In watching Shakespeare in performance we are not likely ever to enjoy the instant pleasure of experiencing a work of art (like a feature film or soap-opera or first-person novel) which uses conventions and a range of cultural references which we at once understand. What is amazing is that so much is still accessible, and that by adapting the delivery of lines, and giving some visual clues, performers can make the plays work today.

The division of plays into five acts is more apparent to the dramatist (to whom it gives an idea of how the play's narrative structure will appear in performance) than to the audience (though modern audiences often know act and scene numbers). For the student (you), the numbering of acts and scenes is of enormous importance in identifying a given point in the narrative. When quoting a passage, always give act and scene number, while line numbers are helpful, too.

This play is a comedy. Shakespeare first informs the audience of the (very serious) problems of the young lovers, and of the fairy king and queen, counter pointed by the less serious (to us) problems of the mechanicals in presenting their “play”. By bringing the different groups of characters together in the wood, the author is able to show how the characters become more confused, before Puck, at the end of Act 3 separates the young lovers, the antidote to the love-in-idleness juice is given to Lysander, and in 4.1 Titania is also “cured” before the lovers are found by Theseus, and Bottom wakes with a hazy recollection of his “dream” (which may be no less articulate than the lovers' attempts to recall what has happened in the wood).

Most of Act 5 is superfluous to the main plot, but indispensable as comic comment on the potential for tragedy in the love of passionate young couples. Act 5 is not just an epilogue, however: the action of the three principal fairies in blessing the newly-weds, and the children to be conceived is a necessary conclusion to the misunderstandings which have gone before. Here, as in Theseus' kindly advice to Hermia in 1.1 (“Know of your youth, examine well your blood…”), in Titania's long exposition of the results of her quarrel with Oberon (2.1) and in the joy with which the fairies “rock the ground whereon these sleepers be” (4.1), we see the play's real and serious concern with fertility in the natural world, and in the world of men and their rulers, a concern which the Elizabethan audience would feel very strongly.

2.1.2 The introductory significance of the first act

In the beginning of the play a number of important relationships are established, and much narrative information is given. But we see some of the themes of the play examined, and there is interest in the action and language; for these reasons the scene could be chosen by examiners. The scene can be divided into a number of episodes:

· Theseus' and Hippolyta's preparations for marriage;

· Egeus' complaint and Hermia's defence before Theseus;

· the dialogue of the two lovers and Lysander's plan for escape;

· their disclosure of the plan to Helena;

· Helena's soliloquy about love.

It will be seen that the scene is marked by various exits and entrances, so that particular groupings can be contrived. At other points, as when Theseus speaks to Hermia, others remain on stage, but are at best witnesses of something more intimate.

As the play is concerned with depicting conflict in love, in several relationships, we meet here two of the four principal pairs or groups:

· Theseus and Hippolyta: They have been at odds but are now reconciled, and their maturity contrasts with the passion of youth;

· the four young lovers who are to have such strange experiences in the wood. Вильям Шекспир Комедии, хроники, трагедии. Собр. соч. в 2тт., Т.1 М. ИХЛ. 1988 стр7-31

When we next meet Demetrius and Helena (2.1) and Lysander and Hermia (2.2) we need little explanation to know where they are and why. The wood is briefly mentioned here as a most pleasant place by day, and imagined (209 ff.) as equally pleasant by Night's: we, and the lovers, are unprepared for the danger and activity we will later see in this wood BENTLEY, GERALD EADES. Shakespeare, a Biographical Handbook. Theobold Lewis, ed. New Haven: Yale University.

