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‘A Midsummer Night’s Dream’ is of the plays written by William Shakespeare. It is a comedy in five acts written about 1595–96 and published in 1600 in a quarto edition from the author’s manuscript. Here is a summary of the play covering Act 1 to Act 5.

Act 1 Scene 1

In the bustling streets of Athens, Theseus, the Duke of Athens, anticipates his upcoming marriage to Hippolyta, set to occur in just four days. Amidst the excitement, Egeus, accompanied by his daughter Hermia, seeks counsel from Theseus. 

Egeus has promised Hermia’s hand in marriage to Demetrius, yet Hermia’s heart belongs to Lysander, who reciprocates her affection. However, Athenian law dictates that Hermia must obey her father’s wishes under penalty of death. Theseus, upholding the law, asserts that daughters must honor their fathers’ decisions. Hermia pleads with Theseus for leniency, and he grants her until his wedding day to choose between marrying Demetrius or facing dire consequences. 

Lysander endeavors to reason with Demetrius, marking Helena’s unrequited love for him. Theseus agrees to address the matter privately with Egeus and Demetrius, and they depart, leaving Hermia and Lysander alone.

Alone together, Hermia and Lysander explore their options. Lysander proposes a solution: his widowed aunt resides outside Athens and would shelter them, allowing them to marry beyond the reach of Athenian law. They resolve to rendezvous in the forest the following night, where they will flee and marry in secrecy.

Meanwhile, Helena encounters Hermia and Lysander. Consumed by envy because Demetrius, the object of her affection, desires Hermia, Helena vents her spleens. Annoyed by Helena’s grievances, Hermia confides in her about their clandestine plan. She reveals their intention to meet Lysander in the woods the next night to elope. Hermia reasons that once she departs, Helena will have a chance to win Demetrius’s heart. Urging Helena to keep their plan confidential, Hermia and Lysander depart. 

However, Helena resolves to divulge their scheme to Demetrius, hoping to earn his gratitude and perhaps redirect his affection toward her.

 Act 1 Scene 2

In a separate setting, Quince prepares to direct a play featuring a motley crew of amateur actors: Bottom, Flute, Snout, Snug, and Starveling. Their performance is scheduled for the Duke and Duchess’s wedding day and will feature “The Most Lamentable Comedy and Most Cruel Death of Pyramus and Thisby,” a play inspired by the tragic tale of Romeo and Juliet. Quince assigns roles, designating Nick Bottom as Pyramus, the play’s protagonist, and Thisby’s love interest. Bottom, known for his theatrical flair, eagerly showcases his talent with a brief monologue.

Quince then assigns Francis Flute the role of Thisby, prompting Flute to lament his recent beard growth, disappointed to play a female character. Despite Bottom’s offer to portray Thisby as well, Quince declines. Robin Starveling is assigned the role of Thisby’s mother, while Tom Snout is designated Pyramus’s father. Quince himself will play Thisby’s father. 

Lastly, Snug is tasked with portraying the lion, expressing concern over memorizing lines. Quince reassures him that roaring is all that’s needed, allowing improvisation. Despite Bottom’s insistence on playing the lion, Quince remains firm. The group is instructed to convene in the forest the following night for a private rehearsal.

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Act 2 Scene 1

 Act 2, Scene 1 transports us to the enchanting woods, where Puck, a mischievous fairy in the service of King Oberon, engages in conversation with another fairy. To the fairy’s realization, Puck reveals his identity as Robin Goodfellow. Puck discloses to the fairy the recent development in King Oberon’s court: Titania, Oberon’s wife, has taken a young boy from an Indian king into her care, sparking jealousy in Oberon. Assigned to divert Oberon’s attention, Puck navigates the delicate dynamics of the fairy realm.

Titania and Oberon appear, their exchange fraught with accusations of affection toward Theseus and Hippolyta, whose impending nuptials stir tension. Oberon accuses Titania of abducting the young boy, which Titania defends as an act of compassion towards the boy’s deceased mother. However, she adamantly refuses to surrender the child to Oberon’s custody.

Following Titania’s departure, Oberon confides in Puck his plan for retribution against his wife. He tasks Puck with procuring a rare purple flower, enchanted by Cupid’s arrow, whose essence induces love upon eye contact. Oberon schemes to anoint Titania’s eyes while she sleeps, causing her to fall in love with the next creature she sees upon waking. Thus distracted, Oberon plans to abscond with the boy and reverse the enchantment.

