Determined to await his friends, he begins to sing to himself. Clapp and Horace Howard Furness were both more concerned with the problem of the play's duration, though they held opposing views. He agreed with Malone that this did not fit their stations in life, but viewed this behaviour as an indication of parody about class differences. They are not real artists. It is the offspring of imagination, not reason. Bottom with his animal head becomes a comical version of the Minotaur. Not in Attica , but in the Indies. This passion prevents the lovers from genuinely communicating with each other. He described them as homely creatures with "hard hands and thick heads".
He viewed as main themes of the play violence and "unrepressed animalistic sexuality". While blood as a result of menstruation is representative of a woman's power, blood as a result of a first sexual encounter represents man's power over women. According to Tennenhouse, by forgiving the lovers, he has made a distinction between the law of the patriarch Egeus and that of the monarch Theseus , creating two different voices of authority. He also viewed Bottom as the best-drawn character, with his self-confidence, authority, and self-love. Theseus himself is the bridegroom of the play who has left the labyrinth and promiscuity behind, having conquered his passion. Finally, Fender noted a layer of complexity in the play. Titania, having received the love-potion, is awakened by Bottom's singing and immediately falls in love with him. Bottom treats her as carelessly as if she were the wench of the next-door tapster. He traced these themes to the works of Macrobius , Apuleius , and Giordano Bruno. And fairies are of this sort, as are pigmies and the extraordinary effects of magick. The contrasts between the interacting groups produce the play's comic perspective. And this human, unlike Oberon is a "horrid brute". It is the tension between the dark and benevolent sides of love, which are reconciled in the end. The fairies, in his view, should be seen as "personified dream gods". In other words, the lower-class characters play larger roles than their betters and overshadow them. He calls upon Robin " Puck " Goodfellow, his "shrewd and knavish sprite", to help him concoct a magical juice derived from a flower called " love-in-idleness ", which turns from white to purple when struck by Cupid's arrow. Marshall remarks that "To be an actor is to double and divide oneself, to discover oneself in two parts: How does it feel to watch them? He also emphasised the ethically ambivalent characters of the play. Hermia finds Lysander and asks why he left her, but Lysander claims and denies he never loved Hermia, but Helena. Charles was more appreciative of the lower-class mechanicals of the play. Miller expresses his view that the play is a study in the epistemology of imagination. Afterwards, Oberon, Titania, Puck, and other fairies enter, and bless the house and its occupants with good fortune. In fact the failure of the artisans' play is based on their chief flaw as actors: Pyramus and Thisbe also lack in filial obedience, since they "woo by moonlight"  behind their parents' backs.
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