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I 3 481.23
A

HARVARD COLLEGE
LIBRARY

FROM THE FUND OF

CHARLES MINOT
CLASS OF 1828

SHAKESPEARE'S

MIDSUMMER NIGHT'S DREAM.

_SHAKESPEARE'S

MIDSUMMER

NIGHTS

DREAM.

THE SECOND QUARTO,

l600:

A FAC-SIMILE IN PHOTO-LITHOGRAPHY,
BY
WILLIAM _GRIGGS,
FOR 13 YEARS PHOTO-LITHOGRAPHBR TO THE INDIA OFFICE.
^NITH INTRODUCTION BY
J?

/J. W._EBSWORTH, MA.,

EDITOR OF " THE 1 DROLLERIES* OF THE RESTORATION \" " THE BAGFORD
BALLADS ;" " THE ROXBURGHE BALLADS," ETC

'LONDON :
W. GRIGGS, Hanover Street, Peckham, S.E.
1880.

SEP181880

TO TWO FRIENDS,
J. O. HALLIWELL-PHILLIPPS, F.S.A., etc.,
WHO, MORE THAN ALL OTHER WRITERS,
HAS ILLUSTRATED THE
LITERATURE OF
" A MIDSUMMER NIGHTS DREAM,"
AND TO
SIR NOEL PATON, R.S.A., etc.,
WHO, ABOVE ALL OTHER ARTISTS, HAS SHOWN THE FAIRY-LAND
LOVELINESS OF OBERON AND TITANIA, IN THEIR
HAUNTED WOOD NEAR ATHENS,
THIS REPRODUCTION OF THE SECOND QUARTO
IS, WITH SINCERE ESTEEM
AND AFFECTION,
Beiitcatrti,
BY
J. W. EBSWORTH.

\Shakspere-Quarto Facsimiles, No. 4.]

INTRODUCTION
TO THE PHOTO-LITHOGRAPH OF
James Roberts's Quarto Edition, 1600 :
A

MIDSUMMER

1. James Roberts's Quarto unregistered.

2. The two Quartos not simultaneous,or both independent.
3. Four Statements ; to be sub
stantiated.
4. The First Folio based on
Roberts's Quarto.
5. Roberts's text borrowed from
Fisher's Quarto.
1.

NIGHT'S

DREAM.

6. Fisher's text must have had

genuine manuscript authortty 7- The formation of the Folio
text.
8. Some peculiarities of the
Folios.
9. Roberts's text not "corrected
from Fisher's."
10. Conclusion: the value of the
Quarto editions.

James Roberts's Quarto Unregistered.

HE three most important versions of the Midsummer Nighfs

Dream text are now placed within reach of the student of
literature, by means of photo-lithography ; which gives, with
absolute exactitude, a reproduction of every peculiarity in the typo
graphy of the originals. It would not be too much to say that equal
facilities for independent and combined examination of these mate
rials were never hitherto attainable, at moderate cost, since the early
part of the seventeenth century. Even in 1623, when for twenty
shillings a purchaser could claim the newly-issued First Folio of
" Mr. William Shakespeare's Comedies, Histories, and Tragedies:
Published according to the True Original Copies : London : Printed by
Isaac laggard and Ed. Blount," the sixpenny editions, each in Quarto,
that had been circulated for nearly a quarter of a century, must have

vi

INTRODUCTION.

become scarce, and therefore more costly. All these originals had
in our day ceased to be accessible, except in some few national or
ducal libraries, and could not be bought without a ruinous expen
diture of money, before Howard Staunton's excellent photo-lithograph
appeared in 1866 : more trustworthy, being scientifically reproduced,
than the careful typographical reprint of the same First Folio, issued
two years earlier, but reduced into a quarto size of page, by Lionel
Booth, of 307, Regent Street, 1864. This had been printed by L.
Strangeways and H. E. Walden, 28, Castle Street, Leicester Square.1
The original First Folio, in perfect condition, occasionally sells at
between seven hundred and eight hundred guineas (the Baroness
Burdett-Coutts paid such a sum for hers) ; and the Quartos are so
rare that they virtually never come into the market at all.
By the help of this present series of exact reproductions, students of
moderate means, on both sides of the Atlantic, are once more enabled
to search for themselves the true text, and to collate the chief autho
rities, unmisled by the caprices of commentators, or by the deliberate
falsifications introduced at various times. There are many persons
now desirous of investigating the subject, and capable of valuing the
uncorrupted language of the Poet.
As we have done with Fisher's Quarto, so here with that of
Roberts : For purposes of reference, it is sufficient that we number
the lines of the Quarto, in fours, on the inside margin ; and also mark
the division of Acts, which is given in the Folio but not in either
Quarto. We add a list of characters, on a separate page, facing the
title, for convenience and completeness ; but no list was given in any
edition before Rowe's, in 1709.2
1 Still later appeared a marvellously cheap reproduction by photo-lithography,
reducing each large folio page into an 8vo., necessarily minute in character. It
was published in 1876, by Messrs. Chatto and Windus, with an Introduction written
by J. O. Halliwell Phillipps. There had been a serviceable imitation of the First
Folio, issued of full size (known as " Upcott's Reprint "), about 1807. We need
only mention the costly and rare Ashbee Facsimiles, which were lithographed from
elaborate tracings. They were attainable by few ; at five guineas each, and only
thirty copies issued. George Stevens had, however, in 1766 issued, in four octavo
volumes, Twenty ofthe Plays ofShakespeare in Quarto.
* It shows the need of such a reproduction as our own, when we find a scholar
(one so generally accurate as the learned Daniel Wilson, Professor of History and
English Literature at Toronto) mistakenly declare : " It is, perhaps, due to the

INTRODUCTION.

vii

In his Introduction prefixed to the photo-lithograph of Fisher's

Quarto, the present writer has attempted to show the probable date
of A Midsummer Nights Dream to have been not earlier than 1593,
or later than 1596. It cannot possibly have been produced later
than August, 1598 (judging from the mention of it by Meres);
although the entry of Fisher's Quarto in the Registers is not until the
8th of October, 1600.
Of the Quarto now reproduced there is no entry whatever in the
same Registers, to more precisely indicate the date than any mere
statement of the year, 1600, on Roberts's title-page. We are left en
tirely to our own resources in the endeavour to ascertain which of
the two Quartos was the earlier issued. After careful examination,
and judging by internal evidence in the absence of external proof, we
venture to affirm our belief that Thomas Fisher's was the earlier
produced.1
early place which ' A Midsummer Nights Dream ' undoubtedly occupies among
the dramatic works of Shakespeare, that in all the older texts it is divided into acts
and not into scenes "(Caliban : A Critique on Shakespeare's Tempest and A Mid
summer Night's Dream. 1873. P. 240.). This he writes after giving a special
description of the two Quartos ; but the simple fact is, that neither of them shows
any division whatever into acts or scenes. The Folio of 1623 first introduced the
distinction of the acts in this play, but made no further division into scenes. After
all, when we remember how little was done on the early Stage to change the back
ground, except by affixing and removing an explanatory placard, we need not
wonder at the deficiency of exact limits to scenes or acts. Like Robert Stephens's
innovation of verse-division, in 1551, continued in our English Bibles, the system
may be found convenient for easy reference ; but it is frequently destructive of some
higher charm. It breaks the continuity of subject, and our attention is frittered
away on fragmentary passages. A modern audience loses remembrance of the
poetry and romance of the drama during each frivolous recurrence to gossip and
flirtation, to fill the time between the acts. . It would be well if the intervals
were less obtrusively marked, both in acting and printing. Here, at least, in
our Quartos, the divisions can be found when sought, but are not thrust forcibly on
attention.
1 In this we avowedly run counter to the opinion expressed by so honoured an
authority as J. O. Halliwell-Phillipps, who writes as follows : " Perhaps Fisher's
edition, which, on the whole, seems to be more correct than the other, was printed
from a corrected copy of that published by Roberts. It has, indeed, been usually
supposed that Fisher's edition was the earliest ; but no evidence has been adduced
in support of this assertion, and the probabilities are against this view being the
correct one. Fisher's edition could not have been published till nearly the end of
the year, and, in the absence of direct information to the contrary, it may be sup
posed that the one printed by Roberts is really the first edition. (Memoranda on
The Midsummer Night's Dream, privately printed, 1879, p. 34: written 1855.)
One ought to feel quietly confident of the strength of argument, and evidence, who
holds and tries to establish any opinion adverse to that proclaimed by so experienced

viii

INTRODUCTION.
2. The Two Quartos not simultaneous, or both
independent.

The two Quartos were certainly not issued simultaneously, although

near to one another in date, both being of the same year, 1600.
They were not both independent, in the sense of being wholly dis
connected with each other : the later one being a direct or modified
copy of its predecessor. An impression of the earlier Quarto lay
before the compositor who set-up the second. Shakespeare himself
makes one of his characters, Dogberry, admit that " When two men
ride upon a horse, one must needs ride behind." Npw it was most
unlikely, d priori, that the open and unrebuked publisher of the
Registered Quarto, Thomas Fisher, should have ridden behind the
unlicensed, and probably piratical James Roberts.1 Be it remem
bered that after the 8th of October there still remained, according to
the " old style " of computation, more than five months for Roberts to
publish his book, and yet be entitled to date it as of the year 1600.
So any conjectures, based on Fisher's Quarto being unpublished " till
nearly the end of the year " affect not the question whether the two
Quartos were issued simultaneously. If any person believes that they
a guide. But we have formed our estimate deliberately, and are prepared to abide
by the conclusions thus gained. We try to show that " the probabilities " are
not against the theory of Fisher holding priority ; and also bring forward the
evidence attainable " in support of this assertion. As a mere supposition, one is
as likely as the other. It really becomes a question of evidence, to be gathered
and interpreted from a collation of the Quartos themselves, and in connection with
the First Folio edition of 1623.
1 The name of James Roberts, as the printer, is on the title-page of other un
registered Shakespeare-Quartos, viz., two editions of The Excellent History of
the Merchant of Venice, with the extreme Cruelly of Shylocke the lew, etc., printed
by J. Roberts, 1600 (L. Heyes, publisher); the earliest Quarto extant of Titus
Androniats (E. White, publisher), the same year, 1600 ; lastly, the second Quarto
of Hamlet, 1604 (N. Ling, publisher), with another edition of the same in the fol
lowing year, 1605.
We add these few particulars concerning the printers, gathered from the Regis
ters of the Company of Stationers. :
Tfhomas] Fisher. Date of Freedom, 3 June, 1600 (vol. ii. 725). Date of
First Registered publication (the Quarto of Midsummer
Nights Dream), 8 Oct. 1600 (iii. 174).
James Robertes (sic). Date of Freedom, 27 June, 1564 (i. 240). Date
of First Registered publication (Christopher Payne's
Cristenmas Carolles, and The Country Clown Doth
much Desyre a gent to be), 15^ (i. 402).

INTRODUCTION.

jx

were, he must remember that the burden of proof is left to him : for, to
the best of our knowledge, there exists no evidence whatever in support
of such a view. Still less (if less than none could be) is there any sup
port given to an idea that both of the two Quartos may have been framed
from separate manuscript originals. While the innumerable differences
between them show that one Quarto is not a servile reproduction of
the other, it is likewise true that the characteristics of both, showing
a general and frequently also a specific similarity in printing, must
shut out any supposition of the later copy having been wholly unin
fluenced by its predecessor. Both Quartos are now before the reader
for comparison. We need do little beyond indicate certain chains of
evidence : to establish or refute certain theories in connection with
the Folio text.
3.

Four Statements; to be substantiated.

We advance the following four statements, as representing indispu

table facts, after a study of the two Quartos, side by side, and in
connection with the other chief textual authority, the first Folio
of 1623.
1 st. That despite a general resemblance between Fisher's and
Roberts's editions in Quarto, 1600, there are dissimilarities dividing
them, which prove with absolute certainty that the second-printed
Quarto (by whomsoever issued) must have been set-up afresh. A
typographical reprint of both would have shown this contrast less
clearly than does the photo-lithographic couple of Quartos now
offered for collation. Out of a multitude of examples, the different
arrangement of the Italicized Stage-directions offers itself to view.
In Fisher's, the business is given (as usual) in Italic type, with excep
tion of the proper names of the characters; which are in Roman
type. But in Roberts's, the whole line is in Italic type, names and
all. The minute differences of spelling, some of them capricious and
occasional, not constant, are innumerable and suggestive.
2nd. That when "setting-up" the later Quarto, the printer has
had the sheets of the earlier Quarto beside him : because the makingup of the two versions, page by page, is closer in resemblance than
B

INTRODUCTION.

could have happened accidentally. In general, the pages of both

editions begin with the same line. The exceptions are chiefly in the
prose (or else in the pages following nearest to prose passages), and
this difference was caused by Roberts's page being wider than Fisher's
to the extent of about two letters' breadth. And it is remarkable
that when this difference ensued, from the cause here shown, a
recurrence has been speedily made to the former agreement ; by leav
ing a wider space at the earliest opportunity where stage-business was
mentioned. Thus, after interruption, the restoration of similarity
meets us, and the two versions begin their pages again with the same
line. Evidently this was designedly, and not by chance. Let it not
be thought that even in verse-printing identity of line-lengths was
inevitable, for errors of arrangement in one Quarto are repeated in
the other Quarto. For instance : observe the blunder of printing
"Stand forth Demetrius" and "Stand forth Lysander" as stagedirections (in p. 3), while the construction of the verse proves clearly
that each broken line is a part of the speech spoken by Egeus, and
addressed respectively to the rival lovers. Yet both Quartos give the
erroneous indication, as though we were to read it as "Business:
here Demetrius is to stand forward," and the same of Lysander.
The Folio copies the mistake without detection. Which brings us to
3rd. That the First Folio edition, 1623, was demonstrably set
up from Roberts's Quarto ; although that Quarto was an unauthorized,
and presumably a spurious or pirated edition : recourse not being had
to Fisher's superior Quarto of the same year (registered and more
carefully punctuated, although less modernly spelt, and with fewer
prompter's stage-directions). In confirmation of which statement we
observe,
4th. That where there are differences between these Quartos,
the First Folio closely follows that of Roberts's, and not Fisher's :
a. In spelling, passim.
/G. In punctuation, passim,
y. In position, or in transposition, of words.1
1 Exem. gratia (p. 48-176), "Now I doe wish it, "kof Fisher, reads: "Now do
I wish it," in Roberts's ; and also in the First Folio.

INTRODUCTION.

xi

8. Italicized stage-directions (much more frequent in Roberts's than

in Fisher's) arefollowed, and enlarged, in the Folio}
t. In plain and palpable emendations.2
4.

The First Folio text based on that of Roberts's

Quarto.

Often, where the Folio corrects a phrase (that had been evidently
wrongly given before, by Roberts), it had been wrongly given by
Fisher also. Therefore, we see that the correction of Roberts's error
was not borrowed from Fisher's copy.
Examples: 1. (P. 26.) Both Quartos blunder in giving the speech,
on Bottom's exit, "A stranger Pyramus than e'er play'd here" to
Quince. The improbability of his making such a comment is obvious.
It came appropriately from the mocking voice of Puck : and accord
ingly the First Folio prints it with " Puck " for the speaker.
2. (P. 49.) Fisher and Roberts agree in misprinting, " But man is
but patcht a foole ; " which in the Folio is rightly given, " But man
is but a patcht fool," etc.
3. (P. 50.) A far stronger case, where both Quartos read, " Enter
Quince, Flute, Thisby, and the rabble." This is altered in the Folio
into "Enter Quince, Flute, Thisbie, Snout, and Starueling ;" with a
substitution of " Staru.," for "Flute" as speaking second. Now this
has evidently been guess-work, without authority of the Poet's manu
script, and helps to perpetuate a " muddle." For the printers fail to
remember that Flute is himself the representer of Thisbie. Perhaps
the first error of the Quartos was the omission to mark (not " Thisbie,"
but) " Thisbie3s Mother" :a character that had been allotted to the
timid Robin Starveling, although she does not speak when the inter
lude is afterwards acted. Her part is dumb-show, and therefore
1 Ex. grat. (p. 49, line 187). Where Fisher has a long single line, Roberts
divides it properly, and reads, as a new line, "Come Hippolita," with "Exit" in
serted in continuation of this fresh line : this being supplemented in the First
Folio, which reads : " Exit Duke and Lords" not " Exeunt Duke, Hippolita, and
Lords" as it ought to be. Again, the important " Exit " of Bottom (on p. 50, to
end the modern Scene I of Act iv.) is not in Fisher's.
1 Ex. grat. (p. 49.) Fisher's has " if he goe about expound this dream." Roberts
and First Folio have " if he go about to expound this dream."

xii

INTB 0 D UCTION.

especially suited to the nervous tailor, who fears his own voice and
shadow. It is Flute who habitually mistakes his words (witness his
repetition of " Ninny's tomb," despite the correction earlier adminis
tered to him by Quince). Therefore, we may be sure that the
awkward misreading of "Paramour" for "Paragon," comes from
Flute ; and not from the sensible manager, Peter Quince, to whom it
is wrongly assigned. Can we restore the right name ? It may have
been either Quince or Snout ; or even " Thisbie's Mother," otherwise
Starveling. Certainly not " Thisby "=Flute. Yet the Folio accepts
this false reading unhesitatingly, while making some other changes, one
of which is merely a specification of business detail. In fine, the
characters are so clearly marked elsewhere that the true reading
must be something like this :
Quince.Have you sent to Bottom's house ? Is he come home yet ?
Flute [as in Quartos].He cannot be heard of. Out of doubt he is transported.
Thisbie ['s mother~Starveling\.If he come not, then the play is marr'd. It goes
not forward, does it ?
Quince.It is not possible : you have not a man in all Athens able to discharge
Pyramus but he.
Thisbie Vs mother=Starveling\.No, he hath simply the best wit of any handycraft man in Athens.
Flute [not Quince, as wrongly marked in Quartos and Folio].Yes, and the best
person too, and he is a very Paramour, for a sweet voice.
Quince [or else Thisbie's molher=Starveling, but certainly not Thisbie, as
marked by all].You must say, Paragon. A Paramour is (God bless us !) a thing
of naught.
5.

Roberts's text borrowed from Fisher's Quarto.

