Analysis

  • Analysing Titania

    At the start of the play Oberon and Titania have had a disagreement over the little ‘changeling boy’ and who should have him. Titania has taken the child and Oberon decides to exact revenge and teach her a lesson. He later does this, with Puck’s help, by making her fall in love with the first ‘vile’ thing she sees. Understanding the dynamic between the two characters and how it has already changed, and changes throughout the play, is important for anyone writing about these characters and any actor playing Titania to consider the question:

    What is Titania’s relationship with Oberon?

    We’ve started to think here about the nature of their connection and their dynamic as rulers. See if you can complete the grid to make four points that could answer this question. It doesn’t matter if you agree or not, as long as you can back it up! Looking at the following scenes might also help to collect evidence:

    • Act 2 Scene 1: Take a closer look at the language Titania uses when talking to Oberon, when she first arrives. How does Puck refer to her and what does this tell you about the way things have changed? Where does she accuse him of being and how does he respond? What might this reveal about their relationship? How would you describe her language, is it formal or informal, and why do you think this is?
    • Act 2 Scene 1: Examine the actions of both Titania and Oberon. Where does she claim to have been since the beginning of midsummer and how long have they been arguing? What are Titania’s motivations for keeping the changeling boy, according to her? Why do you think she refuses to hand him over, when their arguments are causing ‘contagious fogs’, ‘diseases’ and other disruptions to nature?
    • Act 4 Scene 1: Look at the way Titania talks to Oberon once she has had the antidote and can see clearly. How does she refer to him and how is this different from the way she referred to him in Act 2? Why do you think she changes and what causes the change? Which atmosphere seems more natural?

    Point

    Titania blames Oberon for their arguments and is clearly angry with him at the start of the play.

    Evidence

    ‘But with thy brawls thou hast disturbed our sport. Therefore the winds, piping to us in vain, As in revenge, have sucked up from the sea Contagious fogs.’ (Titania, 2:1)

    Explanation

    Throughout her speeches in Act 2 Scene 1, Titania repeats the words ‘thy’, ‘thou’ and ‘you’, constantly accusing Oberon of negative actions. Firstly, she blames him for leaving, having an affair and only returning to see Hippolyta who he used to be in a relationship with; then she accuses him of appearing to argue with her wherever she goes with her fairies. In these lines, she clearly believes him to be responsible for the ‘winds’ and ‘fogs’ that have started, and blames his ‘brawls’ and arguments with her. Taken together, this creates the impression of an uneasy relationship.

    Point

    Titania is so angry with Oberon she refuses to be in his presence.

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    Point

    Titania respects Oberon and is quick to forgive him and forget their arguments after her experiences in the play.

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  • Analysing Bottom

    Bottom is one of the only characters in the play who moves between the different worlds. He starts as one of the ‘mechanicals’, rehearsing a play in the forest, before being transformed and pulled into the fairy world, where he stays in Titania’s fairy bower. As an amateur actor, and as the object of Titania’s affections, Bottom’s journey is a complex one and it is important for anyone writing about Bottom and any actor playing the part to consider how he reacts to each of these events, and to ask:

    To what extent is Bottom motivated by the need for attention?

    We’ve started to think here about the ways in which Bottom craves attention, both as an actor and as the object of Titania’s obsession. See if you can complete the grid to make four points that could answer this question. It doesn’t matter if you agree or not, as long as you can back it up! Looking at the following scenes might also help to collect evidence:

    • Act 1 Scene 2: Take a closer look at the way Bottom describes himself to the other mechanicals and how he behaves. How and where does he try to take control of the rehearsal and how do the others react to this? How much does he talk in comparison to the other actors and what does this reveal?
    • Act 3 Scene 1: Explore his reaction to the mechanicals, when they run away from him because he is ‘transformed’. What is his reaction to their fear and who does he assume is to blame? How does Bottom behave as they flee?
    • Act 4 Scene 1: Look at how Titania praises him and how Bottom responds to her adoration and to the fairies around him. Does Bottom display any doubt or disbelief that Titania would fall in love with him and what does this reveal? How does his language change in these scenes with Titania and why?

    Point

    Bottom is delighted with getting the role of Pyramus, and wants to make sure he has the best part in the play.

    Evidence

    '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.' (Bottom, 1:2)

    Explanation

    Bottom is told he will be playing the romantic lead in the play. Despite his expectation of the role he does go on to ask about the other roles too before being convinced he is the best choice for Pyramus, even claiming he could play a better Thisbe than Flute. In these lines Bottom makes several claims about his own ability as a performer who can move ‘storms’ and affect the audience, which would suggest he enjoys attention and the spotlight, but also has a huge amount of confidence in his own abilities. Shakespeare compares this with the more reticent attitudes of the other cast members to further emphasise Bottom’s enthusiasm.

    Point

    Bottom seems to enjoy all the attention he gets from Titania and the fairies, once he is transformed.

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    Point

    Bottom is relieved he is able to perform for the Duke at the end of the play and obviously enjoys performing for an audience.

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  • Analysing Puck

    Puck is Oberon’s servant, and seems to willingly carry out his commands, speaking politely and respectfully to the King of the Fairies. In carrying out his orders, and ultimately making a mistake, Puck becomes the catalyst for most of the drama, and the comedy, in the play. To what extent Puck enjoys his tasks, or the mischief he is able to get up to while carrying them out, is open to interpretation but it is important for anyone writing about Puck and any actor playing the part to consider the question:

    What is Puck’s relationship with Oberon?

