Summary: Act III, scene i

The craftsmen meet in the woods at the appointed time to rehearse their play. Since they will be performing in front of a large group of nobles (and since they have an exaggerated sense of the delicacy of noble ladies), Bottom declares that certain elements of the play must be changed. He fears that Pyramus’s suicide and the lion’s roaring will frighten the ladies and lead to the actors’ executions. The other men share Bottom’s concern, and they decide to write a prologue explaining that the lion is not really a lion nor the sword really a sword and assuring the ladies that no one will really die. They decide also that, to clarify the fact that the story takes place at night and that Pyramus and Thisbe are separated by a wall, one man must play the wall and another the moonlight by carrying a bush and a lantern.

As the craftsmen rehearse, Puck enters and marvels at the scene of the “hempen homespuns” trying to act (III.i.65). When Bottom steps aside, temporarily out of view of the other craftsmen, Puck transforms Bottom’s head into that of an ass. When the ass-headed Bottom reenters the scene, the other men become terrified and run for their lives. Delighting in the mischief, Puck chases after them. Bottom, perplexed, remains behind.

In the same grove, the sleeping Titania wakes. When she sees Bottom, the flower juice on her eyelids works its magic, and she falls deeply and instantly in love with the ass-headed weaver. She insists that he remain with her, embraces him, and appoints a group of fairies—Peaseblossom, Cobweb, Mote, and Mustardseed—to see to his every wish. Bottom takes these events in stride, having no notion that his head has been replaced with that of an ass. He comments that his friends have acted like asses in leaving him, and he introduces himself to the fairies. Titania looks on him with undisguised love as he follows her to her forest bower.

Read a translation of Act III, scene i


The structure of A Midsummer Night’s Dream is roughly such that Act I introduces the main characters and the conflict; Act II sets up the interaction among the Athenian lovers, the fairies, and the craftsmen (the lovers wander through the forest, the fairies make mischief with the love potion); and Act III develops the comical possibilities of these interactions. As Act III is the first act in which all three groups appear, the fantastic contrasts between them are at their most visible.

Read more about how these contrasting characters help to shape the tone.

The craftsmen’s attempt at drama is a comedy of incongruity, as the rough, unsophisticated men demonstrate their utter inability to conceive a competent theatrical production. Their proposal to let the audience know that it is night by having a character play the role of Moonshine exemplifies their straightforward, literal manner of thinking and their lack of regard for subtlety. In their earthy and practical natures, the craftsmen stand in stark contrast to the airy and impish fairies.

Read more about the craftsmen’s play as one of the play’s symbols.

The fairies’ magic is one of the main components of the dreamlike atmosphere of A Midsummer Night’s Dream, and it is integral to the plot’s progression. It throws love increasingly out of balance and brings the farce into its most frenzied state. With the youths’ love tangle already affected by the potion, Shakespeare creates further havoc by generating a romance across groups, as Titania falls in love with the ass-headed Bottom. Obviously, the delicate fairy queen is dramatically unsuited to the clumsy, monstrous craftsman. Shakespeare develops this romance with fantastic aplomb and heightens the comedy of the incongruity by making Bottom fully unaware of his transformed state. Rather, Bottom is so self-confident that he finds it fairly unremarkable that the beautiful fairy queen should wish desperately to become his lover. Further, his ironic reference to his colleagues as asses and his hunger for hay emphasize the ridiculousness of his lofty self-estimation.

Read more about Bottom’s transformation in this part of the play.