Now as to the sequence of publication, we hold it to be in this

chronological order:
Earliest.Fisher's Quarto; 8th October, 1600.
Next. Roberts's Quarto; after 8th October, 1600, and before
March 25th, 1601.
Last.The First Folio, 1623; copying Roberts's text, with con
jectural alterations in the few places where differences occur.
We hold it to be almost impossiblecertainly to us it appears in
crediblethat any printer like Thomas Fisher (with Roberts's printed
text before his eyes) could have deliberately changed the spelling, in
multitudinous instances, back into a more cramped and lumbering

INTRODUCTION.

xiii

archaic fashion. We give a brief sample of these differences in

corresponding places ; but they are innumerable throughout :
Fisher's Quarto.
Roberts's Quarto.
telSnuggeelshomeSpunnesper- tell Snugelse home-Spunsper
haps hueeke lew-Snowtdo
happesheweeekeIeweSnowte
hogFinch Sparrowanswer
doe hogge Fynch Sparrowe
lyehe, etc. (all within pages 25
answere lyhee, etc. (all taken
within the compass of a few pages :
28 : and in the prose).
and in the prose).
Also many contractionssuch as treble, for tremble ; latern, for
lantern ; chabre, for chamber ; vnderstad, for vnderstand ; traslated,
for translatedall made unnecessarily, because they are in the same
prose portion of Fisher's Folio.
On the other hand, it is by no means difficult to understand the
improved clearness in typography of Roberts over that of Fisher (sup
posing, as we do, that Roberts had Fisher's printed book before his
eyes). For there was the additional space gained
1. By the excision of redundant letters;
2. By having a wider platform of type in his page ;
3. By his gaining an occasional line in prose passages, and thus
being able to afford extra leads at entrance of characters.
Despite this improvement in typographical clearness, there is a
marked deterioration in the minute divisions of the verse by punctua
tion. Commas are less frequent, either from negligence or from
systematic repugnance to the scholarly and grammatical breaking-up
of sentences. Either supposition would account for the change. It
cannot be that Fisher had intentionally improved upon Roberts in
these minute subdivisions ; for, if so, he would never have blundered
in more important details of punctuation, such as we see differently
given in the two Quartos. Everything indicates the priority of
Fisher.
The difference of date being at most only a few months, the
frequent change of spelling made by Roberts from that employed by
Fisher must have been attributable to personal tastea modernizing
tendency of fashion, that inclined Roberts to simplify his spelling,
and dispense with so many useless letters. He thus economizes his
" lower case."

xiv

INTRODUCTION.

Another indication of the order of succession, now formulated. Let

us take the noble passage, wherein Theseus discourses of Imagination
(Quartos, p. 51). It is surely difficult, if not impossible, to believe
that any printer or tolerably instructed " reader of the press " could
have had Roberts's text lying before him, and yet made such hurtful
misarrangement of the verse as we now find in line 6 of Fisher's text,
bringing injuriously into the same line "The Lunatick." Both
editions, here as elsewhere, spoil the rhythm of the poetry by wrong
division of lines. But, in almost every case, the differences between
the Quartos mark an alteration having been made from Fisher's into
Roberts's, neverfrom Roberts's into Fisher's.
(P. 25.) Fisher has : " We ought to looke toote." Roberts gives
this clearly : " We ought to looke to it." If Roberts had come first,
and been copied by Fisher, such a change as "toote" would not have
been seen.
What is shown above, by the injury to rhythm, is elsewhere shown
by the redundancy of capitals (as in line 88 of p. 27, Fisher's Quarto,
which could not have been set wrongly from the correct arrangement
in Roberts's). We fear these examples may appear to be tediously
insisted on ; but if they prove our statementthat Fisher preceded
Robertsan important step is gained in understanding the formation
of the Folio's text, which assuredly was built on that of Roberts's.
6.

Fisher's text must have had genuine Manuscript

Authority.

The only text of the three that can be shown to have been formed
on genuine manuscript authority is that which we possess in the fac
simile of Fisher's Quarto. There is absolutely no proof whatever in
favour of an independent origin for the Folio text, Heminge and
Condell having availed themselves of the printed sheets issued by
Roberts ; and these sheets were taken almost without further cor
rection when re-set, "at the charges of W. Jaggard, Ed. Blount,
I. Smithweeke, and W. Aspley, 1623." There is, moreover, no proof
whatever (but presumptive evidence to the contrary) that any inde

INTBODUCTION.

XV

pendent manuscript authority had been previously employed by James

Roberts.
Those persons who have carefully studied the pirated and corrupt
versions of some other Shakespearian plays can scarcely fail to notice
the difference when they come to examine Fisher's Quarto. It is,
comparatively speaking, correctly printed. Whether the " copy " or
the compositor were answerable for the spelling, we know not ; but
as printers have always been strictly conservative in such debatable
matters (resisting changes advocated by individuals or inconstant
fashion),1 we are inclined to lay the blame chiefly on Fisher. Cer
tainly, he was less skilled and less given to innovation than Roberts,
who used his earlier sheets. Fisher is somewhat heedless in regard
to exits and entrances (Roberts adding several such announcements,
where they were self-evidently necessary). But, on the whole, the
text is given with so close an approximation to correctness, that the
reader awakens to a regretful remembrance of the vast inferiority in
the earliest printed texts of other Shakespearian dramas.
In short, there is a reasonable ground for supposing that Fisher's
Quarto may have been an accredited publication, favoured by Shake
speare, although not corrected for the press by himself.
7.

The Formation of the Folio Text.

We know not what reason guided Heminge and Condell to employ

Roberts's text for the First Folio, instead of Fisher's. But we are not
likely to err in supposing the choice to have been dictated by two out
of three circumstances.
1st. They did not possess an independent holograph manuscript from
Shakespeare's hand of A Midsummer Nights Dream. Therefore they
availed themselves of a printed version (either marked as " prompt1 We are all of us under obligation to intelligent compositors and press-readers,
for their steady conservatism and shrewd sense, as well as for other bounties.
Long may they continue to preserve their neighbours' land-marks ! They are
needed now, more than ever, to guard our English literature from being desecrated
by the vagaries of self-styled philologists ; who would speedily bring us to a chaotic
wilderness of barbarism, through some "spelling-reform." We must resist these
revolutionists, who threaten us that lists are to be published of proscribed forms of
spelling, like the Hue-and-Cry photographic records of escaped criminals.

xvi

INTRODUCTION.

book," for representation, or, more probably, an ordinary purchased

copy).
2nd. They preferred Roberts's Quarto, because it was the better
printed of the two Quartos, and more suited for their reproduction. Or
else,
3rd. Because Fisher's Quarto (although registered) was by this time
out of their reach, and, perhaps, virtually forgotten. But Roberts's,
we know, was at their hand, and was found serviceable.
All of us owe so large a debt of gratitude to these two actors,
"John Hemmings and Henry Condell " (as their names are given in
the list of "The Principall Actors in all these playes " of Shakespeare,
at beginning of the First Folio), that we will not be ungracious
enough to swell the chorus of abuse raised by ignorance and ingrati
tude, because they did not take additional pains to secure us an
accurate impression of the ipsissima verba of that greatest poet, whom
they loved and honoured. In their dedication of the plays to the
Earl of Pembroke, they claim only to have " collected them." To the
public, " the great variety of readers," they judiciously offer their
advice, " to buy it first," and then " to read, and censure," if men
will, according to privilege of purchasers. They express regret that
the author himself had not " liu'd to haue set forth and ouerseen his
owne writings." They glance at the " diuerse stolne, and surreptitious
copies, maim'd and deform'd by the frauds and stealthes of injurious
impostors, that expos'd them;" and they claim, somewhat beyond the
actual warrant of truth, to now offer them to view " cur'd and perfect
of their limbes : and all these rest " [idest, these never hitherto printed
in any edition], "absolute in their numbers, as he conceiu'd the."
We must not press too hardly against these worthy actors, who thus
assumed the editorial cares of authorship, for which they had not
been trained by previous practice. What they urged may have been in
great part true, although not true of all, or nearly all, the plays.
Probably of " The Tempest," with which delightedly they open their
treasure-trove, the statement is substantially correct ; and they tried
to give the never-printed masterpiece as " we haue scarse receiued
from him a blot in his papers."

INTRODUCTION.

Xvii

Of sixteen plays we see the earliest known transcript in the Folio

of 1623. Where it is faulty, therefore, we are often left helplessly
perplexed. But, in many other cases, we find valuable help afforded
by the earlier-printed Quartos ; to some of which the Folio was in
debted for its text, and notably so in the case of that loveliest work
of youthful fancy, A Midsummer Nighfs Dream.
8.

Some Peculiarities of the Folios.

Having already given (in the Introduction to Fisher's Quarto,

p. iii.) the entry belonging to it from the Registers of the Stationers'
Company, C. fol. 65 verso, we now add the important entry concern
ing the First Folio. It is of date, possibly, before the volume was
fully completed (the book requires, from its bulk, to be a long time in
progress), and although the list appears to have been carefully tran
scribed, and in correct order, only those plays are mentioned of which
no Quarto editions are extant : " soe many of the said Copies as are
not formerly entred to other men." It thus becomes a valuable
record of the admission made at the time, that there were sundry
other plays floating aboutmore or less authorized, and as legalized
propertyamong which would be reckoned A Midsummer Nighfs
Dream.
8 Nouembris 1623.
Master Blounte Entred for their Copies vnder the hands of Master
Isaak Jaggard. Doctor Worrall and Master Cole Warden Master
William Shakspeers Comedyes, Histories, and Tragedyes, soe manie of the said Copies as are not for
merly entred to other men. . . . vis?
vijs
Comedyes.

The Tempest
The two gentlemen of Verona
Measurefor Measure
The Comedy of Errors
As you like it
All's well that ends well
Twelfe night
The winters tale
c

xviii

INTRODUCTION.
Histories.

The thirdeparte of HENR Yye SIXT

HENR Y the EIGHT

Tragedies. CORIOLANUS
TIMON of Athens
JULIUS CAESAR
MACKBETH
ANTHONIE and CLEOPATRA
CYMBELINE
It will be found useful to have this list here for future reference, as
well as for present service. We have some important deductions to
draw from it hereafter, and on a future occasion, when we have free
scope, we may bring fresh evidence to establish our conclusions,
regarding the materials employed in the First Folio. It is unneces
sary to detail the few changes successively made in the Second,
Third, and Fourth Folios, of 1632, 1664 (valuable only for its rarity,
most copies of this edition having perished in the Great Fire of
1666), and 1684. Corruptions of the text continually increased,
there being no resumed attention paid to early Quartos.
It has been weakly taken for granted that the Folio rectifies the
errors of the Quartos. Examination proves the falsity of this sup
position. It will be convenient to give our proofs in a foot-note.1
1 The Folio spoils Lysander's speech (p. 6, line 133), mutilating the verse by
omitting " Eigh me I"the full line being, " Eigh me ! for aught that I could ever
read," &c.
Both Quartos had rightly printed an old-fashioned word (in p. 6, line 144), in
" Making it Momentany as a sound." The Folio, showing ignorance of the
phraseology, has conjecturally changed this into " Momentarie."
Almost the only innovation of the Folio possessing any value is in Act iii. sc. 2,
where the metre is restored by making Hermia say, "I am amazed at your pas
sionate words." But even here, where this probable conjecture is employed, we
might rest content with the Quarto's " I am amazed at your words " (unless we
accept "passionate" as = pasKnate, dissyllabic), in a choice of imperfections.
Shakespeare often left an incomplete verse.
One might halj as an approach towards correction the Folio's reading, " Now is
the morall downe betweene the two Neighbors " (which is itself a mistake for
mural: if we are to accept the adjective, instead of the substantive, to make
sense); instead of the puzzling, "Now is the Moon Vsed betweene the two
neighbors" (p. 57, line 204).
But the Folio leaves uncorrected the palpable blunder, "wondrous strange
snow" (p. S3, line 57), which probably ought to be "wondrous seething" or
" scaldinge snow," or some other contrasting word, as in the case of "hot ice."
Let a fresh plea be here advanced for the admission of this conjectural "seeth-

INTRODUCTION.

XIX

After such a list as we have given, which might have been swelled
if necessary, it is idle to talk of the Folio editors having access to any
manuscript authority for A Midsummer Night's Dream. We hold it
indisputable that they used Roberts's printed Quarto, sometimes in
creasing the defects, sometimes guessing commonplace variations;
but they give absolutely nothing of such improvements as would have
been gained from a genuine manuscript, or even from a certified
" revised and corrected " prompt-book.
ing" in place of the absurd misprint "strange," or the advocated "swarthy," which
is inadmissible. "Seething" is in the doubtful Perkins' Folio of 1632; but
as a guess it is not disqualified. We note that in Thomas Bastard's Chrestoleros :
Seuen bookes of Epigrames written by T. B., 1598 (the very year of the latest pos
sible date of A Midsummer Night's Dream), on p. 139, we meet a confirmation
of seething being used as synonymous with baking :
Book VI. Epigram 13.
' ' There is no fish in brookes little or great,
And why ? for all is fish that comes to nett.
The small eate sweete, the great more daintely.
The great will seeth or bake, the small will frye." etc.
(British Museum, Case 39, a. 3, second art.)
Also, the Folio continues the erroneous "she meanes," which is a misprint for
"she moans," in mockery of Thisbie (p. 60, line 300). Also, the Folio accepts
and retains the misprint (p. 61, line 338) of "And the Wolfe beholds the Moone ;"
instead of the indisputable "behowls the Moone."
Again, in Oberon's disenchantment spell (p. 45, line 70), the metre is spoilt by
the Folio interpolating a word, "Be thou as thou art wont to be." And, in
Oberon's last speech, or song (p. 62, lines 384, 385), both Quartos having made the
blunder of a misplaced line, the Folio blindly follows the example, perplexing later
commentators, and tempting them to conjectural emendation. But the error was
simply one that Roberts had already fallen into (on p. 28, with lines 125 and 127),
viz., the transposition of two lines. We must read :
"And the owner of it blest
Ever shall in safety rest."
Not, as the Quartos and Folio wrongly give it :
" Ever shall in safety rest,
And the owner of it blest."
The Folio errs in omitting Oberon's name, attached to this song in the Quartos. It
gives the song in Italics, not recognizing Oberon as leading the fairies, which he
expressly declares :
"And this Ditty after me, Sing and dance it trippingly."
We have no call to believe, with Dr. Samuel Johnson (who, at the time, knew
nothing of Fisher's Quarto), that the song mentioned by Titania is lost.
As to the transposed line in Titania's address to Bottom, we shall see (on next
page) that the Folio endorses Roberts's corruption of the Fisher text.

xx

introduction.

9. Roberts's Text not " Corrected from Fisher's."

No one hereafter need feel any timidity in speaking of the Fisher
Quarto as " the First Quarto," and of Roberts's Quarto as " the
Second Quarto," if our demonstration be held complete.
In Titania's first address to Bottom a palpable error occurs in
Roberts's Quarto ; the final line having, wrongly, become the second
by a printer's error : that is, the line had been dropt while the type
was being set : it was noticed, and then inserted, but at a wrong
place, the blunder remaining undetected, although the comma re
maining at the end of the line " doth moue me," shows plainly the
nature of the accident.1 Now this glaring typographical error is
positively copied into the Folio, although it spoils the verses ! The
compositor had sufficient wit, and no more, to alter the final comma
of Roberts's into a full stop. Surely nothing could better prove (1st)
the absence of authoritative correction in the Folio, and (2nd) the
priority of Fisher's to Roberts's corrupted text.
Far from Roberts's being, as it is loosely declared, " corrected from
Fisher's," the verse is often marred by Roberts departing from Fisher's
reading. Here are instances of such damage, and all of them are en
dorsed by the Folio in repetition :
Fisher's Text.
Roberts's, and Folio.
P. 7, line 174. prospers loues. [Rhyming with "doues"]
changed into
hue.
15 102. And thorough this distemperature,
changed into
through this
,, 103. hoary headed frosts, changed into .
. hoared headed frosts
,,17 ,, 173. round about the earth, changed into . round the earth.
35 '73- Helen, it is not so, changed into .
. It is not so.
1 This piece of evidence is so important, and has been hitherto so overlooked,
that it will be better to give the passage in full :
Fisher's Quarto.
Roberts's Quarto, and Folio.
Titania.I pray thee, gentle mortall, Tytania.I pray thee gentle mortall,
sing againe
sing againe,
Myne eare is much enamoured of thy Mine eare is much enamored of thy
note :
note ;
So is mine eye enthralled to thy shape, On the first view to say, to sweare I
And thy faire vertues force (perforce)
love thee.
doth mooue mee,
So is mine eye enthralled to thy shape,
On the first viewe to say, to sweare, I And thy faire vertues force (perforce)
loue thee.
doth moue me,
The Folio repeats Roberts's text, verbatim, et literatim, etpunctuatim, except at
the end, which has a period, " doth moue me."

INTRODUCTION.

xxi

Or weakening the sense, even when not marring the verse, as in

P. 8, line 202. His folly, Helena, is no fault of mine,
none of mine.
,,16 l 153- That very time I saw [evidently correct]
I say [Quite wrong].
17 ,9 177- The next thing then she waking, changed
when she waking
I9
99 190. And wodde [i. e. mad], within this wood,
wood within this wood
,, 19 99 2SS- Weed wide enough to wrap a fairy in,
rap a fairy in [! !]
..47 93 131- their being here together, changed into . this being
in
fancy
following
me,
changed
into
followed
me.
,.48 99 164.
this visions.
63 J 39o. these visions, changed into .
Sometimes the change is unimportant, either reading suiting well
enough, as in (p. 37, line 268) Fisher's Quarto : " O hated potion"
altered into, " O hated poison ".
One more specimen of the mere guess-work of both Roberts's changes and the
revisers of text in the Folio. In Act iii. sc. 1 (D 4 = p. 30, line 19 of both Quartos),
where Puck is delightedly recounting the discomfiture of the Clowns, on the
appearance of Bottom wearing the Ass's head, Puck uses this expression, in
Fisher's Quarto : " And forth my Minnick comes." This is altered in Roberts's
Quarto, into " And forth my Minnock comes." The change is only a blunder, or
from some fancy of rectifying the spelling : a frequent occasion of error with
Roberts. But when the Folio text is being formed from Roberts's, twenty-three
years later, there is a total ignorance in the printing-office as to the meaning of the
word, and it is therefore transformed, plausibly, into Mimic"And forth my
Mimmick comes," as though it were spoken in reference to Bottom being one of the
actors. But this is absolutely a blunder. Puck never ceases to heap ridicule on
Bottom, as "the shallowest thickskin of that barren sort;" ironically mocking
him as "sweet Pyramus" "a stranger Pyramus than e'er play'd here," and,
" When thou wak'st with thine owne foole's eyes peepe." Puck is far too choice
and culled of phrase to lavish so dainty an epithet on the weaver Bottom as
"Mimic." The word he uses, we may be sure, is a word of insult. Later Folios
further corrupt it into "Mammock.'" But Fisher gave us the true Shakespearian
word, which was correctly "Minnick." (We have a similar one in "Mannikin,"
but Minicken, or sometimes Minikin = small, neat, finical ; or, in an opprobrious
sense, paltry and effeminately unmanly. ) We have the same word elsewhere in
Shakespeare : it is in Edgar's scrap of song, as Mad Tom (King Lear, Act iii.), in
the Folio :
" Sleep'st or wakest thou, jolly Shepheard,
Thy sheepe bee in the come ;
And for one blast of thy minikin mouth,
Thy sheepe shall take no harme."
10.

