1. This is a scene of transformations – although you've probably noticed they've been occurring throughout the play. For instance, Lysander's affection for Hermia is transformed to Helena in the previous scene. What references – in terms of language used or events themselves - take place in 3.1.?
The transformation in this scene includes Bottom with his asshead and Titania's love for him. First of all, while the Mechanicals are rehearsing their play, Bottom seems to think that their problems can be resolved by explaining to the audience what is real and not real. While Bottom is away from the group, Puck comes along and turns Bottom's head into an ass. The other men run of fear of this monster but Nick has no idea what's wrong and believes, "I see their knavery; this is to make an ass of me/ to fight me, if they could" 1. 2. 112-13 He thinks the others are making a fool of him; which is ironic because he actually has an asshead and has always been, an ass. Once Titania awakes, the potion makes her fall in love with Bottom and professes her love to him which was Oberon and Puck's plan all along, this dramatic unit is quite comical because Bottom loves the attention, and doesn't find it abnormal that the Queen miraculously loves him. She offers him many riches, his own fairy servants and compliments such as "Thou art as wise as thou art beautiful" 1. 2. 139. This line adds to the comedy because he is obviously not good-looking with a donkey head but the magic flower is doing its job.
2.
Look closely at the "hempen homespuns" (3.1.69) who open this scene. They mention several concerns regarding the play Peter Quince has found for them to perform. What are they? According to Bottom, how will the prologue solve these problems?
The "Hemen Homespuns" or the Mechanicals, are debating about the play. First of all, they are concerned that the intensity of the lion's roar and the violence of Pyramus committing suicide will be too overwhelming for the Ladies. Therefore, Bottom suggests they add a couple of prologues to clarify to the audience their true identities. "Write me a prologue; and let the prologue seem to/ say, we will do no harm with our swords, and that/ Pyramus is not killed indeed; and, for the more/ better assurance, tell them that I, Pyramus, am not/ Pyramus, but Bottom the weaver" 1. 2. 15-19 This won't make any sense to the audience because they will obviously know Bottom is not Pyramus; it's a play! The other complication is that they don't have a wall for Pyramus and Thisbe to speak through so Bottom's solution is that a person will play the wall and act as the barrier between the two lovers. They're also hoping for natural moonlight but otherwise, have a person to play "moonshine" with a lantern and bushes. All these "solutions" add to the comedy of their production as they are obviously amateur actors and clearly unprepared.
3.
"Some man or other must present Wall," says Bottom. (3.1.60) Bottom and the others feel the need to have a character represent the wall and hold his fingers together to create a chink. Why don't they simply assume the audience can imagine this? What does this tell you about their powers of imagination?
This suggestion further proves the Mechanical's poor preparation and theater skills. I think that this stage business shows their limited imagination and creativity because they are not picturing the scene as it should be; they are only seeing what is on paper. The Mechanicals should change their stage placement of Pyramus and Thisbe to create the illusion of a wall, a person standing in the middle of the two will look completely ridiculous. Furthermore, the men seem to think that their audience needs explanation and clarification for everything. They don't have very good inferencing or imaginative skills so they don't believe their audience does either. The clarification that they need is definitely not what the audience needs.
4.
Suddenly fairyland and the tradesmen collide with each other when Puck enters the scene and Bottom is transformed into a donkey. Why is his transformation appropriate?
This transformation into a donkey is appropriate to Bottom's character. Puck and Oberon thought it would be quite funny that Titania falls in love with a horrid creature because of the magical juice. The asshead represents Bottom's personality because he is regularly obnoxious, rude, conceited and in other words, an ass. He thinks that his friends are making as "ass" of him (more irony) he means that they are making fun, or a fool of him, which they are, but they are more fearful of his transformation. All the while, Bottom has no idea and once again his vanity comes out as he doesn't see anything abnormal with the Queen of Fairies suddenly professing her love for him. He just goes along with all of it as if he deserved or expected it in the first place.
5.
Why does Bottom have no fear during his transformation? What language shows that Titania remains regal and queenly after her transformation? What effect does this continued use of regal language have on our perception of her after she declares her love for the changed Bottom?
Bottom has no fear during his transformation because he does not know what has happened to him and is embracing the special treatment. The whole time that Titania is enchanted by the magical flower, she remains regal as shown throughout the scene, "Out of this wood do not desire to go: / Thou shalt remain here, whether thou wilt or no./ I am a spirit of no common rate;/ The summer still doth tend upon my state;" 1. 2. 142-145. She still bestows her royal authority to him as she tells him to stay with her. "Feed him with apricoks and dewberries, / With purple grapes, green figs, and mulberries;" 1. 2. 160-161. The queen is offering her riches to Bottom with the finest food and luxuries she can offer him. This continuation of regal language reinforces the reader's perception that she is still Titania, the Queen of Fairyland but has been enchanted so we still know who she really is without the potion.
Again, the quotes you insert into your answers take the assignment to a whole new level.
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