Summary: Act IV, scene ii
At Quince’s house, the craftsmen sit somberly and worry about their missing friend Bottom. Having last seen him shortly before the appearance of the ass-headed monster in the forest, the craftsmen worry that he has been felled by this terrifying creature. Starveling suspects that the fairies have cast some enchantment on Bottom. Flute asks whether they will go through with the play if Bottom does not return from the woods, and Peter Quince declares that to do so would be impossible, as Bottom is the only man in Athens capable of portraying Pyramus. The sad craftsmen agree that their friend is the wittiest, most intelligent, and best person in all of Athens.
Snug enters with an alarming piece of news: Theseus has been married, along with “two or three lords and ladies” (presumably Lysander, Hermia, Demetrius, and Helena), and the newlyweds are eager to see a play (IV.ii.16). Flute laments Bottom’s absence, noting that Bottom would certainly have won a great deal of money from the admiring duke for his portrayal of Pyramus.
Just then, Bottom bursts triumphantly into the room and asks why everyone looks so sad. The men are overjoyed to see him, and he declares that he has an amazing story to tell them about his adventure in the forest. Quince asks to hear it, but Bottom says that there is no time: they must don their costumes and go straight to the duke’s palace to perform their play. As they leave, Bottom tells them not to eat onions or garlic before the play, as they must be prepared to “utter sweet breath” (IV.ii.36).Read a translation of Act IV, scene ii →
This brief comic scene returns the focus of the play to the subplot of the Athenian craftsmen. Structurally, Act IV, scene ii represents something of a new beginning for A Midsummer Night’s Dream: the main conflict of the play has been resolved, but rather than ending with the weddings of the lovers, as is customary in an Elizabethan comedy (the weddings do not even occur onstage here), Shakespeare chooses to include an extended epilogue devoted to sheer comedy. The epilogue takes up all of Act V and centers around the craftsmen’s performance of Pyramus and Thisbe for the Athenian crowd. Act IV, scene ii transfers the focus of the play from magic and unbalanced love to a play-within-a-play, in which the themes of A Midsummer Night’s Dream, not too heavy to begin with, are recycled into a form so ridiculous and garbled that the play draws to a wholly untroubled conclusion.
Though the preceding events of A Midsummer Night’s Dream have been far from tragic, many of the characters have experienced unpleasant emotions, such as jealousy, lovesickness, and insecurity. Act IV, scene ii makes a basic transition from sadness to joy as Bottom’s return transforms his fellow craftsmen’s sorrow and confusion into delight and eagerness. It is no coincidence that Bottom’s reappearance occurs almost simultaneously with the audience being told that the lovers have been married. Just as the marriages dispel the romantic angst of the play, so does Bottom’s return dispel the worry of his comrades. Similarly, the arrival in the forest of Theseus and Hippolyta, representatives of order, coincides with the Athenian lovers’ waking from their chaotic, dreamlike romp of the previous night.
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