Hermia's dilemma is introduced early in the first scene of the play, as her father Egeus complains to the duke that she refuses to marry Demetrius. She maintains that she is in love with Lysander, who she argues is as worthy as Demetrius. Claiming that she does not know "by what power I am made bold'' (I.i.59), she asks Theseus what will happen to her if she does not comply with her father's wishes by marrying Demetrius. Theseus gives her two options: death or lifelong imprisonment in a nunnery. Remarking that she would rather live in a convent all her life than be with Demetrius, Hermia remains constant in her love of Lysander, and later quickly agrees to his plan to escape Athens and elope. As they are discussing this plan, Helena appears, lamenting that Demetrius loves Hermia. Hermia tells her friend to "Take comfort; he no more shall see my face; / Lysander and myself will fly from this place" (I.i.202-03). Helena uses this information in an attempt to gain favor with Demetrius.

When Lysander and Hermia become lost in the woods, he suggests they stop and rest, and Hermia virtuously insists that they do not lie next to one another. She awakens calling out to Lysander after dreaming that "a serpent eat [ate] my heart away, / And you sate smiling at his cruel prey" (II.ii.149-50). When Lysander does not answer, Hermia fears the worst and sets out to find him. When she does, she is confused to find that he claims love for Helena and hatred of her. She asks: "What? Can you do me greater harm than hate? / Hate me, wherefore? O me, what news, my love! / Am not I Hermia? Are not you Lysander?" (III.ii.271-73)

After the four lovers insult each other and nearly resort to physical violence against each other, Oberon and Puck resolve everything. Lysander's love for Hermia is restored, and Theseus soon appears to give his blessing to the couple, much to Egeus's dismay. In the last act, Helena watches the play about Pyramus and Thisby and is later blessed, along with the others, by Oberon.

Critics generally agree that the four young lovers are practically interchangeable; it is nearly impossible to distinguish one from the other. Some attribute this lack of characterization to Shakespeare's own inexperience as a playwright. Most commentators, however, argue that this lack of individualization is central to the plot, that Shakespeare did this on purpose. The young Athenians may seem indistinguishable to the audience, but as objects of love to one another they are seen as sheer perfection. Arguably, it is the transformative power of love that makes four almost identical people seem so different and so wonderful in each other's eyes. On the other hand, Shakespeare may have painted the young lovers as he did in order to highlight the folly, capriciousness, and inconsistency of their love.

In the first scene of the play, we are introduced to Helena's problem: she desperately loves Demetrius, but he is in love with her friend Hermia. Both Lysander and Helena herself reveal that Demetrius was at one time involved with Helena. Lysander tells Theseus that Demetrius "Made love to … Helena, / And won her soul" (I.i.107-08). Helena says that before Demetrius looked upon Hermia, "He hail'd down oaths that he was only mine" (I.i.242-43). In an attempt to win back some of Demetrius's affection, Helena tells him of Hermia's plan to meet in the wood and elope with Lysander. According to Helena's plan, Demetrius pursues Hermia, and Helena follows Demetrius. Continuing to scorn her, Demetrius runs off. In the midst of her pursuit, Helena comes upon the sleeping Lysander, who has mistakenly been anointed with the love juice by Puck. When Lysander wakes up and sees Helena, he falls in love with her instantly. Meanwhile, Demetrius has also been affected by the love potion and also falls in love with Helena. As the two men vie for Helena's attention, Hermia appears and is completely confused by Lysander's sudden scorn of her. Seeing all this, Helena becomes convinced that the others are mocking her. She asks Hermia if she has forgotten their friendship (III.ii.201-02), apparently forgetting that she herself betrayed the friendship by revealing Hermia's plans to Demetrius. Soon, however, Puck and Oberon rectify the situation by reversing the affect of the love juice on Lysander, thereby removing his love of Helena and restoring his love for Hermia. Theseus announces that the couples will be wed. In Act V, Helena watches the Pyramus and Thisby performance and is later blessed, along with the others, by Oberon.

Critics generally agree that the four young lovers are practically interchangeable; it is nearly impossible to distinguish one from the other. Some attribute this lack of characterization to Shakespeare's own inexperience as a playwright. Most commentators, however, argue that this lack of individualization is central to the plot, that Shakespeare did this on purpose. The young Athenians may seem indistinguishable to the audience, but as objects of love to one another they are seen as sheer perfection. Arguably, it is the transformative power of love that makes four almost identical people seem so different and so wonderful in each other's eyes. On the other hand, Shakespeare may have painted the young lovers as he did in order to highlight the folly, capriciousness, and inconsistency of their love.