    This will often be the choice of the actors in these two roles and the relationship could be portrayed in many ways, but what do you think the evidence tells us? We’ve started to think below about some of the things that might be true. See if you can complete the grid to make four points that could answer this question. It doesn’t matter if you agree or not, as long as you can back it up! Looking at the following scenes might also help to collect evidence:

    • Act 2 Scene 1: Look back at the conversation between Puck and the fairy that opens this scene. How does he describe his relationship with Oberon? What does the fairy seem to have heard about Puck and how does Puck react to hearing his reputation and characteristics laid out? Does he agree that he fits that description? Later in the same scene, how does he react to Oberon’s command to find the flower and does this fit with the description you have heard?
    • Act 3 Scene 2: Consider the exchange between Oberon and Puck, after he has transformed Titania and mistaken Lysander for Demetrius. How does Oberon greet Puck and why do you think he trusts him? How does Puck react to Oberon’s accusation that he has made a mistake? What does this reval about his relationship with Oberon? Why does Puck claim to enjoy the mistake he has made, when Oberon adds the potion to Demetrius’ eyes as well?
    • Act 3 Scene 1: Go back to the transformation of Bottom. This was not part of Oberon’s plan, although he later seems to approve of Puck’s actions, saying it has gone better than he could have devised. So why does Puck involve the mechanicals? Do you think he does this for Oberon or for his own enjoyment? Look at Puck’s asides in the scene. What does the language reveal?

    Point

    Puck is loyal to Oberon and follows his commands, but he is not afraid to argue with the King and defend himself.

    Evidence

    'Believe me, king of shadows, I mistook. Did you not tell me I should know the man by the Athenian garments he had on?' (Puck, 3:2)

    Explanation

    Puck uses very direct language here in repeating Oberon’s instructions, that he would know the man by the Athenian clothes he was wearing. Puck comes across as an intelligent character, who is not afraid to argue with the King, even in the face of Oberon’s insults. This would suggest that they have a secure relationship in which Puck can express his views.

    Point

    Puck enjoys mischief and playing tricks on humans and his position as Oberon’s servant allows him the opportunity to have fun.

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    Point

    Puck is obedient and carries out his instructions, but he also likes to create confusion that is not part of Oberon’s plans.

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  • Analysing Demetrius

    Demetrius is known to have been engaged to marry Helena in the past, but as the play opens he is now hoping to marry Hermia. This means that, even before Puck and Oberon intervene, the relationships between the four lovers are complicated and strained. It is important for anyone writing about Demetrius and any actor playing the part to consider the role Demetrius plays in that dynamic and to consider:

    Why does Demetrius want to marry Hermia and not Helena?

    We’ve started to think below about some of the possible reasons for this change of heart. See if you can complete the grid to make four points that could answer this question. It doesn’t matter if you agree or not, as long as you can back it up! Looking at the following scenes might also help to collect evidence:

    • Act 1 Scene 1: Consider the way Shakespeare introduces Demetrius, and the rest of the young lovers. How does Lysander speak about Demetrius and his treatment of Helena? Thinking about the public setting of these conversations, what does this imply about the truth of Lysander’s words? How do Hermia and Helena react to him and what do Demetrius’ actions make us think of him?
    • Act 2 Scene 2: Look at the way Demetrius speaks to Helena when she follows him into the forest. Do you think he means what he says? What other explanation could there be for his words and behaviour? What kind of character is Helena and might this have a bearing on his choices? Why do you think he persues Hermia, even though she has chosen another man?
    • Act 4 Scene 1: Take a closer look at the way Demetrius reacts to Helena once the potion has been removed from Lysander, as he talks to Theseus about what happened in the forest. What does he say about Helena and his brief love for Hermia? What imagery and language does he use to explain why his opinion and his love changed so quickly? How do you think he feels at the end of the play?

    Point

    Arguably, Demetrius is an unfaithful character.

    Evidence

    'Demetrius, I’ll avouch it to his head, Made love to Nedar’s daughter, Helena, And won her soul: and she, sweet lady, dotes, Devoutly dotes, dotes in idolatry, Upon this spotted and inconstant man.' (Lysander, 1:1)

    Explanation

    Lysander accuses Demetrius of being inconstant and refers to his relationship with Helena in front of the court, using this as an argument against Demetrius being allowed to marry Hermia. The way Lysander describes Demetrius as ‘spotted’ and ‘inconstant’ suggests that his behaviour must have been quite extreme and that the rest of the court must have been aware of his relationship with Helena. While Lysander is speaking to deliberately discredit Demetrius in the opening scene of the play, these claims could suggest that Demetrius is simply an unfaithful character.

    Point

    Demetrius thinks Hermia is more attractive and sees more qualities in her that he admires.

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    Point

    Demetrius has Egeus’ permission to marry Hermia and wants to marry her for the sake of duty.

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Teacher Notes

For each of the characters on this page we’ve asked some central questions. These are great questions to explore with students in mind maps, or as class debates.

The following activities will also help you explore the characters even further with students.

Power Games (2011)

This sequence of activities explores the idea of power and status looking particularly at Theseus, Hippolyta, Oberon and Titania and can be found on page 2. The sequence takes approximately 40 minutes.