ACT III
CROSS-EFFECTS OF OBERON'S SPELL
Analyze the scenes constituting this Act. Observe that scene i. takes up Bottom and his fellows, the group not as yet brought into relation with the fairy group, and initiates them in the magic of fairy land by means of the new but appropriate head Puck bestows upon Bottom. Why is Bottom picked out for this favor? The 'ass-head' as a symbolic piece of stage furniture. Show how this transformation makes the mismating of Titania with Bottom more gross and obvious to the audience; also how this is the next direct effect of Oberon's revenge.
Notice that scene ii. takes up the cross-effect already worked upon Lysander by Puck's mistake, instead of on Demetrius, as Oberon intended, and sets forth its further effects upon Helena and Hermia. The dialogues between the two pairs of lovers now overheard by Oberon makes the error clear, and so enables him to take the first step in clearing up the tangle. Meantime, the poet and his audience agree with Puck that they are so far 'glad it so did sort, As this their jangling' is esteemed 'a sport.'
POINTS 1. Explain 'It shall be written in eight and sixe,' III. i. 23-4. 2. The custom in Shakespeare's day as to the women's parts. Would it have been as amusing to the audience then as it would be to us when Quince says 'Robin Starveling, you play Thisbies mother'? 3. Pyramus and Thisbe. This may have been derived from Ovid, or from Chaucer's "Legend of Good Women," or C. Robinson's "Handful of Pleasant Delights." (1504.) 4. Explain 'Two of the first like coats in heraldry,' III. ii. 220. 5. Describe the personal appearance of the heroines from the references made.
QUERIES FOR DISCUSSION
Is Puck or Bottom the presiding genius of this act?
Does the jangling between the two women belittle them as heroines, and is it, therefore, a blot upon the beauty of the play?