TOPICS FOR DISCUSSION (ACT 1)

Some reading is required. You may wish to print a copy for yourself.

*Disclaimer*
These are only suggested answers for questions under the "Topics for Discussion" after each separate Act in your novels. Some of the questions may have been addressed in passing, in class.

Act One (p56-57)

1. How does Act 1 serve as an effective opening to the play? Comment especially on the way Shakepspeare establishes main characters, important relationships and key elements of plot.

The 1st Act introduces all the main groups of characters.
- The 'older generation' at Theseus' court (Theseus, Hippolyta & Egeus)
- The 'Athenian youths /lovers' (Hermia, Lysander, Helena, Demetrius)
- The 'rude mechanicals / craftsmen' (Bottom, Quince, Snout, Snug, Starveling, Flute)

Shakespeare introduces all the main relationships and causes of conflict between characters. The elements of romance (between the lovers) and comedy (by the craftsmen) are established. Shakespeare has created a sense of anticipation / interest / curiosity- the audience now wants to know if Lysander and Hermia's plans to elope will come to fruition or if it will be thwarted by another party (Egeus? Theseus?)

The craftsmen on the other hand both complement the marriage preparations of Theseus to Hippolyta and also provide some much needed comic relief- recall the tensions of the first scene where Lysander and Hermia are confronted by Egeus, Theseus and Demetrius.


3. In what respects are the four young lovers in Act 1 different from their elders? Discuss in particular the different views of love and marriage that are expressed.

The youths come across as more impetuous / impulsive / reactionary / emotional / less mature than their elders.
Hermia, for one, believes that Egeus is not being reasonable and does not understand her.
There is also the seemingly romantic side of young love apparent in the relationship between Lysander and Hermia.
The audience is privy to (even if Demetrius is seemingly unaware of!) Helena’s misery at being a rejected lover and the unfathomable quality of egocentric obsession where Demetrius dotes /hankers after Hermia even as Helena is willing to be Demetrius’ ‘spaniel’.
In a marked contrast, the relationship that Theseus shares with Hippolyta seems to be more balanced and stable-their past animosity is over and their upcoming nuptials seem to be eagerly anticipated by both.
In contrast to the happy / calm / harmonious unity of the royal couple, change, conflict and confusion seem to typify or prevails the young lovers’ relationships for the most part of the play.
In general, the audience sees a ‘gap’ between the young (the lovers) and old (Theseus and Hippolyta). Lysander and Hermia are restless, rebellious and straining against parental rights and the governmental authority of the time.
Egeus too, demands furiously of his traditional rights (which has the support of Athenian law) and parental privileges and Theseus (at least for this Act) helps to uphold those rights.


4. What impression are we given of the craftsmen in Act 1? What is their role in the play? Do you find Bottom a lovable or irritating character?

In all respect, the craftsmen are comic characters that appear all the more comical and amusing because they take themselves and their planned performance so very seriously. Having said that however, we must admit that the craftsmen are all simple / simple-minded(?) / innocent / naïve and honest working men with good intentions (of entertaining the Duke on his nuptial day) and are all possessed of good hearts. They are basically good people.
Their general role in the play is to provide humor. More specifically, their play “The Most Lamentable Comedy and Most Cruel Death of Pyramus and Thisbe” serves as a comic parallel of the predicament of Hermia and Lysander (forbidden lovers) and their antics in the woods. Eventually, the craftsmen’s play serves as a fitting performance at Theseus’ wedding where they provide much comic-relief and entertainment for the courtiers and the audience alike.
Bottoms especially, provides the audience with ironic insights into the nature of (blind) infatuation and the world of the lovers when he is ‘translated’ into an ass and wooed most lovingly by no less than Titania, the Queen of Fairies.
Bottom is a lovable character because, for all his self-centered / over-confident banter, he is basically a well-meaning / good-intentioned / good-natured and innocuous character. We enjoy his exuberance and enthusiasm because for the most part, he is too laughable and ludicrous for us to find him offensive.