21 Acts IV-V

ActS IV-V

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Methought I was…~~~~~~~~~~~~~~~~~~~~~~~~~~~ Complete the diagram below. In each box, write the name of a character who wakes up in Act IV. Then, in the space provided, summarize that character’s reactions to what happened during the night.

Character Reaction

~~~~~~~~~~~~~~~~~~~~The Lunatic, the Lover, and the Poet~~~~~~~~~~~~~~~~~ Look over the conversation between Theseus and Hippolyta after they have heard the fantastic tales of their guests’ dreams the night before and answer the questions below.

Theseus: More strange than true. I never may believe Hippolyta: But all the story of the night told over, These antique fables, nor these fairy toys. And all their minds transfigured so Lovers and madmen have such seething brains, together, Such shaping fantasies, that apprehend More witnesseth than fancy’s images More than cool reason ever comprehends. And grows to something of great The lunatic, the lover, and the poet constancy, Are of imagination all compact. But, howsoever, strange and One sees more devils than vast hell can hold: admirable. That is the madman. The lover, all as frantic, Sees Helen’s beauty in a brow of Egypt. The poet’s eye, in a fine frenzy rolling, Doth glance from heaven to Earth, from Earth to heaven, And as imagination bodies forth The forms of things unknown, the poet’s pen Turns them to shapes and gives to airy nothing A local habitation and a name. Such tricks hath strong imagination That, if it would but apprehend some joy, It comprehends some bringer of that joy. Or in the night, imagining some fear, How easy is a bush supposed a bear!

1. According to Theseus, what is it that the lover, madman, and poet have in common?

2. Paraphrase the main ideas located in the highlighted lines above.

3. In the play we see versions of madmen and lovers, but not of poets. Why then do you suppose is the Poet given the most detail in Theseus’ observations?

4. What can you conclude about Theseus’ character based on his response?

5. What main point is Hippolyta making to Theseus?

6. What does her argument tell us about her?

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Verbal Irony~~~~~~~~~~~~~~~~~~~~~~~~~~ The conversation between Theseus and Philostrate sets the ironic tone for the play that will follow. Find and explain the contradictions within phrases or lines in Philostrate’s description of the Mechanical’s play. Find and explain at least THREE lines.

Contradictory Lines Meaning

1. Based on what Philostrate says (and what we already know) what can we anticipate about the play.

2. How does Theseus react to such a description? What does he decide? Why?

~~~~~~~~~~~~~~~~~~~~~~~~~~Symbolism Abounds~~~~~~~~~~~~~~~~~~~~~~~~ Throughout the play Shakespeare uses symbolism for images, places, and characters. Consider the following elements from the play and attempt to figure out what each may symbolize.

Element What it May Symbolize

summer time

donkey

The Pyramus and Thisbe play

Puck

the faeries

marriage

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Opposition~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Nearly every aspect of the play--- the characters, the action, even the emotion—has an opposite. Select examples from the play that displays each opposite. The first one has been done for you. Opposition Act. Example & Explanation Scene During the play Puck and the faeries only use their magical powers at night. Night Puck worries about finishing before daylight, and Oberon, though not in any & 3.2, 4.1 danger, agrees that the pair needs to repair the damage before dawn. Day The humans conduct all of their business during the day. The daytime symbolizes law and order, while the night is ruled by magic, which causes chaos. At night people are ruled by their emotions while reason rules the day.

Dreaming & Being Awake

Urban & Rural

Love & War

Beauty & Repulsiveness

Tall & Short

Hunter & Prey

Love & Law

Are there any other opposites you observed in the play not mentioned above?

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Themes~~~~~~~~~~~~~~~~~~~~~~~~~~~~ The play contains three major themes: 1. The unpredictable and irrational nature of love. Love follows no logical pattern or set of rules. It drives people to do things that others may not understand. 2. The danger and confusion between rational thought and irrational thought. Inventions that people believe are logical, such as law, can be as disruptive as irrational beliefs, such as magic or love. 3. The relationship between dreams and perception. People perceive their own realities; what is real is what they observe, and when they are not sure of what they see, they are unsure of their existence. A dream can seem just as real as reality. Identify at least THREE key examples/quotes that pertain to each theme.