Conclusion : The Value of the Quartos.

We have necessarily left important matters untouched, that may be

hereafter discussed in our forthcoming edition, long promised to the
New Shakspere Society, under the presidentship of Robert Browning.

xxii

INTRODUCTION.

Pressure of other promised work caused delay. Our special business

in this Quarto has been to indicate, to the best of our ability, its true
place and value in relation to Fisher's Quarto of the same year, 1600,
and to the earliest Folio, 1623. So, in our Introduction to Fisher's
Quarto, we limited ourselves to considering the evidence in adjust
ment of the date as a composition, and only briefly touched on what
may well be called the higher criticism.1
To another opportunity, perhaps to a more skilful hand, is left the
unwinding of many a clue. The intricacies of the fairy mythology
might well demand attention and most profound scholarship. Hitherto
little has been done, beyond the gathering of materials, to form a
judgment. Painters, like our early teacher, David Scott, and our still
living friend, revered and loved, Sir Noel Paton, have delighted to
embody on their canvas the airy gambols of " the Puck," the graceful
dignity of Oberon, the loveliness of Titania, the quaint variety of
blended whimsicality and bewitching beauty among the elves and
sylphs that held their revels in the haunted woodland, Poets and
musicians have not lingered far behind : they strove, like Mendelssohn,
to make melody reveal the mysteries that underlie the twilight
gloamingthe messages that are heard or seen by those alone whose
faculties are spiritualized and quickened, after having breathed
diviner air. From sculpture and from architecture have been bor1 After all, it is not the individual opinion of any Editor, but the exact reproduc
tion of the text itself, in photo-lithographicfacsimile, that must indisputably form
the chief value of this projected series of Quartos. If their text be presented trustworthily, they will be prized and circulated. (For any delay of issue, hitherto,
neither the publisher nor the present writer is in any degree responsible. Both
are blameless. Our two Quartos of A Midsummer Night's Dreama labour of
love, not a hireling taskare advanced before their announced position, owing to
the three other plays which should have preceded them being still behind time.
They were from different hands.) We have not deemed it necessary to give a
longer or more exhaustive Introduction to each of our own two Quartos. Together
they form a total of only thirty-seven pages.
Moreover, circumstances have shown to us the expediency of retaining, for the
present, within our own possession, certain valuable materials, literary and pictorial,
gathered for the illustration of the Fairy Mythology of Shakespeare and his Con
temporaries. They are kept back until such time as they can be published free from
any injurious control. We write for those who possess sympathy with something
beyond the dry bones of etymological and linguistic study of him who was "the
world's Shakespeare." Readers will meet us again in this haunted wood of Oberon
and Titania. Let us hope that it may not be without mutual pleasure or mutual
profit. Vale.

INTRODUCTION.

xxiii

rowed the severe and stately calm that meets us in such noble figures
as Duke Theseus with his Amazonian bride ; the slumbering lovers,
couched apart, half-hid in shadow, half-glorified by the moon's
beams ; and even the procession of the wedding-guests, coming at
the close like a happy inspirationa dreamland fancy, caught up in
memory from some description of the Panathenaic frieze, as told by
travellers who had roved through Greece, and found true pleasure in
conversing with our Stratford Poet, whose listening ear was ready to
accept the tale. Elsewhere we see him in his superhuman wisdom,
his wide-embracing knowledge of all varieties of men, his warmth of
heart, his scorn of cunning, cruelty, and selfishness ; his mastery over
every passion, his insight into every hope or fear. But here we find
him keeping an open court ; not too lofty for our homage, but, like his
own Theseus, cheerfully accepting our poor attempts to do him
service, and warm ourselves at life's true Midsummer in his smile.
We hold within our grasp the very pages, printed without much
typographical skill, that in those early days gave to so many a heart
the first rapturous enjoyment of fairyland. It is our own fault if to us
they bring less of pleasure. Well said the earliest editors of Shake
speare :
" Reade him, therefore, and gaine, and againe : And if then you doe not like
him, surely you are in some ma: fest danger, not to understand him."
J. WOODFALL EBSWORTH.
Molash Vicarage, Kent,
Midsummer-Day, 1880.

A MIDSUMMER NIGHTS DREAM.

PERSONS REPRESENTED.
[The two Quarto editions and the four Folio editions have no list of characters.
Rowe first added one, in 1709.]
Theseus, Duke of Athens.
Egeus, an Athenian Lord, Father of Hermia.
Lysander, ) {n {
. h Hermia
Demetrius, j
Philostrate, Master of the Revels to Theseus.
Quince, a Carpenter ;
Snug, a Joiner;
Bottom, a Weaver;
Flute, a Bellows-mender ; Artizans of Athens.
Snout, a Tinker ;
Starveling, a Tailor ;
Hippolyta, Queen of the Amazons, betrothed to Theseus.
Hermia, daughter of Egeus, in love with Lysander.
Helena, in love with Demetrius.
Oberon, King of the Fairies.
Titania, Queen of the Fairies.
Puck, or Robin-Goodfellow, a Fairy.
Peas-blossom,
Cobweb,
^
Moth,
Mustard-seed,
Pyramus, ^
Thisbe,
Characters in the Interlude, performed by the Clowns.
Wall,
Moonshine, |
Lion,
Other Fairies attendant on Oberon and Titania.
Attendants on Theseus and Hippolyta.
Scene varies, from the Palace of Theseus at Athens, and Quince's
house, to a Wood in the neighbourhood.

Midfommer

nights

dreame.

As it bath beene fundry times publifoiy aftedy by the %ight Honoura*

ble, the Lord Chamberlaine his
feruants.
VVritUn by William Sba\ejpeare.

Printed by lames Ttyberts, 1600.

A
MIDSOMMER

NIGHTS

DREAME.
Enter ThefewJUffolita, with others.
Thsfeas.
O w fake H^dttatmx nuptiall houre
Drawes on apace : foure happy dates bring ia
? Another Moone ; bus oh,me-tbjnk&, how flow
_ This old Moone wanes . She liters my defires
i Step-dam,or a Dowager,
Long withering out a young mans reucnew.
Htp.fotiie daies will quickly fteepe themfelues innights
Foure daies will quickly dreame away the time :
And then the Moone,like to a filuer bow,
Now bent in heaucn,fhall behold the night
Ofour folemnities.
Tbe.GocPhibfirate,
Stirre vp the Athenian youth to merriments,
Awake the peart and nimble fpiiit ofmirth,
Turne melancholy foorth to Funerals :
The pale companionis not for our potnpe.
Hifplita,\ woo'd thee with my fword,
And wonne thy loue,doingthec iniuries :
But I will wed thee in another key,
With pompe,with triumph,and with reuelling,
mer kgetumd his daughter HermiajmdLyfatider,
Helena,and Demetrim\
Ajr.Happfbe Thefiuf,om renowned Duke.
T^.Tbanks good Sgem.Whai's thenewes with thee?
Ege.Vatt ofvexation,comc I,with complaint
A a
A

A Midfommer nights Dreame.

Againft my childe,my daughter ffermid.
Standfoarth Demetrius.
My noble Lord,
This man hath my confcnt to marry her
Standfoorth Ljfander.
And my gracious Duke,
This man hath bewitcht the bofome ofmy childe :
Thou, thou Ljfander,thou haft giuen her rimes.
And interchang'd loue tokens with my childe :
Thou haft by moone-light at her window fung,
"With faining voice,verfcs of faining loue,
And ftolne the impreifton of her fantafie,
With bracelets ofthy haire, rings,gawdcs, conceits,
Knacks,trifles,nofegaies, fweet meates (meffengers
Of ftrong preuailement in vnhardened youth)
With cunning haft thou filcht my daughters heart,
Tarnd her obedience (which is due to me)
To ftubborne harfhneue.And my gracious Duke,
Be it fo (he will not here before your Grace,
Confent to marry with Demetrius,
Ibeg the ancient priuiledge ofAthens ;
As me is mine.I may difpofe of her ;
Which (hall be eitherto this gentleman,
Or to her death, according to our law,
Immcdiatly prouided in that cafe.
The.What fay you Herm'a ? be aduis'd/aire maid.
Toyou your father fhoud be as a God :
One that compos'd your beauties ; yea and one,
To whomyouarebutasaforrocin was
By him imprinted.an d within his power.
To leaue the figure.or disfigure it :
Demetrius is a worthy gentleman.
Her.So is Ljfamkr,
TheJn himfelfe he is.
But in this kinde.wanting your fathers voycc,
The other muft be held the worthier.

A Midfommers nights Dreame.

Her.1 would my father lookt but with my eyes.
Tfc.Rather your eyes mud with his lodgement looke.
Her.ldo intreate your Grace to pardon me.
I know not by what power I am made bold,
Nor how it may conceme my modcfty,
In fuch a prefence.here to plead my thoughts ;
But I befcech your Grace,that I may know
The worft that may befall me in this cafe,
If I refufe to wed "Demetrius.
7t*.Either to die the death,or to abiure
For euer the fociety ofmen.
Therefore faire W#rww,qucftion your defires,
Know ofyouryouth.examine well your blood,
Whether (ifyouyeeld not to your fathers choyce)
You can endure the liuery ofa Nunne,
For aye to be in (hady Cloifter mew'd
To liue a barren fitter all your life,
Chanting faint hymnesto the coldefruitlefle Moone.
Thrice blefled they that matter fo their blood,
To vndergo fuch maiden pilgrimage,
But earthuer happy is the Rofe diftild,
Then that which withering on the virgin thorne,
Growes,liues,and dies^nfingle blefiednefle.
Her.So will lgrow/o liuc,fo dye my Lord,
Ere I will yeeld my virgin Patent vp
Vntohis Lordflup,whofe vnwUhed yoake
My foule confents not to giue foucrainty.
The.Ttke time to paufe,and by the next new Moone,
The fealing day betwixt my loue and me,
For euerlatting bond of fellowttiip :
Vpon that day either prepare to dye,
For difobedience to your fathers will,
Or elfc to wed DemeMnt,i$he wold.
Or on Dianaes Altar to protett,
For aye,aufterity,and fmgle life.
A 3
Dm.

A Midfommer nights Dreame,

2?.ReIent fwecte HermU&nA Ljfadur, yeeld
Thy crazed citle to my ccrtainc right.
LyfYoa haue her Fathers \owtDemetr'uu :
Let me haue Hermuss : do you marry him.
gM&.Scornfull Lj/knaerttme,he hath my Loue j
And what is mine.my loue (hall render him.
And (he is mine.and all my right of her
I do eftate vnto Demetrius.
Lyfan, I am my Lord,as well deriu'd as hee,
As well poffeft : my loue is more then his :
My fortunes euery way as fairely ranckt
(Ifnot with vantage) as Demetrius :
And (which is more then all thcfe boa fts can be)
I am beloir*d of beautious Hermu.
Why fhould not I then profecute my right ?
Demetrius,\\c auouch it to his head,
Made loue to Nedirs daughter,Helena,
And won her foule : and (he ffwecte Lady) dotes,
Deuoutly dotes, dotes in Idolatry,
Vpon this fpottedand inconftantman.
The.\ muft confeffe.that I haue heard fo much,
And with Z>rrr>/,thought to haue fpoke thereof;
Bat being ouer full of felfe-affaires.
My mindc did lofe it.But Demetrius come,
And come Sgeus,you (hall go with me,
I haue fome priuate fchooling for you both.
For you faire Hermia,\oo\Lt you arme your felfi?,
To fit your fancies to your fathers will ;
Or elfethe Law of Athens yeelds you vp
(Which by no meanes we may extenuate)
To deathjor to a vow of (ingle life.
Come my Hipptlita 5 what cheare my loue?
Demetrius and Egeus goe along :
I muft imploy you in iome buhnefle
Againft our nuptiall.and confcrre with you

AMidfommers nights Dreame.

Of fome thing ,n ccrely that concernes y our felues.
Sge.Vfith dury and defire, we follow you.
Exeunt.
LjfMovt now noy louc ? Why is your cheekc fo pale ?
How chance the roles there do fade fo faft i
Her.Belike for want ofraine ; which I could well
Beteeme them,from the tempeft ofmy eyes.
Lj/.Eigh me ; for ought that I could euer reade,
Could euer heare by tale or hi ftory,
The courfc oftrue loue neuer did runne fmoothe,
But either it was different in bloud ;
Htr.O crofie ! too high to be inthrald to loue.
Lyf.Ot elfe mifgraffed,in refp et ofycare s ;
Htr.O (pight ! too olde to be ingag d to yong.
Ljf.Qt elfe it flood vpon the choife of friends;
Htr.O hell,to choofe loue by anothers eyes.
Ljf.Otyifthere were a fimpathy in choife,
Warre,death,or fickneffe.d id lay fiedge to it ;
Making it momentany,as a found ;
Swift as a fhadow ; fhort as any dreame ;
Briefe as the lightening in the collied night,
That (in a fpleeue) vnfolds both heauen and earth ;
And ere a man hath power to fay.behold,
The iawes ofdarknefTe do deuoure it vp :
So qutckc bright things come to confufion.
JJer.Kthen true Louers haue bin euer croft,
It Rands as an edift in deftiny :
Then let vs teach our trial! patience,
Becaufcit is a cuftomary croflc,
As due to louc.as thoughts,and dreames,and fighes,
Wifhes and teares ; poore Fancies followers.
Ljf. A good perfwafion .. therefore heare me,Hermia i
I haue a widow Anta dowager,
Of great reuenew.and (he hath no childe,
From Athens is her houfe remote feuen leagues,
And flic refpects me,as her onely forme :
There,

A Midfommer nights Dreame.

There gentle Hermut,my I marry thee,
And to that place.the (harpe Athenian law
Cannot purfue vs.Ifthou loueft me,then
Steale forth thy fathers houfe, to morrow night s
And in the wood,a league without the towne
(Where I did meete thee once with Helen*,
To do obferuance to a morne of MayJ
There will I ftay for thee.
HerMy QOO&Ljfander,
By his bed arrow,with the golden head,
By the fimplicicy of Venus Doues.
By that which knitterh foules, and profpcrs loue,
And by that fire which burnd the Carthage Quecne,
When the falfe Troyan vudcr fayle was fecne,
By all the vowes that cuer men haue broke,
(In number more then euer women (poke)
In that fame place thou hair appointed me,
To morrow truely will I meete with thee.
Ly/TKeepepromife loue,looke here comes Helen*.
Enter Helena.
Her.God fpeedefaire Helena,whither away ?
Hel.CzM you me faire ? that (aire againe vnfay,
Demetrius loues your faire : O happy faire !
Your eyes are loadftars, and your tongues fweet ayre
More tuneabletben Larketo Shepheardseare,
When wheate is greene,wben hauthorne bads appeare,
Sickncfle is catching : O were fauour fo,
Your words I eatch.faire Herntut ere I goe,
My eare (hould catch your v oice,my eye,your eye,
My tongue (hould catch your tongues fweet melody,
Were the world m\M,DimetrUu being bated,
The reft lle giue tobe to yon (undated.
O teach me now you looke.and with what art,
You fway the motion of Demetrius heart.

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Her. I firowne vpon him.yct he loues me frill.
Het.O that your frowns wold teach my fmiles fuch sktl
Her.I giue him curfes.yct he giues me loue.
Hel.O that my prayers could Fuch affection mooue.
Her.The more I hate,the more he foliowes me.
Hel.Thc morel loue,the more he hateth me.
ffer.Hh folly, Helen* is none ofmine.
Wf/.None but your beauty, wold that fault were mine.
f/iw.Take comfort : he no more (hall fee my face,
Vjfander and my felfe will fly this place.
Before the time I did Ljfrmer fee,
Seem'd Athens like a Paradice to me.
O then,what graces in my Loue do dwell,
That he hath turn'd a heauen into hell.
Ljf.Heleatto you our mindes we will vnfold.
To morrow night,when ?babe doth behold
Her filuer vifage,in the watry glafTe,
Decking with liquid pearle,thebladed graffe
(A time, that louers flights doth ft ill conceale)
Through tsftketts gates,haue we deuifed to fteale.
Her. And in the wood,where often you and I,
Vpon faint Pimrofe beds,were wont to lye,
Emptying our bofomes,oftheir counfell fweld,
There my Lyfander,and my felfe fhall mcete,
And thence from Athens tunic away our eyes
To feeke new friends and Grange companions.
Farwell fwcete play-fellow, pray thou for vs,
And good lucke grant thee thy Demetrius.
Keepe vtox&Lyfatuier we mud ftarue our fight,
Prom louers foode,till morrow deepe midnight.
Exit Hermia.
Lyf. I will my Hermia.HeUti4 adieu,
As you on him, Demetrius dote on you.
ExitLjf.
Hel.Hovi happy fome,or otherfome can be ?
Through Athens I am thought as fairc as (be.
B
But

A Midfommer nightesdreame.
But what of that?2)w/riwthinkes notfo:
He will not knowe,what all,but hee doe know,
And as hee erres, doting on Hermiat eyes.*
So I,admiring ofhis qualities.
Things bafe and vile, holding no quantities
Loue can tranfpofe to forme and dignitie.
Loue lookes not with the eyes,but with the minder
And therefore iswingd Cupid painted blinde.
Nor hath louesminde ofany judgement taftc:
Wings,and noeyes,figure,vnheedyhaflc.
And therefore is loue laid to bee a childer
Becaufe}in choyce, he is fo oft beguil'd.
As waggifh boyes,in game, themfcluesforfwcare:
Soothe boy,Loue ,is periur'd euery where.
For, ere Dentetriuslodkt on Hermiat eyen,
Hee hayld downe othes,that he was onely mine/
And when this haile fome heate,from Hermiajclty
So he<MbIued,andfhowrsofoathes didmelt,
I will goe tell him offaire Hermiae flight:
Thcn,tothe wodde,will he ,to morrow night,
Purfue her : and for this intelligence,
If Ihaue thankes,it isadeare expenfe:
But herein mesne I to enrich my paine,
To haue his fight thither^and back againe.
Exit.
Enter Quince the Carpenter,andSnuggc,the Ioyner%and
Bottom,*/^ Weauer; and Flute, the Bel/ewes mender\&
Snout, Tinker\Attd Standing the Tajler,
Quin. Is all our company hcere/
Hot. You were be(t to call them generally, man by
man,according to the fcrippe.
QuiuMexc is the fcrowle ofeuery mans name, which is
thought ht,through i\ Athens}\.o play in ournterlude,befbre the.Duke,& the Dutches,on hiswcddingday at night;
BottJFitR good 'PeeterQuineejivj what the Play treats on;
then read the names ofthe AcWs&fo grow to a point.

