Multple Intertwining Plots

In this play, there are four intertwining plots. Using multiple plots is effective because it will give the audience something to look forward to as the play progresses. Usually, they intertwine in a way that will confuse the audience, but will keep the audience on their toes, concentrating on each plot. There are the four lovers, the Mechanicals, the fairies, and the Duke’s storyline. Shakespeare introduces the Duke’s story first, adding Egeus and his daughter, Hermia, therefore putting forward the plot of the four lovers – Hermia and her lover Lysander, Hermia’s best friend, Helena, and Demetrius, the man who loves Hermia, but is loved by Helena. In the second Act, the fairies are introduced (which initiates the romantic confusion that will eventually help restore balance) after the audience is informed of the Mechanicals’ plans for the play they’re hoping to perform at the Duke’s wedding.

Using several story lines, Shakespeare is able to break up the play during certain scenes, as to not bore his audience with one long plot. This also creates tension, as the audience knows that the characters are oblivious to everything that happens in each group, and that every event somehow affects everyone in the whole play. Shakespeare also works in the concept of contrast of the different plots a lot in this play; while the four lovers are serious, graceful and intelligible, the fairies are full of laughter and love to pull pranks and have fun, and where the Mechanicals are bumbling and usually take on methodical labour, the fairies are delicate and love effortless magic and enchantments. The contrast between the seriousness of the lovers and the foolishness of the Mechanicals helps create more ridiculous themes in the play.

The several plots also have different moods; the lovers’ plot will make the audience tense and frustrated, while the Mechanicals will provide a fair bit of comedy and entertainment, whereas the fairies’ plot adds the magical element. Shakespeare does this by using poetic imagery and language to work the audience’s imagination and give a kind of dreamy, airy effect; “I must go seek some dew drops here, and hang a pearl in every cowslip’s ear,” Act 2, Scene 1.

Misunderstandings and the Separation and Unification of Lovers

As we all know, the audience wants there to be a balance. In this play, Shakespeare portrays the four lovers, Hermia, Lysander, Helena, and Demetrius, as a group out of balance; this creates tension throughout the play, as the audience wants the four lovers to form two couples, making everything even – instead, both men love Hermia, leaving poor Helena out. The separation of lovers begins when Puck becomes involved, anointing Lysander's eyes with the juice of a magical flower, resulting in Lysander falling in love with Helena, instead of Hermia. The comedy surrounding the lovers is farce; the humour comes from the characters trying to resolve absurd situations.

Shakespeare creates tension by letting the audience know that the solution of the love tangle is so simple; if Demetrius could fall in love with Helena, then a balance would be achieved. He also teases the audience by purposely dangling the magic flower as a simple mechanism that can be used to achieve a happy ending. He uses this mechanism to journey through increasingly stupid events before he allows the love story to end. Like all good comedies, there is a happy ending, and in this case, several marriages; this is Shakespeare’s  way of making up for the chaos throughout the play.