Book Anatomy · A Midsummer Night's Dream
A Midsummer Night's Dream: Setting and world
13 lenses on setting and world for A Midsummer Night's Dream by William Shakespeare. Count lenses are exact for our text. AI lenses are our reading and cite only quotes that passed a word for word check.
Jump to: I1 I2 I3 I4 I5 I6 I7 I8 I9 I10 I11 I12 I13
I1. Places named and how often each appears. Count
Athens is the place named most, 20 times.
| Place | Mentions | Chapters |
|---|---|---|
| Athens | 20 | 7 |
| Wood | 18 | 7 |
| Grove | 5 | 2 |
| Cradle of the Fairy Queen | 1 | 1 |
I2. Setting by chapter, as a map. Both
The place named most in each chapter. A rough setting map. (rough estimate from word lists)
| Chapter | Place named most |
|---|---|
| 1 | Athens |
| 2 | Athens |
| 3 | Wood |
| 4 | Athens |
| 5 | Wood |
| 6 | Athens |
| 7 | Wood |
| 8 | Athens |
| 9 | Athens |
Athens palace (c1 to 2, c8 to 9), the wood near Athens (c3 to 7), Quince's house (c8). The wood is the main setting where magic operates; Athens frames the story with law and ceremony.
Scenes (numbered through the play): Scene 1, Scene 2, Scene 3, Scene 4, Scene 5, Scene 6
I3. Setting shown in blocks or woven into action? AI
Setting is woven into action. The wood's magic is revealed through what happens there, not described beforehand. Athens's law is shown through Hermia's conflict, not explained.
Scenes (numbered through the play): Scene 1, Scene 3, Scene 4, Scene 5, Scene 6, Scene 7
There, gentle Hermia, may I marry thee, And to that place the sharp Athenian law Cannot pursue us. (Ch 1, para 37)
I4. Weather and light used for mood. Both
Weather and light words: 3.38 per 1,000 words.
Weather and light words, chapter by chapter
The moon marks time and mood throughout. Night enables magic and romance. Darkness creates confusion for the lovers (c6). The 'iron tongue of midnight' (c9) signals the end of magic and return to order.
Scenes (numbered through the play): Scene 1, Scene 3, Scene 4, Scene 6, Scene 9
The iron tongue of midnight hath told twelve. Lovers, to bed; ’tis almost fairy time. (Ch 9, para 123)
I5. The social world: class, money, rules. AI
Class divides the world: Duke Theseus and nobles above, craftsmen below. Athenian law favours fathers over daughters. Money is not mentioned. Social rules about obedience and marriage drive the plot.
Scenes (numbered through the play): Scene 1, Scene 2, Scene 7, Scene 9
Either to die the death, or to abjure For ever the society of men. (Ch 1, para 17)
In the meantime I will draw a bill of properties, such as our play wants. I pray you fail me not. (Ch 2, para 41)
I6. Rules of the world (magic, science) and when each is shown. AI
Magic rules the wood (c3 to 7): the flower enchants lovers and Titania. Science and reason do not apply. The rules are shown through Oberon's commands and Puck's actions, not explained.
Scenes (numbered through the play): Scene 3, Scene 4, Scene 5, Scene 6, Scene 7
Fetch me that flower, the herb I showed thee once: The juice of it on sleeping eyelids laid Will make or man or woman madly dote Upon the next live creature that it sees. (Ch 3, para 24)
I’ll put a girdle round about the earth In forty minutes. (Ch 3, para 25)
I7. Lore: dripped in or dumped? AI
Lore is dripped in. The changeling boy's origin is mentioned once (c3). Fairy names and nature are revealed through action. No long exposition about the magical world.
Scenes (numbered through the play): Scene 3, Scene 5, Scene 7
A lovely boy, stol’n from an Indian king; She never had so sweet a changeling. (Ch 3, para 4)
I8. Real history used, and how. AI
No real history is used. The play is set in a mythical Athens with Duke Theseus from legend. The craftsmen's play of Pyramus and Thisbe is a classical tale, not historical.
I9. Journeys: distance and time taken. Both
The lovers travel one night from Athens to the wood and back. Puck claims he can 'put a girdle round the earth in forty minutes' (c3) but the actual journey is one night. Time is compressed by magic.
Scenes (numbered through the play): Scene 1, Scene 3, Scene 4, Scene 6, Scene 7
I’ll put a girdle round about the earth In forty minutes. (Ch 3, para 25)
I10. Objects that matter, where they appear. Both
love-juice is the object named most.
| Object | Mentions | Chapters |
|---|---|---|
| love-juice | 2 | 1 |
| eyelids | 2 | 2 |
| bow-strings | 1 | 1 |
| girdle | 1 | 1 |
| changeling boy | 1 | 1 |
The magic flower is central (c3 to 7). Bottom's ass head matters (c5 to 7). The changeling boy drives Oberon's plot (c3, c7). These objects appear where they are needed for the plot.
Scenes (numbered through the play): Scene 3, Scene 4, Scene 5, Scene 6, Scene 7
Fetch me that flower, the herb I showed thee once: The juice of it on sleeping eyelids laid Will make or man or woman madly dote Upon the next live creature that it sees. (Ch 3, para 24)
Enter Puck and Bottom with an ass’s head. (Ch 5, para 41)
I11. Density of period detail. AI
Period detail is sparse. Athenian law and the Duke's wedding are mentioned but not detailed. The craftsmen's props and play are named but not described. The focus is on emotion and action, not setting.
Scenes (numbered through the play): Scene 1, Scene 2, Scene 8, Scene 9
Marry, our play is The most lamentable comedy and most cruel death of Pyramus and Thisbe. (Ch 2, para 6)
In the meantime I will draw a bill of properties, such as our play wants. I pray you fail me not. (Ch 2, para 41)
I12. Setting as an enemy. AI
The wood is not an enemy but a place where magic operates and confusion happens. It is neutral space where the lovers' true feelings emerge. Theseus's arrival restores order.
Scenes (numbered through the play): Scene 3, Scene 4, Scene 5, Scene 6, Scene 7
I13. Indoors against outdoors. Both
Indoor words outnumber outdoor words 42 to 35. (rough estimate from word lists)
Indoor share %, chapter by chapter
The play moves from indoors (Athens palace, c1 to 2) to outdoors (wood, c3 to 7) and back indoors (palace, c9). The wood is where magic and freedom happen; the palace is where law and order rule.
Scenes (numbered through the play): Scene 1, Scene 2, Scene 3, Scene 4, Scene 5, Scene 6
There, gentle Hermia, may I marry thee, And to that place the sharp Athenian law Cannot pursue us. (Ch 1, para 37)
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