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AMidfommernightcs drcame.
Sjw.Mary,our Play isthc moft lamentable comedy,
and mod crutll death ofTyrtmut and Tbijby.
"Bet. A very good peece ofworke,! aflure you, & a mer
ry.Now good tFeeterQmmceictl\ forth your A6tors,by the
fcrowlc.Maftersjfpreadeyourfelues.
Qi. Anfwere,as Icallyou.iV/c^B<tfWL,theWeauer?
Holt. Readie . Name what patt I am fbrj and proccedc.
Qum, Xoufltck^Batiom are fetdowneforTjivwww.
Bott What is Pyramus*. a louer> or a tyrant? *
Quin.A louer that kilshimfelfe,moft gallanr^forloue.
Bott. That will aflce fome tearesin the true performing
ofit. Jf I doe it,Iet the Audience looketo their cyesrl wl
mooue ftormes : I will condole,in fome meafure. To the
reft yet.my chiefe humour is for a tyrant. I could play rcles rarely ,or a part to teare a Cat in , to make all fplit the
ragingrocks:andfhiueringfhocks,fhallbreakethelocks
ofprifon gates, and Phibbu&czixz fhallfhine from far re,
and make & marre the foolifh Fa tes.This was loftie.Now,
name the reft ofthe Players. This is rr/e/vamc,atyrants
vaine : A louer is more condoling.
Quin.FratKitFliueiihe Bellowes menderf
Tltt. Here Teeter Quince.
Qusn.Flute/joa muft take "tbifiy^ on you.
Fia. What is ThiffytA wandring knight?
Quirt. It is the Lady,th at Pjramru muft lone. (ming.
F/-Nay faith-let not me play a woma: I baue a beard c6Qumt Thatsalloneryou fhall play itina Mafkejandyou
may fpeake as fmall as you will ,
'Bott. And I may hide my face, let me play TbifBy to :IIe
fpeake in a monftrous little voice; Tbifneyibifneszh Pyramtujny louer deare,thy Tbyfty deare, & Lady deare.
J.No,no.you muft play PyrdmustSl Flute, youThy/lyi.
J?fl/.Wcll,proccede, Qui.l^bm StarHtlmgyrhtTzHzii
Star. Here Peeter Quince.
Qutn.SjAin SturHtling, you muft play 7^/2ywmother.r
Bz
Tent

AMidfommer nights Dreamc.

Tom Sntrwt, the Tinker.
Snows.Here Peter Quince,
Qmm. You,Pjt<iwj father ; my h\fe,Tbisbies father;
Snugge the Ioyncr,you the Lyons part : and I hope here is
a play fitted.
Snug.Haue you the Lyons part written ? pray you if it
be,ghie it me,for I am flo we of ftudy .
Quiti. You may doit extempore, for it is nothing but
roaring.
Bot. Let me play the Lyon too, I will roare,that I will
do any mans heart good to heareme.I will roare, that I
will make the Duke fay,Let him roare again, let him roare
againe.
QttinMyou fhould do it too terribly,you would fright
the Dutcheffc and the Ladies,that they would fhtike, and
that were enough to hang vs all.
>4//.That would hang vs cuery mothers fonne.
Bot. I grant you friends, ifyou fhould fright the Ladies
out of their wits, they would haue no more difcretion but
to hang ys : but I will aggravate my voyce Co, that I will
roare you as gently as any fucking Doue; 1 will roare you
and t'were any Nightingale.
Quin.You can play no part but Phramus, for Piramns is
a fwect fac't man,a proper man as one fhal fee in a fommers
day ; a mod loucly gentlemanlike man,therefore you mud
needs play Piramtu.
Z?o?.Well,I will vndertake it.What beard were 1 beft to
play it in ?
Jj>*M.Why,what you will.
Bot A will difchargc it,in cyther your Draw-colour beard,
your orange tawny beard,y our purple in graine beard, or
your ftench crowne colour bcard,your perfit yellow.
Qum.Somt ofyour ftench crownes haue no haire at all ;
and then you will play bare fac't. But matters heere are
your parts,and I am to entreat you,requcft you, and defire
you,

A Midfommer nights Dreame.

you,to con them by too morrow night : andmeeteme in
the palace wood, a mile without the townc, byMoonelight,there we will rehearfe : for ifwe meetein the Citty,
we (hallbe dogd with company, and our deuifes knowne.
In the meane time.I will draw a bill ofproperties, fuch as
our play wants. I pray you faile me not.
Bot. We will mecte,and there we may rehearfe more
obfeenely and couragioufly. Take paincs,be perfit, adieu.
Quin.ht the Dukes okc we meete.
Bot. Enough,hold or cut bow-firings.
Extttnt.
Enter a fairy at one doere, and Robin good-fellow
at another.
Robm.rlow now fpirit,whether wander you ?
Fai.OxKt hill.ouer dale,throughbufh,throngh brier,
Oucr parke ouer pale,t hrough flood,through fire,
I do wander euery where, fwifter then the Moons fphere j
And I ferue the Fairy Queene, to dew her orbes vpon the
The cowflips tall her penfioners be,
(greene.
In their gold coats.fpots you fee,
Tbofe be Rubies .Fairy fauours,
In thofc frecklcs.liue their fauors,
I mufl goe feekc fame dew drops here,
And hang a pearle in cucry cowflips care.
Far well thou Lob of fpirits.Ilcbegone,
Our Queene and all her Elues come here anon.
Rob.Jhe King doth keepe his Reuels heere to night,
Take heed the Queene come not within his fight,
For 0heron is pafling fell and wrath,
Bccaufe that fbe.as her attendant,hath
A louely boy ftollen from an Indian king,
Sheneuer had fo fwcete a changeling,
And iealous Oberou would haue the childe,
Knight of his trainc,to trace the Forrcfts wildc.
But (he,perforce with-holds the loued boy,
Ciownes him with flowcrs,and makes him all her ioy.
B 3
And

AMidfommernights Dreame.
A nd now they neucr meete in groue,or greene,
By fountaine deere,or fpangled ftar light fheene,
But they do fquare,that all their Elues for feare
Creepe into acornc cups,and hide them there.
jRo'.Either I miftake your fh ape and making quite,
Or elfe you are that (hrewd and knaut(h fpirit,
Call'd Robingood-fellow. Are you not hee,
That frights the maidens ofthe Villagree,
Skimmilke,and fometimes labour in the queme,
And bootleffe make the breathleife hufwife cherne,
And fometime make the drinke to beare no barme,
Mif-leade night-wanderers,laughing at their harme,
Thofe that hobgoblin call you,and fweete Puck,
You do their worke,and they (nall haue good lucke.
Are not you he i
(the night,
Rob.Thoa fpeak'ft aright ; I am that merry wanderer of
I ieaft to Oberon^md make him fmile,
When I a fat and beane-fed horfe beguile ;
Neighing in likenefle ofa Ally foale,
And fometime lurke I in a goflips bole,
In very likenefle ofa rofteof crab,
And when (he drinkes.againft her lips I bob,
And on her withered dewlop poure the ale.
The wifeft Aunt telling the laddeft tale,
Sometime for three foote ftooIc,miftaketh me,
Then flip I from herbum,downc topples fhc,
And tailour cry es ,and fals into a coffe,
And then the whole Quire hold their hips.and loffe,
And waxen in their mirth,and neeze,and fwearc,
A merrier houre was neuer wafted there.
But roome Fairy,here comes Oberom.
Fat.And here my miftreflc : would that he were gone.
gnter the King ofFairies at one ioare with his traine,
and the Queen* ax another with hers.
ObM met by raoone-light,proud Tjtania,
Queen.

JLi

A Midfommer nights Dreame.

ueene.What.iealous Oberon ! Fairy skip hence.
Ihauc forfwornehis bed and company.
O^.Tarry rafh wanton ; am not I thy Lord ?
j>,ThenImuftbetbyLady : but I know
When thou haft ftollcn away from Fairy Land,
And in the fhape of C<w*,fat all day,
Playing on pipes ofcorne, and verfing loue,
To amorous Pbilidd.Vihy art thou here
Come from the fartheftfteepe of India ?
But that forfooth the bouncing Am&z.oy
Your buskind miftreu"e,and your warrior loue,
To Thefeus muft be wedded ; and you come,
To giue their bed ioy and profperity.
O^.How canft thou thus for ftiamejT/ffWM,
Glance at my creditc,with Hippolit* ?
Knowing I know thy loue to Thefeta.
Didft not thou leade him through the glimmering night,
From PcrtgenUjnhom he rauifhed i
And make him with faire Eagles breake his faith
With Ari*dne,zn6 Antiopa ?
Queen.Thctc are the forgeries of iealoufie,
And neuer fincc the middle Sommers fpring,
Met we on hill, in dale,forreftor mead,
By paued fountaine,or by rufhy brooke,
Or in the beached margent ofthe fea,
To dance our ringlets to the whittling winde,
But with thy bra wles thou haft difturbd our fport.
Therefore the windes,pyping to vs in vainc,
As in reuenge,haue fuckt vp from the fea,
Contagious fogs ; which falling in the Land,
Hath euery pelting riucr made fo proud,
That they haue ouer-borne their Continents.
The Oxe hath therefore flretcht his yoke in vaine,
The ploughman loft his fweat,and the greene Corne
Hath rotted,ere his youth attaind a beard :
4

The

A Midfommer nights Dreame.

The fold (lands empty,in the drowned field,
And Crowes arc fatted with the murrion flocke,
The nine mens Morris is fild v p with mud,
And the queint Mazes in the wanton grecne.
For lacke of tread,atx vndiftinguifh3bJe.
The humane mortals want their winter heere,
No night is now with hymme or carroll bleft ;
Therefore the Moone (the gouernefle of floods)
Pale in her anger,wafhes all the aire ;
That Rheumaticke difeafes do abound.
And through this di (temperature,we fee
The feafons alter ; hoared headed frofts
Fall in the fre(h lap of the crimfon Rofe,
And on old Hyems chinne and Icie crownc,
An odorous Chaplct of fwecte Sommcr buds
Is as in mockery fet.The Spring,the Sommer,
The childing Auturane.angry Winter change
Their wonted Liuerics,and the mazed world,
By their inercafe>now knowesnot which is which;
And this fame progeny of euils ,
Comes from our debate,from our di (Tention,
We are their parents and original!.
OberonX>o you amend it then, it lyes in you,
Why fhould 77;<t**crofle her Oberon ?
I do but beg a little changeling boy,
To be my Henchman.
ghHene.Sci your heart at reft,
The Fairy land buies not the childe ofme,
His mother was a Votreffcofmy order,
And in the fpiced Indian aire,by night
Full often hath (he goflipt by my fide,
And fat with me on JVeptunes yellow lands,
Marking th'embarked traders on the flood,
When we haue laught to fee the failes conceiue,
And grow big bellied with the wanton winde,
Which

A Midfommer nights Dreame.

Which (he with pretty and with fwimming gate,
Following (her wombe then rich with my young fquire)
Would imitate,and faile vpon the Land,
To fetch me trifles, and returne againe,
As from a voyage,rich with merchandize.
But (he being mortall,ofthat boy did dye,
And for her lake do I reare vp her boy.
And for her fake I will not part with him.
06. How long within this wood intend you May?
w.Perchance till after Tbejem wedding day.
Ifyou will patiently dance in our Round,
And fee our Moonc- light rcuels.go with v$ ;
Ifnot ,fhun me and I will fpare your haunts.
Ob.G'iue me that boy, and I will go with thee.
Qh.No t for thy Fairie Kingd ome.Fai ries away :
We (hall chide downe right,if I longer flay.
Exemtt
O^.Well,go thy way : thou lhalt not from this groue.
Till I torment thee for thisiniury.
My gentle Puckecomc hither ; thou remembreft
Since once I fat vpon a promontory,
And heard a Meare-maide on a Dolphins backe,
Vttering fuch dulcet and harmonious breath,
That the rude fea grew ciuill at her long,
Andccrtaineftarrcs fhot madly from their Spheares,
To heare the Sea-maids mufi eke.
Ptu.\ remember.
Of That very time 1 fay (but thou couldft not)
Flying bctweene the coldeMoone and the earth,
Cupid all arm'd ; a ccrtaine aime he tooke
At a fairc VeltalI,throned by Weft,
And loos'd his loue-fhaft fmartly from his bow.
As it fhould pierce a hundred thoufand hearts,
But I might fee young Cupids fiery fhait
Quencht in the chafte beames ofthe watry Moone j
And the imperial! Votrefle parted ofy

17

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A Midfommer nights Dreame.

In maiden meditation, fancy free,
Yetmarkt I where the bolt of npid fcl.
It fell vpon a little weftcrne flower;
Before, milke-white ; now purple with loues wound,
And maidens call it.Loue in idlencffe.
Fetch me that flower ; the hearb I fhcw'd thee once,
The iuyc c of it,on flecping eye-lids laide,
Will make or man or woman madly dote
Vpon the next Hue creature that it fees.
Fetch me this hcarbe,and be thou here againe,
Ere the Leu'uahan can fwim a league*
Pa .11 c put a girdle about the carth,in forty minutes*
O&trmr.Hauing once this iuyce,
lie watch Titdnia,whence (be is afleepe,
And drop the liquor of it in her eyes .*
The next thing when (he waking lookes vpon,
gle it on Lyon,Beare,or Wolfe, or Bull,
n medling Monkey ,or on bufie Ape)
She (hall purfue it,with the foule or loue.
And ere I take this charme offfrom her fight,
(As I can take it with another hearbe)
lle make her render vp her Page to me.
But who comes heere ? I am inui(ible,
And I will ouer-heare their conference.
Enter Demetrius,Helenafollowing him.
Heme. I loue theenot,therefore purfueme not,
Where is Lyfinder and faire Hernia ?
The one lie fh y,thc other ftaycth me.
Thou toldft roe they were ftolne vnto this wood j
And here am I and wood within this wood,
Becaufe I cannot meete my Hermia.
Hcnce,get thee gonc,and follow me no more.
Hip/.You drawme,you hard-hearted Adamant,
But yet you draw not Iron,for my heart
Is true as fteele. Leaue you your power to draw,
And

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A Midfomraer nights Dreame.

And I (hall haue no power to follow you.
Heme.Do I entice you ? do I fpeake you faire i
Or rather do I not in plaineft truth,
Tell you I do not,not I canno t loue you i
Het. And euen for that do I loue thee themore ;
I am your fpaniell, and Demetrius,
The more you beatc me,I will fawne on you.
Vfc me but as your fpaniell ; fpurne me,(trike me,
Negle&me,lofeme;oneIy giuemeleaue
(Vnworthy as I am) to follow you.
What worfer place can I beg in your loue,
(And yet a place of high refpefr with me)
Then to be vfcd as you vfe your dog.
T>cw.Tempt not too much the hatred ofmy fpirit,
For I am iicke when 1 do looke on thee.
Htt. And 1 am fickc when I looke not on you.
Deme.Yoa do impeach your modefty too much,
To leaue the Citty,and commit your felte
Into the hands ofone that loues you not,
To truft theopportunity ofnight,
And the ill counfell ofadefert place,
With the rich worth ofyour virginity.
Hel.Yotu vertue is my priuiledee : for that
It is not night when I do fee your race.
Therefore! thinke I am not in the night,
Nor doth this wood lacke worlds ofcompany,
For you in my refpett are all the world.
Then how can it be faid I am alone,
When all the world is here to looke on me /
Dem.1le run from thee.and hide me in the brakes,
And leaue thee to the mercy ofwildc Beafts.
He/.The wildeft hath not fuch a heart as you ;
Runne when you will.the ftory ftiall be chaung'd :
Apollo flycs^nd Daphna holds the chafe ;
The D ouc purfues the Griffen,the milde Hinde
C 2
Makes

19

JLL

A Midfommer nights Dreame.

Makes fpeed to catch the Tygre.B ootleffe fpcede,
When cowardife purfues.and valor flyes.
Dcmct.l will not flay thy queftions,let me go ;
Or ifthou follow me,do not beleeue,
But I fhall do thee mifchiefe in the wood.
Hel. I,in the Tcmple,in the Towne,and Field
You do me mifchiefe.Fyc Demetrius,
Your wrongs do fet a (candall on my (ex :
We cannot fight for loue,as men may do ;
Wc fhould be woo'd.and were not made to wooe.
He follow thee and make a heauen of hell,
To dye vpon the hand I loue fo well.
Exit,
Ob.Vixe thee well Nymph.ere he do leaue this groue,
Thou (halt flye him,and he fhall feeke thy loue.
Haft thou the flower there ? Welcome wanderer*
Enter Ptwke,
Pw^.Ijthere it is.
Ob. I pray thee giue it me.
I know a banke where the wilde time blowes,
Where Oxflips and the nodding Violet growes,
Quite ouercanoped with lufhious woodbine,
With fweete muske rofes,and with Eglantine ;
There flcepes 7)f<t/<,fometime ofthe night,
Luld in thefe flo wers,wi th dances and delight :
And there the fnakc throwes her enammeld skinne,
Weed wide enough to rap a Fairy in.
And with the iuyce ofthis,Ile ftreake her eyes,
And make her full of hateful! fantaMes.
Take thou fome of it,and feeke through this groue;
A fweete Athenian Lady is in loue
With a difdainefull youth : annoint his eyes,
But do it when the next thinghe efpies,
May be the Lady.Thou (halt know the man,
By t he Atbiman garments he hath on.
Effect it vvith fome care,that he may prooue
More

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A Midfommers nights Dreame.

More fond on her,then (he vpon her loue ;
And looke thou meete me ere the fir ft Cocke crow.
f.Feare not my I.ord.your feruant (hall do Co. Exeunt.
Enter Queens of Fairies,with her traine.
Queen. Come,now a Roundcli,and a Fairy fong ;
XhcnTor the third part ofa minute hence,
Some to kill cankers in the muske rofe buds,
Some warre with Reremife,for their leathern wings,
To make my (mall Elues coares,and Come keepe backe
The clamorous Owle,that nightly hootes and wonders
At our queint fpirits : Sing me now afleepc,
Then to your offices,and let me reft.
Fairies fing.
Ton[pottedfnakes with double tongue,
Newts andUlindewormes do no wrong
Come not neere our Fatty queene.
Philomele with melody,
Singin ourfweett Lullaby,
LHlla,li*lla,luUaby,lu(la,lHlla,luUaby,
Neuer harms,norfie11,nor charme,
Come our lonely Lady nye*
Sogoodnight with Lullaby*
I .Fairy. Weaumg Spiders come not heere,
"Beetles blackf approch not neere ;
Worms nor Snayle do no offence.
Philomele with melody,&c.
i.Fai.Hence away,now all is well',
One aloofe,flmd Centinell.
Enter Oberon.
0.What thou feeft when thou doft wake,
Do it for thy thy true loue take :
Loue and languUh for his fake.
Be it Ounce,ot Cattc.or Bcare,
Paid.

A Midfommer nights Drea me.