Lysander first appears in I.i with his love Hermia, her father Egeus, and his competitor for Hermia's love, Demetrius. Egeus accuses Lysander of bewitching his daughter, of writing poems for her, exchanging love tokens with her, singing to her by moonlight at her window. After Hermia is given the choice of death or imprisonment in a convent if she refuses to marry Demetrius, Lysander pleads his own worth to Egeus: ''I am, my lord, as well deriv'd as he, / As well possess'd; my love is more than his; / My fortunes every way as fairly rank'd" (I.i.99-101). Furthermore, he accuses Demetrius of having an affair with Helena, in order to demonstrate Demetrius's inconsistency. None of this changes Egeus's mind or Theseus's decision. Lysander then proposes to Hermia that they flee Athenian law and secretly elope, and Hermia agrees to the plan.

After losing their way in the wood, Lysander suggests to Hermia that they stop and rest and tries to convince Hermia to let him lie next to her: "One turf shall serve as pillow for us both, / One heart, one bed, two bosoms, and one troth" (I.ii.41-42). Hermia virtuously denies him this, so they sleep some ways apart from each other. At this point Puck appears and, mistaking Lysander for Demetrius, squeezes the juice of the flower on his eyes. When Helena, pausing in her pursuit of Demetrius, happens upon Lysander, she wakes him and he falls in love with her. Confused, she flees and he follows. Meanwhile, Demetrius has also been affected by the love potion and has also fallen in love with Helena. When the four Athenians find each other, Demetrius and Lysander are professing love for Helena and hatred for Hermia; Helena thinks they are all cruelly mocking her; and Hermia is confused by Lysander's rejection of her and hurt by Helena's verbal attacks. Before long, Oberon and Puck sort things out, and Lysander's love for Helena is erased, and his love for Hermia restored. To Egeus's dismay, Theseus approves of both couples and announces that they will be married. In Act V, Lysander comments on the performance of Pyramus and Thisby and is later blessed, along with the others, by Oberon.

Critics generally agree that the four young lovers are practically interchangeable; it is nearly impossible to distinguish one from the other. Some attribute this lack of characterization to Shakespeare's own inexperience as a playwright. Most commentators, however, argue that this lack of individualization is central to the plot, that Shakespeare did this on purpose. The young Athenians may seem indistinguishable to the audience, but as objects of love to one another, they are seen as sheer perfection. Arguably, it is the transformative power of love that makes four almost identical people seem so different and so wonderful in each other's eyes. On the other hand, Shakespeare may have painted the young lovers as he did in order to highlight the folly, capriciousness, and inconsistency of their love.

Demetrius first appears in I.i with Egeus, Hermia, and Lysander. Egeus speaks highly of Demetrius, calling him "my noble lord" (I.i.24), and telling Theseus that it is Demetrius who has his consent to marry Hermia, Egeus's daughter. After Hermia has expressed her desire to marry Lysander, and the duke has outlined her choices (death, nunnery, or marriage to Demetrius), Demetrius asks Hermia to ''Relent'' and Lysander to ''yield / Thy crazed title to my certain right" (I.i.91-92). Lysander replies that Demetrius has in fact "Made love to … Helena, / And won her soul" (I.i.107-08). Theseus admits that he had heard of this and meant to speak to Demetrius about it. Nevertheless, he holds Hermia to her father's will. It is not clear why Demetrius transferred his affections from Helena to Hermia, but Helena seems obsessed with getting him back.

