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Moore 2
This fallacy plays into the imagination of the audience and therefore plays into imagination as an
underlying tone throughout the work.
Alongside of this mistake made by Puck, there also comes the speech made by Bottom
upon his waking at the end of Act IV Scene I. This speech made by bottom incorporates aspects
of imagination and dreams to create the epitome of this secondary theme. By stating that his
dreams have a deeper meaning than just something in his mind, and that Peter Quince [should]
write a ballad of this dreamcalled Bottoms Dream (4.1.212-213), Bottom exemplifies how
and where imagination begins. This dream is indicative of the fact that the imagination begins in
the mind, perhaps subconsciously, but comes to fruition in the arts and the way in which people
conduct themselves in the physical world.
With such an idea comes the reality of imagination in the physical world. For example, in
the text Bottoms play is a sort of parody on Pyramus and Thisbe, which comes to fruition from a
dream. As dreams can only be so vivid and slightly remembered by humans, it is evident that his
conscious imagination comes to play, and in a sense creates a sort of magic. This magic is
created by his own means, being magical to himself, and his work could be perceived as magic
by his intended audience.
As there is myth and art presented in this work, so comes imagination. The preceding
situations embody how magic and imagination definitely flow throughout the body of the text to
create an underlying theme, and also express how in the real world imagination can be used.
These situations, particularly that of Bottom and his dream, exemplify how imagination stems
and comes into fruition throughout any situation, and epitomizes the affect that dreams can have
on the conscious imagination in the world of art, and in the realm of this play
Moore 3