Pard,orBoare with briftled haire.
In thy eye that (hall appeare,
When thou wak'ft, it is thy deare,
Wake when fome vile thing is neere.
Enter hyfander and Hermia*
ty/;Fajre louc,you faint with wandring in the woods,
And to fpeake troth 1 haue forgot our way :
Wee'l reft vs Hermiajfyou thinke it good,
And tarry for the comfort ofthe day.
//iw.Beit fo Lyfaxier % Hndeyou out a bed,
For I vpon this banke will reft my head.
Ljf.Qnt turffc (hall ferae as pillow for vs both,
One heart.onc bed,two bofomes,and one troth.
.Hirr.Nay good Ljfauder for my fake my deare
Lie further offyet,do not lie fo neere.
Ljf.O take the fence fwee,ofmy innocence,
Loue takes the meaning,inIoues conference,
I meane that my heart vnto yours is knit,
So that but one heart we can make of it.
Two bofomes interchained with an oath,
So then two bofomes,and a fingle troth.
Then by yout tide,no bed-roomeme deny,
For lying fo, Hernial do not lye.
Her.Ljfauder riddles very prettily ;
Now much beftjrew my manners and my pride,
If Hermia meant to fay,Lyfonder lied.
But gentle friend.for loueand courtcfie
Lie further off.in humane modefty,
Suchfeparation,a$ may wellbefaid,
Becomes a vertuous batchellor,and a raaide,
So farre be diftant&aA good night fweet friend ,
Thy loue nere alter till thy fweete life ende.
Ljf.kmca amen,tottwtairepraier, fay I,
Heere is my bed,Qeepe giue thee all his reft.
Htr.

A Midfommers nights Dreame.

//er.Whh balfc that with the wifhers eyes be preft,
Enter tucke,
/'^Through thcForrefthaue I gone,
But Athenian finde I none,
On whofe cies I might approue
This flowers force in (lining loue.
Night and filcnce: who is heere ?
VVeedes of Athens he doth weare :
This is he (my m after faid)
Defpifed the Athenian maide :
And heere the maiden fleeping found,
On the danke and dirty ground.
Pretty foule,(he durft not lye
Neere this lack loue,this kill-curteiie.
Churlc.vpon thy eyes I throw
All the power this charme doth owe :
VVhen thou wak'ft,letloue forbid
Sleepe his feate.on thy eye-lid.
Exit.
Enter Demetrius and Helena mining.
fc/.Stay,though thou kill me,fweete Demetrius.
De.l charge thee hcnce.and do not haunt me thus,
Hel. O wilt thou darkling leaue me ? donot Co.
Dc.Stay on thy perill,I alone will goe.
Hel.Ol am out of breath,in this fond chafe,
The more my praier.the lcffer is my grace.
* *fr7
wwjn"
*
For (he hath bleffed and attraftiue eyes.
How came her eyes fo bright ? Not with fait teares.
If fo,my eies are oftner wafiu then hers.
No.no, 1 am as vgly as a Beare ;
For beafts that mcete me.runne away for feare,
Therefore no maruaile,thoueh Demetrius
Do as a monfter, flic my pretence thus.

A Midfommer nighcs Drearae.

What wicked and dhTembling glafle ofmine,
Made me compare with Hermits fphery eyne ?
But who ii here, Lyftttder on the grouud ?
Dead or aflecpe ? I fee no blood,no wound,
Ljfmdertfyou liue,good fir awake.
Ljf.hn& run through fire I will for thy fweet fake,
Tranfparant He/ena,nature ftiewes arte,
That through thy bofome makes me fee thy heart.
Where is Demetrim ? oh how fit a word
Is that vile name,to perifh on my fword !
Hel.Do not fay fo Ljfonder,lay not fo :
What though he loue your Hermit* Lord,what though ?
Yet Hermia, ftill loucs you ; then be content,
Z^/Xontent with Hermit ? No,I do repent
The tedious minutes I with her haue fpent.
Not Hermiatb\K Helen* now I loue j
Who will not change a Rauen for a Doue i
The will ofman is by his reafon fwai'd :
And reafon faies you are the worthier maid.
Things growing are not ripe vntill their feafon ;
So I being young, till now ripe not to reafon,
And touching now the point of humane skill,
Reafon becomes the Mar(hall to my will
And leads me to your eyes, where I orelooke
Loues ftorics,written in Loues richcft booke.
Hel. Wherefore was I to this keene mockery borne ?
When at your hands did I deferue this fcome ?
Ift not enough.ift notenough,young man,
That I did neuer,no nor neuer can,
Deferue a fweete looke from Demetriue eye,
But you muft flout my infufficency ?
Good troth you do me wrong (good-footh you do)
In fuch difdainfull manner,me to wooe.
But fare you well ; perforce I muft confefle,
I thought you Lord ofmore true gemlenefle.

A Midfommer nights Dreame.

Ob.that a Lady ofone man refvs'd,
Should ofanother therefore be abus'd.
Xit.
Lyf.She fees not Hermia : Hermiaficcpe thou there,
And neuer maift thou come Lyfander neere ;
For as a furfet ofthe fweeteft things
The deepcft loathing to the ftotnacke brings ;
Or as the herefies that men do leaue,
Are hated moft ofthofe they did deceiue :
So thou,my furfet, and my herefie,
Ofall be hated ; but the moft ofme ;
And all my powers addreue your loue and might,
To honour Helen,and to be her Knight.
xit.
Her.Helpe me Lyftnder,be\pe me; do thy bcft
To plucke this crawling ferpent from my breft.
Aye me,for pitty j what a dreame was here ?
Ljfader looke.how I do quake with feare :
Me-thought a ferpent eate my heart away,
And you fat uniting at his cruell prey.
Lyfonder,what remoou'd ? LjfiaiderJLotd,
What.ou t of hearing,gone ? No found,no word ?
Alacke where are you { fpeake and ifyou heare ;
Speak e ofall loues ; I fwound almoft with feare.
No,then I well perceiue you are not nye,
Eyther death or you ile finde immediately.
Sxit.
Enter tbeQoxmes,
Bet.Arc we all met?
j/.Pac,par,and hetes a maruailous conucnient place
for our rehearfall.This greene plot fhall be our ftage, this
hauthorne brake our tyring houfe,and we will doc it in ac*
tion, as we will do it before the Duke.
Bot.T'eter quince*
Peter.What faift thou.bully 'Bottom ?
Hot. There are things in this Comedy of Piramus and
7fc*r^,that will neuer pleafe. BrftyPtoaww muft draw a
fword to kill himfelfe ; which the Ladyes cannot abide.
D
How

A Midfommer nights Dreamc.

How anfwer you that ?
S*or.Bcmkcn,a parlous feare.
Star.l belecue we mud leauc the killing out, when all is
done.
Bot.Not a whit, I hauc a deuice to make all well. Write
me a Prologue,and let the Prologue fccme to fay, wee will
do no harme with our fwords, and that Pyramnt is not kild
indeed : and for the more better aflurance, tell them that I
Piramus am not Pimmut^oai Bottom* the Weauer ; this will
put them out of feare.
Well,we will hauc fuch a Prologue,and it (hall be
written in eight and fixe.
"Bot. No,makc it two more, let it be written in eight 8c
eight.
S<Mtt.\Vill not the Ladies be afcard ofthe Lyon ?
StarA feare it,I promifeyou.
Bot. Mafters,you ought to confidcr with your felfc, to
bring in (God fhield vs) a Lyon among Ladies, is amoft
dreadfull thing . For there is not a more fearcfull wilde
fowle then your Lyon liuing: and we ought to looke to it.
Snout. Therefore another Prologue mult tell he is not a
Lyon.
Bat. Nay, you mud name his name, and halfe his face
mu(t be feene through the Lyons neckc, and hee himfelfe
mud fpcake through, faying thus,or to the fame derfect ;
Ladies,or faire Ladies, I would wifh you, or I would requedyou.or I would entreat you, not to feare,not to trem
ble : my life for yours. Ifyou thinkc I come herher as a Ly
on,it were pitty ofmy life. No,/ am no fuch thing,/ am a
man as other men arc ; and there indeed let him name his
namc.and tell them plainly he is Snug the ioyner.
Qnin. Well, it fhall be fo ; but there is two hard things,
that is.to bring the Moone-light into a chamber : for yon
hxovt^irMmfn and Tkuby mecte by Moone-light,
*,Doth the Moone {bine that night we plsy our play ?
Bot.

A Midfommer nights Dreame.

Battom.h Calender ,a Calender.looke in the Almanack,
findeout Moone-fhine>rmck out Moonefhine.
QuiM.Yesjt doth fliine that night.
Bot. Why then may you leaucacafementofthcgreat
chamber window (wherewepiay) open, and the Mocnc
may fhine in at the cafemcnt.
Qwn. I,or elfc one muft come in with a bufh of thoms,&
a lanthorne, and fay he comes to disfigure,or to prefent the
perfon of Moonc-ihine. Then there is another thing, we
mufthauea wallinthe great Chamber; for Piramuf and
Thisby (faies the ftory ) did talke through the chinke of a
wall.
.You canneuer bring in a wall.What fay you Bottoms}
'Bot. Some manor other muft prefent wall, and let him
haue fome plafter, or fome Iome, or fome rough caft about
him.to fignifie wall; or let him hold his ringers thus; and
through that cranny.(hall Piramut and Thisby whifper.
Quirt.If that may be, then all is well. Come,fit downe euery mothers fonnc,and rehearfe your parts. Prramus, you
begin ; when you haue fpoken your fpeech,enter into that
Brake,and fo euery one according to his cue.
Enter Robin.
Rob.\Nht hempen home-fpuns haue wefwaggring here.
So neere the Cradle of the Fairy Queene ?
What, a play toward i lie be an auditor,
An ator too perhaps, if 1 feecaufe.
Quin.Spca.Vc Piramta, Thisby ftand forth.
Pir,rfhisb) ,thc flowers ofodious fauors fweete.
j^w/w.OdourS.odorous.
P/r.Odours fauors fweete,
So hath thy breath,my deareft Thisby deare.
But harkc, a voyce ; flay thou but heere a while,
And by and by I will to thee appeare.
Exit,
ijtin.t\ ftranger Ptramus then ere plaid here,
Thif- Muft I fpcake now ?
D 2
I

A Midfommer nights Dreame.

Pet. I marry mull you. For you muft vnderftand he goes
but to fee a noyfe that he heard ,and is to come againe,
ThjfiMoR radiant Viramusjcaofk Lilly white of hue,
Of colour like the red rofe on triumphant bryert
Moft brisky Iuuenall, and eke mod louely lew,
As true as trued horfe,that yet would neuer tyre.
He meetc thee Tiramttffit Ninnies toombe.
Pet.Nintu toombe man : why you muft not fpeake that
yet ; that you anfwer to Piranttu : you fpeake all your part
at once,cues and A.Piramut enter,your cue is part ; it is ne
uer tyre.
Tfyf. O.as true as trueft horfe,that yet would neuer tyre.
Pir. I f I were hwt/Thisty I were onely thine.
Pet.O monftrous.O ftrange. We are haunted } pray ma
tters flyemafters,helpe.
Hob. We follow you,Ile ieadeyou about a Round,
Through bogge, through bu(b, through brake, through
Sometime a horfe He be,fometime a hound,
(brycr
A hogge,a headleffe beare.fometimea fire,
And ncigh,and barke.and grunt,and rore,and burne,
Like horfe,hound,hog,beare,fire,at euery turne.
Exit*
Set.Why do they run away ? This is a knauery ofthem
to make me afeard.
Enter Snowt.
StttO Tottoms thou art chang'd ; what do I fee on thee ?
"Bet. What do you fee? you fee an affe head ofyour own.
Do you ?
Enter Peter quince.
Pet. Ble(Te thee "Bottetue,blcSt thee ; thou art Mandated,
Exit.
Hot.1 fee their knauery ; this is to make an affe ofme,
to
fright me ifthey could ; but I will not ftir from this place,
do what they can.I will walke vp and downe heere, and I
will (ing that they fliall heare I am not afraid.
The Woofell cocke/o blackc of hew,
With Orange tawny bill,
The

A Midfommer nights Dreame.

The Thtoflle.with his note fo true,
The Wren with little quill.
TytMia. What Angell wakes me from my Dowry bed t
Bot.The Finch ,the Sparro w,3nd the Larke,
The plainfong Cuckow gray ;
Whofe note full many a man doth marke,
And dares not anfwer,nay.
For indeed,who would fet his wit to fo foolifti a bird ?
Who would giue a bird the lye,though he cry Cuckow,neuer fo ?
Tjta.l pray thee gentle mortall,fing againe,
Mine eare is much enamored ofthy note ;
On the firft view to fay, to fweare 1 loue thee.
So is mine eye enthralled to thy Chape,
And thy faire vermes force (perforce) doth moue me,
Bot , Me-thinks miftteffe, you fhould haue little reafon
for that : and yet to fay the truih,reafon and loue keepe little company together,now adayes.Thc more the pitty,that
fome honeft neighbours will not make them friends. Nay
I can gleeke vpon occafion.
TytaTIiou art as wife.as thou art beautiful!.
Bot.Not fo neither : but if I had wit enough to get out
ofthis wood, T haue enough to ferae mine owne turne.
Tyta.Out ofthis wood,do not defire to goe,
Thou (halt remaine here, whether thou wilt or no.
1 am a fpirit ofno common rate .*
The Sommcr ftill doth tend vpon my ftate,
And I do loue thee ; therefore go with me,
He giue theeFairies to attend on thee ;
And they (hall fetch thee Iewels from the deepe,
And fing, while thou on prefTed flowers doft fleepe .
And I will purge thy mortal! groflenefle fo,
That thou (halt like an ayry fpirit go.
<Peafe-ihffime,CthmhjLMotb,and Muftati-feed.
Enttrfowe fairies;
D 3
M

A Midfommer nights Dreame.

F*'.Ready j and /, and /, and /.Where (hill we go ?
Tita.Tie kinde and curteous to this Gentleman,
Hop in his walkes.and gambol e in his eies,
Fcede hira with Apricocks,and Dewberries,
With purple Grapes.greene Figs,and Mulberries,
The hony bags fteale from the humble Bees,
And for night tapcrs-,crop their waxen thighes,
And light them at the fiery Glow-wormes eies,
To hauemy loue to bed,and to arifc
And plucke the wings from painted Butterflies,
To fanne the Moone-beames from his Qeeping eyes,
Mod to him Elues,and do him curtefies.
i ,Fai. Ha ile mortalLhaile.
2.F<'.Haile.
3.F/M*.Haile.
Bot, I cry your worftiips mercy hartily j I befeech your
w oi (hips Dame.
Cob. Cobweb,
Bot. I (halt defire you of more acquaintance, good Ma.
fter (^obweb : if/ cut my finger, / (hall make bold with you.
Your name honcft gentleman ?
Peff. Pt*fe~blo{fome.
Bot. [pray you commend me to miftrefie S<jU4fhtyouz
Mocher.and to matter Peafcodyour Father. Good mafter
Peafe-blojfome, I (hall defire you ofmore acquaintance to.
Your name I befeech you fir ?
Muf. Muftard feeds.
Bot. Good mifkerLMustard feed, I know your patience
well : that fame cowardly gyant-like Oxe-beefe hath deuoured many a gentleman ofyour houfe. I promife you,
your kindred hath made my eyes water ere now. 1 defire
you more acquaintance, good Matter Muflardfeed.
Tita.Come waite vpon him^eade him to my bower.
The Moone me-thinks,lookes with a watry eie,
And when (he weepes,weepe euery little flower,
Lamen-

A Midfommer nights Drea me,

Lamenting fome enforced chaftity.
Tye vp my louers tongue,bring him filently .
Exit,
enter King of Fairies,and Robingood-fellow.
Ob.I wonder if Tttania be awak't j
Then what it was that next came in her eyei
Which fhe muft dote on,in extremity.
Here comes my meflenger : how now mad fpirit,
What night-rule now about this haunted groue j*
P^My miftrefle with a monfter is in loue,
Neere to her clofe and confecrated bower,
While (he was in her dull and fleepinghower,
A crew ofpatches,rude Mechanicals,
That workeforbread,vpon Athenian ftalles,
Were met together to rehearfe a play,
Intended for great Theftus nuptiall day :
The ftialloweft thick-skin ofthat barren fort,
Who Piramus prefen ted, in their (port,
Forfooke his Scene.and entred in a brake,
When I did him at this aduantage take,
An Afles note I fixed on his head.
Anon his Thisbie muft be aafwered,
And forth my Minnock comes : when they him fpy ,
As wilde geefe.that the creeping Fowler eye,
Or ruffed pated choughes,many in fort
(Riling and cawing at the guns report)
Seucrthemfelues.and madly fweepe the sky :
So at his fight.a way his fellowes fly e.
And at our ftampe.here ore and ore one fallcs ;
He murther cry es,and helpefrom ji:htn: cals.
Their fenfe thus weake^oft with their fcares thus ftrong,
Made fenfeleffe things begin to do them wrong.
For briars and thorne& at their apparell fnatch,
Somefleeues/ome hats.fromyedders all things catch,
I led them on in this di'ftra&cd fcarc,
And left fwecte Pirarms tranflated there :
When

A Midfommer nights Dreame

When in that moment (fo it came to pafle)
Tjtania waked,and ftraightway lou'd an afle.
Oi.This falles out better then I could deuife :
But haft thou yet lacht the ^Athenians eyes,
With the loue iuyce.as I did bid thee do ?
Reb.\ tooke him fleeping (that is finiftit to)
And the Athenian woman by his fide,
That when he wak't,of force (he muft be eyde.
Enter Demetrius and Hermia.
Of.Stand clofe, this is the fame ^Athenian*
Roi.This is the woman,but not this the man.
Deme.O whyrebukeyouhim that louesyou fo?
Lay breath fo bltter on your bitter foe.
Jftr.Now I but chide,but I ftiould vfe thee worfe.
For thou (I feare) haft giuen me caufe to curfe.
Ifthou haft flaine Lyfander in his fleepe,
(to,
Being ore (hooes In b!oud,pIunge in the dcepe,and kill me
The Sunne was not fo true vnto the day,
As he to me.Would he haue ftollen away,
From fleeping Hermia i He beleeue as foone
This whole earth may be bor'd,and that the Moone
May through the Center creepe,and fodifpleafe
Her brothers noonetide,with tWAntipedet.
It cannot be but thou haft murdred him,
So (hould a murderer looke,fo dead,fo grim.
Dem.So (hould the murdered looke,& fo (hould I,
Pierft through the heart with your ftearne cruelty :
Yet you the murderer looke as bright,a$ cleare,
At yonder Venut in her glimmering fpheare.
Her.VVhat's this to my Ljfander} where is he ?
Ah good Demetrius/wilt thou giue him me ?
Dem.l&t rather giue his carkafie to my hounds.
Her.Ovx dog.out curre,thou driu'ftmepaft the bonds
Ofmaidens patience.Haft thou flaine him then?
Henceforth be neuer numbred among men.
Oh,

A Midfommer nights Dreame.

Oh.once tell true, euen for my lake,
Durft thou haue lookt vpon him,being awake ?
And haft thou kild him fleeping ? O braue tutch :
Could not a worme,an Adder do fo much ?
An Adder did it.For with doubter tongue
Then thine (thou ferpent) neuer Adder ftung.
Dem.You fpcnd your paflion on a mifpriz'd mood,
] am not guilty of Ly[unders bloud :
Nor is he dead, for ought that I can tell.
Her.I pray thee tell me then,that he is well.
Dem.And ifI could,what fhould I get therefore ?
Her. A priuiledge,neuer to fee me more,
And from thy hated prefence part I,fee me no more,
Whether he be dead or no.
Exit.
>w.There is no following her in this fierce vaine,
Heeretherefore for a while I will remaine.
So forrowes heauine(fe doth heauier grow.
For debt that bankrout flip doth forrow owe,
Which now in fome flight meafure it will pay,
If for his tender heere I make fome ftay.
Lie demne.
Ob.What haft thou done ? Thou haft miftaken quite,
And laide the loue iuyce on fome true loues fight :
Ofthy mifprifion,muft perforce enfue
Some true loue turn'd.and not afalfe turnd true.
Ro^.Then fate ore-rules,that one man holding troth,
A million faile,confounding oath on oath.
Ob. About the wood,goe fwifter then the winde,
And Helena of Athens looke thou finde.
All fancy ficke (he is,and pale ofcheere,
With fighes of Ioue,that cofts the fre(h bloud dcare.
By fome illufion fee thou bring her heere,
He charme his eies,againft /he do appeare.
Robin. I go,I go^ooke how I goe,
Swifter then arrow from the Tartars bowe.
Exit,
Ob. Flower ofthis purple die,

A Midfommer nights Dreame.

Hit with fopi^ archery,
Sinke in apple of his eye,
When his loue he doth efpy,
Let her fhine as glorioufly
As the F~enw ofthe sky.
When thou wak'ft,if (hebe by,
Beg of het for remedy.
Enter Pucke.
9uc%.Cap taine ofour Fairy band,
Helena is heere at hand,
And the youth,miftooke by me,
Pleading for a Louers fee.
Shall wc their fond Pageant fee f
Lord,what foolcs thefe mortals be !
Of.Stand afidc : the noyfe they make,
Will caufe Demetrius to awake.
PucThen will two at once wooe one,
That muft needs be fporc alone :
And thofc things do bell pleafe me,
That befall prepofteroufly.
Enter Lyfonderand Helen**
LjpNhy fhould you think that I Ihould wooe in (corn?
Scorne and derifion neuer come in teares :
Looke when I vow I weepe ; and vowes fo borne,
In their natiuity all truth appeares.
How can thefe things in me,feeme Icorne to you ?
Bearing the badge of faith to proue them true.
Hel. You do aduance your cunning more and more,
When truth kils truth, O diuelifh holy fray J
Thefe vowes are Hermits.Will you giue her ore ?
Weigh oath with oath, and you will nothing weigh.
Your vowes toher,and me (put in two fcales)
Will euen weigh ,and both as light as tales.
Lyf.l had no judgement, when to her Ifworc.
i/f/.Nor none in my rninde,now you giue her ore.

m.ii.

A Midfommer nights Dream e.

Ljf.Demttrius loues her, and he loues not you.
^iw.O^ir/^goddeflc.nimph.perfcift.diuine,
To what, my loue,ihall I compare thine cine J
Chriflall is muddy ,0 how ripe in fcowe,
Thy lips,thofe kiflfing cherries, tempting grow !
That pure congealed white; high Tmym (how,
Fan'd with the Ealterne winde,turnes to a crow>
When thou holdft yp thy hand.O let me kifle
This Princefle of pure white, this fcaleof bliffe.
Hell. O fpight ! 6 hell ! I fee you all are bent
To fct again ft me, for your merriment.
Ifyou were ciuill,and knew curtcfie,
You would not do me thus much iniury.
Can you not hate me.as I know you do,
But you rauft ioyne in foules to mockeme too ?
Ifyou were men,as men you are in (bow,
You would not vfe a gentle Lady Co ;
To v o w,and fweare,and fuperpraife my parts,
When I am fure you hate me with your hearts.
You both are Rtuals,and loue Hermia ;
And now both Riuals,to mocke Helena,
A trim exploit.a manly enterprise,
To coniure teares vp in apoore maides eyes,
With your derifion,none of noble fort,
Would fo offend a virgine, and extort
Apoore foules patience, all to make you (port.
Lyptn.Yavi are vnkinde Demetrius; benotfo.
For you loue Hermia ; this you know I know ;
And heere with all good will.with all my heart,
In Hermias loue 1 yeeld you vp my part ;
And yours of Helena, to me bequeath,
Whom I do lone,and will do to my death.
Hf/.Neuer did mockers waflc more idle breath.
Deme. Ljfauderjteepc thy Hermia,l will none :
Ifere I lou'd her,all that loue is gone.
E %

My

A Midfommer nights Dreame.

My heart to her.but as gueft-wife foiournd,
An d now to Helen it is home return'd,
There to remaine.
Ljf.lt is not To.
Dem. Difparage not the faith thou doft not know,
Leaft to thy perill thou abide it deare.
Looke where thy Loue comes,yonder is thy deare.
Enter Hermit.
Hfr.Darke nigh t, that from the eye his function takes,
The care more quicke ofapprehcnfion makes,
Wherein it doth impair e the feeing fenfe,
It paies the hearing double recompence.
Thou art not by mine eie, Lyfander found,
Mine eare (I thanke it) brought me to thy found.
But why vnkindly didft thou lcaue me fo ?
Lyf.Why (hould he ftay,whom loue doth prefle to go?
f/w.What loue could preffe Lyfander from my fide ?
Lyf. Lyfanders loue (that would not let him bide)
Faire Helena ; who more engilds the night,
Then all yon fiery oes,and eics of light.
Why feek'ft thou me t Could not this make thee know*
The hate I bare thee, made me leaue thee fo ?
Her.You fpeake not as you thinke ; it cannot be.
He/.Loe,fhe is one ofthis confederacy,
Now I percciue.they haue conioynd all three,
To fafhion this falfe fport,in fpight ofme.
Iniurious Hfriw<*,moft vngratefull maide,
Haue you confpir'd,haue you with thefe contriu'd
To baite me,with this foule derifion ?
Is all the counfell that we two haue fhar'd,
The fifters vowes.the houres that we haue fpent,
When we haue chid the hafty footed time,
For parting vs } O, is all forgot ?
AH fchoole-daies friendfhip, child -hood innocence ?
We Hermiajikc two artificial! gods,
Haue

fllii.

A Midfommer nights Dreame.

Hauc with our ncedles,CTeated both one flower,
Both on one fampler,fitting on one cufhion,
Both warbling ofone fong,both in one key ;
As ifour hands,our fides,voices,and mindes
Had bin incorporate.So we grew together,
Like to a double cherry .feemin g parted,
But yet an vnion in panition,
Two louely berries moulded on one ftcmme,
So with two feeming bodies, but one heart,
Twoofthe firft life coats in Heraldry,
Due but to one,and crowned with one creft.
And will you rent our ancient loue afunder,
To ioyne with men in fcorning your poor e friend /
It is not friendly ,t is not maidenly.
Our fexe as well as I.may chide you for it,
Though I alone do feele the iniury.
Her. I am amazed at your words,
I fcorne you not ; It fecmes that you fcorne me.
HeI. Haue you not fet Lyfander,z$ in fcorne
To follow me,and praife my eies and face ?
And made your other Louc,Demetrius
(Who euen but now did fpurne me with his foote)
To call megoddefle,nimph,diuine,and rare,
Precious, celeftiall ? Wherefore Ipeakes he this
To her he hates ? And wherefore doth Ljfander
Deny your loue (fo rich within his foule)
And tender me(forfooth)affection,
But by your fetting on,by your confent ?
What though 1 be not fo in grace as you,
So hung vpon with loue, fo fortunate ?
(But miferable moft.to loue vnlou'd)
This you fhould pitty.rather then defpife.
Htr.l vnderftand not what you meane by this.
Hel.\t do,perfeuer,counterfeit fad lookes,
Make mouthes vpon me when I turne my backe,
E 3
Winke

A Midfommer nights Dreame.

Wink c each at other,hold the fweete ieaft vp ;
This fpott well carried.fhall be chronicled.
Ifyou haue any piety, gracc,or manners,
You would not make mefuch an argumenr.
But faryewell.t'u partly mine owne fault,
Which death or abfence foone (hall remedy.
Ljf.S tay gentle Htltnafrmz my excufe,
My loue,my life, my foule/aire Helena.
Hel.O excellent !
Her.S weete,do not fcorne her fo.
Dem.K (he cannot entreate,I can compell.
Ljf.Thou canft compell, no more then (he entreate.
Thy threats haue no more ftrength then her weake praifeHelen,! loue thee,by my life 1 doe ;
1 fweare by that which I will lofe for thee,
To proue him falfe.that faies I loue thee not.
Dem.l fay.I loue thee more then he can do.
Ljflt thou fay fo,with.draw and proue it to.
Dem. Quick,come.
Her. Lyfunder, whereto tends all this ?
Lyf. Away.you Ethiepe.
Bern. No.no,hee'l feeme to breake loofc ;
Take on as you would follow,
But yet come not : you are a tame man.go.
Z^Hangoff thou cat,ihou bur; vile thing let loofe,
Or I will (hake thee from me like a ferpent.
Her. Why are you gro wne fo rude ?
What change is this,fwecte Loue?
Ljf.Jhy loue ? out tawny Tartarpv\ ;
Out loathed medicine ; 6 hated poifon hence.
Her. Do you not ieaft ?
Hel. Yes footh.an d fo do you.
Ljf.Demetritu,\ will keepe my word with thee.
"DemA would I had your bond : for I perceiue,
A weake bond holds you ; 11e not truft your word.
4

A Midfommer nights Dreame.

Ljf. VVha^thould I hurt her,ftrike her,kill her dead ?
Although 1 hate her lle not harme her fo.
Her.VVhzt ?can you do me greater harme then hate ?
Hate me,wherefore ? O me, what newes my Loue t
Am not I Hermia ? Are not you Lyfander ?
I am as faire now,as I was ere while.
Since night you lou'd me ; yet fince night you left me.
Why then you left me (6 the gods forbidJ
In eameft.fhall I fay ?
Lyf. I,by my life ;
Andneuer did defire to fee thee more.
Therefore be out of hope,ofqueftion.ofdoubt ;
Be certaine ; nothing truer ; tistio ieaft,
That I do hate thee.and loue Helena.
Her.O me.you iuggIer,you canker blotTome,
You theefe of loue ; whac.haue you come by night,
And ftolne my loues heart from him i
//r/.Fine ifaith.
Haue you no mode(ty,no maiden (hame,
No touch of bafhfulnefle i What.willyou teare
Impatient anfwers from my gentle tongue?
Fie,fie,you counterfet,you puppet,you.
#fr.Puppct ? why fo ? l,that way goes the game.
Now Iperceiue that (he hath made compare
Betweene our Matures, (he hath vrg'd her height,
And with her perfonage, her tall parfonage,
Her height (forfooth ) ihe hath preuaild with him*
And are you growne fo high in his efteeme,
Becaufe I am fo dwarfKh and fo low ?
How low am I, thou painted May-pole / Speake,
How low am I > I am not yet fo low,
Bur that my nailcs can reach vnio thine eyes.
ffel.l pray you though you mocke mc, gentlemen,
Let hct not hurt me ; I wasneuer curft :
I haue no gift at all in (hrewiftmeffe:

A Midfommer nights Dreame.

I am aright maid for my cowardize ;
Let her not ftrike me : you perhaps may thinke,
Becaufe fhe is fomething lower then my felfe,
That I can match her*
flirrLower? harkeagaine.
Hel.Good Hermia,do not be fo bitter with me,
I euermore did loue you Hermia,
Did euer keepe your counfels,neucr wronged you,
Saue that in loue vnto Demetrius,
I tol d him ofyour ftealth vnto this wood.
He followed you,for loue 1 followed him,
But he hath chid me hence,and threatned me
To ftrike me.fpurne me,nay to kill me to;
And now,fo you will let me quiet goe,
To tAthens will I beare my folly backc,
And follow you no further, Let me go.
You fee how fimple.and how fond I am.
Jftr.Why get you gone : who ift that hinders you ?
Hel.K foolifii heart,that I leaue heere behinde.
Her.What>with Lyfancier}
Hf/.With Demetrius.
LyfiBc not afraid,ihe fhall not harme thee Helen*.
Dem.No fir,(he (hall not,though you take her part.
Hel.O when (hee's angry,(he iskeene and flirewd,
She was a vixen when (he went to fchoole,
And though (he be but little,(he is fierce.
iftr.Little againe i Nothing but low and little ?
Why will you fuffer her to flout me thus ?
Let me come to her.
LyfGet you gone you dwarfe,
You minimuspf hindring knot grade made,
You bead.you acorne.
Dem.You are too officious,
In her behalfe that fcornes your feruices.
Let her alone.fpeake not of Helena)
Take

40

in a.

344 |

M8

352 I

356 I

360 j

364 I

368 I

372 I

Jj6 I

A Midfommer nights Dreamc.

Take not her part.For ifthou doft intend
Neuer fo little fhew ofloue to her,
Thou (halt abie it.
Z//*Now fhe holds me not,
Now follow ifthou darlft,to try whofe right,
Ofthine or mine, is moft in Helena.
(Exit.
JD.Follow ? Nay,Ue go with thee cheeke by iowle.
Her.You Miftreffe,all this coyle is long ofyou.
Nay,goenotbackc.
Hel.l will not truft you I,
Not longer ftay in your curft company.
Your hands than mine,are quicker for a fray,
My legs are longer though to runne away.
Her.l am amaz'd,and know not what to fay.
Exeunt,
O^.This is thy negligence,ftill thou mlftak'ft,
Or elfe commit'ft thy knaueries wilfully.
/>cl^Beleeue me,King of (haddowesj miftooke.
Did not you tell me,I (hould know the man,
By the Athenian garments he hath on ?
And fo farre blamelene proues my enterprize,
That I haue nointed an Athenians eyes,
And fo farre am I glad.it fo did fort,
As this their iangling I efteeme a fport.
CW.Thou feeft thefe Louers feeke a place to fight,
Hie therefore i?ofo,ouercaft the night,
The ftarry Welkin couer thou anon,
With drooping fogge as blacke as Acheron,
And leade thefe tefty Riuals fo aftray,
As one come not within anothers way.
Like to Ljfonder,(omttime frame thy tongue,
Then ftirre Demetrius vp with bitter wrong j
And fometimerailethou like Demetrius ;
And from each other looke thou leade them thus,
Till ore their browes,death-countcrfeiting, fleepe
With leaden ledgs,and Batty wings doth creepe j
F
Then

A Midfommer nights Dreame.

Then crufh this hearbe into Lyfanciers cie,
Whofe liquor hath this vertuous property,
To take from thence all error,with his might,
And make his eie-bals rolle with wonted fight.
When they nevt wake, all this derifion
Shall feemc a dreame,and fruitlefie vifion,
And backe to Athens fh all the Louers wend
With league,whofe date till death {hall neuer end .
Whiles 1 in this affaire do thee apply,
He to my Queene,and beg her Indian boy ;
And then I will her charmed eie releafe
From monfters view,and all things (hall be peace.
PiickMy Fairie Lord, this muft be done with hafte,
For night fwift Dragons cut the Clouds full faft,
And yonder ihines Auroras harbinger;
At whofe approch.Ghofts wandringheereand there,
Troope home to Church-yards 5 damned fpirits ally
That in crofie waies and flotids haue buriall,
Already to their wormy beds are gone ;
For feare leaft day fhould looke their (harries vpon,
They wilfully themfelues exile from light,
And muft for aie confort with blacke browd night.
Ob. Bu t we are fpirits ofanother fort .*
I,with the mornings loue haue oft made fport,
And like a Forrefter,the groues may tread,
Euen till the Eafterne gate all fiery red,
Opening on Neptme,vtkh fake bleffed beames,
Tumes into yellow gold,his falt green e ftreames.
But notwithftanding hafte, make no delay,
We may effect this bufineffc.yet ere day.
PuckjVp and downe.vp and downe, I will leade them vp
& downe .. I am feard in field and towne. Goblin, lead them
p and downe : here comes one.
Enter Lyfanier.
Lyf. Where art thou,proud Demetrius f Speak thou now.
Rob.ttctt villaine,drawne and ready.Where art thou ?

Hlii.

4lg

426

430

434

438 j

443

A Midfommer nights Dreame.

Ljf.l will be with thee ftraight.
^Follow me then to plainer ground.
Enter Demetrius.
Deme. Lyfader,(peike againe ;
Thou runaway,thou coward,art thou fled ? .
Speake in fome bufh.Where doft thou bide thy head ?
Rob.Thou coward,art thou bragging to the ftars,
Telling rhe bufhes that thou looWft for warres,
And wilt not come ? Come recreant.come thou childe,
He whip thee with a rod.He is defil'd
That drawes a fword on thee.
Deme.Yea,art thou there i
.Ro.Follow my voice,wec'l try no manhood here. Exeunt.
Ljf.\\e goes before me,and Mill dares me on,
When I come where he calles,then hee's gone.
The villaine is much lighter heel'd then I ;
I followed faft,but fafter he did flic ;
That fallen am I in darke vneuen way,
And here will reft me.Come thou gentle day :
For if but once thou {hew me thy gray light,
He finde Demetrius,and reuenge this fpight.
t^bin and Demetrius.
Rot.Ho, ho,ho ; coward,why com'ft thou not {
Deme.Abide me.ifthou dar'ft.For well I wot,
Thou runft before mcihifting euery place,
And dar'ft not (tahd,nor looke rac in the face.
Where art thou ?
Ro6,Comc hither.I am here.
D*.Nay then thou mockft me ; thou (halt buy this deare,
If cucr I thy face by day-light fee.
Now goe thy way : faintnefle conftraineth me,
To meafure out my length on this cold bed,
By daiesapproch looke to be vifited.
Enter Helena.
Hel.O weary night, 6 long and tedious night,
F *
Abate

a ivuuiommer nignts Dreame.

Abate thy houres , fhine comforts from the eaft,
That I may backe to Athens by day-light,
From thefe that my poore company deceit ;
And fleepe that fometimes (huts vp forrowes eie,
Steale me a while from mine owne company*
Sleepe.
Rob. Yet but three i Come one more,
Two of both kindes makes vp foure.
Here (he comes.curft and fad,
(^upid is a knaui(h lad,
Snter Hermia.
Thus to make poore females mad.
Hw.Neuer fo wcary.neuer fo in woe,
Bedabbled with the dew,and torne with briars,
I can no further crawlc,no further goe ;
My legs can keepe no pace with my deflres.
Here will I reft me till the breake ofday,
Heauens fbicld Ljjader,ifthey meane a fray.
Roh.On the ground fleepe found,
lle apply your eye gentle louer,remedy.
When thou wak'ft.thou tak'ft
True delight in the fight ofthy former Ladies eie,
And the Country Prouerbe knowne,
That euery man (hould take his owne,
In your waking (hall be ihowne.
Iacke fhall haue ////^nought (hall go ill,
The man (hall haue his Mare againe,and all (hall be well*
Enter Queene of Fairies,and Clowne^and Tantest and the
King behinde them.
Tita.Covat fit thee downe vpon this fiowry bed,
While I thy amiable cheekes do coy,
And fticke muske rofes in thy fleeke fmoothe head,
And kiffe thy faire large eares, my gentle ioy.
^/enw.Where's PeafiMojfome ?
Peaf. Ready.
C/<ww.Scratchmy kstAfeafeMoffome. Whet's Mounfieur Colmeb ?
Ce.Rcady.
Clown,

IV. i

AMidfommers nights Dreame.

C/.Mounfieur Cobweb, goodMounfieur gee your wea
pons in your hand, and kill me a red hipt humble-bee, on
the top ofa thiftle ; and good Mounfieur bring me the hony bag. Doe not fret your felfe too much in the aftion,
Mounfieur j and good Mounfieur haue a care the hony bag
breake not, I would be loth to haue you ouerflownc with a
hony-bag figniour.Where's lAoymfaiitUlfaftardfied}
iMrffteady.
C/o.Giue me your neafe.Mounfieur Muftardfeed.
Pray you leaue your courtefie,good Mounfieur.
MmH.VDxks your wil ?
Clo. Nothing good Mounfieur, but to helpe Caualery
Cobweb to fcratch. I muft to the Barbers Mounfieur, for
me-thinkes I am maruailous hairy about the face. And I
am fuch a tender afle, ifmy haire do but tickle me, I muft
fcratch.
Tit4.What,wilt thou heare fome fome mufick, my fweet
loue?
Clowne.l haue a reafonable good eare in muficke. Let vs
haue the tongs and the bones.
7*M.Or fay fweete Loue,what thou defireft to eate.
CZow.Truely apeckeofprouender; I could mounch your
good dry Oates. Me-thinkes I haue a great defire to a bot
tle of hay : good hay, fweete hay hath no fellow.
Tit*. I haue a venturous Fairy,
That (hall feeke the fquirrels hoard,
And fetch thee new Nuts.
70.1 had rather haue a handfullortwoof dried peafe.
But I pray you let none ofyour people ftir me,I haue an expofition of fleepe come vpon me.
7)M.Sleepe thou.and I will wind e thee in my armes,
Fairies be gone, and be alwaies away*
So doth the woodbine,the fweete Honifuckle,
Gently entwift ; the female Iuy fo
Enrings the barky fingers ofthe Elme.

IV.i.

A Midiommer nights Dreame.

0 how I loue thee ! how I dote on thee !
Snter Robin ooodfellow.
Ob,Welcome good Robin : feeft thou this fweet fight i
Her dotage now 1 do begin to piety.
For meeting her of late behinde the wood,
Seeking fweete fauors for this hateful! foole,
1 did vpbraid her,and fall out with her.
For (he his hairy temples then had rounded.
With coronet of frefh and fragrant Bowers.
And that fame dew which fomtimeon the buds,
Was wontto fwell like round & orient pearles ;
Stood now within the pretty fiouriets eies,
Like teares that did their owne difgrace bewaile.
When I had at my pleafure taunted her,
And (he in milde tearmes begd my patience,
I then did aske of her, her changeling childe,
Which ftraight (he gaue me5and her Fairy fent
To beare him to my Bower in Fairy Land.
And now I haue the boy,1 will vndoe
This hatefull imperfe&ion of her eies.
And gentle Pttcke, take this transformed fcalpe,
From offthe head ofthis ^yltbenum fwaine;
That he awaking when the other do,
May all to %/itbens backe againe repaire,
And thinke no more ofthis nights accidents,
But as the fierce vexation ofa dreame.
But firft I will releafe the Fairy Queene.
Beasthottwaftwonttobei
See m thou waft wont tofee.
Titans bud,or faf/dsflower,
Hathfuel\force and bleffedpower.
Now my Titania wake you,my fweete Queene.
TitaMy Oberon,what virions haue I fcene !
Me-thought I was enamored ofan Afle.
Ob.There lies your loue.
Tit*.

IV.i.

AMidfommers nights Dreame.

Tito. How came thefe things to paife ?
Oh.how mine eies doth loathe this vifage now !
OJ.Silence a while.i?& take ofthis head ;
7lto/<i,rnuficke call^and ftrike more dead
Then common fleepe ; ofall thefe, fine the fenfe.
7*if<j.Muficke,ho muficke.fuch as charmeth fleepe.
fy.When thou wak'ft.with thine ovvne foolcs eies peep.
O^.Soundmufick; come my Queen, take hands with me
And rocke the ground whereon thefe flecpers be.
Now thou and I are new in amity,
And will to morrow midnight,iolemnly
Dance in Duke Tkefeushoule triumphantly,
And bleffc it to all faire pofterity.
There (hall the paires of faithfull Louers be
V Vedded,with Thtfi>u,tX\ in iollity.
A^.Fairy Krng,attend and marke,
I do heare the morning Larke.
Oi.Then my Queene in filence (ad,
Trip we after the nights fha de ;

VVe the Globe can compare foone.

Swifter then the wandring Moone.
Tito.Come my Lord ,and in our flight.
Tell me how it came this night,
That I fleeping heere was found,
With thefe mortals on the ground*
Exeunt,
Enter Thefern and all his frame.
Winde hornet.
Thef. Goc oneofyou,finde out the Forrefter,
For now our obferuatlon is perform'd ;
And fince we haue the vaward ofthe day,
My Loue ftiall heare the mufickeofmy hounds.
Vncouplein the Wefterne valley,let them go ;
Difpatch I fay,and finde the Forrefter.
We will faire Queene,vp to the Mountaines top,
And marke the muficall confufion
Of hounds and cccho in coniun&ion.

A Midfommer nights Dreame.

Hip. I was with Hercules and Cadmus once,
When in a wood of Qreete they bayed che Beare
With hounds of Sparta ; neuer did I heare
Such gallant chiding.For befides the groues,
The skies,the fountaines.euery region neere,
Seeme all one mutuall cryJ neuer heard
So mu (kall a difcord,fuch fweete thunder.
Thef.My hounds are bred out of the Spartan kinde,
So flew'd, fo fand ed.and their heads are hung
With eares that fweepe away the morning dew,
Crooke kneed.and dew-lapt,like Thejfalian Buls,
Slow in purfuite,but matcht in mouth like bels,
Each vnder each.A cry more tuneable
Was neuer hollowd to,nor cheer'd with horne,
In Creeteja Sparta, nor in Theffalj ;
Iudge when you heare.But foft,what nimphs arethefe ?
Egeus.My Lord.this is my daughter hcere afleepe,
And this Lj'fander,tbis 'Demetrius is,
This Helea,olie Nedars Helena,
' I wonder ofthis being heere together*
The.tJo doubt they rofe vp early,to obferae
The right of May ; and hearing our intent.
Came heere in grace ofour folemnity.
But fpeake Egeusjs not this the day
That Hertnia fhould giue anfwer of her choyfe t
Sgeni.lt is, my Lord.
Tfc.Go bid the huntfmen wake them with their hornes.
Shout withinjhey allflart vp.Winde homes.
Thef.Cood morrow friends : Saint Valentine is paft,
Begin thefe wood birds but to couple now ?
yf.Pardon,my Lord.
Thef.lptzy you all ftand vp.
I know you two are Riuall enemies.
How comes this gentle concord in the world,
That hatred is fo fane from iealoufie,

A Midfommer nights Dream e.

To fleepe by hate.and feare no enmity.
Lyf. My Lord,I (hall reply amazedly,
Halfe fleepe,halfewaking.Butasyet,I fweare,
I cannot truely fay how I came here.
But as I thinke (for truely would I fpeake)
And now I do bethinke me, fo it is ;
I came with Hermid hither .Our intent
Was to be gone from Athens, where we might be
Without theperill of the Athenian Law.
Efff.Enough,enough my Lord : you haue enough ;
I beg the Law,the Law,vpon his head :
They would haue ftolne away,they would, Demetrius,
Thereby to haue defeated you and me :
You ofyour wife,and me ofmy confent ;
Ofmy confent,that (he fhould be your wife.
DemMy Lord,faire Helen told me oftheir ftealth.
Ofthis their purpofe hitherto this wood,
And I in fury hither followed them ;
Faire Helena fancy followed me.
But my good Lord, I wot not by what power
(But byTome power it is) my loue
To Hermia (melted as the fnow)
Seemes to me now as the remembrance ofan idle gaud
Which in my childehood I did dote vpon :
And all the faith, the vertue ofmy heart,
The obieft and the pleafure ofmine eie,
Is onely Helea,To her, my Lord,
Was I bethroth'd ,ere I fee Hernia,
But like a fkkne(Te,did I loathe this food,
But as in health,come to my naturall tafte,
Now do I wifh it, loue it,long for it,
And will for euermorebe true to it.
Tfo/IFaire Louers,you are fortunately met j
Ofthis difcourfe,we will heare more anon*
Egeus, I will ouerbeare your will ;

IV. i.

A Midfommer nights Dreame.

For in the Tetnple.by and by with vs,
Tbefe couples ihall eternally be knit.
And for the morning now is fomething worne.
Our purpos'd hunting fhall be fet afidc.
Away, w'uh vs to t/lthens j three and three,
Wee 1 hold a feaft in great folemnity.
Come Hippolita.
Sxit.
Dtme. Thefe things feeme (mall and vndiftinguifhable,
Like farre offmountaines turned into Clouds.
HerM e . thinks I fee thefe things with parted cie,
When euery thing feemes double.
Hel.So me-thinkes :
And I haue found 'Demetrius.like a iewell,
Mine ownc,and not mine owne.
Dem. Are you fure
That we are awake i It feemes to me,
That yet we fleepe.we dreame.Do not you thinke,
The Duke was heere,and bid vs follow him t
Her.Yca, and my Father.
Uel. And Hippoliu.
Lyf.hnd he bid vs follow to the Temple.
Dw.Why then we are awake ; let's follow him,and by
the way let vs recount our dreames.
Exit,
CU.When my cue comes.call me.and I will anfwer. My
next is,moft faire PtramueHcy ho. Peter Quince ? Flute the
bello wes-mcnder ? Snout the tinker? Stameliug i Gods my
life ! Stolne hence, and left me afleepe ; I haue had a mott
rare vifion.I haue had a dreame,paft the wit ofman, to fay,
what dreame it was. Man is but an AiTe,if he go about to
expound this dreame. Me-thought 1 was, there is no man
can tell what. Me-thought I was, and me-thought I had.
But man is but patcht a toole.tf he will offer to lay, what
me-thought I had. The eie ofman hath not heard,the eare
ofman hath not feene, mans hand is not able to tafte, his
tongue to conceiue,nor his heart to report,what my dream
was.

A Midfommer nights Dream e.

was. I will get Peter Quince to write a Ballet ofthis dream,
it (hall be calfd "Bottomes Dreame, becaufe it hath no bottome ; and I will fing it in the latter end ofa play, before
the Duke. Peraduenture,to make it the more gracious, I
ftiall fing it at her death,
Exit,
Enter Quince, Flute}7%isbie, and the rabble.
Quin.Wmz you fent to Bottomes houfe ? Is he come home
yet?
FluteMe cannot be heard of. Out ofdoubt hee is trans
ported.
Tbif.K he come not, then the play is mard. It goes not
forward ,doth it I
Quin. It is not poflible : you haue not a man in all *Athens .able to difcharge Piramus but he.
Thif. No,he hath Amply the beft wit ofany handy.craft
man in Athens,
mn. Yea.and the beft perfon too,and he is a very Para
mour/or a fweete voyce*
Thif. You muft fay,Paragon. A Paramour is (God blefle
vs) a thing ofnought.
i,titer Snug the Ioyner.
Snug, Mafters,the Duke is comming from the Temple,
and there is two or three Lords and Ladies more married.
Ifour fport had gone for ward,we had all beene made men.
Thif.O fweete bully Hottome : thus hath he loft fixpence
a day, during his life ; he could not haue fcaped fixpence a
day. And the Duke had not giuen him fixpence a day for
playing Pir*musJ\t be hang'd. He would haue deferued
it,Sixpence a day in Ptramus>ot nothing.
Enter "Bottom.
Bot. Where are thefe Lads 1 Where are thefe hearts*
Quin. Bottom, 6 mo ft couragious day ! Omoft happy
houre !
G i
Bot,

A Midfommer nights Dreame.

Bat. Matters, I am to difcourfe wonders; butaskemee
not what .For if I tell you, I am not true Athenian.! will tel
you euery thing right as it fell out,
Qujn.Lct vs heare,fweete5oww.
Bat. Not a word ofme : all that I will tell you, is, that
the Duke hath dined. Get your apparell together, good
firings to your beards,new ribbands to your pumps,meete
prefently at the Palace, euerie man looke ore his part : for
the fhort and the long is.our play is preferd. In any cafe let
Thitby haue cleane linnen : and let not him that plaies the
Lion,pairehisnailes, for they (hall hang out for the Lions
clawes.And moft deare Actors, eate no Onions, nor Garlicke ; for we are to vtter fweete breath,and I do not doubt
but to heare them fay, it is a fweete Comedy. No more
words: away,go away.
EnterThefeus, Hippolita,and Philojirate.
Hip. Tis ftrange my Thefens^h at thefe Iouers fpeake of.
TheMore ftrange then true.I neuer may beleeue
Thefe anticke fables,nor thefe Fairy toies,
Louers and mad men haue fuch feething braines,
Such (haping ph antafies .that apprehend more
Then coolereafon euer comprehends.
The Lunaticke,the Louer,and the Poet,
Are of imagination all compact.
One fees more diuels then vafte hell can hold ;
That is the mad man.The Louer,all as franticke,
Sees Helens beauty in a brow of Bgipt,
The Poets eie in a fine frenzy rolling,doth glance
From heauen to earth ,from earth to heauen.
And as imagination bodies forth the formes ofthings
Vnknowne ; the Poets pen turnes them to fhapes,
And giues to airy nothing,a locall habitation,
And a name, Such trickes hathflrong imagination,
That

sa

V.L

26 I

30

34 j

3s I

50 \

A Midfommer nights Dreame.

That if it would but apprehend fome ioy,
It comprehends fome bringer ofthat ioy.'
Or in the night,imagining fome feare,
How eafie is abufh luppos'd a Beare?
Hip.But all the ftory ofthe night told ouer,
And all their mindes transfigur'dfo together,
More witneffeth than fancies images,
And growes to fomething ofgreat conftancy ;
But howfoeuer,ftrange and admirable.
Snter loners : Lyfancier, Demetrius, Hermia,and Helena,.
Tbef. Here come the louers,full of ioy and mirth :
Ioy, gentle friends, ioy and fre(h daies
Of loue accompany your hearts.
Ljrf. More then to vs,waite in your roiall walkes, your
boord,your bed.
Tbef. Come now,what maskes, what dances fh all wee
haue,
To weare away this long age ofthree houres,
Between c or after fuppcr, and bed-time ?
Where is our vfuall manager ofmirth ?
What Reuels are in hand ? Is there no play,
To eafe the anguifh ofa torturing houre ?
CiWPbiloftrate.
Pkilo. Hecre mighty Thefeus,
7&^Say,what abridgment haue you for this euening ?
What maske,what mu(icke? how fhall we beguile
The lazie time,ifnot with fome delight ?
Phil.There is a briefe.how many fports are rife.
Make choife of which your H ighneffe will fee firft.
Tbef. The battell with the Centaurs to be fung
By an Athenian Eunuch,to the Harpe.
Wee'I none of that.That haue I tolde my Loue,
In glory ofmy kinfman Hercules.
The riot ofthe tipfie Bacbanals,
G 3
Tea-

V.i.

A Midfommer nights Dreame.

Tewing the TbrMum finger ,in their rage ?
That it an olde deuke ; and it was plaid,
When I from Tbsbts came laft a Conqueror.
The thrice three Mufe,mourning for the death
Of learntng.latc deceaft in beggeiy.
That it fome Satire keene and criticall,
Not forcing with a nuptiall ceremony.
A tedious briefe Scene ofyoung Piramta,
And his Louc Thabj ; very tragicall mirth ?
Merry and tragicall ? Tedious and briefe ? That is hot Ice,
And wondrous ftrange Snow. How fhall we finde the con
cord ofthis difcord i
PhUo.h. play there is,my Lord.fome ten words long,
Which is as briefe, as I haue knowne a play ;
But by ten words,my Lord,it is too long ;
Which makes it ted ious. For in all the p lay,
There is not one word apt,one plaicr fitted.
And eragicall.my noble Lord.it is : for Piramta
Therein doth kill himfelfe.Which when I faw
Rehearft,I muft confeffe, made mine eies water ;
But more merry tcares the paflion of loud laughter
Neuer fhed.
Tbef.What are they that do play it ?
Philo. Hard hande<Lrnen,that worke in Athens here,
Which neuer tabour'd in their mindes till now ;
And now hauetoyled their vnbreathed memories1,
With this fame play,againft your nuptiall.
Thtf.had we will heare it.
Tfo.No,my noble Lord,it is not for you.I haue heard
It oucr,and u is nothi ng,nothing in the world ;
Vnlcffe you can finde fport in their intents,
Extremely ftreccht,and cond with cruell pairte,
Todoyouferuice.
Tbef, I will heare that play.For neuer any thing
Can be amine,when fimplencfle tod duty tender it.
Goe

A Midfommer nights Dreame.

Got bring than in.and take your places,Ladies.
Hip.I louc not to fee wretchednefle orecharged;
And ducty is his fcruicc perifhing.
Thef. Why gentle fweetc,you (hall fee no fuch thing.
Hip. He faies , they can do nothing is this kinde .
The.Tb e kinder we,to giue them thanks for nothing.
Our fport (hall be,to take what they miftake .*
And what poorc duty cannot do,noble r efpect
Takes it in mi ght,not merit.
Where 1 hauc comc,great Clearkes haue purpofed
To greete me with premeditated welcomes ;
Where I hauefeene them ihiuer and looke pale,
Make periods m the midft of fentences,
Throttle their pradiz'd accent in their fearcs,
And in cooclunon,dumbly haue broke off,
Not paying me a welcome.Tmft me fweete,
Out ofthis filcnce yet,I pickt a welcome :
And in the modefty of fcarefull duty,
I read as much,as from the ratling tongue
Of faucy and audacious eloquence.
Loue therefbre,and tongue-tide fimplici ty,
In leaft,fpeake molt,to my capacity,
Pbilo.So pleafe your Grace,thePrologue is addreft.
D/rttf.Let him approach.
EnttrthePrologHt.
Pro. Ifwe offend, it is with our good will.
That you mould thinke,we come not to offend,
But with good will. To (hew our fimple skill,
That is the true beginning ofour end.
Confider then,we come but in defpight.
We do not come.as minding to content you,
Our true intent is. A11 for your delight,
VVe are not hcere.That you fhould here repent you,
The A&ors are at hand ; and by their fhow,
You fhall know all,that you are like to know.

A Midfommernights Dreame.
Tbtf.This fellow doth not ftand vpon points.
Lyf. He hath rid his Prologue, like a rough Colt: hee
knowes not the flop,A good morall my Lord. It is not c
nought to fpeake.but to fpeake true.
ffy. Indeed he hath plaid on this Prologue, likea childe
on a Recorder,a found,but not in gouernment.
Tkef.His fpeech was like a tangled chaine ; nothing impaired ,but all difordered. Who is next ?
Enter fjramus and ThUby ,fvall, Moone-fhme^and Lyon.
'Prologue. Gentles, perchance you wonder at this (how,
But wonder on ,till truth make all things plaine.
This man is Pirammjtyou would know ;
This beautious Lady,Thisby is certaine.
This man with lyme and roughcaft, doth prefenc
Wall,that vile wall, which did thcfe louers (under j
And through wals chinke(poorefoules) they are content
To whifper. At the which, let no man wonder.
This man,with Lanthorne,dog,and buflj of thorne,
Prefenteth moone-fiiine.For ifyou will know,
By moone-fhine did thefe Louers thinke no fcorne
To meet e at Ninm toombe,there,there to wooe :
This grizly beaft (which Lyon higbt by name)
The trufty Thisby, comming firft by night,
Did fcarre away.or rather did affright :
And as (he fled.her mantle (he did fall ;
Which Lion vile with bloody mouth did ftaine.
Anon comes P/r4ww,fweete youth and tall,
And findes his trufty Thisbkt Mantle flaine ;
Whereat,with blade,witb bloody blamefull blade,
He brauely broacht bis boiling bloody breaft,
And 7%r^,tarrying in Mulberry (bade,
His dagger drew,and died.For all the reft,
Let Lyon, Ulfoane-fhine, ffW/,and Louers twaine,
At large di(courfe,wbUe here they do remaine.
Tbef.

56

A Midfommer nights Dreamc.

Thef. I wonder ifthe Lyon be to fpeake.
Deme.No wonder,my Lord: one Lion may when many
Afles do.
Exit Lyon, ThUby, and. Moone-jbme.
WalLlxi this fame Interlude it doth befall,
That I,one flute (by name) prefent a wall :
And fuch a wall,as I would haue you thinke,
That had in it a crannied hole or chinke :
Through which the LowtssPiramus and 7%isbys
Did whifper often,very fecretly.
This lome,this roughcaft, and this ftone doth (how.
That I am that fame wall ; the truth is fo.
And this the cranny is,right and finifter,
Through which the fearefull Louers are to whifper.
Thief. Would you defire lime and haire to fpeak better i
Deme. It is the wittieft partition, chateuer Ihearddifcourfe,my Lord.
Thtf. firtwins drawes neerethe wall,filcnce.
P/r.O grim lookt night.6 night with hue fo blacke,
O night,which euer art,when day is not :
0 night, 6 night,alacke,alacke,alacke,
1 feare my Tbisbiesyrora\(e is forgot.
And thou 6 wall, 6 fweete,6 louely wall,
That ftandsbetweene her Fathers ground and mine,
Thou wall, 6 wall,6 fweete and louely wall,
Shew me thy chinke,to blink through with mine eine.
Thanks courteous wall, lout fhield thee well for this.
But what fee I ? No Thtsby do I fee.
O wicked walkthrough whom I fee no blifle,
Curft be thy ftones.for thus decerning me.
Thef. The wall me-thinks being fcnfible,ftiould curfc ageine.
iVr.No in truth fir,he fhould t\ot.T>eceiuing me,
Is Tbifbies cue ; (he is to enter now,and I am to Ipy
Her through the wall. You (hall fee it will fall
H
Pat

A Midfommer nights Dreame.

Pat as I told you ; yonder flic conies.
Enter Thisfa*
Thif. O wall, full often haft thou beard my mones,
For parting my faire Ptramus.md me.
My cherry lips haue often kid thy ftones ;
Thy ftones with lime and haire knit now againe.
Pyra. I fee a voice ; now will I to the chinke,
To fpy and I can heare my Th'ubies face. Thisby ?
Thif.My Loue thou art,my Loue I thinke.
/'ff-.Thinkc what thou wilt,I am thy Louers grace>
And like Limander,zm \ tru ft y ftill.
Thif.hnd Hike Helen,till the fates me kill.
Pfr.Not Shafalw to Procrstt,was fo true.
Thifhi Shafalus to frowns, I to you.
Th.O kiffc me through the hole ofthis vile wall.
ThifA kifle the wals hole,not your lips at all.
Fir.Wilt thou at Ninnies toomb mecte me ftraightway ?
7fc/yn"idelife,tide death,I come without delay,
ffiiff.Thus haue I ffttll,my part difcharged fo;
And being done,thus W*fl away doth goe.
p0.Now is the Moon v fed betweene the two neighbors.
Deme,tio remedy,my Lord, when wals are fo wilfull, to
heare without warning.
Dutch.This is the fillieft ftuffc that ere I heard.
Dxke.Thz b eft in this kinde are but fhadowes, and the
worft are no worfetif imagination amend them.
Duteh.lt muft be your imagination then,and not theirs.
JDw%.Ifwee imagine no worfe ofthem then they ofthem*
felues,they may paffe for excellent men. Heete come two
noble beafts, in a man and a Lyon.
Enter Lyon and <JMoone-jhine.
Ljon. You Ladies, you (whofe gentle hearts do feare
The fmallcft monftrous moufe that creepes on floore)
May now perchance,both quake and tremble hcere,
When Lyon rough,in wildeft rage doth roare.
Then know that I,as Snug the ioyner am

A Midfommer nights Dreame.

A Lyon fcll>nor elfe no Lyons damme,
For if I fhould,as Lyon come in ftrife,
Into this place,t were pitty on my life*
Duke.k very gentle bcaft.and ofa good confeience.
Deme.The very beft at a beaft.my Lord,that etc I faw.
Ljf.Th\s Lyon is a very Fox for his valour.
2)*/fc*.Truc,and aGoofeforhis difcretion.
.Not fo my Lord.For his valour cannot carry his dif
cretion ; and the Fox carries the goofe.
Duke. His difcretion I am fure cannot carry his valour.
For the Goofe carries not the Fox.It is well ; leaue it to his
difcretion,and let vs hearken to the Moone.
Wcew.This lanthorne doth the horned Moone prefene.
DemeMc (hould haue worne the homes on his head.
Dttf^Uc is no crefcent,and his homes are inuifible, with
in the circumference.
Tdtent. This lanthorne doth the horned Moone prefent,
My felfe,the man ith'Moone do feeme to be.
Duke. This is the greateft error ofall the teft ; the man
(hould be put into rite Lanthorne. How is it elfe the man
i'th Moone ?
DemMe dares not come there for the candle.
For you fee,it is already in fnuffe.
(change,
Dutcb.l am weary ofthis Moone ; would he would
Duke.lt appeares by his fmall light ofdifcretion, that hee
is in the wane : but yet in curteficin all reafon,we muft ftay
the time.
Lyfand. Proceed Moone.
Moone.hW that I haue to fay,is to tell you,that the Lan
thorne is the Moone ; I.the man in the Moone , this thornc
bufh,my thorne bu(h,and this dog,my dog.
Deme. Why all thefc (hould bee in the Lanthorne : for
they are in the Moone.But filence.hcere comes Thisfy,
Enter Tbisty.
T^.This is old Niniet toomb : wher's my loue ? Lyen.Oh
H 2
Dem,

so

A Midfommer nights Dreame.

2>w. Well roard Lyon.
2>%. Well runne Thisbie.
Dutch* Well fhr one Moone. Truely the Moone {nines
with a good grace.
2V<f. Well mouz'd Lynn.
ZVw.And then came Piramus,
lyf.And To the Lyon vaniftit.
Enter Piramta.
Pjr.Sweete Moone, I thank thee for thy funny beames,
I thanke thee Moone,for fhining now fo bright.
For by thy gracious,golden, glittering beames,
I truft to take of trueft Thisbie ftght.
But ftay .. 6 fpight ! but marke3poore knight,
What drcadfull dole is here ?
Eyes do you fee ! how can it be !
O dainty ducke, 6 deare !
Thy mantle good.what ftaind with blood ?
Approach ye Furies fell,
O fates come,come,cut thred and thrum,
Quailc,cru(h, concludc.and quell.
2>%.This paflton,and the death ofa deare friend would
goe neere to make a man looke fad.
Dutch.Bcfhtevi my heart.but I pitty the man.
Pir.Q wherefore Nature.didft thou Lyons frame f
Since Lyon vilde hath heere deflour'd my deare ;
Which is,no,no, which was thefaireft dame
Thatliu'd,that lou'd.that lik't,that look't with cheere.
Comcteares confound,out fword and wound
The pap of Pyramiu:
I,that left pap.where heart doth hop ;
Thus die l^hus.thusjthus.
Now am 1 dead,now am I fled,my foulc, is in the sky,
Tongue lofe thy light,Moone take thy flight,
Now dye.dye.dye.dye^ye.
Z?.No Die.but an ace for him ; for he is but one.
Ljf.

A Midfommers nights Dream e.

Z.//.Lcffe then an aceman.For he is dead,he is nothing.
Duke. With the helpe of a Surgeon.he might yet recouer and proue an a(Tc.
xreA.How chance Moone-fliine is gone before?
Thisby comes backe,and findes her Louer.
fl/(#.Shewillfindehimby fiar-light. Here fhc comes,
and her paffion ends the play.
2)/.Me-thinkcs fhe fhould not vfc a long one for fuch
a Tiramm : 1 hope Hie will be briefe.
Dem. A Moth will turne the ballance, which Ptramus,
which Tbisbie is the better .. hee for a man, God warnd vs ;
(he for a woman,God bleflb vs.
Lyf. She hath fpied him already ,wirh thofe fweetc eies.
Dem.hnA thus (he manes,vide/icit.
Th'tf, Afleepe my Loue i What,dead my Douc ?
O Viramus arife,
Speakcjfpeake.Quitc dumbe ? Dcad,dead ? A toombe
Muft couer thy fweete eies.
Thefe lilly lips.this cherry nofe,
Thefe yellow cowflip cheekes
A re gone,are gone ; Louers make mone :
His eyes weregreeneas Leekes. '
O lifters three,comc,come to me,
With hands as pale as milke,
Lay them in gore,finceyon haue fhore
With fheeres.his thred of filke.
Tongue not a word.cometrufty fword,
Come bladc.my breaft imbrew :
And farwellfriends,thus Tbisfaeadsi
Adieu, adieu,adieu,
2>M^.Moone-ihineand Lyon are left to bury the dead.
Dcme.],and Wall too
Lyon. No, laflure you the wall is downc, that parted
theirFathers. Will it plcafe you to fee the Epilogue, orto
heare aBcrgomask dance,betweene two ofour company ?
H 3
Duke

Yi.

A Midfommer nights Dreame.

Duke. No Epilogue, I pray you ; for your play need* no
excufe. Neucr excufe ; for when the players are all dead,
there need none to be blamed. Marry.it he that writ it,had
plaid Ptr4musf and hang'd himfelfe in Thisbies garter, h
would hauc beene a fineTragedy : and fo it is truely , and
very notably difcharg'd. But corne,your Burgomaske; let
your Epilogue alone.
The iron tongue ofmidnight hath tolde twelue.
Louers to bed,tis almoft Fairy time.
I feare we (hall out-fleepe the comming morne,
As much as we this night haue ouer-watcht.
This palpable grofle play hath well beguil'd
The heauy gate ofnight.Sweet friends to bed.
A fortnight hold we this folemnity,

Tuck. Now the hungry Lyons rores,

And the Wolfe beholds tncMoone ;
Whilft the heauy ploughman fnores,
All with weary taske fore-done.
Now the wafted brands do glow,
Whilft the fcritch-owle,fcritchingloud,
Puts the wretch that lies in woe,
In remembrance ofa fhrowd.
Now it is the time ofnight,
That the graues,all gaping wide,
Euery one lets forth his fpright,
In the Churchway paths to glide.
And we Fairies,that do runnne,
By the triple Hecates teame,
From theprefence ofthe Sunne,
Following darkneffe like a dreame,
Now are frollicke ; not a Moufe
Shall difturbe this hallowed houfe.
I am fent with broome before,

S2+

321

33*

336

34o

344-

34

352

To

AMidfommers nights Dreame.

To fweepe the duft behinde the doore.
Enter King attdQufene of Fairies jpith their traine.
Ob. Through the houfe giue glimmering light,
By the dead and drowfie ficr,
Euery Elfe and Fairy fpright,
Hop as light as bird from brier,
And this Ditty after mc,Sing and dance it trippingly.
Ti'M.Firft rehcarfe this fong by roate,
To each word a warbling note.
Hand in hand,with Fairy grace;
Will we fing and blcffc this place.
O^.Now vntill thebreake ofday,
Through this houfe,each Fairy ftray.
To the beftbridcbed will we,
Which by vs (hall bleffedbe :
And the iffuc there create,
Euer (hall be fortunate:
So (hall all the couples three,
Euer true in louing be :
And the blots of Natures hand,
Shall not in their iffuc (land,
Neuer mole,hare-lip,nor fcarre,
Nor markcprodigiouSjfuch as are
Defpifed in natiuity,
Shall vpon their children be.
With this field dew confecrate,
Euery Fairy take his ga te,
And each feuerall chamber blcffc,
Through this Palace,withfweete peace,
Euer (hall in fafety reft,
And the owner or it bleft.
Trip away.make no flay ;
Meetemeall.bybreakeofday.
Exeunt.
Robin. Ifwe (badowes haue offended,
Thinkcbut this (and all is mended)
That

A Midfommer nights Dream

That you haue but flumbred hecre,
While this vifions did appeare.
A.nd this weake and idle theame,
No more yeelding but a dreame,
Gentles,do not reprehend.
Ifyou pardon,we will mend.
And as I am an honeft Pitcfa
Ifwe haue vnearned Iucke,
Now tofcapethe Serpents tongue,
We will make amends ere long ;
Elfe the Tucke a lyar call.
So good night vnto you all.
Giue me your hands,tfwe be friends,
And "Robin (ball reftore amends.

FINIS,

SHAKSPERE

QUARTO FACSIMILES,

EXECUTED UNDER THE SUPERINTENDANCE OF

F.

J.

FURNIVALL,

Esa.,

M.A.,

Camb.,

Founder and Director of the- New Shakspere Society,

BY
Mr. W. JGRIGGS,
FOR 13 YEARS PHOTO-LITHOGRAPHER TO THE INDIA OFFICE.

Every genuine student of- Shakspere has always desired to own those
Quartos of his Master's Plays and Poems which are the necessary foundations
of the Text of so many of his greatest productions in the first three periods of
his work. Not only in importance next to the first folio, but even above
it, for some Plays, and for all the Poems, stand the first or second quartos,
from which, or completed copies of which, certain Plays in that Folio were
printed ; and every true and faithful worker at Shakspere's text must want to
have in his own hand, under his own eye, and as his own, trustworthy
facsimiles of these truest representations of the poet's own manuscript. Till
now this has been practically impossible. Mr. Ashbee's hand-traced facsimiles,
issued by Mr. Halliwell at five guineas each, could be afforded by only some
thirty subscribers. But what then cost five guineas, without any information
as to the Quartos purchased, will now be buyable, in a new form, for six shillings,
with the addition of a critical Introduction to the text by a competent Shakspere
scholar. It is hoped that all students and lovers of our great poet will at once
come forward to support this new scheme, and render its success certain
and speedy.
With the approval of the Committee of the New Shakspere Society,
and the co-operation of its leading Editors, its founder, Mr. Furvivall, has
undertaken to superintend the issue of a series of photo-lithographic Facsimiles
of all the most important Shakspere Quartos, to be executed by Mr. W. Griggs,
of Elm House, Hanover Street, Peckham, whose long experience as working
photo-lithographer to the India Office, enables him to guarantee the entire
faithfulness of his reproductions.' The Duke of Devonshire, Mr. Henry Huth,
the Trustees of the British Museum, the Master and Senior Fellows of Trinity
College, Cambridge, and the Curators of the Bodleian Library, Oxford, have most
kindly allowed their book-treasures to be photographed. Already 18 Plays have
been taken, and others will be put in hand at once.
The first four Quartbs
now ready are the two Hamlets, 1603 & 1604, with Introductions by Mr.
Furnivall, and the two Mids. Nights Dreams, 1600, (Fisher & Roberts.) with
Introductions by the Rev. J. W. Ebsworth. The fifth, Loves Labor's Lost. 1598,
will be ready in July and the remainder will follow rapidly.
To make the Facsimiles more handy to work with, numbers for pages,
Acts, Scenes, and lines, will be added outside the rules which enclose the
Facsimiles of the text. The Facsimiles will be half-bound in calf, in Roxburghe
style, and will be 6s. a piece to Subscribers. The price of each will be raised
to I os. 6d. after its publication.
A list of the Facsimile Quartos to be issued, follows. It is believed
that from six to eight can be produced every year till the list is exhausted.
Then, other rare valuable books can be reproduced.

First List of Shakspere Quarto Facsimiles.

Photo-lithographed by W. Griggs.
2 Hamlet. 1603, 1604. Ncrw ready.
a Mids. Night's Dream. 1600. (Fisher & Roberts.) Now ready.
Love's Labours Lost.

1598. Will be issued in August.

2 Merch. of Venice. (Roberts & Heyes.)

Merry Wives.
2 Othello.

1602.

1622, 1630.

3 Richard II.

1597, 1608, 1634.

Richard HI, 1597.

Henry IV. 1ST PART.

1598.

Henry IV. 2nd part.

1600.

2 Kins Lear.

1608, 1608.

Troilus & Cressida. 1609.

Pericles, Prince of Tyre.
Titus Andronicus.
Venus & Adonis.
Lucrece.

1600.
1593.

1594.

3 Romeo & Juliet.

2 Henry V.

1597, 1599 & undated.

1600, 1608.

Much ado about Nothing.

1609.

Sonnets & Lover's Complaint.

Passionate Pilgrim.

1609.

1599.

.*
| Q

Contention, 1594, & True Tragedy, 1595, (for Henry VI.;

Taming of a Shrew. 1594.
The Troublesome Raigne. (for K. John.) 1591.
The Famous Victories, (for Henry V.) 1598.