As Oberon observes Demetrius and Helena’s arrival, he eavesdrops on their contentious exchange, unseen. Demetrius rebuffs Helena’s affection, fixated on his intended bride, and vows retribution against Lysander. Helena’s desperation manifests as she pleads for Demetrius’s love, willing to endure mistreatment. After their departure, Puck returns with the coveted flower, and Oberon outlines his plan to enchant both Titania and an Athenian youth, inflaming their passions.

Act 2 Scene 2

In Scene 2, Titania enters the forest, seeking solace in the ethereal melodies of her fairy attendants. As she succumbs to slumber, Oberon administers the potion, wishing upon her eyes the sight of a grotesque creature. Meanwhile, Lysander and Hermia, en route to his aunt’s abode, pause to rest. Bound by propriety, Hermia insists on separate sleeping arrangements, and they drift into slumber.

Puck, having mistaken Lysander for the Athenian target, applies the potion to his eyes before departing. Demetrius and Helena chance upon the sleeping pair, where Helena’s awakening of Lysander sparks an unintended infatuation. Perplexed by Lysander’s sudden ardor, Helena misconstrues his affection as mockery and flees. Lysander, bewitched by the potion, forsakes Hermia in pursuit of Helena, leaving her bewildered and alone.

As Hermia awakens to Lysander’s absence, she embarks on a quest to find her beloved, unaware of the magical entanglements that have beset them.

 Act 3 Scene 1

As Titania slumbers peacefully in the woods, Bottom and his troupe of actors gather nearby to rehearse their play. Bottom proposes adding a prologue to reassure the audience that no real harm will come to anyone during the performance. He plans to use a sword to mimic a fatal act, ensuring safety. Snout expresses concern that his portrayal of the lion might frighten the audience, so Bottom suggests revealing his true identity to alleviate fears. They also arrange for moonlight and a makeshift wall for the play’s setting. Lost in his lines, Bottom wanders off, leaving his friends to continue rehearsing.

Upon returning, Bottom discovers he has been magically transformed into a donkey-headed man by Puck, who has been observing their rehearsal. Shocked, Bottom’s companions flee in terror, leaving him bewildered by their reactions. Unaware of his altered appearance, Bottom encounters the awakened Titania, who, under the influence of the love potion, falls passionately in love with him. Delighted by Titania’s affection, Bottom plays along, enjoying the attention. Titania summons her fairy attendants to care for Bottom, enchanted by his presence. Eventually, Titania tires of Bottom’s incessant chatter and uses magic to silence him before departing with her fairy entourage.

Ace 3 Scene 2

Elsewhere in the woods, Oberon meets Puck, who informs him of Titania’s infatuation with the donkey-headed Bottom. Puck confirms administering the love potion to the Athenian man. Hermia and Demetrius pass by, prompting Oberon to instruct Puck to rectify the potion’s mistake. Oberon then applies the potion to Demetrius’s eyes and tasks Puck with bringing Helena to him.

Confusion ensues as both Lysander and Demetrius awaken and profess their love for Helena, leaving her incredulous after their earlier rejection. The men, now vying for Helena’s affections, engage in a heated exchange, reverting to their original desire to marry Hermia. Hermia arrives, devastated by Lysander’s newfound affection for Helena, and is further hurt by his insults regarding her stature. The men decide to settle their dispute through combat and depart, leaving Hermia bewildered and hurt.

Observing the chaos, Oberon realizes the need for intervention. He conjures a fog to disorient the Athenians, causing them to lose track of each other. Oberon plans to administer the love potion to Lysander to restore his love for Hermia. As the Athenians drift off to sleep, Puck mimics their voices to lead them astray before applying the potion to Lysander’s eyes and departing. The boy has sparked jealousy in Oberon. Puck’s task is to distract Oberon and maintain his happiness. Titania and Oberon arrive and accuse each other of showing affection to Theseus and Hippolyta, whose impending wedding approaches. Oberon accuses Titania of taking the boy, but she defends her actions, claiming she adopted him out of respect for his deceased mother’s wishes. Despite Oberon’s demand for the boy, Titania refuses.

After Titania departs, Oberon discusses his plan for revenge with Puck. He instructs Puck to find a purple flower struck by Cupid’s arrow, whose juice, when applied to one’s eyes, induces love for the next person seen. Oberon intends to anoint Titania’s eyes while she sleeps, causing her to fall in love with a beast upon waking. While Titania is distracted, Oberon plans to abduct the boy and reverse the enchantment. 

