Analysis

To help you look at any scene in A Midsummer Night's Dream and interrogate it, it’s important to ask questions about how it's written and why.

Shakespeare’s plays are driven by their characters and every choice that’s made about words, structure and rhythm tells you something about the person, their relationships or their mood in that moment. You should always try and ask yourself, like actors do, why is the character saying what they are saying or doing what they are doing? What is their motive?

Just like Detectives, we need to look for clues to help us answer those questions each time and below you can find some interrogation techniques we use to analyse text, introduced by the actors that use them. 

  • Analysing the Imagery

    As with all of Shakespeare’s plays, there are lots of types of imagery used in A Midsummer Night's Dream. It’s a great idea to keep a list of the key quotes and imagery used in each act.

    Here are three types of imagery that come up a lot in A Midsummer Night's Dream:

    Lunar Imagery

    • Much of the play takes place at night and so the moon is ever present. In Shakespeare’s world, the moon was associated with lunacy or madness and the behaviour of the lovers and Titania mirrors that.
    • The moon is used as a timer for Theseus. He has to wait until ‘the next new moon’ until he can marry Hippolyta and he gives Hermia the same time frame to make her decision about marrying Demetrius.
    • When Titania and Oberon meet in Act 2 Scene 1 he greets her with the line 'ill met by moonlight proud Titania', and the references to the state of the moon continue throughout the play.
    • How many examples of lunar imagery can you find in the play and what do they reveal about the characters who use them? Look particularly at the conversation between Theseus and Hippolyta in Act 1 Scene 1.

    Natural Imagery

    • When Oberon and Titania are introduced, by Puck and one of Titania's fairies, we learn that their arguments have impacted on the natural world and that the fairies are connected to the nature around them. This connection can be seen in their language in Act 2 Scene 1 and even in the fairies' names later in the play.
    • With the exception of Act 1, the play takes place in the woods outside of Athens. In this setting, natural imagery is incredibly important and is used constantly. The lovers and the mechanicals leave the world of Athens behind and all go into the woods in search of something. For Demetrius it's Hermia, for the mechanicals it's a place to rehearse in secret and for Theseus and his court it's animals, during their hunt. Why do you think the humans go to the woods? Is it in order to be free, and why is natural order so important in this? Would they behave in the way they do if they were still in Athens?
    • How many examples of natural imagery can you find in the play and what do they reveal about the characters who use them?

    Darkness and Sight Imagery

    • Several characters in the play refer to eyes and sight when talking about love and relationships, with both Theseus, Helena and Demetrius referring to beauty being in people's eyes in the opening scene. Hermia even declares to the court 'I would my father look'd but with my eyes', as she tries to convince the Duke that Lysander is a better choice for her marriage. Demetrius argues with Helena in Act 2 Scene 1, saying 'I am sick when I look on you' but later claims 'The object and the pleasure of mine eye, / Is only Helena. To her, my lord, / Was I betrothed ere I saw Hermia' again placing the emphasis on sight and seeing clearly. This is even more apparent when Oberon chooses to use the juice of the flower 'love-in-idleness' by placing it in the lovers' eyes.
    • The lack of sight is equally important in the play. Oberon is able to make himself invisible so he can overhear a conversation in Act 2 Scene 1; and in Act 3 Scene 1 Titania is blinded to Bottom's true appearance declaring 'So is mine eye enthralled to thy shape' and Puck overcasts the moon to enable him to trick the lovers, leaving them in darkness.
    • Puck's final epilogue in Act 5 refers to the sight of the audience and what they can and cannot believe, calling the fairies 'shadows' and claiming they 'have but slumbered here' and that the events of the play are but a 'dream'.
    • How many examples of darkness and sight imagery can you find in the play and what do they reveal about the characters who use them? Look in particular at the speech of Helena in Act 1 Scene 1 to explore how this imagery is used by the lovers.

