[M]an’s hand is not able to taste, his tongue to conceive, nor his heart to report what my dream was.See Important Quotations Explained
As the Athenian lovers lie asleep in the grove, Titania enters with Bottom, still with the head of an ass, and their fairy attendants. Titania tells Bottom to lie down with his head in her lap, so that she may twine roses into his hair and kiss his “fair large ears” (IV.i.4). Bottom orders Peaseblossom to scratch his head and sends Cobweb to find him some honey. Titania asks Bottom if he is hungry, and he replies that he has a strange appetite for hay. Titania suggests that she send a fairy to fetch him nuts from a squirrel’s hoard, but Bottom says that he would rather have a handful of dried peas. Yawning, he declares that he is very tired. Titania tells him to sleep in her arms, and she sends the fairies away. Gazing at Bottom’s head, she cries, “O how I love thee, how I dote on thee!” and they fall asleep (IV.i.42).
Puck and Oberon enter the glade and comment on the success of Oberon’s revenge. Oberon says that he saw Titania earlier in the woods and taunted her about her love for the ass-headed Bottom; he asked her for the Indian child, promising to undo the spell if she would yield him, to which she consented. Satisfied, Oberon bends over the sleeping Titania and speaks the charm to undo the love potion. Titania wakes and is amazed to find that she is sleeping with the donkey-like Bottom. Oberon calls for music and takes his queen away to dance. She says that she hears the morning lark, and they exit. Puck speaks a charm over Bottom to restore his normal head, and he follows after his master.
As dawn breaks, Theseus, his attendants, Hippolyta, and Egeus enter to hear the baying of Theseus’s hounds. They are startled to find the Athenian youths sleeping in the glade. They wake them and demand their story, which the youths are only partly able to recall—to them, the previous night seems as insubstantial as a dream. All that is clear to them is that Demetrius and Helena love each other, as do Lysander and Hermia. Theseus orders them to follow him to the temple for a great wedding feast. As they leave, Bottom wakes. He says that he has had a wondrous dream and that he will have Peter Quince write a ballad of his dream to perform at the end of their play.
Barely 300 lines long, Act IV is the shortest and most transitional of A Midsummer Night’s Dream’s five acts. The first three serve respectively to introduce the characters, establish the comic situation, and develop the comedy; Act IV ends the conflict and leads to the happy ending in Act V. What is most remarkable, perhaps, is the speed with which the conflict is resolved and the farce comes to an end; despite the ubiquity of chaos in Act III, all that is necessary to resolve matters is a bit of potion on Lysander’s eyelids and Oberon’s forgiveness of his wife. The climactic moment between Titania and Oberon, during which she agrees to give him the Indian boy, is not even shown onstage but is merely described.
Though Demetrius’s love of Helena is a by-product of the magic potion rather than an expression of his natural feelings, love has been put into balance, allowing for a traditional marriage ending. As is often the case with Shakespeare, the dramatic situation is closely tied to the circumstances of the external environment; just as the conflict is ending and a semblance of order is restored among the characters, the sun comes up. There is no real climax in A Midsummer Night’s Dream; rather, as soon as the scenario has progressed to a suitable degree of complication and hilarity, Shakespeare simply invokes the fairies’ magic to dispel all conflict. As the sun comes up, the reappearance of Theseus and Hippolyta, who symbolize the power and structure of the outside world, begins to dispel the magical dream of the play.
Theseus and Hippolyta bookend the play. They are extremely important figures both at its beginning and at its end, but they disappear entirely during the main action in the magical forest. The duke and his Amazon bride are romanticized in the play, but they belong solely to the nonmagical waking world, where they remain wholly in control of their own feelings and actions. An important element of the dream realm, as the lovers come to realize upon waking in a daze, is that one is in control of neither oneself nor one’s surroundings. In this way, the forest and fairies contribute to the lovers’ sense of their experience as a dream, even though the action happens largely while they are awake.