Summary: Act I, scene ii
In another part of Athens, far from Theseus’s palace, a group of common laborers meets at the house of Peter Quince to rehearse a play that the men hope to perform for the grand celebration preceding the wedding of Theseus and Hippolyta. Quince, a carpenter, tries to conduct the meeting, but the talkative weaver Nick Bottom continually interrupts him with advice and direction. Quince tells the group what play they are to perform: The Most Lamentable Comedy and Most Cruel Death of Pyramus and Thisbe, which tells the story of two lovers, separated by their parents’ feud, who speak to each other at night through a hole in a wall. In the play, a lion surprises Thisbe one night and tatters her mantle before she escapes. When Pyramus finds the shredded garment, he assumes that the lion has killed Thisbe; stricken with grief, he commits suicide. When Thisbe finds Pyramus’s bloody corpse, she too commits suicide. Quince assigns their parts: Bottom is to play Pyramus; Francis Flute, Thisbe; Robin Starveling, Thisbe’s mother; Tom Snout, Pyramus’s father; Quince himself, Thisbe’s father; and Snug, the lion.
As Quince doles out the parts, Bottom often interrupts, announcing that he should be the one to play the assigned part. He says that his ability to speak in a woman’s voice would make him a wonderful Thisbe and that his ability to roar would make him a wonderful lion. Quince eventually convinces him that Pyramus is the part for him, by virtue of the fact that Pyramus is supposed to be very handsome. Snug worries that he will be unable to learn the lion’s part, but Quince reassures him that it will be very easy to learn, since the lion speaks no words and only growls and roars. This worries the craftsmen, who reason that if the lion frightens any of the noble ladies in the audience, they will all be executed; since they are only common laborers, they do not want to risk upsetting powerful people. Bottom says that he could roar as sweetly as a nightingale so as not to frighten anyone, but Quince again convinces him that he can only play Pyramus. The group disperses, agreeing to meet in the woods the following night to rehearse their play.Read a translation of Act I, scene ii →
The most important motif in A Midsummer Night’s Dream, and one of the most important literary techniques Shakespeare uses throughout the play, is that of contrast. The three main groups of characters are all vastly different from one another, and the styles, moods, and structures of their respective subplots also differ. It is by incorporating these contrasting realms into a single story that Shakespeare creates the play’s dreamlike atmosphere. Almost diametrically opposite the beautiful, serious, and love-struck young nobles are the clumsy, ridiculous, and deeply confused craftsmen, around whom many of the play’s most comical scenes are centered.
Where the young lovers are graceful and well spoken—almost comically well suited to their roles as melodramatically passionate youths—the craftsmen often fumble their words and could not be less well suited for acting. This disjunction reveals itself as it becomes readily apparent that the craftsmen have no idea how to put on a dramatic production: their speeches are full of impossible ideas and mistakes (Bottom, for example, claims that he will roar “as gently / as any sucking dove”); their concerns about their parts are absurd (Flute does not want to play Thisbe because he is growing a beard); and their extended discussion about whether they will be executed if the lion’s roaring frightens the ladies further evidences the fact that their primary concern is with themselves, not their art (II.i.67–68).
The fact that the workmen have chosen to perform the Pyramus and Thisbe story, a Babylonian myth familiar to Shakespeare’s audiences from Ovid’s Metamorphoses, only heightens the comedy. The story of Pyramus and Thisbe is highly dramatic, with suicides and tragically wasted love (themes that Shakespeare takes up in Romeo and Juliet as well). Badly suited to their task and inexperienced, although endlessly well meaning, the craftsmen are sympathetic figures even when the audience laughs at them—a fact made explicit in Act V, when Theseus makes fun of their play even as he honors their effort. The contrast between the serious nature of the play and the bumbling foolishness of the craftsmen makes the endeavor all the more ridiculous. Further, the actors’ botched telling of the youthful love between Pyramus and Thisbe implicitly mocks the melodramatic love tangle of Hermia, Helena, Demetrius, and Lysander.
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