Paul as well as those of Erasmus who bring into focus various dimensions that are aligned around Shakespeare's perception of comic faith in the play. The characters of Bottom, Theseus and the lovers offer an insight into the epistolary paradoxes about religious faith along with a light touch of romantic faith that is exposed in your healthy imaginative experience. The celebration of limitations serves as a precursor to comic happiness in the play; there is an epistemological appeal that focuses on the mannerisms of the characters. The most obvious of all the allusions to comic faith in the play is Pauline and establishes the central focus that should be captured. Waking from his dream, Bottom has a delightful monologue that establishes a clear difference between the ridiculous and the sublime of the play: “I had a very rare vision. I had a dream, beyond human ingenuity to say what dream it was. The man is nothing but a donkey as he is about to realize this dream. I seemed to be… no one can say what. I thought... I had - But the man is but a patched-up fool if he offers to say what I thought I had. Man's eye has not heard, man's ear has not seen, man's hand cannot taste, his tongue cannot conceive, nor his heart can tell what my dream was ( Shakespeare and Foakes 203).” Here we see Bottom thinking of himself as a donkey and being unable to further explain the meaning of his dream as his hands reach towards his ears. It is actually a parody of one of St. Paul's passages that resonates with the mocking vulgarity of the dream that is expressed through its silence (Hassel 53). Silence could be to a certain extent a means through which the author questions the existence of a relationship between faith and romanticism