When Demetrius learns from Helena of Hermia's and Lysander's plans, he pursues his beloved, and Helena pursues him. Oberon overhears the conversation between Helena and Demetrius in which she repeatedly professes her love for him. After Demetrius discourages her, he runs off. Oberon then reveals his plan to have Puck anoint Demetrius's eyes with the love juice, so that Demetrius will return Helena's love. Puck instead finds Lysander and puts the juice of the flower on his eyes. As it happens, Helena, who has been chasing Demetrius but can pursue no longer, comes upon Lysander and wakes him. Lysander then falls in love with Helena. In an attempt to rectify the situation, Oberon places the love juice on Demetrius's eyes, so that when he wakes he will indeed be in love with Helena. And this is exactly what happens. Demetrius and Lysander are now both in love with Helena; Hermia does not understand why Lysander now hates her; and Helena is convinced the three of them are playing a cruel joke on her. Oberon then arranges, with Puck's assistance, to finally right what has gone wrong by placing an herb on Lysander's eyes which will reverse the effects of the love juice, thus restoring Lysander's love for Hermia. Once this transformation is complete, Theseus approves of both couples and announces that they will all be married. In the last act, Demetrius and the others comment on the Pyramus and Thisby play as it is being performed.

Critics generally agree that the four young lovers are practically interchangeable; it is nearly impossible to distinguish one from the other. Some attribute this lack of characterization to Shakespeare's own inexperience as a playwright. Most commentators, however, argue that this lack of individualization is central to the plot, that Shakespeare did this on purpose. The young Athenians may seem indistinguishable to the audience, but as objects of love to one another they are seen as sheer perfection. Arguably, it is the transformative power of love that makes four almost identical people seem so different and so wonderful in each other's eyes. On the other hand, Shakespeare may have painted the young lovers as he did in order to highlight the folly, capriciousness, and inconsistency of their love.

The play opens as Theseus and his bride-to-be, Hippolyta, are discussing their upcoming marriage. Theseus comments that he ''woo'd thee [Hippolyta] with my sword, / And won thy love doing thee injuries" (I.i.16-17), referring to the fact that he conquered Hippolyta in his war with the Amazons. But now they are to be married, and their discussion is interrupted by Egeus, who comes to Theseus for help in sorting out the affairs concerning Egeus's daughter, Hermia. After hearing Egeus present his case, he points out to Hermia that she should be obedient to her father and that Demetrius "is a worthy gentleman" (I.i.52). Hermia asks Theseus how the law will affect her if she refuses to marry Demetrius, and Theseus outlines her options: death, or lifelong confinement to a nunnery. He advises her to abide by her father's wishes but gives her several days to make her decision.

Theseus does not appear again until IV.i, when he, Hippolyta, and Egeus find the four young lovers in the wood. When Theseus hears what they have to say and after Egeus demands that Lysander be punished for his attempted elopement of Hermia, Theseus announces that the couples will be married alongside him and Hippolyta. He goes back on his earlier decision to support Egeus in trying to force Hermia to marry Demetrius. As for Egeus's request that Lysander be punished, Theseus simply says, "Egeus, I will overbear your will" (IV.i.179).

As the last act opens, Theseus and Hippolyta discuss what has happened to the four young lovers, with Theseus attributing tales of fairies and the like to the imagination. Hippolyta responds that the lovers' stories support each other, and that this made the combined image they painted ''something of great constancy; / But howsoever, strange and admirable" (V.i.26-27). Theseus then requests to see "Pyramus and Thisby," despite Philostrate's urging to the contrary. Throughout the play, Theseus and the others watching the performance comment on the actors' abilities and interpretation of the tragedy. When everyone has gone off to bed, Theseus and Hippolyta, along with the other couples, are blessed by Oberon.

Although Theseus has relatively few lines in the play, his role is often considered to be fairly major, for several reasons. Firstly, many commentators see Theseus's relationship with Hippolyta as providing a framework for the dramatic action of the play, given that the couple only appears in the beginning and the end of the play. Additionally, this relationship undergoes no change during the course of the play and arguably represents stability consistency, in direct contrast to the somewhat capricious relationships of the young lovers.

Perhaps more importantly, many critics believe that Shakespeare uses the character of Theseus to discuss the interlocking themes of imagination and art. Often cited in the discussion of this topic are two passages. The first is Theseus's "lunatic, lover, poet" speech (V.i.2-27) in which Theseus says:

The lunatic, the lover, and the poet
Are of imagination all compact:
One sees more devils than vast hell can hold;
That is the madman: the lover, all as frantic,
Sees Helen's beauty in a brow of Egypt:
The poet's eye, in a fine frenzy rolling,
Doth glance from heaven to earth, from earth to heaven;
And as imagination bodies forth
The forms of things unknown, the poet's pen
Turns them to shapes, and gives to airy nothing
A local habitation and a name.
Such tricks hath strong imagination.
(V.i.7-18)

The second is the later exchange with Hippolyta as they watch "Pyramus and Thisby":

Hippolyta: This is the silliest stuff that ever I heard.

