate A Midsummer Night’s Dream. Puck seems to illustrate many of these contrasts within his own character: he is graceful but not so saccharine as the other fairies; as Oberon’s jester, he is given to a certain coarseness, which leads him to transform Bottom’s head into that of an ass merely for the sake of enjoyment. He is good-hearted but capable of cruel tricks. Finally, whereas most of the fairies are beautiful and ethereal, Puck is often portrayed as somewhat bizarre looking. Indeed, another fairy mentions that some call Puck a “hobgoblin,” a term whose connotations are decidedly less glamorous than those of “fairy” (II.i.40).

Whereas Puck’s humor is often mischievous and subtle, the comedy surrounding the overconfident weaver Nick Bottom is hilariously overt. The central figure in the subplot involving the craftsmen’s production of the Pyramus and Thisbe story, Bottom dominates his fellow actors with an extraordinary belief in his own abilities (he thinks he is perfect for every part in the play) and his comical incompetence (he is a terrible actor and frequently makes rhetorical and grammatical mistakes in his speech). The humor surrounding Bottom often stems from the fact that he is totally unaware of his own ridiculousness; his speeches are overdramatic and self-aggrandizing, and he seems to believe that everyone takes him as seriously as he does himself. This foolish self-importance reaches its pinnacle after Puck transforms Bottom’s head into that of an ass. When Titania, whose eyes have been anointed with a love potion, falls in love with the now ass-headed Bottom, he believes that the devotion of the beautiful, magical fairy queen is nothing out of the ordinary and that all of the trappings of her affection, including having servants attend him, are his proper due. His unawareness of the fact that his head has been transformed into that of an ass parallels his inability to perceive the absurdity of the idea that Titania could fall in love with him.

Although Puck and Bottom stand out as the most personable characters in A Midsummer Night’s Dream, they themselves are not involved in the main dramatic events. Of the other characters, Helena, the lovesick young woman desperately in love with Demetrius, is perhaps the most fully drawn. Among the quartet of Athenian lovers, Helena is the one who thinks most about the nature of love—which makes sense, given that at the beginning of the play she is left out of the love triangle involving Lysander, Hermia, and Demetrius. She says, “Love looks not with the eyes, but with the mind,” believing that Demetrius has built up a fantastic notion of Hermia’s beauty that prevents him from recognizing Helena’s own beauty (I.ii.134). Utterly faithful to Demetrius despite her recognition of his shortcomings, Helena sets out to win his love by telling him about the plan of Lysander and Hermia to elope into the forest. Once Helena enters the forest, many of her traits are drawn out by the confusion that the love potion engenders: compared to the other lovers, she is extremely unsure of herself, worrying about her appearance and believing that Lysander is mocking her when he declares his love for her.