Shakespeare opens with a very formal, ceremonial procession, marked by the dignity, balance and stateliness of speech of the ruler and his consort; this is almost at once disturbed by the angry tirade of Egeus and the barbed exchanges of the young men. Between these, we find an intimate exchange which contrasts with the public quality of the procession and Egeus' complaint. Here Theseus tries a very direct and honest appeal to Hermia's judgement, keeping his authority as a means of last resort, and playing for time, though Hermia's outspokenness almost frustrates this. We are struck by Hermia's boldness (allowing for her sex, her youth and Theseus' status) which Shakespeare renders more plausible by her own apology for the “power” which emboldens her. We are also struck by Theseus' reluctance to command, his readiness to reason; while this brief exchange goes on, the others on stage are peripheral: the whole stage area could be used to show the opposition between the rivals, as Egeus commands each to “stand forth”. Theseus and Hippolyta probably occupy a central, raised position, even perhaps sitting on chairs (to represent thrones). For the exchange with Hermia, Theseus will come forward, perhaps leading her by the hand, so that their conversation is shared with the audience. Theseus' gravity and diplomacy are in sharp contrast to the heated words which follow. In order that tempers may cool before he probes the seriousness of Demetrius' new-found love for Hermia and dropping of Helena, Theseus leads away the angry father and his favorite. In her words to her lover, we again see Hermia in an intimate situation, but her forceful yet dignified answers to the duke are here replaced by a less restrained manner. She and Lysander speak in tones which would be comic if not delivered with such force. The arrival of Helena does not curtail this: she, too, speaks with passion and seems to lack a sense of proportion. There is some variety (but there will be more anon) in the verse form here. To achieve a mood of seriousness in the opening, the playwright uses blank verse. (Blank verse accounts for most of the text in most of Shakespeare's plays, but is used much more sparingly in this play). This is sustained until Helena's arrival, after which the characters speak in rhyming couplets. These are naturally more suited to comic moods and to the rapid imparting of narrative information. A number of other features should be noted. Left alone on stage, Lysander and Hermia speak in an over-wrought manner, marked by such phrases as “How now, my love” or “Ay me” (verbal sighs, almost) and the stichomythia (verbal fencing) of the six alternately-spoken lines beginning with “O” and “Or”, leading to the famous comment about “the course of true love”. This technique, with the further embellishment of rhyme, is used again when Hermia and Helena speak (194 ff.) of Demetrius. Helena's soliloquy is notable for the repeated reference to “Cupid” (“a child”, “as boys…the boy”). She claims that love is blind, and yet seems herself “blind” to her own mistakes: she fawns on Demetrius, when she should play hard to get, and now intends to help him - for the brief benefit of sharing his company - to prevent the escape of her rival in his affections. But the most striking image in the scene, and the most touching, is that chosen by Theseus and echoed by Hermia, in lines 76 to 79, in which the theme of maternity (“the rose distilled”) is contrasted with the noble sacrifice of perpetual virginity, the “rose” which “withering on the virgin thorn/Grows, lives and dies in single blessedness”. To which the retort comes: “So will I grow, so live, so die”, rather than yield to Demetrius' claim.

3.1.2 The opposition and controversy of human standings as the major theme of the second act

The short scene (1.2) in which we meet the “mechanicals” (workmen) has prepared us for the notion that the lovers will not be alone in the woods. In fact, they do not meet the workmen there (but in Theseus' house in Act 5). Both lovers and mechanicals will encounter the fairies, and it is they whom we see here for the first time. In the play's second act, we see how Lysander's and Hermia's attempt to solve their problems (coupled with Helena's attempt to ingratiate herself with Demetrius, and Oberon's actions - in his own behalf and Helena's) leads to greater confusion, which will reach a climax in 3.2.

The scene divides effectively into two parts:

· in the first the quarrel between Oberon and Titania is presented,

· in the second, Oberon witnesses Helena's rejection by Demetrius, and resolves to help her.