Theseus: The best in this kind are but shadows;
and the worst are no worse, if imagination amend them.

Hippolyta: It must be your imagination then, and not theirs.

Theseus: If we imagine no worse of them than they of
themselves, they may pass for excellent men.
(V.i.210-16)

Some commentators have argued that both of these passages indicate that Theseus has a lack of aesthetic discrimination, that he cannot distinguish between superior or inferior art. And the "lunatic, lover, poet'' speech, while seeming to acknowledge the power of the imagination, at the same time appears to discount the importance of imagination. However, others note that Theseus, especially in the second passage quoted above, seems to understand the importance of the audience's imagination in understanding art. As some commentators have summarized, Theseus realizes the importance of imagination to love and life, as long as it does not undermine reason and sanity.

The play opens as Hippolyta and Theseus are discussing their upcoming marriage. Theseus comments that he

woo'd thee [Hippolyta] with my sword,
And won thy love doing thee injuries;
But I will wed thee in another key,
With pomp, with triumph, and with revelling.
(I.i.16-19)

Theseus is referring to the fact that he conquered Hippolyta in his war with the Amazons. Hippolyta's only lines in this act are in response to Theseus's comment that they will be wed in "Four happy days" (I.i.2). She says simply, in a few lines, that the time will pass quickly. Hippolyta does not appear again until IV.i. She accompanies Theseus and others on a hunt in the wood, and she fondly remembers a moment from her past as queen of the Amazons when she was hunting "with Hercules and Cadmus" (IV.i.112). She comments on the musical quality of the baying of the hounds on that hunt, that she had "never heard / So musical a discord, such sweet thunder" (IV.i.116-17). Theseus then praises his own hounds, when Egeus stumbles upon the four sleeping young lovers.

Hippolyta appears again in Act V, first discussing with Theseus the story of the young lovers, commenting that it was "strange and admirable" (V.i.27). During the performance of "Pyramus and Thisby," Hippolyta makes various remarks throughout the play, sometimes scoffing ("This is the silliest stuff that ever I heard'' [V.i.210]) and sometimes praising ("Well shone, Moon. Truly, the moon shines / with a good grace" [V.i.267-68]). In the end, she and Theseus are blessed, along with the other couples, by Oberon.

Many commentators see Hippolyta's and Theseus's relationship as providing a framework for the dramatic action of the play, given that the couple only appears in the beginning and the end of the play. Additionally, this relationship undergoes no change during the course of the play and arguably represents stability and consistency, in direct contrast to the somewhat capricious relationships of the young lovers. Some commentators, however, have observed Hippolyta's relative silence throughout Act I of the play. They believe that this silence does not reflect Hippolyta's happy acceptance of her marriage to Theseus. Rather, her reticence suggests that she has been coerced into the marriage (remember, she has been taken captive), and that she seems to regard it with resignation and sadness.

Oberon, the king of the fairies, first appears in II.ii. He is arguing with his queen, Titania, over a changeling (a child exchanged by fairies for another) who she possesses and he desires. When she refuses to give up the changeling, Oberon devises a plan to steal it from her. He sends Puck off to find a certain flower whose juices, when squeezed on the eyes of Titania, will make her fall in love with the next creature she sees. Oberon plans to take the child when Titania is so spellbound. After outlining this plan, Oberon observes Helena's pursuit of Demetrius and his scornful dismissal of her. Oberon decides to use the flower to make Demetrius love Helena, and instructs Puck to find a man wearing Athenian garments (Demetrius) and place the flower's juice on his eyes. Meanwhile, Oberon finds the sleeping Titania and squeezes the flower on her eyelids, hoping that she will ''Wake when some vile thing is near" (II.ii.34).