    Titania
    These are the forgeries of jealousy,
    And never since the middle summer’s spring
    Met we on hill, in dale, forest or mead,
    By pavèd fountain or by rushy brook,
    Or in the beachèd margent of the sea,
    To dance our ringlets to the whistling wind,
    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; which falling in the land
    Hath every petty river made so proud
    That they have overborne their continents.
    The ox hath therefore stretched his yoke in vain,
    The ploughman lost his sweat, and the green corn
    Hath rotted ere his youth attained a beard.
    The fold stands empty in the drownèd field,
    And crows are fatted with the murrion flock,
    The nine men’s morris is filled up with mud,
    And the quaint mazes in the wanton green
    For lack of tread are undistinguishable.
    The human mortals want their winter cheer:
    No night is now with hymn or carol blessed.
    Therefore the moon, the governess of floods,
    Pale in her anger, washes all the air,
    That rheumatic diseases do abound.
    And thorough this distemperature we see
    The seasons alter; hoary-headed frosts
    Fall in the fresh lap of the crimson rose,
    And on old Hiems’ thin and icy crown
    An odorous chaplet of sweet summer buds
    Is, as in mockery, set.. The spring, the summer,
    The childing autumn, angry winter, change
    Their wonted liveries, and the mazèd world
    By their increase now knows not which is which;
    And this same progeny of evils comes
    From our debate, from our dissension:
    We are their parents and original.
    (Text edited for rehearsals by Erica Whyman)

    Thinking about Act 2 Scene 1, we’ve started to look at what the natural imagery and word choices in the scene tell us about Titania. See if you can complete the grid below and finish the four points which explain what this language shows about Titania and Oberon’s relationship at this point in the play.

    Point

    Titania and Oberon’s argument has been going on for a long time and in various locations.

    Evidence

    'And never since the middle summer’s spring / Met we on hill, in dale, forest or mead, /By pavèd fountain or by rushy brook, / Or in the beachèd margent of the sea, / To dance our ringlets to the whistling wind…'

    Explanation

    Shakespeare uses natural imagery in this speech to demonstrate the scale of Titania and Oberon's arguments, stressing that Oberon has been able to follow Titania wherever she went, whether it was in a 'dale, forest or mead', even including the differing elements of 'sea' and 'wind' to stress his reach. Titania also uses the seasons to measure the length of their argument here, stating that Oberon has been following her 'since the middle summer's spring'.

    Point

    Titania believes their arguments have had a negative impact on the natural world.

    Evidence Select an option

    Explanation Click text to edit

    Enter your explanation here

    Point

    Despite their arguments, Titania feels aligned to Oberon.

    Evidence Click text to edit

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    Explanation Click text to edit

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  • Analysing the Language of the Lovers

    The four lovers each have very different relationships with each other, all of which are affected by Puck and Oberon's interference in some way during the play. This can be explored by analysing the language they use.

    Whether it's Helena's love for Demetrius or Demetrius' love for Hermia, several of the characters use antithesis and imagery to explore the idea of unrequited love. While this is often done to comic effect, the cruel way in which Demetrius spurns Helena also causes Oberon to take pity on her and intervene.

    In this video, exploring duologues and how to approach them, Natalie Simpson looks at some of the strategies she uses to examine the relationship between two characters on stage. The example she is using is from Hamlet, but the things to look for will help you in exploring any duologue.

    What can you learn by looking at the same things in Act 2 Scene 2?

    Look at the extract from Act 2 Scene 2, in which Hermia and Lysander both go to sleep in the woods after having run away from Athens together. See if you can notice the three things Natalie talked about in the video:

    • Shared Language
    • Questions and Answers
    • Status

    This form of analysis can be applied to any of the lovers' conversations and is a great way to track their changes, particularly after Puck's interference. Try looking at these things in Demetrius and Helena's conversations as well.