Oberon observes Demetrius and Helena entering the woods and becomes invisible to eavesdrop on their conversation. Demetrius continues to reject Helena’s love, desiring to punish Lysander for pursuing his intended bride. Helena, lacking confidence, pleads for Demetrius’ affection, willing to endure mistreatment. After they depart, Oberon sees Puck return with the flower and instructs him to anoint Titania’s eyes. He also tasks Puck with finding an Athenian man who appears disinterested in his lovestruck pursuer and enchanting him to love her. Puck agrees to carry out Oberon’s commands.

Act 4 Scene 1

Act 4 Scene 1 opens with Titania still under the spell, infatuated with Bottom, who remains oblivious to his donkey head. He makes peculiar remarks about his appearance and desire for peas and oats, yet fails to recognize his transformation. Eventually, both Titania and Bottom drift off to sleep, and the fairies depart. Oberon arrives, having successfully retrieved the boy from Titania. He decides it’s time to release her from the enchantment. Titania awakens, believing her love for the donkey was a dream. Oberon directs her attention to Bottom, and orders Puck to restore his human form. With the task completed, Oberon and Puck exit.

Act 4 Scene 2

In Scene Two, Egeus leads Theseus and Hippolyta to the woods, where they discover Hermia, Lysander, Demetrius, and Helena asleep. Perplexed by their presence, Egeus demands an explanation from Hermia regarding her choice of spouse. Upon awakening, the four lovers are equally confused about their circumstances. Demetrius reveals that Helena disclosed Lysander and Hermia’s plan to elope, leading him to follow them into the woods. However, his feelings for Hermia have waned, and he now desires Helena. Theseus decides to incorporate the newfound couples into his wedding, making it a triple celebration. Delighted, the couples depart, discussing their peculiar dreams from the night before. Meanwhile, Bottom awakens, believing his donkey head was merely a dream. He resolves to ask his friend Peter Quince to compose a song about his experience for the play’s finale.

Scene Two shifts to Quince’s house, where the actors prepare for their performance. Concerned about Bottom’s absence, they are relieved when he finally arrives. Despite their curiosity about his whereabouts, Bottom urges them to hasten to the palace for their play. Throughout these scenes, dramatic irony adds humor as Bottom remains unaware of his comical appearance and remarks, contrasting with the audience’s amusement.

Act 5 Scene 1

In the opulent setting of Theseus’ palace, the jovial atmosphere brims with celebration as three newlywed couples indulge in feasting and entertainment. Philostrate presents a selection of potential performances, prompting Theseus to read aloud the options for the couples’ consideration. Intrigued by the tale of Pyramus and Thisbe, they eagerly opt for this play.

Quince takes the stage, delivering the prologue to set the scene. As the couples ponder the forthcoming spectacle, the characters are introduced, setting the stage for the unfolding drama.

The portrayal of the wall by Snout draws attention to the symbolic aperture through which the lovers, Pyramus and Thisbe, clandestinely communicate. Bottom, embodying Pyramus, theatrically searches for Thisbe, leading to a tender exchange through the wall. However, their rendezvous is interrupted by the unexpected appearance of a lion, portrayed by Snug, evoking both laughter and admiration from the audience for his sincerity.

Under the moon’s glow, Thisbe seeks her beloved but encounters the lion, who ravages her cloak before she flees. Discovering her blood-stained garment, Pyramus believes his love to be lost and tragically takes his own life. Upon Thisbe’s return and the heart-wrenching discovery of her lover’s demise, she follows suit.

As the tension reaches its peak, Bottom, breaking character, invites the audience to witness the removal of the metaphorical barrier that divided the lovers’ families, offering the option of an epilogue. Theseus praises the performance, opting for a dance instead of the epilogue.

The scene transitions to Puck, followed by Oberon, Titania, and the jubilant fairies, reveling in dance and merriment. Oberon bestows blessings upon the couples for enduring happiness, abundant offspring, and lasting peace. With their exit, Puck addresses the audience, suggesting that any offense taken be dismissed as mere fantasy.

Though a fictitious play within the play, “Pyramus and Thisbe” mirrors the tragic essence of “Romeo and Juliet,” yet amidst its dramatic climax, “A Midsummer Night’s Dream” ultimately unfolds as a comedy, culminating in triple nuptials, the reconciliation of fairy royalty, and the triumph of the amateur performance.