When they make contact, it is usually to emphasize the difference between them. But the play weaves them all together. Each group, so self-absorbed, is seen in a larger context, which provides comic perspective. It is also, however, the paradigm of the relationship of pairs, the symbolic condition to which other dualities or polarities aspire. Rivalry fraternal or quasi-sibling, or marital is the comic disposition which the comic device exposes and exacerbates.
Confusion is resolved through marriage.
The result is a new society, with old people giving way to the fertile and vigorous young. For the theatre audience, granted a perspective wider than the one enjoyed by Theseus and the members of his court, the Pyramus and Thisby story of love thwarted by parents and the enmity of the stars consolidates and in a sense defines the happy ending of A Midsummer Night's Dream . The heavy rhetoric of the interlude fairly bristles with fate and disaster, introducing into Act V a massing of images of death. The entire action of the play within a play is tragic in intention, although not in execution. Without meaning to do so, Bottom and his associates transform tragedy into farce before our eyes, converting that litany of true love crossed which was rehearsed in the very first scene by Hermia and Lysander to laughter.