Oberon next appears in III.ii. He listens to Puck's report: Titania has fallen in love with a "monster" (III.ii.6) whom Puck has created. Puck then relates the tale of how he came upon Bottom and the others, and how he transformed Bottom. When asked about the Athenian, Puck replies that he has taken care of him as well. But Puck and Oberon almost immediately learn that Puck has not anointed Demetrius. Oberon resolves to fix the situation by placing some of the love juice on Demetrius's eyes. The four lovers together, Oberon sees that he must reverse the effect of the love juice on Lysander. Assessing the mess, Oberon accuses Puck, "This is thy negligence. Still thou mistak'st, / Or else commit'st thy knaveries willfully" (III.ii.345-46). Puck denies that he purposefully placed the love juice on Lysander's eyes instead of Demetrius's. The two finally gather the lovers together and undo what Puck has done to Lysander, so that Lysander's love for Hermia is restored. Soon after, Oberon reveals to Puck how Titania gave up the changeling to him. Instructing Puck to remove the ass's head from Bottom, Oberon first restores Titania. The couple appears once more with the rest of the fairies and with Puck at the play's end as Oberon blesses Theseus and Hippolyta, Lysander and Hermia, and Demetrius and Helena.

Oberon is usually seen by audiences to be a benevolent spirit, and critics have noted that he is associated in the play with light and with dawn even though, as Puck reminds him, he is part of the fairy world, and his activity is limited to the night. When Puck says that they must work quickly to complete their plans because morning is approaching, Oberon replies: "But we are spirits of another sort. / I with the Morning's love have oft made sport …" (III.ii.388-89), and goes on to affiliate himself with the rising sun. Other critics have cited Oberon's wish that Titania will awaken and fall in love with some "vile thing" (II.ii.34) as evidence that he does have some malevolent tendencies.

Additionally, Oberon is typically associated with order in the play. He resolves the play's disorder, and some critics note that this can only happen after his relationship with Titania is restored. It has also been argued that the reappearance of Oberon and the fairies at the play's end emphasizes their divine power as they bless the mortals, and that this providential order contrasts with the ineffectual nature of the mortals.

Titania, the majestic queen of the fairies, is embroiled in a dispute with Oberon over a changeling boy she refuses to part with. As a result, Oberon causes her to fall under a love spell, making her enamored with the comically transformed Bottom. Titania's enchantment serves as a humorous yet poignant exploration of love's irrational nature. Released from the spell after Oberon secures the changeling, she reconciles with him, ending their strife. Titania's role parallels human relationships, reflecting themes of love, conflict, and resolution, and drawing a parallel between the fairy realm and human affairs.

Puck, a sprite also known as Robin Goodfellow, first appears in II.ii as he and a fairy discuss the troubles Oberon and Titania are having. The fairy gives us some indication of Puck's character as she describes how Puck "frights the maidens of the villagery" (II.ii.35) among other activities. When Titania refuses to give up the changeling Oberon wants, he comes up with a plan to steal the child, and enlists Puck's aid in doing so. Puck's first task is to retrieve the very special flower, which he does quickly. Meanwhile, Oberon has learned of the trouble between Demetrius and Helena, and he instructs Puck to use some of the flower on Demetrius (described as wearing Athenian clothes) so that he may return Helena's love. But Puck mistakes Lysander for Demetrius, and puts the juice on his eyes. Soon after, Puck comes upon Bottom, Quince, and the other mechanicals, who are rehearsing their play. He changes Bottom's head into that of an ass, thereby scaring away the other members of the company, who he then proceeds to taunt and chase through the wood. Before long, Bottom and Titania find each other, and Puck reports all of this to Oberon in III.ii.

At this time, Puck's error (his mistaking Lysander for Demetrius) is revealed, and Oberon decides to place the juice of the flower on Demetrius's eyes to rectify the situation. Puck is instructed to lead Helena toward Demetrius, which he does, and Lysander (now in love with Helena) follows. Puck is delighted at the entertainment that is to ensue as the four young lovers with mixed up emotions come together: ''Shall we their fond pageant see? / Lord, what fools these mortals be!" (III.ii.114-15). Oberon accuses Puck of deliberately causing all this trouble, an accusation which Puck denies. The two finally successfully resolve this situation the young lovers are in and the one involving Titania and Bottom. After Oberon has taken the changeling from Titania, she is released from her spell, and Bottom from his.

Puck appears at the end of the play and offers an apology to the theater audience for the performance. "If we shadows have offended,'' he offers, "Think but this, and all is mended, / that you have but slumber'd here / While these visions did appear. / And this weak and idle theme, / No more yielding but a dream" (V.i.423-28).

