—Act V, scene i, lines 52-53
Theseus dismisses that as a satire too sharp to fit a wedding ceremony.
The nine Muses ("thrice three") were daughters of Jupiter (Zeus) who were the goddesses of the various branches of learning.
Some critics have tried to pick out some particular person meant by "Learning" in this passage. It is suggested, for instance, that the reference is to the death of the Italian poet Torquato Tasso, who died in 1595.
However, it seems most likely that Shakespeare is merely poking fun at the chronic complaints in his time (and in ours, for that matter) that everything is going to the devil, that the great feats of the past will never be equaled, and that the public taste is degenerating. To show that this was felt even in Theseus' time would be amusing.
But then Theseus' eye catches the notice of the play about Pyramus and Thisbe, and though the master of the revels snobbishly dismisses it as the pathetic attempt of ignorant workers and Hippolyta expresses her nervousness over their possible failure, Theseus nobly indicates he will hear it and that nothing can be a failure if it is presented with honest good will and out of a sense of duty.
Now Bottom and company present their play, which, in the actual practice, turns out to be lamer and more ridiculous than even the rehearsals had prepared us for. They mangle classical references, as when Bottom (Pyramus) says:
—Act V, scene i, line 197
Flute (Thisbe) replies to this:
—Act V, scene i, line 198
There is no "Limander" anywhere in the corpus of Greek legends. If Flute really means "Helen," that must be the famous Helen of Troy, that paragon of beauty who was the cause of the Trojan War (see page I-76). In that case, Limander must mean Alexander, which is one of the alternate names for Paris, who eloped with her.
On the other hand, it is more likely that by Limander, Bottom meant Leander, the well-known hero of the romantic tale of a lover who nightly swam the Hellespont to be with his love and who, one stormy night, drowned in the attempt. In that case the girl would be Hero, not Helen.
Bottom (Pyramus) also protests:
—Act V, scene i, line 199
This is a mangling of Cephalus and Procris, a rather affecting myth about a loving husband and wife. Cephalus, an ardent hunter, had a spear that never missed. He went out hunting early every morning and finally Procris decided to follow him to see if he might not be meeting another woman. Cephalus, heated with hunting, rested and called on the breeze to cool him. Procris, imagining he was calling a woman, sprang from her hiding place and Cephalus, in reflex action, threw his never-missing spear and killed her.
The Play of Pyramus and Thisbe ends with a pair of the most terrific death scenes ever seen as first Pyramus and then Thisbe commit elaborate suicide. Thisbe cries out in her turn:
—Act V, scene i, lines 338-43
The "Sisters Three" are the Fates, who govern all events and whose edicts neither gods nor men can defy. There are three of them by the natural division of time into past, present, and future.
Clotho represents the past and she spins the thread of life, causing life to originate and an individual to be born. Lachesis guides the thread, representing the present and its events. Dreadful Atropos is the future, for she carries the shears with which she snips the thread and brings death.
The three Fates play a much more serious part in Macbeth (see page I-160).
The play within a play ends with a dance and with its audience amused and ready for bed.
Nothing remains but the final bit of entertainment, supplied by the fairy band. Puck comes on the stage alone to say that with the coming of night once more the fairies are back:
—Act V, scene i, lines 385-89
Hecate was supposed to be one of the Titanesses in Greek mythology, but in the struggle that resulted in their supplanting by Jupiter (Zeus) and the other later gods, Hecate sided with Jupiter and remained in power. She was probably another personification of the moon.
There were three common goddesses of the moon in the later myths: Phoebe, Diana (Artemis), and Hecate. All three might be combined as the "triple Hecate" and Hecate was therefore frequently portrayed with three faces and six arms.
Later mythologists also tried to rationalize the difference in names by saying that Phoebe was the moon goddess in the heavens, Diana on earth, and Hecate in the underworld.
This connection with the underworld tended to debase her and make her a goddess of enchantments and magic spells, so that the fairies in following "triple Hecate's team" were following not only the pale team of horses that guided the moon's chariot (hence were active at night rather than by day) but also shared her power of enchantment and magic.
Her enchantments and magic made her sink further in Christian times until Hecate finally became a kind of queen of witches, and she appears in this guise in Macbeth (see page II-185).
Now in come Oberon and Titania with the rest of their fairies. They make their concluding pretty speeches, placing a good luck charm on all the couples being married in the play (and perhaps on the couple being married in the audience, if A Midsummer Night's Dream was performed to celebrate a marriage). Puck then delivers the epilogue and the play is over.
Nothing in the play indicates a tragic end to the love tale of Theseus and Hippolyta, and though it seems a shame to mention it after such a happy time, I will.
The Amazons, offended at Theseus' kidnapping of their queen, mounted an attack against him. They were defeated, but Hippolyta, fighting Amazonlike at the side of her husband, and against her own subjects of the past, was killed.
3. The Two Noble Kinsmen