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 play is changed so that the plot doesn’t frighten the ladies. For example, they took out the gruesome suicide and the lion roar. Another transformation is when Bottoms head gets transformed into an ass’s head. Also, Titania falls in love with the ass-headed Bottom.
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 problem is that the sword and death of Pyramus will frighten the ladies and they will think it is all real. Also, they are afraid the violence and killing will scare the audience as well. The prologue will serve as a disclaimer and let the crowd know that the sword will not be used to hurt anyone and the stunts on stage that are performed are completely fake and that Pyramus isn’t really dead.
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?
They assume that the audience isn’t able to infer anything that is going on within the play. The crew cannot imagine and improvise with an invisible wall, which goes to show their imaginations aren’t all that great. If they cannot use their imaginations, how can they expect the audience to use their imagination either.
5.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?
It is appropriate because Bottom, more often than not, will act like a bit of a butt during the rehearsals when he tries to take control from Quince. Transforming him into a donkey just signifies that Bottom can be an ass.
6.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?
He has no fear because there is no mirror so he has no idea that he has even changed. The fact that she could still control the fairies to do whatever Bottom wanted, and the way she spoke to Bottom as she poured her heart out to him shows that she remained queenly after the transformation. This use of regal language after she declares her love to Bottom shows the reader that she is still the Queen, and is still in power despite the fact that she has fallen for Bottom.
The play is changed so that the plot doesn’t frighten the ladies. For example, they took out the gruesome suicide and the lion roar. Another transformation is when Bottoms head gets transformed into an ass’s head. Also, Titania falls in love with the ass-headed Bottom.
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 problem is that the sword and death of Pyramus will frighten the ladies and they will think it is all real. Also, they are afraid the violence and killing will scare the audience as well. The prologue will serve as a disclaimer and let the crowd know that the sword will not be used to hurt anyone and the stunts on stage that are performed are completely fake and that Pyramus isn’t really dead.
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?
They assume that the audience isn’t able to infer anything that is going on within the play. The crew cannot imagine and improvise with an invisible wall, which goes to show their imaginations aren’t all that great. If they cannot use their imaginations, how can they expect the audience to use their imagination either.
5.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?
It is appropriate because Bottom, more often than not, will act like a bit of a butt during the rehearsals when he tries to take control from Quince. Transforming him into a donkey just signifies that Bottom can be an ass.
6.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?
He has no fear because there is no mirror so he has no idea that he has even changed. The fact that she could still control the fairies to do whatever Bottom wanted, and the way she spoke to Bottom as she poured her heart out to him shows that she remained queenly after the transformation. This use of regal language after she declares her love to Bottom shows the reader that she is still the Queen, and is still in power despite the fact that she has fallen for Bottom.
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