Puck is seen by some to be simply mischievous. Others view him as frightening and dangerous, noting that he is associated with darkness, whereas Oberon is associated with light and the dawn. In II.ii.382-87, Puck urges that he and Oberon work quickly, as their activities must take place under the cover of the night. Oberon's reply contrasts with Puck's speech, as he claims that they are "spirits of another sort'' and that he (Oberon) "with the Morning's love have oft made sport" (III.ii.388-89). Additionally, it has been noted that Puck can be seen not only as a spectator of the play's dramatic situations but as a commentator and interpreter of the play's action. Critics often cite Puck's comment: "Shall we their fond pageant see? / Lord, what fools these mortals be!" (III.ii.114-15) as evidence of this.

Nick Bottom, the weaver, first appears in I.ii, with the other mechanicals, or clowns (Quince, Snug, Flute, Snout, and Starveling), as they are sometimes called. It is often noted that the mechanicals' names reflect their work. "Bottom," critics explain, refers to the bottom, or skein, around which yarn is wound. Bottom directs Quince to tell the group which play they will be performing and to tell everyone which parts they will be playing. Quince assigns the role of Pyramus to Bottom. Bottom seems enthusiastic about playing this part, and he volunteers also to play the role of Thisby and that of the lion. Quince convinces him, however, that he "can play no part but Pyramus" (I.ii.85).

Bottom appears again in III.i as the group of mechanicals gathers in the wood to rehearse. He tells Quince that the play needs a prologue to explain that the dangers in the play (Pyramus drawing his sword to kill himself, and the lion) are not real. After the group decides that the moonshine by which Pyramus and Thisby meet and the wall which separates the lovers must be played by people, the group proceeds with their rehearsal. Bottom bungles his first line, and Quince corrects him. Flute, playing Thisby to Bottom's Pyramus, doesn't do much better, to Quince's dismay. Puck, who has been watching, intervenes to change Bottom's head into the head of an ass. When the others see this, they run off, frightened. Bottom thinks they are playing a trick on him, trying to scare him, so he begins singing to show them he is not afraid. His song is interrupted by Titania, who has just woken up, having been anointed with the love juice by Oberon. Titania swears she is in love with Bottom, a man with the head of an ass, and he replies ''Methinks, mistress, you should have little reason for that" (III.ii.142-43). When Titania tells Bottom that he is both wise and beautiful, he assures her that he is not. Nevertheless, he seems to accept her affection and follows her with little objection.

Bottom is next seen seated upon Titania's ''flowery bed'' as she caresses him, adorns his head with flowers, and kisses his "fair large ears" (IV.i.l-4). Bottom is busy instructing the fairies to fetch him honey and scratch his ears. When Bottom and Titania fall asleep, Oberon reverses the effect of the love juice on Titania. As Titania wakes up saying that she thought she had been in love with an ass, she sees Bottom lying next to her and exclaims "O, how mine eyes do loathe his visage now!" (IV.i.78). Puck then removes the ass's head from Bottom. When Bottom awakens, he determines that he has had a "rare vision" (IV.i.205), and he vows to get Quince to write it down for him. He then finds his friends, and they leave for the palace to perform Pyramus and Thisby.

Act V is comprised primarily of the performance of the Pyramus and Thisby play. Bottom, as Pyramus, and the rest of the group frequently misspeak their lines and mispronounce the names of the legendary lovers referred to in the play. Bottom also interacts with his audience (Theseus, Hippolyta, and the four young lovers). For example, when Theseus comments on the speech of the Wall, Bottom responds, telling him what is about to happen and that "You shall see it / fall pat as I told you" (V.i. 186-87). Although the onstage audience scoffs a bit at the performance (for example, Hippolyta says ''This is the silliest stuff that ever I heard" [V.i.210]), as the performance progresses, they make some positive comments as well. Hippolyta, in fact, seems touched by Bottom's performance: "Beshrew my heart, but I pity the man" (V.i.290) she says as Pyramus comes to think that his beloved Thisby is dead. As the play ends, with Bottom and Flute lying on the stage representing the dead Pyramus and Thisby, Demetrius comments that the Wall is left to help Moonshine and Lion bury the dead. Bottom then sits up and says, "No, I assure you, the wall is down that parted their fathers. Will it please you to see the epilogue … ?" (V.i.351-54). Theseus declines the epilogue.

