A Midsummer Night's Dream Act 4

Why does Titania give the boy to Oberon

• just because

• she no longer cares about him because she's in love with Bottom

• He convinced her to do so

• The boy was being a nuisance

Tags

CCSS.RL.11-12.10

CCSS.RL.11-12.3

CCSS.RL.8.3

CCSS.RL.9-10.10

CCSS.RL.9-10.10. RL.11-12.10

Why did Shakespeare purposely write that Bottom had no idea what happened to him?

• The irony adds comedic value

• It is a simile

• He doesn't actually give it any purpose

What was Bottom's situation at the beginning of the act?

• Bottom is still a Donkey, and the fairies are waiting on him hand and foot.

• Bottom is still a Donkey, and he is Titania's prisoner.

• Bottom was returned to being a man, and thinks he has had a strange dream.

• Bottom awakes to being a man again, and decides to have Quince write a ballad about his dream.

Tags

CCSS.RL.11-12.10

CCSS.RL.11-12.3

CCSS.RL.8.10

CCSS.RL.9-10.10

CCSS.RL.9-10.10. RL.11-12.10

Once happened to Oberon and Titania once the spell was lifted?

• Titania remembered the night's events clearly and left with Oberon.

• Titania and Oberon make up and decide to spend romantic time together- they are closer than ever.

• Titania took the changeling boy back and refused to speak to Oberon.

• Titania was confused about how she came to love a donkey, and vowed revenge on Oberon for tricking her.

Tags

CCSS.RL.11-12.3

CCSS.RL.6.3

CCSS.RL.7.3

CCSS.RL.8.3

CCSS.RL.9-10.3

What did Theseus invite the lovers to do?

• He upholds Egeus' wishes.

• He invites them to be married at the same time, making it a triple wedding.

• He invites the couples to the wedding.

• He invites the couples to join in the afternoon's festivities.

Tags

CCSS.RL.11-12.10

CCSS.RL.11-12.3

CCSS.RL.8.3

CCSS.RL.9-10.10

CCSS.RL.9-10.10. RL.11-12.10

A speech by a single character without another character's response, though others are on stage.

• monologue

• dialogue

• soliloquy

• aside

Tags

CCSS.RL.11-12.10

CCSS.RL.11-12.3

CCSS.RL.8.7

CCSS.RL.9-10.10

CCSS.RL.9-10.10. RL.11-12.10

A major division in a play; all of Shakespeare’s plays have five of these.

• act

• scene

• aside

• couplet

Tags

CCSS.RL.11-12.10

CCSS.RL.11-12.3

CCSS.RL.8.7

CCSS.RL.9-10.10

CCSS.RL.9-10.10. RL.11-12.10

A traditional segment in a play that usually denotes a change in setting, time, or characters.

• act

• scene

• aside

• suspension of disbelief

Tags

CCSS.RL.11-12.10

CCSS.RL.11-12.3

CCSS.RL.8.10

CCSS.RL.9-10.10

CCSS.RL.9-10.10. RL.11-12.10

Words spoken by an actor directly to the audience or to a specific character, which are not "heard" by the other characters on stage during a play

• aside

• monologue

• dialogue

• couplet

Tags

CCSS.RL.11-12.10

CCSS.RL.11-12.3

CCSS.RL.8.3

CCSS.RL.9-10.10

CCSS.RL.9-10.10. RL.11-12.10

The conversation between characters.

• monologue

• dialogue

• soliloquoy

• aside

Tags

CCSS.RL.11-12.10

CCSS.RL.11-12.3

CCSS.RL.8.7

CCSS.RL.9-10.10

CCSS.RL.9-10.10. RL.11-12.10