We can further divide the scene into episodes, as follows: Puck's descriptions (of Oberon's and Titania's quarrel and of himself); Oberon's confrontation with Titania, leading to his plan to take the Indian changeling from her; Demetrius' pursuit of the lovers, and his flight from Helena; Oberon's descriptions (of Titania's bower and how he and Puck are to use the magical flower juice). In this scene, the language so effectively supports the action that these must be considered together. The fairy, like all of Titania's attendants, uses short rhyming lines (spoken here, sung elsewhere) and Puck replies in rhyming couplets. This is his normal form of speech (whether in pentameters or tetrameters; the latter is more markedly rhythmic and suited to the casting of spells, though note the more musical and varied rhyme used at the end of 3.2). Puck's speech is lively and indicates his sense of the ridiculous. It is well that the less serious passage in which he describes his pranks comes after the account of Oberon's and Titania's quarrel. This allows a sharper contrast from the levity of “a merrier hour” to the seriousness of “Ill met by moonlight”. (It is only with the couplets which mark Helena's and Demetrius' exits that rhyme is resumed.) Here the blank verse has a dignity in keeping with the status of the disputants, and with the effects of their dispute. The scornfulness of the opening exchanges resembles that of the rivals in 1.1, but the rivalry is of another kind: Titania, as Oberon's consort, perhaps should (and ultimately will) give way, but she is a powerful spirit, certainly Oberon's match in verbal argument; indeed, here she has the better of the exchanges, and it is Oberon's cunning and Puck's stealth which bring about the eventual reconciliation. The rather frenetic opening exchanges give way to fairly lengthy passages of description: of the alteration of the weather, caused by the fairies' quarrel, and of the history of the child Oberon seeks. The lack of direct action may be partly offset by the very picturesque quality of the language, while in the first passage, the Elizabethan audience would doubtless be most concerned about the loss of fertility in field and fold: town dwellers would well imagine (and some may have experienced) what happens when the supply of food from the country is short. Some gesture and/or mimicry of the “votaress” may be provided by Titania; in any case, static positions on stage in this episode could be used to show the opposition of Oberon and Titania. Oberon's intimacy with his confidant, Puck, allows another long description of what could not possibly be depicted on stage (how Cupid's bolt missed its target and hit the Love-in-Idleness), after which Puck leaves to bring the magic flower to his master. The brief soliloquy explains to what use the flower will be put, thereby preparing us for Puck's inspired elaboration on Oberon's original plan. More important, in a way, are the three brief words: “I am invisible”. From now on either Oberon or Puck or both will be on stage for long periods of action: unseen and unheard (save when Puck mimics the young men) by the mortals they watch, they are seen and heard by the audience, whom they take into their confidence. Oberon's tic as the unseen protector of men is as important as his solution of his own domestic problems. What he sees is this: Helena fawns on Demetrius, who spurns her. His conduct may not surprise a modern audience but is not at all gallant, in one of his social class: admittedly, he is sorely provoked, and in a situation where (he thinks) there is no third party to judge him. Desperate to rid himself of Helena, he speaks of the opportunity she has given him to ravish her; doubtless accompanying the words with menacing gestures suggestive of the deed. Helena's response shows she has no fear of this; perhaps her actions indicate a readiness for Demetrius to ravish her, for he at once declares that he will run from her (Helena's comments on Apollo and Daphne showing how silly this reversal of must appear). The whole of the interlude between Demetrius and Helena, considered as speech alone, is perfectly clear, but rather dull. It is obvious that it must be animated in some way, as by the actions of threatened violence, of pursuit and retreat, as well as by Oberon's silent watching. Oberon signals his intention to punish Demetrius, and orders Puck to affect this, but this information is subordinated to the set-piece description of Titania's bower. From a narrative point of view, this tells us where Titania is when we see her (within a few lines of this). As Shakespeare writes for a theatre in which the stage and properties are simple, the fey, magical atmosphere of the bower can only be established by such means as this word-picture, followed by Titania's speech and the fairies' lullaby in the next scene.

