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Act 1, scene 1
Quotes
But earthlier happy is the rose distilled Than that which, withering on the virgin thorn, Grows, lives, and dies in single blessedness. (76)
Related Characters:Theseus (speaker), Hermia
Related Themes:
Page Number and Citation:
1.1.78-80
Explanation and Analysis:
Hermia asks Theseus what her options will be if she does not marry Demetrius. He explains that the only alternatives are to become a nun or to be put to death but recommends that she elect marriage. This quote displays the high value in the play placed on romantic love and on marriage. Theseus uses the image of “the rose” to stand for Hermia, and more generally for young women. To be “distilled” may mean literally to be purified and condensed into a single essence, but symbolically it means for her to select a single lover on whom to bestow Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laboriosam. Eum accusamus harum. Accusantium iusto voluptas. Totam quae corpori
She, sweet lady, dotes, Devoutly dotes, dotes in idolatry, Upon this spotted and inconstant man. (109)
Related Characters:Lysander (speaker), Helena
Related Themes:
Page Number and Citation:
1.1.110-112
Explanation and Analysis:
Lysander speaks up and begins to defend his right to marry Hermia. He observes that Demetrius first won the favor Hermia’s friend Helena and is therefore a fickle lover. To make his case, Lysander places Helena’s piousness in opposition with Demetrius’ capricious nature. In just two lines he says the word “dotes” three times to refer to Helena, each time with greater gusto. First, the verb is left unmodified; then he appends the adverb “devoutly” to underline the extent of Helena’s commitment; and finally he adds “in idolatry” to cast her behavior as entirely subservient. Demetrius, in contrast, is “spotted Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laboriosam. Eum accusamus harum. Accusantium iusto voluptas. Totam quae corporis. Impedit non ut. I
Ay me, for aught that I could ever read, Could ever hear by tale or history, The course of true love never did run smooth. (132)
Related Characters:Lysander (speaker)
Related Themes:
Page Number and Citation:
1.1.134-136
Explanation and Analysis:
Hermia and Lysander discuss their troubling situation in the aftermath of the confrontation with Theseus. Lysander observes that their predicament is not unusual, for it is characteristic of troubles faced by other lovers throughout history. Lysander speaks in a grandiose tone that claims understanding of a wide range of context. “Ay me” expresses a strong sense of woe, while “for aught” is an emphatic expression that in contemporary English would be similar to “for all” or “in all.” Lysander is thus referring to the sum total of narratives with which he has come into contact. He considers both written and Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia so
Through Athens I am thought as fair as she. But what of that? Demetrius thinks not so. He will not know what all but he do know. And as he errs, doting on Hermia's eyes, So I, admiring of his qualities. Things base and vile, holding no quantity, Love can transpose to form and dignity. Love looks not with the eyes, but with the mind, And therefore is winged Cupid painted blind. (227)
Related Characters:Helena (speaker), Hermia, Demetrius
Related Themes:
Page Number and Citation:
1.1.233-241
Explanation and Analysis:
After Hermia and Lysander leave to elope, Helena gives this moving soliloquy. She notes that love causes people to see incorrectly and act irrationally. To make this point, Helena first compares two supposedly objective features: her beauty and Hermia’s. She reasons that if so many people “thought [her] as fair” as Hermia, then Demetrius’ perspective must be warped. He “errs” because he incorrectly favors Hermia though nothing about her would seem superior to Helena. Helena then applies the same type of criticism back on herself: Just as Demetrius’ assessment of Hermia’s physical beauty is marred by his love, so is Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laboriosam. Eum accusamus harum. Accusantium iusto voluptas. Totam quae corporis. Impedit non ut. Incidunt rerum es
That will ask some tears in the true performing of it. If I do it, let the audience look to their eyes. I will move storms. I will condole in some measure.—To the rest.—Yet my chief humor is for a tyrant. I could play Ercles rarely, or a part to tear a cat in to make all split. The raging rocks And shivering shocks Shall break the locks Of prison gates. And Phoebus' car Shall shine from far And make and mar The foolish Fates. This was lofty!—Now name the rest of the players.—This is Ercles' vein, a tyrant's vein. A lover is more condoling. (12)
Related Characters:Nick Bottom (speaker)
Related Themes:
Page Number and Citation:
1.2.23-39
Explanation and Analysis:
A set of fellow novice actors discuss their upcoming play Pyramus and Thisbe. One of them, Bottom, pompously describes his acting talents and presents a short monologue to back up that claim. Though the tone of this passage is difficult to capture in text alone, Bottom and his fellow actors are meant to be ridiculously comic, bumbling characters. His pronouncements are overly ornate and self-aggrandizing: He claims to be able to provide the “tears” desired by audience members, but also to “move storms” or physically change the environment. Despite his profession as a weaver, he claims to have a natural Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum
Either I mistake your shape and making quite, You are that shrewd and knavish sprite Called Robin Goodfellow. (19)
Related Characters:Robin Goodfellow (Puck)
Related Themes:
Page Number and Citation:
2.1.33-35
Explanation and Analysis:
The setting of the play shifts from the human center of Athens to the mystical forest. There, a fairy encounters another figure and inquires about his identity. Though this passage might seem to be a perfunctory interaction between two characters, it also develops important themes relating to deception and identity. The fairy, for instance, introduces recognition by way of mis-recognition: The line “mistake your shape and making quite” serves as an odd and inverted greeting. When the fairy does seek to identity Robin, he begins not with his name but with a description of how he is “shrewd and knavish”—both Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consecte
We cannot fight for love, as men may do; We should be wooed and were not made to woo. I'll follow thee and make a heaven of hell, to die upon the hand I love so well. (226)
Related Characters:Helena (speaker), Demetrius
Related Themes:
Page Number and Citation:
2.1.248-251
Explanation and Analysis:
Helena has followed Demetrius into the woods and continues to profess her affection. She reflects on how this behavior is not in line with traditional social norms, for such pursuits are normally the realm of men, not women. This passage shows how Helena is entrapped by traditional gender roles even as she tries to reject them. She describes, poignantly, how her active pursuit of Demetrius is something only “men may do.” And the term “fight” casts the pursuit of love in military terms, reiterating how it is a traditionally masculine enterprise. Shes describes the roles as being strictly divided between Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beat
I know a bank where the wild thyme blows, Where oxlips and the nodding violet grows Quite over-canopied with luscious woodbine, With sweet musk-roses, and with eglantine: There sleeps Titania some time of the night, Lull'd in these flowers with dances and delight; And there the snake throws her enamell'd skin, Weed wide enough to wrap a fairy in. (235)
Related Characters:Oberon (speaker), Titania
Related Symbols:The Love Juice
Related Themes:
Page Number and Citation:
2.1.257-264
Explanation and Analysis:
After watching Helena and Demetrius’ interaction, Oberon plots how to resolve their conflict at the same time as playing his prank on Titania. He describes to Puck his plan to make use of a flower that makes people fall in love. Oberon’s language here is lush and evocative. He references a variety of different exotic plants at the site where the potion will be found, describing a scene of splendor and vibrance. Forming the speech from sets of rhyming couplets renders it deeply entrancing—thus foreshadowing the way the flowers’ juice will bewitch the lovers. (Note how the eloquence of Oberon’s Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eli
When thou wakest, it is thy dear: Wake when some vile thing is near. (22)
Related Characters:Oberon (speaker), Titania
Related Symbols:The Love Juice
Related Themes:
Page Number and Citation:
2.2.39-40
Explanation and Analysis:
Oberon has snuck past Titania’s attendants as she sleeps. He places the love potion on her eyes and hopes she will spy something unpleasant when she wakes up. These lines describe succinctly the way the love potion will affect Titania. Whatever she sees when she stops sleeping will be her “dear”: the thing she loves the most. And thus Oberon hopes that what she spies will be “vile,” causing her to fall in love with some odious being. By rhyming “dear” with “near,” he draws attention to the way that Titania’s love will be predicated on proximity rather than real Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asp
When in that moment, so it came to pass, Titania waked and straightway loved an ass. (33)
Related Characters:Robin Goodfellow (Puck) (speaker), Nick Bottom, Titania
Related Symbols:The Love Juice
Related Themes:
Page Number and Citation:
3.2.35-36
Explanation and Analysis:
The first being that Titania sees when she awakes is a bewitched Bottom who now has the head of a donkey. Puck explains those events to Oberon with what might be best described as delighted glee. These lines fulfill Oberon’s earlier hope that Titania would spy something “vile” when she awoke. Indeed, his wish seems to have been fulfilled far beyond his hopes. For she has fallen in love not only with a “vile” human but actually a partial animal: an “ass” both in name (Bottom) and body. That Puck conveys this information with his characteristic singsong tone presents it Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Q
Related Characters:Robin Goodfellow (Puck) (speaker), Hermia, Helena, Lysander, Demetrius
Related Themes:
Page Number and Citation:
3.2.117
Explanation and Analysis:
Puck has just seen Helena being pursued by Lysander—and both are about to enter the stage with Demetrius. He correctly expects that the two will compete for her love and looks forward to the show. This line corroborates the way Puck sees himself as a theater director for the events that transpire—as opposed to a character directly involved in the narrative. Describing the other characters as “mortals” sets up a clear divide between the supernatural forest creatures and the normal humans. And considering them to be “fools” places them in a position of subservience: They are following the pre-designed games Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perfe
O spite! O hell! I see you all are bent To set against me for your merriment: If you we re civil and knew courtesy, You would not do me thus much injury. Can you not hate me, as I know you do, But you must join in souls to mock me too? If you were men, as men you are in show, You would not use a gentle lady so; To vow, and swear, and superpraise my parts, When I am sure you hate me with your hearts. You both are rivals, and love Hermia; And now both rivals, to mock Helena: A trim exploit, a manly enterprise, To conjure tears up in a poor maid's eyes With your derision! none of noble sort Would so offend a virgin, and extort A poor soul's patience, all to make you sport. (147)
Related Characters:Helena (speaker), Hermia, Lysander, Demetrius
Related Themes:
Page Number and Citation:
3.2.148-164
Explanation and Analysis:
Helena is now being pursued by Lysander and Demetrius after they have both been bewitched by the love potion. Believing that they are making fun of her, Helena spurns their advances and scolds them for this behavior. This soliloquy makes a sharp distinction between courteous and uncourteous forms of behavior. Helena considers Lysander and Demetrius’ actions to do her “injury” and “mock” her because, she believes, their behaviors do not accurately represent how they feel. To support this point, Shakespeare uses the language of performance and play: The men act from “merriment,” they act “in show,” and it is all Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laboriosam. Eum accusamus harum. Accusantium iusto voluptas. Totam quae corporis. Impedit non ut. Incidunt rerum est. Aperiam doloremque eum. Animi soluta perspiciatis. Ut minima autem. Modi omnis iure. Sint qui qui. Qui similique praesentium. Ex consequatur magnam. Aliquid iste enim. Sequi aut maxime. Adipisci voluptate et. Voluptas suscipit alias. In et eveniet. Eaque et repellendus. Dolores aut voluptatibus. Voluptatem qui voluptatum. Voluptatibus sed placeat. Aut tenetur autem. Fugit voluptates in. Quidem impedit sunt. Exc
May all to Athens back again repair And think no more of this night's accidents But as the fierce vexation of a dream. (50)
Related Characters:Oberon (speaker), Hermia, Helena, Lysander, Demetrius
Related Themes:
Page Number and Citation:
4.1.68-70
Explanation and Analysis:
Oberon at last feels pity for the way he has treated Titania and the other characters. He informs Puck to finish undoing his mischief and to allow the characters to depart the forest. These lines verify the sharp division between the play’s urban and forest settings. Whereas the forest is seen as the place of fantasy and magic, the city promises a return to normalcy. Oberon’s use of the word “repair” stresses how the character's return to Athens will restore order to the broken relations and return to normal any behaviors made strange by the forest. His strict delineation between Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laboriosam. Eum accusamus haru
I know you two are rival enemies: How comes this gentle concord in the world, That hatred is so far from jealousy, To sleep by hate, and fear no enmity? (129)
Related Characters:Theseus (speaker), Lysander, Demetrius
Related Themes:
Page Number and Citation:
4.1.148-151
Explanation and Analysis:
Theseus has stumbled upon Lysander and Demetrius sleeping by each other. He wonders how their proximity is possible considering how they had previously battled for Hermia’s favor. These lines return to the question of shifting identities, for Lysander and Demetrius’ current behaviors are highly surprising in light of their previous ones. Theseus begins with the firm affirmation “I know” and then wonders how their deviation—“gentle concord”—from his knowledge of their rivalry would be possible. He wonders how the “jealousy” that they feel of each other would not inspire “hatred,” for presumably if they did indeed hate each other they would Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laboriosa
I have had a most rare vision. I have had a dream past the wit of man to say what dream it was. Man is but an ass if he go about t'expound this dream. Methought I was—there is no man can tell what. Methought I was, and methought I had—but man is but a patched fool if he will offer to say what methought I had. The eye of man hath not heard, the ear of man hath not seen, man's hand is not able to taste, his tongue to conceive, nor his heart to report what my dream was. I will get Peter Quince to write a ballad of this dream. It shall be called 'Bottom's Dream', because it hath no bottom. (Bottom)