    Lysander
    Fair love, you faint with wandering in the wood,
    And to speak troth, I have forgot our way:
    We’ll rest us, Hermia, if you think it good,
    And tarry for the comfort of the day.
    Hermia
    Be it so, Lysander; find you out a bed,
    For I upon this bank will rest my head.
    Lysander
    One turf shall serve as pillow for us both:
    One heart, one bed, two bosoms and one troth.
    Hermia
    Nay, good Lysander, for my sake, my dear,
    Lie further off yet, do not lie so near.
    Lysander
    O, take the sense, sweet, of my innocence!
    Love takes the meaning in love’s conference.
    I mean that my heart unto yours is knit
    So that but one heart we can make of it.
    Two bosoms interchainèd with an oath,
    So then two bosoms and a single troth.
    Then by your side no bed-room me deny,
    For lying so, Hermia, I do not lie.
    Hermia
    Lysander riddles very prettily.
    Now much beshrew my manners and my pride,
    If Hermia meant to say Lysander lied.
    But, gentle friend, for love and courtesy
    Lie further off, in human modesty:
    Such separation as may well be said
    Becomes a virtuous bachelor and a maid,
    So far be distant, and good night, sweet friend;
    Thy love ne’er alter till thy sweet life end!
    Lysander
    Amen, amen, to that fair prayer, say I,
    And then end life when I end loyalty!
    Here is my bed: sleep give thee all his rest!
    Hermia
    With half that wish the wisher’s eyes be pressed!
    They sleep.
    (Text edited for rehearsals by Erica Whyman)

    Questions to consider

  • What can we learn about Hermia and Lysander's relationship from this part of Act 2 Scene 2? Ask yourself:

    • What do you think their relationship has been like in the past and how do they feel about each other now?
    • Which words do they repeat and how do they answer each other's questions? Does this offer you any clues about their feelings and motivations?
    • Who has control of the scene in each moment, and does this change? If so, why does it change and who is successful in 'getting what they want'?

    Using Natalie's strategies and the extract from Act 2 Scene 2, we've started to look at Hermia and Lysander's language. See if you can complete the grid below and finish the four points which explain what this scene reveals about their relationship with each other.

    Point

    Lysander’s love for Hermia is true and pure.

    Evidence

    'O, take the sense, sweet, of my innocence! / Love takes the meaning in love’s conference. / I mean that my heart unto yours is knit / So that but one heart we can make of it. / Two bosoms interchainèd with an oath, / So then two bosoms and a single troth. / Then by your side no bed-room me deny, / For lying so, Hermia, I do not lie.' (Lysander, 2:2)

    Explanation

    Lysander uses personal pronouns to indicate how he feels about Hermia in these lines, including use of the term 'we' to talk about them as a couple which would suggest he sees them as 'one'. He also repeats the words 'two' and 'heart' using the metaphor of 'two bosoms and a single troth' to suggest that when they are married they will become 'one being' together. Lysander uses these images to defend his choice to sleep near Hermia, reassuring her that he only means it in 'innocence'. Whether or not this is true is open to interpretation, but his language suggests that he has only her safety in mind.

    Point

    Hermia loves Lysander and knows he respects her.

    Evidence Select an option

    Explanation Click text to edit

    Enter your explanation here

    Point

    Lysander and Hermia’s love for each other is one that is virtuous and ‘right’.

    Evidence Click text to edit

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    Explanation Click text to edit

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    What else can I do to explore Hermia and Lysander's language?

    • Look at other scenes between these two characters and use these strategies to investigate how the language differs. Think about the language used in Act 3 Scene 2. Although Lysander is in love with Helena in this scene we can think about his strength of feeling for Hermia based on what he says to her in hate. How does he insult her? How does she react to the change in him?
    • Try reading through their exchange and repeating one word from the previous person’s speech before starting your own line. It’s difficult but really helps the flow of a duologue and clarifies what you’re feeling about someone, thinking about why a character replies and responds in the way they do. What words are they hearing?
    • Keep a record of the images Lysander and Hermia use in their language. The lovers use lunar imagery, or references to the moon, and other visual themes in their language. What does this tell us?

  • Analysing Oberon's Language
    Oberon is the King of the Fairies and as such he uses ‘heightened’ language. By this we mean language that is in verse or has a poetic nature, including the use of rhyming couplets. In this video, Chu Omambala performs Oberon's 'I know a bank..' speech (2:1) in which he tells Puck where Titania is sleeping in her fairy bower.

    The speech is full of imagery from the natural world, has a fairly regular metre, uses lots of adjectives to describe the bower and is almost entirely in rhyming couplets.

    In the next video, Mark Quartley shares some of the things he looks for to help him understand how a character is feeling in a monologue. The example he is using is from The Tempest but you can look for the same clues in Oberon's Act 2 speech.