Bottom is considered by many commentators to be the central figure of the play. He is admired for his humor and his imagination. It has been noted that he seems to represent the common experience of humanity. Additionally, Bottom is the only character in the play who can see and interact directly with the fairy world. And when he wakes up and has been returned to his former self, he acknowledges that something has happened to him, and it would be foolish to try explain it: "I have had a most / rare vision. I have had a dream, past the wit of / man to say what dream it was. Man is but an ass, / if he go about to expound this dream" (IV.i.204-07). In fact, it is this speech, referred to as the awakening speech or soliloquy, that intrigues many critics. The speech is often argued to be indicative of Shakespeare's acknowledgment of the possibility of spiritual life beyond our everyday existence. The speech is also said to demonstrate both nature's and love's inexplicability. Additionally, Bottom's lively involvement in the Pyramus and Thisby performance has been cited as proof of Bottom's ability to understand the imaginative process of art. This ability, some argue, sets Bottom apart from other mortals in the play who don't seem to share this understanding.

Peter Quince, a carpenter and the director of the "mechanicals," is fervently committed to staging "Pyramus and Thisbe" for Theseus's wedding. Despite his earnest efforts, Quince is often overshadowed by Bottom's assertiveness. Quince's role is crucial in organizing the play-within-a-play, navigating the humorous misadventures of his troupe. His character represents the earnest, if bumbling, pursuit of artistic expression, adding levity to the play's broader themes.

Flute, a bellows-mender, is part of the group of "mechanicals" and is comically cast as Thisbe, a female character in "Pyramus and Thisbe." Unenthusiastic about playing a woman's role, Flute protests, citing his budding beard, but ultimately agrees, adding humor by speaking in a falsetto. His performance, full of blundered lines and malapropisms, contributes to the farcical nature of the play-within-a-play, highlighting themes of identity and role-playing.

Snug, a joiner, is another member of the "mechanicals," cast as the lion in their play. Although worried about his ability to remember lines, he is reassured when he learns his sole task is to roar. To prevent alarming the audience, a prologue clarifies that Snug is not a real lion, adding a layer of comedy. Snug's earnestness and simplicity render his character endearing, emphasizing the joy of amateur theater.

Starveling, a tailor, is assigned the role of Moonshine in the "mechanicals'" production. Initially set to play Thisby's mother, he transitions to portray moonlight itself, crafting a humorous depiction of celestial phenomena. His portrayal, complete with a lantern and a dog, is comically driven and illustrates the play's exploration of theatrical conventions and creativity.

Snout, a tinker, is cast as the Wall in "Pyramus and Thisbe," a literal barrier between the titular lovers. Originally assigned to play Pyramus's father, Snout's transformation into a wall is a highlight of absurdity and creativity in the mechanicals' play. His role underscores the playful nature of the theatrical endeavor, celebrating ingenuity in storytelling.

Philostrate, Theseus's master of revels, is responsible for organizing the entertainment for the duke's wedding. He initially attempts to dissuade Theseus from watching the "mechanicals'" play, citing its amateurish nature. Despite his reservations, Philostrate dutifully facilitates the performance. His character reflects the challenges of managing artistic expression within social hierarchies.

Cobweb, Mote, Mustardseed, and Peaseblossom are Titania's loyal fairy attendants, introduced during the enchantment of Bottom. Charged with tending to Bottom's whims—such as scratching his head and fetching honey—these fairies highlight the magical world’s interplay with human follies. Each fairy, though minor, contributes to the enchanting atmosphere of the play, embodying the whimsical and fantastical elements that characterize the fairy realm.

Egeus is a staunch Athenian nobleman and father to Hermia, determined to marry her off to Demetrius against her wishes. Egeus represents the rigid adherence to paternal authority and Athenian law, appealing to Theseus to enforce Hermia's compliance. As events unfold, however, his influence wanes, and he ultimately has to acquiesce to the young lovers' desires following Theseus's decision to allow Hermia to marry Lysander. Egeus's role underscores the play's tension between tradition and individual will.

These attendants, often mentioned in stage directions as "others" or as part of Theseus's train, fulfill various nondialogue roles throughout the play. Their presence underscores the grandeur of Theseus's court and the bustling preparations for the duke and Hippolyta's nuptials, contributing to the play's backdrop of festivity and celebration.

Peaseblossom,

Cobweb,

Moth, and

Mustardseed, Titania’s fairy attendants who wait on Bottom.