The scene 2 follows without interruption of time it seems, though we have moved to the part of the wood which Oberon has just described, as we know from Titania's being there. The juice of the love-in-idleness is administered by Oberon: he suggests that Titania will be woken by some wild beast, but does not foresee the arrival of the mechanicals in 3.1. When they arrive, and perform so near to Titania, the audience may well guess what Puck will do. It may not at once occur to us when Oberon tells Puck that he will “know the man” i.e. Demetrius “by the Athenian garments he hath on” that Lysander is somewhere in the wood and answers the description, but when Puck finds Lysander and Hermia sleeping apart, we see that Puck makes an honest mistake. Lysander's instant infatuation with Helena will be matched by that of Demetrius, to whom Oberon will give the magic juice in 3.2 leading to the confusion which Puck partly foresees (3.2, line 118). Lysander's protestation of loyalty to Hermia is about to be belied. We do not blame Lysander for the suddenness of what occurs, but in a more general sense such promises, especially when made by young people, seem very rash: who knows what may happen in future? This is a relatively brief scene. A short interlude in which Titania is sung to sleep, allowing Oberon to give her the flower-juice (she sleeps on, he exits) leads to the arrival of the young lovers, who are lost, and lie down to sleep, allowing Puck to make his mistake; Helena, failing to catch Demetrius, sees Lysander and wakes him, with the predictable comic result, and he leaves with Helena (she has not seen Hermia, who wakes alone, having dreamt of a serpent). Whereas the previous scene, though marked by plenty of action, has space for much vivid description and poetic variety, this scene is more economical and swift-paced with lots of dramatic business done. The lullaby is beautiful and delicate but this brief interlude rapidly gives Oberon his opportunity; he tells us in a few lines what he is doing (we should remember, but if we do not, then the action alone may not be obvious) and at once leaves the stage to the lovers; there is no time even to change the scene, so Titania must remain on the stage. (She is woken neither by the young nobles, nor by the mechanicals; this is not improbable: Bottom wakes her because he sings so loudly, to keep his spirits up.) Although the lovers exchange some pleasantries, they lie down to sleep without any more delay than is inevitably caused by Lysander's mild attempt to share Hermia's sleeping-place; the appearances, first of Puck, who gives the flower-juice to Lysander, then of Demetrius, who almost at once runs off, then of Helena mark, if anything an acceleration in the already rapid pacing of the scene. This is in keeping with the swift movement through the wood of Oberon and Puck (“Through the forest have I gone”) and the breathless pursuit of Demetrius by Helena. When she declares “I am out of breath”, the audience shares her sense of the need to rest awhile. While she is doing this she notices Lysander (but does not think to enquire after Hermia; Helena is, after all, an accessory to the lovers' plan!) Lysander's speech to Helena (“And run through fire I will for thy sweet sake…”) is gloriously extravagant (it has a delightful counterpart in Demetrius' words to Helena on waking in 3.2). The humour depends upon Lysander's being wholly earnest, genuinely repelled by the thought of Hermia, and at once trying to rationalize his new love. The scene has great linguistic variety: the brief blank verse instruction of Titania to her fairies is followed by the delicate rhyme of the lullaby, which is, of course, sung. The sentinel fairy's couplet is in the same meter (tetrameter) used by Oberon and shortly after by Puck. After an opening alternately-rhymed quatrain from Lysander, he and Hermia speak in couplets, as do Demetrius and Helena; and this metre, save for Puck's brief speech, and are sustained for the rest of the scene. There is other evidence of verbal patterning: the fairies in the lullaby order snakes, hedgehogs and other unwelcome creatures to “come not near our Fairy Queen”; Oberon tells her to wake when some animal (he gives a list) is near, and Helena later likens herself to one of the more fearful woodland creatures on Oberon's list - “ugly as a bear”. The verbal fencing we have seen earlier from Hermia and Lysander appears again: here Lysander uses his wit at once to suggest he is innocent of any improper intent and yet also to speak seductively. (His readiness to admit he is lost may have this ulterior motive.) In the previous scene Demetrius tries to bluff Helena with threatened seduction but she calls his bluff; here Lysander probably half intends to attempt seduction but Hermia rebukes him gently. He engages in word-games with the words “one” (lines 40, 41), “heart” (46,47) and “bosoms” (48, 49). Hermia cuts through this very effectively with “Lysander riddles very prettily”. She observes how linguistic virtuosity is used to attempt seduction. By telling him she knows what he is trying to do, she obliges him to stop! When Lysander addresses Helena in such excessive terms, the point Hermia has made is beautifully illustrated: that language may be used “prettily” but without meaning or honesty. This is shown in Lysander's repetition of the words used minutes earlier -“bosom” and “heart” - in one line (104). The repeated use of the word “reason” (114-121) also suggests one of the themes of the play. We will hear more of “reason and love” anon. Note that while Lysander's words, taken at face value, or applied by a mature man to a rational choice of partner (Theseus, perhaps?) might be persuasive, and while, as a matter of plain fact “reason” might well show Helena to be worthier than Hermia (though not on the evidence we have so far seen) in this case we know that Lysander's comments are wholly free of reason. This is not to say that his earlier choice of Hermia is any more reasonable. In fact, the truly reasonable man will recognize (as Theseus does in 5.1, line 4 on, and as Bottom with unusual prescience states more succinctly in 3.1, 141-2) that love is a part of man's experience which is never subject to reason. Finally, note how Hermia, on waking, returns to the motif of the dangerous or vile animal, in her case by dreaming of the suitably treacherous serpent.

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