    Oberon
    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 sometime of the night,
    Lulled in these flowers with dances and delight:
    And with the juice of this I’ll streak her eyes,
     And make her full of hateful fantasies.
     (Gives him some juice) Take thou some of it, and seek through this grove;
    A sweet Athenian lady is in love
    With a disdainful youth: anoint his eyes,
    But do it when the next thing he espies
    May be the lady. Thou shalt know the man
    By the Athenian garments he hath on.
    Effect it with some care, that he may prove
    More fond on her than she upon her love;
     And look thou meet me ere the first cock crow.
    Look at the language and detail that Oberon uses to describe the place where Titania sleeps. Is the picture a positive or a negative one? What does this suggest about his feelings towards Titania?
    Why do you think Oberon decides to ‘streak her eyes’ with the juice of the flower? How does he feel about the plan and why do you think that?
    A nightmare.
    Someone from Athens.
    Showing a lack of respect.
    Compare the way in which Oberon talks about his two plans. He plans to ‘streak’ Titania’s eyes, but ‘anoint’ Demetrius’. What does this tell us about Oberon’s opinion of Demetrius, and of Helena? Why has he decided to help Helena and what does this tell us about his character?
    Do it carefully so he loves her more than she loves him.
    Robin
    Fear not, my lord, your servant shall do so.
    Exeunt.
    (Text edited for rehearsals by Erica Whyman)

    What can you find by looking at the same things in Oberon's speech?

    In this scene, Oberon is talking about Titania in front of his servant Puck, but the speech reveals a lot about his motives, emotions and offers an introduction to what Oberon is like as a King and leader.

    Above you can explore Oberon's speech in more detail. See if you can notice the things Mark tells us to look out for:

    • Imagery
    • Metre
    • Word choice

    Questions to consider

    What can we learn about Oberon and his world from this speech? Ask yourself:

    • What do you notice about the number of adjectives, compared to verbs, in the speech? What does this tell us about the environment Oberon is describing?
    • What effect do the rhyming couplets have on the speech? How does the rhyme scheme, metre and word choice effect the way you view Oberon?
    • Does Oberon always talk in rhyming couplets? If not, what does it mean when he doesn’t?
    • How is imagery, particularly natural imagery, used in this speech? What does this suggest about Oberon and his position?

    Using Mark’s strategies, we’ve started to look at what Oberon's language tells us about him in this Act 2 Scene 1 soliloquy. See if you can complete the grid below and finish the four points which explain what this speech reveals about him and his world.

    Point

    Oberon dislikes the fact that Titania has not given him what he wants and wants her to suffer.

    Evidence

    'And with the juice of this I’ll streak her eyes, / And make her full of hateful fantasies.'

    Explanation

    Words like ‘streak’, ‘make’, ‘full’ and ‘hateful’ are harsh and show us something about Oberon's state of mind, particularly his attitude towards Titania in this moment. He seems to want Titania to suffer as a result of their argument. Where he later tells Puck to 'annoint' Demetrius' eyes with the juice of the flower, his choice of the word 'streak' when speaking about Titania indicates a very different motive for the same action. Taken together, this reaction could also suggest that Oberon is not used to being denied, or to not getting his own way.

    Point

    Oberon has a gentle side to his personality, even when plotting his revenge.

    Evidence Select an option

    Explanation Click text to edit

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    Point

    Oberon is powerful and understands the natural world around him.

    Evidence Click text to edit

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    Explanation Click text to edit

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    What else can I do to explore Oberon’s language?

    • Look at Oberon's instructions to Puck in the rest of the play. How does he speak to him and how are these speeches and instructions structured in comparison to this speech? Does his language change when he addresses different audiences?
    • Take a look at the things he says immediately before this speech, when talking to Titania. What impression do we gain of him during these interactions in Act 2 and what is the dynamic of their relationship? Why do you think he reacts the way he does to Titania when she refuses to hand over the little changeling boy that he wants to be his henchman? Why do you think he uses the juice of the flower against her?
    • Oberon only speaks to Puck and Titania during the play. Take a look at the language he uses, including the names and titles he uses for the other characters, in these interactions. How is his language different when talking to Titania?