The Irrational Nature of Love Relationship of Order & Chaos Dreams vs. Perceptions

~~~~~~~~~~~~~~~~~~~~~~~~~~~Comic Structure~~~~~~~~~~~~~~~~~~~~~~~~~~ In most Shakespearean comedies the diamond pattern often emerges, showing whose fortunes are rising and whose fortunes are falling throughout the five acts. This plot diagram looks like as follows:

1. 2. 3. 4. 5. Exposition Rising Action Turning Point Falling Action Resolution

1. 2. 3. 4. 5.

1. 2. 3. 4. 5. Exposition Falling Action Turning Point Rising Action Resolution

Identify characters who progress through the different directions of the diamond.

Key Quotes: 1. I must to the barber’s, monsieur, for methinks I am marvels hairy about the face. And I am such a tender ass, if my hair do but tickle me, I must scratch.

2. Now thou and I are new in amity, And will tomorrow midnight solemnly Dance in Duke Theseus’ house triumphantly, And bless it to all fair prosperity. There shall the pairs of faithful lovers be Wedded, with Theseus, all in jollity

3. I was with Hercules and Cadmus once, When in a wood of Crete they bayed the bear With hounds of Sparta. Never did I hear Such gallant chiding, for, besides the groves, The skies, the fountains, every region near Seemed all one mutual cry. I never heard So musical a discord, such sweet thunder.

4. My hounds are bred out of the Spartan kind, So flewed, so sanded; and their heads are hung With ears that sweep away the morning dew; Crook-kneed, and dewlapped like Thessalian bulls; Slow in pursuit, but matched in mouth like bells, Each under each. A cry more tunable Was never holloed to, nor cheered with horn, In Crete, in Sparta, nor in Thessaly. Judge when you hear.

5. But, my good lord, I wot not by what power (But by some power it is) my love to Hermia, Melted as the snow, seems to me now As the remembrance of an idle gaud Which in my childhood I did dote upon, And all the faith, the virtue of my heart, The object and the pleasure of mine eye, Is only Helena. To her, my lord, Was I betrothed ere I saw Hermia. But like a sickness did I loathe this food. But, as in health, come to my natural taste, Now I do wish it, love it, long for it, And will forevermore be true to it.

6. O, sweet bully Bottom! Thus hath he lost six pence a day during his life. He could not have ’scaped six pence a day. An the Duke had not given him six pence a day for playing Pyramus, I’ll be hanged. He would have deserved it. Six pence a day in Pyramus, or nothing!

7. “The battle with the Centaurs, to be sung By an Athenian eunuch to the harp.” We’ll none of that. That have I told my love In glory of my kinsman Hercules. “The riot of the tipsy Bacchanals, Tearing the Thracian singer in their rage.” That is an old device, and it was played When I from Thebes came last a conqueror. “The thrice-three Muses mourning for the death Of learning, late deceased in beggary.” That is some satire, keen and critical, Not sorting with a nuptial ceremony.

8. I will hear that play, For never anything can be amiss When simpleness and duty tender it.

9. The kinder we, to give them thanks for nothing. Our sport shall be to take what they mistake; And what poor duty cannot do, noble respect Takes it in might, not merit. Where I have come, great clerks have purposèd To greet me with premeditated welcomes, Where I have seen them shiver and look pale, Make periods in the midst of sentences, Throttle their practiced accent in their fears, And in conclusion dumbly have broke off, Not paying me a welcome. Trust me, sweet, Out of this silence yet I picked a welcome, And in the modesty of fearful duty, I read as much as from the rattling tongue Of saucy and audacious eloquence. Love, therefore, and tongue-tied simplicity In least speak most, to my capacity.

10. No, in truth, sir, he should not. “Deceiving me” is Thisbe’s cue. She is to enter now, and I am to spy her through the wall. You shall see it will fall pat as I told you. Yonder she comes.

11. If we imagine no worse of them than they of themselves, they may pass for excellent men.

12. The pap of Pyramus; Ay, that left pap, Where heart doth hop. Thus die I, thus, thus, thus. Now am I dead; Now am I fled; My soul is in the sky. Tongue, lose thy light! Moon, take thy flight! Now die, die, die, die, die.

13. Now, until the break of day, Through this house each fairy stray. To the best bride-bed will we, Which by us shall blessèd be, And the issue there create Ever shall be fortunate. So shall all the couples three Ever true in loving be, And the blots of Nature’s hand Shall not in their issue stand. Never mole, harelip, nor scar, Nor mark prodigious, such as are Despisèd in nativity, Shall upon their children be.

14. 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 unearnèd luck Now to ’scape the serpent’s tongue, We will make amends ere long. Else the Puck a liar call. So good night unto you all. Give me your hands, if we be friends, And Robin shall restore amends.