Volu m e II - Purdue University Calumet

Towards the end of the fourth act Queen Titania no longer has love for Bottom and his ass-head is removed.
Bottom wakes to his normal state, unaware he had been transformed at all. Bottom is no longer dressed like
an ass; his shoe-ears have been removed, and his hands are visible. Now released from Titania’s doting,
Grindley shows that Bottom has safely ventured in and out of the fairy world and is now able to return to
human company. Bottom thinks he had dreamed the past events, and he ponders this, smiling nostalgically.
As Wyn Davies says his lines he acts in awe, and shows the audience that Bottom has been uplifted. His
fellow actors enter below him, as he is still on the balcony, and they call out searching for him. He sits
dangling his legs, watching over them, as Grindley alludes to the fact that Bottom has glimpsed inside
another world and is therefore more experienced than his fellow actors and himself at the beginning of the
play. He makes his descent down the stairs to rejoin his friends on the lower level of the stage, symbolizing
Bottom making his return to Athenian company. The artisans rejoice “O most courageous day!”, embracing
their previously absent leader and welcoming him back to a world that is ignorant to the secret lives that
exist in the wood (4.2.27).
Although Bottom is often seen as a simple, foolish character he is presented in Grindley’s
production of A Midsummer Night’s Dream as a more complex person. Bottom is childlike, foolish and
emotional when the audience is introduced to him with his expressive face and animated nature. His
laughable character conforms to the company he keeps with the artisans who display their foolish behavior
before the Duke of Athens as they use their poorly thought of prop. Bottom is the lead of the play though,
and confidently controls the stage despite the fact his audience is not taking him seriously. Not only does
Grindley suggest Bottom’s childlike qualities, but also Bottom’s nobler traits. Actor Wyn Davies often shows
a composed, thoughtful Bottom with his actions. Later in the play, blocking and a change of costume bring
Bottom back from the fairy world and allude to the fact that he has been enlightened. Grindley’s vision of
Bottom is not one-sided, and suggests a complex Bottom who is both childlike and silly, and noble and
insightful.
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