  • Analysing the Themes

    As with all Shakespeare’s plays there are lots of themes that appear in A Midsummer Night's Dream. It’s a great idea to keep a list of key quotes and examples of these themes in each act as you go through the play, looking at who uses them and where they come up.

    Here are three of the themes that can be seen a lot in A Midsummer Night's Dream and are useful to look out for:

    THEME OF UNREQUITED LOVE

    • Many of the characters in A Midsummer Night’s Dream experience unrequited love. Helena says of Demetrius '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' (1:1). Later, Demetrius says of Hermia 'O why rebuke him that loves you so?' (3:2). After the juice of the flower is administered by Puck both Hermia and Lysander feel the pain the others have gone through, experiencing an unrequited love of their own. Even Titania has to work hard for Bottom’s love, as he seems more interested in what the fairies can fetch for him.
    • Each character responds to unrequited love in different ways, particularly as some of them have had their love returned previously. For example, Hermia sees Lysander's sudden change in feelings for her and Helena was once engaged to Demetrius, only for him to fall out of love with her. How does this change impact on their emotions and experiences? How does it make the characters feel? How is it resolved for them?

    THEME OF MAGIC AND REALITY

    • Puck’s epilogue tells the audience to imagine the whole play and its events have been a dream, a false reality that has no power to offend. Ending the play this way means the audience has to think about how much of what they have witnessed was actually real. Even when Theseus and Hippolyta hear the lovers' version of events they also struggle to believe what has occurred.
    • Take a closer look at the text and watch the video. Think about why Shakespeare would put this speech at the end of the play. What does it tell us?

    THEME OF POWER AND CONTROL

    • Many characters have power or control over others in the play. Hippolyta has been ‘won’ by Theseus when he defeated her armies, although it is unclear how she feels about this and the language is ambiguous; and Hermia is being given to Demetrius against her will. In the forest, Oberon uses magic and deception to control Titania and both he and Titania have servants in the fairy world. Helena talks about the power Demetrius has over her and even the mechanicals could be said to have power struggles, with Bottom's attempts to claim every part and to run their rehearsals.
    • In which scenes do you see these power struggles take place the most? Who wins them and how are they resolved? How does it change the way we think about the play if you focus on the way in which people are controlled against their will? How might it resonate with a modern audience?

    Thinking specifically about the theme of Magic and Reality, look at the extract from Puck's Act 5 epilogue. In this speech he asks the audience to imagine they 'have but slumbered here' and that the magical events they have seen are not real, but 'a dream'.

    Puck
    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, goodnight unto you all.
    Give me your hands if we be friends,
    And Robin shall restore amends.
    To avoid the audience hissing at us.

    Looking at this speech, think about why Shakespeare chose to end the play in this way. What references does Puck make to reality and dreams and why? We've started to think about this question here. See if you can complete the grid below and finish the four points about Puck's closing speech.

    Point

    Puck suggests that everything the audience has just watched might have only been a dream and not reality at all.

    Evidence

    'That you have but slumbered here / While these visions did appear.'

    Explanation

    Puck suggests that the audience have been sleeping and that the events of the play might only have occurred in their dreams. However, he only asks the audience to do this 'if we shadows have offended' which adds doubt. In using these references to dreamers and dreams, Shakespeare also reminds the audience of the play's title and the fact that the play was meant to occur at 'Midsummer', a time when the divide between the mortal world and the magical realms was believed to be thin.

    Point

    Puck mentions the offence the fairies may have caused in meddling with mortals, which connects the audience with the lovers and mechanicals.

    Evidence Select an option

    Explanation Click text to edit

    Enter your explanation here.

    Point

    Puck's speech feels rehearsed or even planned, with a structured form.

    Evidence Click text to edit

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    Explanation Click text to edit

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    Point Click text to edit

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    Evidence Click text to edit

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Teacher Notes

You can print the PEE grids from each of the sections on this page to help students explore the language of central characters and some of the imagery used in more detail.

The following theme guide may also be useful in discussing the ideas in the text.

Themes in A Midsummer Night’s Dream