The character of the “fool” has been a major staple within Shakespearean literature, as it presents a character that is “ahead of the curve”. Through several of his playwrights, regardless of the overall tone of his story, Shakespeare creatively found a way to insert a character that is so unique and unorthodox that the reader can’t help but gravitate to said character. A perfect demonstration of such a person is Nick Bottom from within A Midsummer Night’s Dream. Bottom (as Shakespeare so eloquently titles him throughout the play) is introduced as an immature, cocky, and jackass (both figuratively and literally) of a human being. His mindset is transfixed on the notion that he knows all compared to his other craftsmen counterparts. The true comedy roots from his total obliviousness to his animalistic transformation that occurs during the 3rd Act of the playwright. Shakespeare intentionally turns the characters head into that of a donkey, and therefore the effect the term “jackass” now has become a triple entendre (i.e. the relation to the characters name being “Bottom”, his head now being an actual Donkey a.k.a an ass, and the simple fact that his personality is that of a jackass unto itself).
Without a doubt this was extremely clever scripting by Shakespeare, but the true genius of this character comes towards the end of the play as one see’s the interesting transformation of Bottom. The interesting transformation is that there is no transformation; none of personality, action, or revelation. Aside from his brief change in physical appearance, the man we meet in the beginning of the story is the exact same man we are left with when the curtains close. THAT is what make this character so intriguing; the simple fact that within this play every person that wakes up from their “dream state” goes through some change in character but this one man. It seems that his foolishness is actually a synonym for a strong sense of wisdom. Bottom is able to remain true to his self regardless of the outlandish circumstances; he is also the only person to be aware of both the fairy world and the “real” world. If being a fool allows me to remain myself through the most drastic of situation then color me an insane fool. And with that I leave you with this:
“A Fool Thinks Himself To Be Wise, But A Wise Man Knows Himself To Be A FOOL”-Will Shakespeare.
Christopher makes an excellent point; the problem of identity recurs throughout the plays. Bottom’s constancy, to use one of the important words in A Midsummer Night’s Dream, makes him an unusual figure. At what point does our openness to change become destructive? At what point does our resistance to change become dangerous?