Related Characters:Nick Bottom (speaker), Peter Quince
Related Themes:
Page Number and Citation:
4.1.215-226
Explanation and Analysis:
After the other characters have left, Bottom finally wakes. He can recall the events of the previous night, but considers them to be a dream. Although Bottom tries to explain the content of his dream, the majority of his description actually points out how inarticulable he finds his experience. That it is “past the wit of man” implies that it cannot be understood by human intelligence, and indeed he contends that a man would have to be “but an ass” and “but a patched fool” (both of which Bottom actually was during the night) if he believed he could describe Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laboriosam. Eum accusamus harum. Accusantium iusto voluptas. Totam quae corporis. Impedit non ut. Incidunt rerum est. Aperiam doloremque eum. Animi
More strange than true. I never may believe These antique fables nor these fairy toys. Lovers and madmen have such seething brains, Such shaping fantasies, that apprehend More than cool reason ever comprehends. The lunatic, the lover, and the poet Are of imagination all compact. (2)
Related Characters:Theseus (speaker)
Related Themes:
Page Number and Citation:
5.1.208
Explanation and Analysis:
The lovers have recounted their tale to Theseus and Hippolyte. While Hippolyte is sympathetic to the story, Theseus believes it to be entirely fantastical, with no basis in reality. His explanation for their stories does not rely on magic or other forms of supernatural possibility. Instead, he contends that it is natural for the addled brains of lovers to experience reality in a warped way. He places in parallel first “lovers and madmen” and then “the lunatic, the lover, and the poet,” contending that each sees the world in fantastical terms that have little to do with reality. Indeed, the Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laboriosam. Eum ac
You, ladies, you whose gentle hearts do fear The smallest monstrous mouse that creeps on floor, May now perchance both quake and tremble here, When lion rough in wildest rage doth roar. Then know that I, as Snug the joiner, am A lion fell, nor else no lion's dam. For if I should as lion come in strife Into this place, 'twere pity on my life. (209)
Related Characters:Snug (speaker), Snug
Related Themes:
Page Number and Citation:
5.1.232-240
Explanation and Analysis:
The laborers perform their farcical version of Pyramus and Thisbe, much to the enjoyment of the other characters. Here, Snug enters playing the lion and reassures everyone that he isn't really a lion because he's worried he might scare the audience. Snug’s speech epitomizes how the actors comically misinterpret the way audiences experience theatre. The laborers assume that others are unable to differentiate between theatrical lions and real lions – between what is real and what is pretend. As a result, Snug assumes the “ladies” present will fear his representation of a lion simply because they would fear a real Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laboriosam. Eum accusamus h
Not a mouse Shall disturb this hallow'd house: I am sent with broom before, To sweep the dust behind the door. (297)
Related Characters:Robin Goodfellow (Puck) (speaker)
Related Themes:
Page Number and Citation:
5.1.404-407
Explanation and Analysis:
As the play draws to a close, Puck enters alone and reflects on its denouement. He avows to leave behind a tranquil environment.Earlier, Snug mistakenly worried that the audience of his play would mistake it for real. Here, Puck acts as if the play in fact is real and promises to sweep up after it andscrupulously clean the space of anything from the play that remains. Puck thus reiterates both how all that has occurred will soon fade into the past and be "unreal" to the audience that watched the play, but also that the play will leave remnants behind Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempo
If we shadows have offended, Think but this, and all is mended, That you have but slumbered here While these visions did appear. And this weak and idle theme, No more yielding but a dream, Gentles, do not reprehend, If you pardon, we will mend. And, as I am an honest Puck, If we have unearned luck Now to 'scape the serpent's tongue, We will make amends ere long, Else the Puck a liar call. So, goodnight unto you all. Give me your hands, if we be friends, And Robin shall restore amends. (430)
Related Characters:Robin Goodfellow (Puck) (speaker)
Related Themes:
Page Number and Citation:
5.1.440-
Explanation and Analysis:
Puck is left alone on the stage at the play’s end to address the audience directly. He recommends that they think of what has transpired as a dream. This final monologue verifies the parallels that have been made between the performance of theater and the experience of a dream. Puck likens the actions to “visions” and trivializes the action by describing it as a “weak and idle theme”—as something that would appear ephemerally, in one’s dream. In that case, it would be easy to “mend” any offense because the consequences of that offense would be non-existent. Puck insists on his Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore l