THE STAGING OF AN ADAPTATION
OF A MiDSUMMER NIGHT’S DREAM
BY WlLLIAM SHAKESPEARE FOR A
CHILDREN’S AUDIENCE, AND A
WRH‘TEN ANALYSIS OF THE.
PROBLEMS INVOLVED 1N
ADAP’NNG, DiRECTiNG,

AND STAGING THE FLAY

Thesis {or 1119 {Degree cf M. A.
MICHIGAN STATE COLLEGE

jean Granville Kennedy

1‘34?

     
 
 

 

 

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Michigan State
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This is to certifg that the

thesis entitled

The Staging of an Adaptation of A Midsummer Niggt'a
Dream by William ShakesPeare for a Children'8.Andlenco
and 8 Written Analysis of the Problems involved in
Adapting, Directing and Staging the Play.

 

presented In]

 

Jean Granville Kennedy

has been accepted towards fulfillment

of the requirements for

7 M'A? degree inn_s:PGBCh1_Dramatj-csa
and Radio

 

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m STAGING OF AN ADAPTATION OF A MIDSUMMER NIGHT'S DREAM
BY WILLIAM SHAKESPEARE FOR A CHILDREN'S AUDIENCE, AND A
WRITTEN ANALYSIS OF THE PROBLEMS INVOLVED IN ADAPTING,

DIRECTING, AND STAGING THE PLAY.

by
JEAN GRANVILLE man?

A THESIS
Submitted to the Graduate School of Michigan
State College of Agriculture and Applied
Science in partial fulfillment of the
requirements for the degree of
MASTER OF ARTS
Department of Speech. Dramatice. and Radio

1947

l .l[ (III! lfllllll ll
ll lll ‘ll I l‘n'lllll

ACKNOWLEMAENTS

KY greatest debt is to Professor Donald Opie Busll. Director of
Dramatics. for his invaluable assistance and encouragement in the writ-
ing of this thesis. I am also indebted to Dr. Townsend Rich, Professor
of English. for his assistance in making the adaptation. I am grateful
to Professor Paul D. Bagwell. Acting Head of the Departments of Speech.
Dramatics, and. Radio. for making the production in the auditorium gar-
den possible, and to Professor Cecil H. Nickle, Technical Director of
the Theatre. for his advice and assistance on staging the play. I want
to thank Mr. Norris Grover. Chief Engineer of Station l—K—A-B, for sup-
plying microphones used for the perfomance. and my grandmcther. Mrs.
lilliam H. Granville, Sr“ for her assistance in costuming the play.

I also want to thank Theodore R. Kennedy, Waring J. Pitch, Gharles
Irvin. and the Misses Hazel Moritz. Irene Wade, and Thera Stovall for
checking audience reaction during the performance. Finally, I am
grateful to my cast and production crew for their loyalty, coopera-

tion, and eagerness to make 239 Fain Forest an enjoyable experience

for many children.

193300

The Department of Speech and Dramatics

presents

THE FAIRY' FOREST
An Adaptation for Children of William Sheakespecn‘e's
A Midsummer Night's Dream
Directed by Jean Granville
as a Master's Thesis Production
Auditorium Garden ' June 3rd. 1946. 7:00 o'Clock

CAST OF CHARACTERS
(in order of appearance)

Robin Goodfellow .................................. Dick Beale
Cobweb ....................................... Claire Waters
Oberon .................................... Robert Youngmgn
Elves ............... Iim Ballgntine, Frank Thorp, Richard Wright
Titania ......................................... Eileen Eidner
Moth .......................................... Leone Meyer
Mustardseed ..................................... Iudith King
Peaseblossom ................................ Nancy Spencer
Bottom ....................................... Norman Tipton
Quince .......................................... Iohn Swank
Flute ..................................... Arnold Bransdorier
Stcrrveling ................................... Russel Keyworth
Snout ......................................... Ted Brundidge
Snug ..................................... William Brechenser
Theseus ...................................... Patrick Driscoll
Hippolyta ..................................... I can Robinson
Philostrcrte ...................................... Iohn Cottrell

Scene: A woods near Athens.

PRODUCTION CREW
Assistant Director ............................. Frances Fausold
Prompters ....................... Marilyn Green, Betty Bolcrnder
Construction ........... Iessie Sanson, Dawn Hall, Yvonne Pessel‘
Costumes ....... Mary Mock, Mary Kay Babcock, Helen Sweet,
Laura Hach, Carlene Parker *
Make-up ....................... Marilyn Green, Ierry Fulton, ‘
Sarah Dimmers, Harriet Anders '
Publicity ..................... Barbara Glass, Peggy Draper,
Phyllis Ostrom, Kathy Nolan
Music ............................. Betty Bolcmder, John Dewey
Properties .................................... Mildred Pickett '
Ushers .................... Mary lune Foster, Pamela Egeler.

Maureen Doyle, Tay Timm

ACKNOWLEDGMENTS

We wish to express our sincere thanks to the following for their aid in producing
The Fairy Forest: Paul D. Bagwell, Acting Head of the Department of Speech and
Dramatics, for his advice and supervision; Don Buell, Director of Dramatics. for
general supervision and encouragement; C. H. Nickle, for assistance on settings;
the Michigan State News; R. W. Wild of Publications; R. I. Coleman, Larry
Frymire. and the Announcing Staff of WKAR; Norris Grover and the Technical
Staff of WKAR; Mrs. Moiree Compete and her Storytelling Class: Miss Ann Kuehl
of the Physical Education Department for costumes; Townsend Rich, of the English
Department. for assistance on making the adaptation. Our heartfelt thanksl

DEDICATED to Mrs. William H. Granville. Sr.

 

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SECTION

SECTION

SECTION

A.
B.
C.
D.
E.

II
A.

B.

TABLE OF CONTENTS

MAKING THE ADAPTATION

A Discussion of the Adaptation

The Original Play

The Adaptation

An Explanation of the Line Changes Made
An Explanation of the Lines Added

DIRECTING THE PLAY

.Dramatic Values

1. Lines

2. Characters

5. Action

4. Summary

Technical values

1. Picturization

2e ‘ction

5. Pantomimic Dramatieation
#. Rhythm

III STAGING THE PLAY

A.

B.
C.
D.
E.
F.
G.
H.
I.
J.

IV

A.
B.
0.
D.

Stage Setting

1. Sketch of Setting

2. Floor Plan of Setting
5. Photograph of Garden and Setting
4. PhotOgraph of Setting
PhotOgraph of Cast
Pr0perty List

Costume Info mation
Makeup Information
Rehearsal Schedule
Directions to Cast

Crew Record

Music Used in the Play
PUblicity

ANALYZING AUDIENCE REACTION

An Explanation of Purpose and Procedure
Directions to Recorders of Audience Reaction
Charts ‘
Conclusion

15
68
91
97

101
105
114
115
117

119
124
150
155

159a
159

141
142
145

145
151
156
157
158
159
160

162
166
167
169

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SECTION I

MAKING THE ADAPTATION

A
DISCUSSION
OF THE

ADAPTATION

A. PURPOSE IN MAKING THE ADAPTATION

For the younger generation Shakespeare is the author who wrote
all those quotations. Too often, in the study of his plays the em-
phasis is on Shakespeare the scholar, rather than on Shakespeare the
playwright. The danger in this method of study lies in the deveIOp-
ment of an attitude of reverence for the "quoted phrase" rather than
the fostering of an appreciation for the living play on the stage.
Shakespeare was an astute playwright and showman. He was writing
for an audience that was composed of the finest minds of his time
and those of the simplest intelligence. H. W. Mabie in his schol-
arly study of Shakespeare, William Shakespeare. PostmDramatistI
and uanI in his chapter on the London Stage writes:

The theatre was the channel through which the
rising life of the pe0ple found expression,
and accurately reflected the popular taste,
feeling, and culture; it was the contemporary
library, lecture-room, and newspaper, that
gave expression tf what was uppermost in the
life of the time.

Shakespeare aimed, in his plays, to please the mature mind
with his magnificent oratory and his flowing poetry, but he never
failed to make an appeal to the more child-like element in his aud-
ience. The simpler appeals are usually identified with the char-
acters who represent the homely comedy of lower and middle-class

English country life. It is the presence of these appeals to the

child-like mind which made wonder about their adaptability for

 

1 Nabie, H. W., William Shakespeare, Poet, Dramatist, and ManL
Grosset and Dunlap, New York, 1900, p. 87.

1

audiences composed of children. I turned to one of the playwright's
most delightful comedies, A Midsummer Night's Dream. After a thor-
ough study of the play, I felt it contained material which children
would understand and enjoy. Mabie's comment on the play justifies,
I think, my conclusion. In speaking of A Midsummer Night's Dream,
he says that the author:

...is equally at home with the classical tradition

nobly presented in the figure of Theseus, with the

most extravagant rustic humor set in the mouths of

the inimitable clowns, and with the traditional

lore of childhood - the buoyant play of the pogular

imagination - in Titania, and Oberon and Puck.

My primary purpose‘was to adapt the play so that it could be
played for children as young as eight years of age. A second rea—
son for undertaking the project was that, in the event my adapta-
tion enjoyed a successful production, others might be encouraged
to adapt and produce Shakespear's plays for children.

How the original play was adapted to meet the above purposes

will be discussed in the pages following.

 

2 Ibide, p. 160.

B. THE PROCESS OF MAKING TEE ADAPTATION

1. Specific Aims

Before discussing the alterations made in adapting A Midsummer

 

Night's Dream, I should like to make clear the specific aims I had
in mind when beginning the project. First - and foremost .. I
wanted to provide a play for children which they could easily under-
stand and enjoy. Second, I wanted a play which contained plenty of
action and which would play no longer than sixty minutes. This was
very important, for the interest span of children is of relatively
short duration. As Arthur T. Jersild expresses it, "Except in re-
sponce to urgent physical demands, the young child's concentration
span tends to be quite brief.'5 Third, I wanted a play which could
be produced in a comparatively simple setting. The present lack of
building materials necessitated simplification. In order to meet
this limitation and, at the same time, to supply an apprOpriate
background for the action of the play, I visualized an out-of-doors
production with the action arranged to play in a single setting.
The final consideration had to do with casting and costuming
the play. As finally presented, there were only twenty characters
in the play. The main reason for eliminating the others was that
too many characters in a play are confusing to children. They are
apt to be kept too busy clarifying the characters instead of giving

their full attention to the story. The second reason for eliminating

 

5 Jersild, Arthur T., Child PsycholOgy, Prentice-Hall,
New York, 1940, p. 556.

some of the characters was that acting Shakespearian drama -- and
especially acting it for children -- is a problem in itself. Thus
there is an advantage in using the smallest number of important
speaking characters possible. A third reason for eliminating char-
acters was that a large cast is usually very difficult to costume
with any degree of authenticity. The smaller the cast, the fewer
are the costuming problems.

With these thoughts in mind, I turned to A Midsummer Night's

Dream.
2. The Steps in Making The Adaptation

The major considerations in adapting the play were (a) simpli-
fying the plot, (b) arranging the sequence of events, (c) re-allign-
ing the metrical form of some of the speeches, and (d) arranging the

continuity of the script.
(a) Plot Simplification

The first step in the process of making the adaptation was to
simplify the plot. The original play has four interwoven themes:
the story of the four lovers, Hermie, Helena, Lysander, and Deme-
trius; the story of the wedding of Duke Theseus to Hippolyta, which
is the enveloping action of the play; the story of the fairies who
come to the wood near Athens to bless this wedding: and the story of

' forest to rehearse a play they

the artisans who go to the fairies
wish to perform at the wedding feast. There was no question about
retaining the fairies and the artisans. As T. M. Parrott says in

his preface to the text used:

It is the fairies, their songs and dances and

lyric speeches, that make‘A_!idsummer Night's

Egggg whet it is, the mast perenially charming

of Shakespeare s plays.
And as for Bottom, who epitomizes the artisan class which Shakespeare
treats so good-humoredly, his comedy value made him essential to the
play. Because the wedding of Theseus to Hippolyta is the motivating
force which brings both fairies and artisans to the forest, and con-
nects all of the action of the play, the wedding theme had to be re-
tained. That left the four-lovers' theme to be considered. I decided
to eliminate it entirely for three reasons. The main reason was that
its romantic nature would hold little appeal for children and fail to
keep them interested. Second, the inclusion of this theme .. even if
cut considerable - would have lengthened the play beyond the sixty
minute period I had decided on. And third, since I planned to do the
play in a simplified setting, the placing of the four lovers and their
complicated affairs would have added directing difficulties.

The elimination of the lovers and their tangled skein of activ-

ities was the first major alteration.
(b) Sequence of Event Changes

The next step was to arrange the sequence of events in such a
way that the entire play could be played in a single setting. With
the outdoor theatre in mind, I decided to have all of the action
take place in the forest inhabited by the fairies. The original
.Play Opens in the palace of Duke Theseus where the plot of the four
lovers is introduced. It was not necessary to include that scene

ltLParrott, Thomas Marc, Twenty-Three Plays And The Sonnets,
Charles Scribner's Sons, New York, 1958, p. 154.

5

since I had already planned to omit the lovers. But Theseus' wedding
plans had to be introduced early in the play. This was accomplished
by writing a prolOgue, delivered by Robin Goodfellow. In Robin's
speech before the audience, the setting is laid, the wedding plan is
established, the reason for the fairies being in the forest is ex-
plained, and an element of suspense is created with the lines:

And others wander through the wood

As the nuptial hour draws near,

But them.you'll see anon, and so,

I go - away from here!

This last anticipates the arrival of the artisans. In the orig-
inal play, the artisans are seen first in Peter Quince's sh0p in
Athens, (Act I, Scene II) casting their play and planning to meet
later for rehearsal in the wood. I preferred to combine the casting
and rehearsal scenes in order to shorten the play and keep it in one
locale.

With Robin's prolOgue the play begins in the "fairy forest."
Compared with the original, the adaptation begins with Shakespeare's
Act II, Scene I. The sequence here is identical: the conversation
between Robin and a fairy, the appearance of Oberon and Titania and
their trains, the argument between Titania and Oberon, Titania's
hasty departure, followed by Oberon's instructions to Robin to
fetch the 'Love—in—Idleness' flower, and Robin's exit. Oberon's
next speech, which in the original play follows Robin's exit, I
included in his instructions to Robin. With Robin's exit, we again
depart from the original sequence of events, for the lovers appear.
Having omitted them and Oberon's part in their activities, I had

Oberon lead his elves off-stage, and brought Titania and her

6

fairies back on. This scene with Titania and her fairies is Shake-
speare's Act II, Scene II. When Titania falls asleep in her bower,
having dismissed her fairies, Oberon appears, squeezes the juice of
the flower onto her eyelids, and exits. The last part of Act II,
Scene II, which is another meeting of the lovers, is omitted, and we
turn immediately to the artisans.

The introduction of the artisans in the adaptation is a combi-
nation of the afore-mentioned Act I, Scene II, and Act III, Scene I,
of the original play. Much of the discussion in the two scenes of
the Pyramus and Thisbe play was cut for purposes of brevity, clarity,
and interest to children. (These matters will be dealt with more
fully in a later discussion.) The action and sequence of events
follow the original closely, however, up to the point where Bottom
appears wearing the ass's head and frightens his fellows away. In-
stead of having the others return to comment on Bottom's singular
appearance, I have had them make their outcries as they hastily de-
part. Then, Bottom's line, "Why do they run away?" is combined with
the speech he delivers when they are finally out of sight. As in
the original, Bottom's singing wakes Titania who, under the spell of
the love-juice, calls her fairies to wait upon Bottom. This fairy
scene is also a combination of two of Shakespear's scenes, namely,
Act III, Scene I, and Act IV, Scene I. Like the artisan scenes,
there was much which could easily be omitted from both scenes.

Now a major divergence occurs. In the original play, Titania
leads Bottom.offstage to her bower. Then Oberon and Robin Good-
fellow come on (Act III, Scene II) and Robin tells Oberon of Ti-
tania's behavior with Bottom. This is followed by further confu-

sion and eventual unwinding of the lovers plot. Then, in Act IV,

Scene I, Oberon and Robin meet once again - this time at Titania's

7

 

:‘l‘llllf‘l. Ill

bower -- and Oberon tells Robin how he had managed to wrest the
changeling boy from Titania when he found her in the wood "Seeking
sweet favours for this hate ul fool." Having got the boy, Oberon
proceeds to release Titania by touching her eyes with another flower.
Because action is more interesting to children than more talk of ac-
tion, I decided to have Titania lead Bottom to her bower up center
stage in full view of the audience. This change, of course, meant
doing a great deal of re-arranging and original writing in order to
show Oberon actually upbraiding Titania and procuring the boy. It
was accomplished by using phrases suggested by Oberon's description
of the act. With this, the adaptation joins the original play once
more. Oberon and Titania are again ensconced in amity, they depart,
and Robin is left to remove the ass's head from Bottom.

From here on, the sequence of events is altered considerably.
In the original play, the exit of Oberon, Titania, and Robin is
followed by the entrance of Theseus, Hippolyta, and their train
who have come to the wood to hunt early in the morning. Coming
upon the lovers, they set aside their hunting plans and go back to
Athens where a feast is planned. Not until the lovers, the Duke
and his party have disappeared does Bottom awake. He moves off in
the same direction and we see him next in Peter Quince's shOp in
Athens. Here, the artisans are lamenting the loss of their cohort,
and when he suddenly appears - much to their relief -- they
arrange to go to the Duke's palace to give their play. Act V takes
place in the palace where the Duke blesses the lovers, overrides
Philostrate's objections to the artisan's play, requests that the
play be presented, lauds the efforts of the artisans, and finally,

dismisses the company, Robin, Oberon, Titania and their trains

8

 

III‘I'I
[I‘ll

enter when the rest depart. Oberon gives instructions to his train,
and all exit but Robin who delivers the epiIOgue.

In this adaptation it was necessary to bring the frightened fel-
lows back to the woods, have Bottom join them there, and bring The-
seus, Hippolyta, and Philostrate among them so that the Pyramus and
Thisbe play could be performed in the forest. This was done by hav-
ing Bottom, after his awakening speech, depart in confusion to search
for his friends in the forest. When he had made his exit on stage
left, the others (except Snug) entered from stage right, using the
dialogue which originally appeared in Act IV, Scene II. While they
are lamenting their ill-fortune, Bottom wanders back onstage and
joins them. The next step was to find a reason for bringing Theseus
and Hippolyta into the forest at evening time. The suggested hunt-
ing supplied a logical reason. Instead of going out to hunt at dawn,
they were shown as returning from hunting at nightfall. In the orig-
inal play, Snug bursts into Peter Quince's shop crying:

Masters, the Duke is coming from the temple,
and there is two or three lords and ladies
more married. If our sport had gone forward,
we had all been made men.
This idea was used in the adaptation by having Snug run into the

forest clearing shouting:
Masters, the Duke comes through the wood. He
comes - returned from.hunting. He goes to
the temple, to his wedding feast. 0! If our
play had gone forward, we had all been made
rich!

4*» that moment, Bottom makes his appearance, learns of the ex-

9

 

 

‘I‘ ..II

pected arrival of the Duke, and instructs his friends to get their
apparel together. They are busy learning their lines when the Duke,
Hippolyta, and Philostrate make their entrance. Theseus notices the
artisans and says, "But soft! What swains are these?" Philostrate
explains who the artisans are and what they are about. Theseus,
amused and flattered at their efforts, says he will hear the play.
Notwithstanding Philostrate's objections, the play is performed.
While the artisans are making their preparations, however, Oberon,
Titania, Robin, the fairies and elves enter, and seat themselves
out of sight on the bower. When the play is over, Theseus invites
the company to come away to Athens to take part in the wedding
feast and the activities to follow. As soon as the artisans and the
Duke's company depart, Oberon instructs the fairies and elves to go
to the Duke's palace where they are to bless the several chambers.
With his parting:

Trip away; make no stay;

Meet me all by break of day.
the fairy folk run off. Robin remains to deliver the epi10gue,

and the play ends.
(c) The Change In Line Form

The third step in making the adaptation was to change the
metrical fonm‘bf some of the Shakespearian lines. The charac-
ters in the original play speak in rhymed verse, unrhymed verse, and
press. The medium of the artisans is prose, except when they are
taking part in the Pyramus and Thisbe play. The fairies and Robin
Goodfellow speak in rhymed verse. Unrhymed verse is spoken by

10

Theseus, Hippolyta, Philostrate, and sometimes, by Oberon and Ti-

tania.

However, at other times, the speech of Oberon and Titania

is rhymed verse. For example, Oberon in Act II, Scene I, says to

Robin:

My gentle Puck, come hither. Thou remem—
brest

Since once I say upon a promontory,

And heard a mermaid on a dolphin's back

Uttering such dulcet and harmonious breath

That the rude sea grew civil at her song,

And certain stars shot madly from their
spheres,

To hear the sea-maid's music?

In Act III, Scene II, again speaking to Robin, Oberon says:

About the wood go swifter than the wind,

And Helena of Athens look thou find.

All fancy-sick she is and pale of cheer

With sighs of love, that cost the frost blood
dear.

By some illusion see thou bring her here.

I'll charm his eyes against she do appear.

The inconsistency in the speech of Oberon and Titania made it

difficult when cutting and re-arranging lines and scenes, to de-

termine what type of expression should be used. At the sugges-

tion of Professor Townsend Rich of the English Department, I de-

cided to have Oberon and Titania speak consistently in unrhymed

VGI'BBe

This choice was made because it was easier to change the

word order of lines and thereby remove the rhyme, than it was to

make the unrhymed lines into rhymed couplets. An example of the

manner in which word order was changed to remove the rhyme is

this one of Titania's speeches to Oberon:

11

Original Play
TITA. Not for thy fairy kingdom. Fairies, away}
We shall chide downright, if I longer stay.
ADAPTATION
TITANIA. Not for thy fairy kingdom. Fairies, away!
If 1 longer stay, we shall quarrel long!

The only exception to this play was made in Oberon's two

speeches where he squeezes the juice of flowers onto Titania's eye-

lids and cast spells over her by reciting verse charms.

With the Artisans, the use of both prose and poetry is not a
matter of inconsistency but a matter of contrast. In ordinary con-
versation the artisans speak consistently in prose, but in their
play, they attempt a loftier expression. The over-stressing of the
rhyme in the lines of their play is a humorous contrast to their
true mediun.and to the normal reading of rhymed verse.

Besides desiring consistency, I also wanted to differentiate
between the children of the fairy world and the adults of the fairy
world. As well as having the distinction of living in and ruling
'the world of fantasy, Oberon and Titania have many of the attributes
of’nmrtals. They sleep, they quarrel, they love much the same as
orxiinary people. They look like mortals, they act like mortals, and
they often speak like mortals. The fairies, however, bear little
resemblance to normal children. They hide in acorn cups, keep
nigfiitly vigils while their queen sleeps, war with bats, and move
"Swifter than the moon's sphere.‘ The poetic language which is
1"heirs is completely apprOpriate to them and is made more distinc-
tive’ I think, when not spoken by other characters.

12

The type of expression and the characters who use these types

may be seen thus:

RHYMED VERSE UNRHYMLD VERSE
Robin Goodfellow Oberon (except for recited
Fairies verses.)
Peaseblossom Titania
Cobweb Theseus
Moth Hippolyta
Mustardseed Philostrate —

PROBE

Bottom

Quince

Starveling

Snug

Snout

Flute

(d) Continuity Arrangement

The final step in making the adaptation was to arrange the con-
tinuity of the script. Besides selecting speeches from.the original
play which would correspond with the movement pattern outlined, it was
necessary to cut speeches for the sake of brevity and clarity, substi-
tute modern termin010gy for obsolete words and phrases, and, for the
sake of continuity, to add lines and to give some lines of the omitted
characters to those who were retained. At all times the primary pur-
pose of making the text of the play understandable to children was
uppermost in my mind.

To enable the reader to see what was done, the original play and
the adaptation are here included. The lines underlined in red in the
original play are those which were used in the adaptation. In the
right-hand margin of the adaptation, references to lines in the orig-
inal play are given. These notations include the act, scene, and

line numbers, as well as the name of the character from whose speech

15

the line was taken if it is other than the character speaking.

The reader, checking a line in the adaptation with the given ref-
erence to the original play, may discover that the word order of the
line is different or that words within the line have been changed. I
These lines which differ from the reference given are numbered in the
left-hand margin of the adaptation and the reasons for the changes

are explained on page 91. Lines underlined in red are my own addi-

tions and are explained on page 97.

14

A MIDSUMMER NIGHT'S DREAM
BY
WILLIAM SHAKESPEARE
TAKEN FROM

SHAKESPEARE; TWENTY-THREE PLAYS AND
THE SONNETS

BY

THOMAS MARC PARROTT

A MIDSUMLER NIGHT'S DREAM

Dramatis Persona

THESEUS, duke of Athens.

EGEUS, father to HERMIA.

LYSANDER, betrothed to HERMIA.

DEMETRIUS, in love with HERMIA.

PHILOSTRATE, master of the revels to THESEUS.
QUINCE, a carpenter.

BOTTOM, a weaver.

FLUTE, a bellows-mender.

SNOUT, a tinker.'

SNUG, a joiner.

STARVELING, a tailor.

HIPPOLYTA, queen of the Amazons, betrothed to THESEUS.
HERMIA, daughter to EGEUS, betrothed to LYSANDER.
HELENA, in love with DEMETRIUS.

OBERON, king of the fairies.

TITANIA, queen of the fairies.

ROBIN GOODFELLOW, a PUck.

PEASEBLOSSOM, a fairy.

OOBWEB, a fairy.

MOTH, a fairy.

MUSTARDSEED, a fairy.

Other fairies attending their King and Queen.

Attendants on THESEUS and HIPPOLYTA.

SCENE: Athens, and a wood near by.

A HIISUMMER NIGHT'S DREAM

Act 1. Scene 1. Athens. The Palace of Theseus.
Inter THESEUS, HIPPOLYTA, PHILOSTRATE, with others.

THE. How, fair Hippolyta, our nuptLal
1399?
Drfiegg‘s on space: four happy days bring in
Another moon: but, 0, methinks, how slow
This old moon wanes! She lingers my desires,
Like to a step-dame or a dowager
Long withering out a young man's revenue.
HIP. l'our days will quickly steep them-
selves in night:
Four nights will quickly dream away the time:
And then the moon. like to a silver bow
low-bent in heaven, shall behold the night 10
Of our solsmnities.
TEE. Go, Philostrate,
Stir up the Athenian Jougi to merrimsnts:
Awake the part and nimble spirit of mirth;
Turn melancholy forth to funerals;
The pale companion is not for our pomp. 15
EXIT PHILOSTBATE.
Hippolyta, I woo'd thee with my sword.
And won thy love, doing thee injuries;
But I will wed thee in another key,
lith pomp, with trimph, and with revelling.

Inter 30108 and his daughter EEBMH and
LYSANER and METRIUS.

IGI. Happy be Theseus. our renowned
mks!
TEI. Thanks, good lgeus; what's the
news with thee? 21
was. lull of venetian come I, with com-
plaint
Against my child, m daughter Hermie.
Stand forth. Demetrius. My noble lord,
This man hath cw consent to marry her. 25
Stand forth, Lysander: and, my gracious
Me,
This man hath bewitch'd the bosom of w
child.
Thou. thou, Lysander, than hast given her
rhymes,
And intemhang'd love-tokens with my child.
Thou hast by moonlight at her window sung
Iith raining voice verses of faining love, 31
And stol'n the impression of her fantasy
lith bracelets of thy hair, rings, gawds, con-
ceits,
Knacks, trifles, nosegays, sweetmeats,-mes-
15

sengers
Of strong prevailmsnt in unharden'd youth. 35
lith cunning hast thou filch'd my daughter's
heart,
Turn'd her obedience. which is due to me.
To stubborn harshness; and. m gracious
Dulce,
Do it so she will not here before your Grace
Consent to marry with Demetrius. 40
I beg the ancient privilege of Athens.
As she is mine. I may dispose of her;
lhich shall be either to this gentleman
Or to her death. according to our law
Imediately provided in that case. 45
m. What say you. Hermie? Be advis'd.
fair maid.
To you your father should be as a god.
One that compos'd your beauties. yea, and one
To whom you are but as a form in wax
Dy him imprinted. and within his power 50
To leave the figure or disfigure it.
Demetrius is a worthy gentleman.

HER. So is Lysander.

TED. In himself he is:

But in this kind. wanting your father's voice.
The other must be held the worthier. 55
m. I would my father look'd but with

my eyes.

TEE. Rather your eyes must with his

Judgment look.

HER. I do entreat your Grace to pardon

me.
I know not by what power I am made bold.
For how it may concern my modesty. 60
In such a presence here to plead my thoughts;
But I beseech your Grace that I may know
The worse that may befall me in this case.
If I refuse to wed Dwetrius.

THE. lither to die the death or to abJure
For ever the society of men. 66
Therefore, fair Hermie. question your desires.
Know of your youth. examine well your blood.
lhether, if you yield not to your father's

choice.

You can endure the livery of a nun. 70
For aye to be in shady cloister mew'd,

To live a barren sister all your life,
Chanting faint hymns to the cold fruitless

moon.
Thrice-blessed they that master so their blood
To undergo such maiden pilgrimage; 75

But earthlisr happy is the rose distill'd.
Than that which withering on the virgin thorn
Grown. lives. and dies in single blesssdness.
HER. So will I grow, so live. so die. 11w
lord.
16

Ire I will yield my virgin patent up 80
Unto his lordship. whose unwished yoke
'Hy soul consents not to give sovereignty.
m. Take time to pause: and. by the next
new moon--
I'he sealing—day betwixt ow love and me.
l'or everlasting bond of fellowship— 85
Upon that day either prepare to die
ror disobedience to your father's will.
Or else to wed Demetrius. as he would.
Or on Diana's altar to protest
l'or aye austerity and single life.
an. Belent. sweet Hermie; and. Lysander.
yield 91
hr; crazed title to my certain right.
DIS. You have her father's love. Dometrius.
Let me have Bernie's; do you marry him.
3G]. Scornful Lysanderl true. he hath my
love. 95
And what is mine my love shall render him.
And she is mine. and all my right of her
I do estate unto Demetrius.
DIS. I am. my lord. as well deriv'd as he.
As well possess'd; m love is more than his;
My fortunes every way as fairly rank' d. 101
If not with vantage. as Demetrius';
And. which is more than all these boasts can
be.
I am belov'd of beauteous Hernia.
Why should not I then prosecute w right?
Danetrius. I'll avouch it to his head. 106
lads love to Nedar's daughter. Helena.
And won her soul: and she. sweet lady.
dotes.
Devoutly detes. dotes in idolatry.
Upon this spotted and inconstand man. 110
THE. I must confess that I have heard so
much.
And with Demetrius thought to have spoke
thereof:
But. being over-full of self-affairs.
My mind did lose it. But. Demetrius. come:
And come. lgeus; you shall go with me. 115
I have sane private schooling for you both.
Ior you. fair Hermie. look you an yourself.
To fit your fancies to your father's wish:
Or else the law of Athens yields you up-
Ihich by no means we may extenuate- 120
To death. or to a vow of single life.
Oane. my Hippolyta; what cheer. my love?
Demetrius and Egeus. go along.
I must «splay you in some business
Against our nuptial. and confer with you 125
Of sanething nearly that concerns yourselves.
3GB. With duty and desire we follow you.

more ALL BUT LISANDER AND BERMIA
17

LIB. How now. my love! why is your
cheek so pale?
How chance the roses there do fade so fast?
HER. Belike for want of rain. which I could
well 130
Heteem them from the tempest of my eyes.
LIS. Ay me! for aught that I could ever
read.
Could ever hear by tale or history.
The course of true love never did run smooth;

But. either it was different in blood.-- 135

HER. O crossi too high to be enthrall'd to
low.

L28. Or else misgraffed in respect of
years.--

EH. 0 spite! too old to be engag'd to
young.

LIB. Or else it stood upon the choice of
friends.“

HER. 0 hell! to choose love by another's
eyes. 140

LIB. Or. if there were a sympathy in
choice.

War. death. or sickness did lay siege to it.
Making it manentany as a sound.
Swift as a shadow. short as any dream.
Brief as the lightning in the collied night. 145
Tint. in a spleen. unfolds both heaven and
earth.
And ere a man hath power to say 'Deholdi'
The Jews of darkness do devour it up;
So quick bright things cane to confusion.
HER. If then tru lovers have been ever
oross'd. 150
It stands as an edict in destiny.
Then let us teach our trial patience.
Because it is a customary cross.
As due to love as thoughts and dreams and
018m.
Iishes and tears. poor fancy's followers. 155
DIS. A good persuasion; therefore. hear
me. Hermie.
I have a widow aunt. a dowager
Of great revenue. and she hath no child.
Iran Athens is her house remote seven
leagues:
And she respects me as her only son. 160
There. gentle Hermie. may I marry thee:
And to that place the sharp Athenian law
Cannot pursue us. If thou lovest me then.
Steal forth thy father's house to-morrow

night;
And in the wood. a league without the town.
'here I did meet thee once with Helena 166

To do observance to a morn of Hey.
There will I stay for thee.
18

HER. My good Lysander!
I swear to thee. by Cupid's strongest bow.
3y his best arrow with the golden head.
By the simplicity of Venus' doves.
Hy that which knitteth souls and prospers
loves. '
An by that fire which burn'd the Carthage
queen.
Ihen the false Troyan under sail was seen.
By all the vows that ever men have broke.
In nunber more than ever wanen spoke.
In that same place thou hast appointed me
To-morrow truly will I meet with thee.
LYS. Hepp promise. love. Look. here
comes Helena.

Inter HELENA
HER. God speed fair Helena! Whither
away?
HEL. Call you me fair? That fair again
unsey.

Demetrius loves your fair. 0 happy fair:
Your eyes are lode-stars. and your tongue's
sweet air
lore tuneable than lark to shepherd‘s ear
When wheat is green. when hawthorn buds
appear.
Sickenss is catching: 0. were favour so.
Yours would I catch. fair Hermie. ere I go;
Hy ear should catch your voice. w eye your
eye.
My tongue should catch your tongue's sweet
melody.
Here the world mine. Demetrius being
bated.
The rest I'll give to be to you translated.
O. teach me how you look. and with what art
You sway the motion of Demetrius' heart.
1133. I frown upon him. yet he loves me
still.
HIL. O that your frowns would teach nw
smiles such skill!
HER. I give him curses. yet he gives me
love.

HIL. O that In prayers could such affec-

tion move!

HIE. The more I hate. the more he follows

HIL. he more I love. the more he hateth

' 170

175

180

185

190

195

HER. His folly. Helena. is no fault of mine.

BL. Hone. but your beauty. Iould that
fault were mine:
HER. Tabs comfort: he no more shall see
my face;
19

201

Lysander and myself will fly this place.
Before the time I did Lysander see.
Beem'd Athens as a paradise to me: 205
O. then. what graces in sw love do dwell.
That he hath turn'd a heaven unto a hell!
LYS. Helen. to you our minds we will un-
fold.
To-morrow night. when Phoebe doth behold
Her silver visage in the wat'ry glass. 210
Decking with liquid pearl the bladed grass.
A time that lovers' flights doth still conceal.
Through Athens' gates have we devis'd to
steal.
HER. And in the wood. where often you
and I
Upon faint primrose-beds were wont to lie. 215
lmptying our become of their counsel sweet.
There my Lysander and melf shall meet;
And thence from Athens turn away our eyes.
To seek new friends and stranger companies.
Farewell. sweet playfellow: pray thou for us:
And good luck grant thee thy Demetrius! 221
Heep word. Lysander; we met starve our
sight
Il'rom lovers' good till morrow deep midnight.
LYS. I will. my Hermie. HIT HEEHIA.
Helenia. adieu:
As you on him. Demetrius dots on you! 225
EXIT LYSANDEH.
HEL. How happy sane o'er other some can
be!
Through Athens I am thought as fair as she.
But what of that? Demetrius thinks not so;
He will not know what all but he do know;
And as he errs. doting on Hemia's eyes. 230
So I. admiring of his qualities.
Things base and vile. holding no quantity.
Love can transpose to form and dignity.
Love looks not with the eyes but with the
mind.
And therefore is wing'd Cupid painted blind.
Hor hath Love's mind of any Judgment
tests; 236
Iings and no eyes figure unheedy haste:
And therefore is Love said to be a child.
Because in choice he is so oft beguil'd.
As waggish boys in game themselves for-
swear. 240
So the boy Love is perJur'd every where:
Ior ere Demetrius look'd on Hermia's eyes.
He hail'd down oaths that he was only mine:
And when this hail some heat from Hermie
felt.
So he dissolv'd. and showers of oaths did
melt. 245
I will go tell him of fair Hermia's flight:
20

,Then to the wood will he to-morrow night
Pursue her; and for this intelligence
If I have thanks. it is a dear expense.
But herein mean I to enrich my pain. 250
To have his sight thither and back again.

IIIT.

Scene 11. ATHENS. QUINGI'S HOUSE.

Inter QUINCI. the Carpenter and BBUG the
Joiner and BOTTOM the Weaver and l'LUTI
the Bellows-mendsr and SNOUT the Tinker
and STAHVIMNG the Tailor.

QUIN. Is all our company here?

BOT. You were best to call than generally.
.JM" OWW.

WIN. Here is the scroll of GEMS
name. which is thggght fit. through all Athens. 5

to play in our,5 interlude before the
and WWW at

n t
BOT. First. fld Peter Quince, say" what

the play treats on then read the: name; of the

actors. and so grow to a point. 10
QUIN-

Wynn.
BOT. A very good iece of work. I agenrs

m. and a merry. OWLEQQmLfiLQM-mm
call forth your actors Lthe scrollL Auastelis.

 

 

 

 

spread yourselves. 16
QU . Heady. Namedwdhet’p‘a‘rt I amfifqr.
and Eoceed.
QUIN. You. Nick Bottom. are set down for
Pyramus. ”m“

”To flat .13. .Plramalwé M107“ ore
ta...”

WIN. A Lover. that 1:111s himself mostgl—
.la___n_________t for love.

BOT. That will ask some tears in the true
performing Jit. If T do it. let the audience
log]: to their eyes. I will move stoma. I will
condols in sane measure. To the rest. Yet

my_chief humour i_s__ for a _tyrant. I could 30

ea...-

1:1qu Erclee rarely. or a part to tear a cat in.

 

U” \W

"this Leggy-g rocks
And shivering_shooks
Shall break the locks 85

ar-v new...“

Of prisongater

And Phibbus' car
Shall shine from far

21

And make and mar
The foolish rates.” 40

This was lofty! Now name the rest of the
W yerg.~..srolesr vein. a tyrant's veinza
lover is more condoling.
QUIN. Francis l'lute. the bellows-mender.
ILU. Here. Petér Quince. 45
QUIN. Flute. you must take Thisby _V on _y_ou.
l'LU. ms Thisby? A wanderigg::knight?
QUIN. It 19... the ladywthat Pyramm. must
1.932..
FLU. Lay. faith. let not me play a wanen;
I have a beard caning. 50

t s all one; you'mshall 1a it in a

    
     

. An may hide face
Thisby too. I'll speak in a monstrous little
voIce. 'TEIsne! ThisneT Ah Pyramue, aw
rver dear! tmsby dear. an; lady (55
W

..TQIUIN. NoI no; you mstplflyramue:
and. Flute. you Thisby.

B To Welleeed.

QUIN. Robin Starvelimgfi. the Tailor. 60

STAR. Here,_ Yeter ”mace.

QUIN. Robin StarvelingL you must play
Thisby's mother. 1cm” Shout. the tinker.

SNOUT. Here. Peter thnoe.

QUIN. You. firemus' father; melf. This-
by‘s father. nygL the Joiner. you....ths (65
Hon‘s part: and. I hope. here is a play fitted.

SNUG. Have you the lion's part written?
Pray you. if it be. gigs it me. for__1_g_§19uf

8 e
E§Uk You may do it extanporejngerit (70
is nothiggrbut roaflng.
BOT. Let me play the lion too. I will roar.
that I will do any man's heart gogmmr
me. I will near. that I wil1 make the Duke say.
"W“ roar again. let him roar again." '75
W Hi you should do it too terribly.
you wmild frighteflwnm and. the. ladies.
that they would shriek; and that were_ercggh
to hens Mall-
ALL. That would hang us. every mother's
.son. 80
BOT. I grant you. friends. if you should
fright the ladies out of their wits. they would
have no more discretion but to hang us: but I
will aggravate my voice so that I will roar you
as gently as any sucking dove; I will rear (85
you and '1: were any nightingale.
QUIN. You can play no part but Pyramge:
for 1’er 18 a ..sveairfesednen. a. proper
men. as one shall see in a smer's day: a
most lovely ntleman-likr man: therefore
you must nee play Pyramus. 91

22

BOT. Well. I will undertake it. That beard
were I best to play it in?

QUIN. 'hy. what you will.

BOT. I will discharge it in either your (95
straw-colored board. your orange—tawny beard.
your purple-in-grain beard. or your Trench-
crown-colour beard. your perfect yellow.

QUIN. Sane of your Trench crowns have
no hair at all. and then you will play bars- (100
faced. But. masters. here are your parts: and
I am to entreat you. request you. andand desire
you. to con them by to-morrow night;and
meet me in the palace wood. a mile without the
town. by moonlight. There will we rehearse. for
if we meet in the city. we shall be dogged with (106
oanpany. and our devices known. In the meantime I
will draw a bill of prOperties. such as our play
wants. I pray you. fail me not.

BOT. We will meet: and there we may (110
rehearse most obscenely and courageously.
Tales pains; be perfect; adieu.

QUIN. At the Duke's oak we meet.

BOT. Inough; hold or cut bow-strings.

' IXIUNT.
Act 111. Scene 1. A HOOD NEAR ATHENS.

Inter a IAIH at one door and ROBIN GOODFELLOI
' at another.

HOBIN'. How now.+spirit! _ghither wander
m? '
TIAIHY. Over hill. over da_10.
Thorough hush. thorough hrier.
Over park. over pele.
Thorough __fl_ood. thorough fire. 5
I do wander every where.
Swifter than the moon'e sphere;
And I serve the fairy Queen
To dew her orbs upon the green.
The cowslips tell her pensioners be.
In their _go_1_d_ coats spets you see; 11
Those be rubies. fairy favours.
In those freckles live their _sayours.
I must go seek some dewdrops here ) ' ”
And hang a pearl in every cowslipis ear. l5
farewell. thou lob of spirits: 1'11 be gone.
Our queen and all her elves come here anon.
HCBIN. The King doth keep his revels here
Whighte -
13.9.... heed the green game not within his
sight:
for Oberon is passing fe11 and wrath. 20
Because that she as her attendant hath

wa>an-

 

 

23

A 1ove1y_ boy“ stolen from an Indian king.
She never had so sweet a changeling;
And Jealous Oberon would have the child
Knight 'of‘his train. to trace the forest wild;
But she perforce withholds the loved boy.
Croins him with flowers. and makes him all
her “jun '
And now thy never meet in grove or green.
B_y fountain clear. or spangled starlight sheen.
But they do square. that all their elves for
fear
Creep into acorn-cups and hide them there.
TAI. “Either I mistake your shape and
making _guite.
Or else you are that shrewd and knavish sprite
(3de Robin Goodfellow. Are not you he
Thht frights the maidens of the villagery;
Skim milk. and sometime labour in the quern.
And bootlees make the breathless housewife

churn.

And smetimes make the drink to bear no
berm.

lislead night-wanderers. laughing at their
harm?

Those that Hobgoblin call you. and sweet
Puck.

You do their work. and they shall have good
luck.

£94?qu 2!. he?

ROBIN. Thou speakest aright:

I am that mere‘y wenderer of the night.

I Jest to oberon and make him smile

Then I a fat and bean-fat horse beguile.

Neighing in likeness of a filly boal;

And sometime lurk I in a gossip's bowl.

In very likeness of a roasted crab.

And when she drinks. against her lips I bob

And on her withered dewlap pour the ale.

The wisest aunt. telling the saddest tale.

Sanetime for three-root stool mistaketh me.

nun slip I from her bum. down topples she.

and 'tailor' cries. and falls into a cough;

And then the whole quire hold their hips and
laugh.

And waxen in their mirth. and neese and
swear

A merrier hour was never wasted there.

But. roanflngeiry! here comes Oberon.

FAI. And here my mistress. lould that he

were gone!

Inter the King of Fairies 031130]! at one door
with his train; and the Queen TITANIA at
another with here.

OBI. Ill met bymmoonlight. proud _Iitania.

.....

24

3O

35

45

55

TITA. Whit. Jealousy Oberon: Fairy. skip
hence; 61
I have forsworn his bed and company.
031:. Tarry. rash wanton! m not I thy
lord?
TITA. Then I must be thy lady; but I know
than thou hast stol'n away from fairy land.
And in the shape of Gorin sat all day.
Playing on pipes of corn and wersing love
To amorous Phillida. Why art thou here.
One from the farthest ‘s‘t‘e‘éfi'fif India?
hit that. forsooth. the bouncing Amazon. 70
Your buskin'd mistress and your warrior
love,
To Theseus must be wedded. and your come
To give their bed Joy and prosperity.
ms. How canst thou thus for shame. Ti-
tania.
Glance at m credit with Hippolyta. 75
Knowing I know they love to Theseus?
Didst than not lead him through the glimmer-
ing night
Iran Perigenia. whom he ravished?
And make him with fair AEGLE break his faith
lith Ariadne. and Antiopa? 80
T1131. The“ are the forgeries ofJealousy:
And never, since the middle summer's spring.
list we on hill. in dale. forest or mead.
3y paved. fountain or by rushy brook.
Or in the beached margent of the sea. 85
To dance our ringlets to the whistling wind.
But with thy brawls thou hast disturb'd our
sport.
Therefore the winds. piping to us in vain.
As in revenge, have suck'd up from the sea
contagious fogs; which, falling in the land. 90
Bath every pelting river made so proud
That they have overborne their continents.
The O: hath therefore stretch'd his yoke in

vein.
The ploughman lost his sweat. and the green
corn
Hath rotted ere his youth attain'd a beard. 95

The fold stands empty in the drowned field,

And crews are fatted with the murrain flock.

The nine men's morris is fill'd up with mud.

And the quaint mazes in the wanton green

for lack of tread. are undistinguishable. 100
The hunen mortals want their winter cheer;

Ho night is now with hymn or carol blast;

Therefore the moon. the governess of floods.

Pale in her anger. washes all the air.

That rheumatic diseases do abound. 105
1nd thorough this distemperature we see

The seasons alter: hoary-headed frosts

l'all in the fresh lap of the crimson rose.

25

And on old Hiems' thin and icy crown
Ln odorous chaplet of sweet summer buds
Is. as in mockery. set: the spring. the sun-
mer. 111
The childing autumn. angry winter, change
Their wonted liveries; and the mazed world,
By their increase, now knows not which is
which.

And this same progeny of evils comes 115
1'an our debate. from our dissension;
We are their parents and original.

031. Do you amend it then; it lies in you.
Why should Titania cross her Oberon?

I.d_o_._bnt._bes..e ._littlephaneeline boy 120
To ~he, my . henchmen.
TITA. Set your heart at rest:

The fairy landhuys not the child 'ofrme.
3.11.9915119? was a vot'ress of aw order.
And, in the spiced Indian air. by night.
Full often hath she gossip'd by aw side. 125
And sat with me on Neptune‘s yellow sands.
Marking th' embarked traders on the flood.
When we have laugh'd to see the sails conceive
And. grow big-bellied with the wanton wind;
Which she with pretty and with swiming

gait
Following. her womb then rich with my young

squire. 131
Would imitate, and sail upon the land
To fetch me trifles, and return again.
As from a voyage, rich with merchandise.
But she, being mortal. of that boy did die;
And for her sales do I rear up her boy. (135
And for her sake I will not part with him.

GEE. How long within this wood intend

you stay?
TITA. Perchance till after Theseus' wed-
dinerday.

If you will patiently dance in our round 140
Lhd' see our moonlight revels, go with us;
If not, shun me. and I will spare your haunts.

03E. Give me that boy. and I will go with

thee.
TITA. Not for thy fairy hngdom. Fairies.
away!
WL!MA.9§§Q9_..40mieht. 11' I longer stay-

(145
EXIT TITANIA WITH HER TRAIN.
032. Well. go thy way: thou shalt not
fromWhis” grove
Till I torment thee for this injury.
My gentle Puck. come hither. Thou remem-
b'rest
Since once I sat upon a promontory.
had heard a‘mermaid on a dolphin's back 150
Uttering such dulcet and harmonious breath
That the rude sea grew civil at her song.

26

And certain stars shot madly from their
spheres.

To hear the sea-maid's music?

BOB. I remember.

OBI. That very time I saw. but than

couldst not. 155
Flying between the cold moon and the earth.
Oupid all am'd. A certain aim he took
At a fair vestal throned by the west.
And loos'd his love-shaft smartly from his
bow.
is it should pierce a hundred thousand hearts;
But I might see young Cupid's fiery shaft 161
Quench'd in the chaste beams of the wat'ry
moon
And the imperial votaress passed on,
In maiden meditation. fancy-free.
Yet mark'd I where the belt of Cupid fell. 165
It fell upon a little western flower.
Before milk-white. now purple with love's
wound.
And maidens call it love-in-id1eness.
l‘etch me that flower, the herb I shew'd thee
once.

The Juice of it on sleeping eye-lids laid 1'70
Will make or man or woman madly dote
Upon the next live creature that it sees.
Fetch me this herb; and be thou here again
Ire the leviathan can swim a league.

RIB. 1111 putaugirdle round about the

earth " " ' ‘ 175
In forty minutes. EXIT.
03E. Having once this Juice.

I'll watch Titania when she is asleep.
1nd drop the liquor of it in her eyes.
The next thing then she waking looks upon,
Be it on lion. bear, or wolf, or bu11,180
On meddling monkey. or on busy ape,
She shall pursue it with the soul of love;
And are I take this charm from off her sight,
As I can take it with another herb.
I'll malne her render up her page to me. 185
But who comes here? I am invisible;
And I will overhear their conference.
Inter MTRIUS. HEIENA following him.
DEM. I love thee not. therefore pursue me
not.
Where is Lysander and fair Hermie?
The one I'll slay. the other slayeth me. 190
Then told'st me they were stolen unto this
wood:
And here I am. and wode within this wood,
Because I cannot meet m Hermie.
Hence. get thee gone. and follow me no more.
BEL. You draw me, you hard-hearted ada-
mant; 195

27

But yet you draw not iron. for my heart
Is true as steel. Leave you your power to
draw.
And I shall 'have no power to follow you.
DEM. Do I entice you? Do I speak you
fair?
Or. rather. do I not in plainest truth 200
Tell you. I do not. nor I cannot love you?
311.. And even for that do I love you the
more.
I am your spaniel. and. Demetrius.
The more you beat me, I will fawn on you.
Use me but as your spaniel. spurs me. strike
me. 205
Beglect me. lose me; only give me leave.
Unworthy as I am. to follow you.
What worser place can I beg in your love.-—-—-
And yet a place of high respect with me,--
Than to be used as you use your dog? 210
mu. Tulpt not too much the hatred of
my spirit.
ror I am sick when I do look on thee.
REL. And I am sick when I look not on
you.
DEM. You do impeach your modesty too
much.
To leave the city and comit yourself 215
Into the hands of one that loves you not;
To trust the opportunity of night
And the ill counsel of a desert place
With the rich worth of your virginity.
REL. Your virtue is my privilege. For
that 220
It is not night when I do see your face.
Therefore I think I am not in the night;
Ber doth this wood lack worlds of company,
I'or you in In respect are all the world.
Then how can it be said I am alone. 225
When all the world is here to look on me?
DEM. I'll run from thee and hide me in
the brakes.
And leave thee to the mercy of wild beasts.
HEL. The wildest hath not much a heart as
you.
Bun when you will. the story shall be chang'd:
Apollo flies. and Daphne holds the chase: 281
The dove pursues the griffin; the mild hind
Makes speed to catch the tiger. bootless
speed.
When cowardice pursues and velour flies.
DEM. I will not stay they questions; let me
80:
Or. if thou follow me. do not believe
But I shall do thee mischief in the wood.
REL. Ay. in the temple. in the town. the
field.
28

You do me mischief. Fie. Demetrius!
Your wpngs do set a scandal on my sex. 240
We cannot fight for love. as men may do.
We should be woo'd and were not made to
woo. EXIT JEMETRIUS.
I'll follow thee and make a heaven of hell.
To die upon the hand I love so well.
EXIT HEIEM,
0183. Tara thee well. nymph. Ere he do
leave this grove. 245
Thou shalt fly him and he shall seek thy love.
Re-enter ROBIN GOODE‘EILOW.
East thou the flower there? Welcome. wan-

derer.
ROB. Ay. there it is.
OBE. I pray thee. give it me.

I know a bank where the wild thyme blows.
Where 0:111» andethemoddineyiqlet are". 250
Quite over-canopied with luscious woodbine.
With sweet musk-roses and with eglantine.
There sleeps Titania sometimes of the night.
Lull'd in these flowers with dances and de-
light:
And there the snake throws her enamell'd
skin. 255
Weed wide enough to wrap a fairy in:
And with the Juice of this I'll streak her eyes.
And make her full of hateful fantasies.
Take thou some of it. and seek through this
grove.
A sweet Athenian lady is in love 260
With a disdainful youth; anoint his eyes.
But do it when the next thing he espies
May be the lady. Thou shalt know the man
By the Athenian garments he hath on.
Effect it with some care. that he may prove
More fond on her than she upon her love: 266
Aingfilgok then meet me ere the first cock crow.
ROBIN. Fear not. cw lord. your servant
magnate" ‘ " mm.
Scene 11. ANOTHER PART OF THE WOOD.

Inter TITANIA. QUEEN OF THE FAIRIES.
with her train.
TITA. Gang. now a roundel~ and a fairy
song;
Then. _fbif'flthe "third part of. a minute.hence;
Sane to kill cankers in _the musk—rose buds.
Sane war withwrmere-mic‘e for their leathern
M wings '
To mains m small elves coats. and some keep
back 5
“fl” 29

 

MEQRWWQZL “£81.”: --.nightly .1100 1:8 and
wonders

At our quaint spirits. Sing me now asleep:

Then _to your offices and let me rest.

' FAIRIES SING.
1. FAIH.

‘- "You spotted snakes with double tongue.
Thorny hedgehogs.‘ he ‘not' seen;”"’ ' 10
Newts and blind-worms. do no wrong.
Come not near our fairy queen."

CHORUS .

'Philome1. withimelody
Sing iii “oi—r“ sweet lullaby:
Lul1a. lulla. lullaby; lulla. lulla. lullaby.
Never harm. (15
Nor spell norcharm.
Cane our lovely lady high.
So good night. with lullaby."

1. FAIRY.

"Weaving __spiders. come not here;
Hence. you long-__legg'd spinners. hence!
Beetles black. approach not near; (21
Worm not snail. do no offence."
"Mm fl " CHORUS.

 

“Philanel‘twith melody." etc.

2. FAIRY. Hence, awayiv now all is well. 25
556 alaflo'f s'tahdhsentinel.
SE’ SIEEPSI‘ "EXEUHT FAIRIES.
Inter OBERON AND squeezes the flower on
TITANIA'S eyelids.
OBE. What thou seest when thou dost
wake.
Do it for thy true-love take.
Love and languish far his sake.
Be it ounce. or cat, or Bear. 30
Pard or_ bear with bristled hair.
In thy _oye that __s_hal_1 appear
When thou wak'st; _it is thy deer.
Wake when some vile thing is near.
“w ” EXIT OBERON.
Inter LYSANDER and HERMIA.
LYS. Weir love. you faint with wandering
in the wood: 35

30

.2
[“11" |-.\"v ‘: ‘ ~
A ' ~ / ' h" ‘
. . ~ _, .‘ "5“»

 

 

 

 

And to speak troth. I have forgot our way.
We'll rest us. Bennie. if you think it good.
And tarry for the comfort of the day.
HER. Be it so. Lysander. rind you out a
bed:
Tor I upon this bank will rest aw head. 40
LYS. One turf shall serve as pillow for us
both;
One heart. one bed. two bosoms and one troth.
EB. Hay. good Lysander: for my sake.
my dear.
Lie further off yet: do not lie so near.
LYS. 0. take the sense. sweet. of my inno-
sense! 45
Love takes the meaning in love's conference.
I mean that my heart unto yours is knit
So that but one heart we can make of it:
Two bosoms interchained with an oath:
So then two bosoms and a single troth. 50
Then by your side no bed-room me deny:
Per lying so. Hermie. I do not lie.
HER. Lysander riddles very prettily.
How much beshrew my manners and my pride.
If Bennie meant to say Lysander lied. 55
But. gentle friend. for love and courtesy
Lie further off: in humane modesty
Such separation as may well be said
Becomes a virtuous bachelor and a maid.
So far he distant: and. good night. sweet
friend. 60
Thy love ne'er alter till they sweet life end:
LYS. Amen. amen. to that fair prayer.
say I:
And then end life when I and loyalty!
Here is aw bed: sleep give thee all his rest:
HER. With half that wish the wisher's eyes
be press'd: THEY SLEEP. 65

Inter ROBIN GOODEELLOW.

RUBIN. Through the forest have I gone.
But Athenian found I none.
0n whose eyes I might approve
This flower's force in stirring love.
light and silence—Who is here?
Weeds of Athens he doth wear! 9'1
This is he. aw master said.
Despised the Athenian maid:
And here the maiden. sleeping
sound.
0n the dank and dirty ground. 75
Pretty soul: she durst not lie
Hear this lack-love. this kill-
courtesy.
Ohurl. won they eyes I throw
All the power this chem doth
0W6.

31

When thou wak'st. let love forbid
Bleep his seat on thy eyelid: 81

So awake when I am gone.
For I must now to Oberon. EXIT.

Enter DEMETRIUS and HELENA. running.
HEL. Stay. though thou kill me. sweet De-

metrius.
m. I charge thee. hence. and do not
haunt me thus. 85
m. 0. wilt thou darkling leave me? Do
not so.

DEE. Stay. on thy peril: I alone will go.
EXIT DEMETRIUS.
m. 0. I am out of breath in this fond
chase:
The more In prayer. the lesser is my grace.
Happy is Hermie. wheresoe'er she lies. 90
ror she hath blessed and attractive eyes.
How came her eyes so brightly? Not with salt
tears:
If so. my eyes are oftener wash'd than here.
No. no. I am as ugly as a beer.
ror beasts that meet me run away for fear:
Therefore no marvel though Demetrius 96
Do. as a monster. fly my presence thus
What wicked and dissembling glass of mine
Made me compare with Hermia's sphery
eyes? 99
But who is here? Lysander! on the ground!
Dead. or asleep? I see no blood. no wound.
Lysander. if you live. good sir. awake.
m. (mama) And run through fire I will
for thy sweet sake.
Transparent Helene! Nature shows are.
That through thy bosom makes me see thy
heart. 105
Where is Demetrius! 0. how fit a word
Is that vile name to perish on my sword:
m. Do not say so. Lysander: say not so.
What though he love your Hermie? Lord.
what though?
Yet Hermie still loves you: then be content.
LYS. content with Hermie! No: I do re-
pent 111
The tedious minutes I with her have spent.
lot Hermie but Helena I love.
Who will not change a raven for a dove?
The will of man is by his reason sway'd: 115
And reason says you are the worthier maid.
Things growing are not ripe until their sea-
son.
so. I. being young. till now ripe not to reason:
And touching now the point of human skill.
Reason becomes the marshal to my will 120
And leads me to your eyes. where I o'erlook
32

Love's stories written in love's richest book.
HEL. Wherefore was I to this keen mock-
ery born?
When at your hands did I deserve this scorn?
Is't not enough. is't not enough. young
man.
That I did never. no. nor never can. 126
Deserve a sweet look from Demetrius' eye.
But you must flout my insufficiency?
Good troth. you do me wrong. good sooth
you do.
In such disdainful manner me to woo. 130
But fare you well: perforce I must confess
I thought you lord of more true gentleness.
0. that lady. of one man refus'd.
Should of another therefore be abus'd!
LYS. She sees not Hermie. Hemia. sleep
than there: 135
And never mayst thou come Lysander near!
Tor as a surfeit of the sweetest things
The deepest loathing to the stomach brings.
Or as the heresies that men do leave
Are hated most of those they did deceive. 140
So thou. w surfeit and my heresy.
Of all be hated. but the most of me!
And. all m powers. address your love and
might
To honour Helen and to be her knight. EXIT.
HER. (AWAKINGJ Helplme. Lysander. help
me! do thy best 145
To pluck this crawling serpent from my
breast!
Ay me. for pity! what a dream was here!
Lysander. look how I do quake with fear.
Methought a serpent eat my heart away.
And you sat mailing at his cruel prey. 150
Lysander! what. remov'd? Lysander! lord!
What. out of hearing? Gone? Ho sound. no
word?
Alack. where are you? Speak. an if you hear:
Speak. of all loves! I swoon almost with fear.
He? then I well perceive you are not nigh: 155
Either death or you I'll find immediately.
EXIT.
ACT 111. Scene 1. THE WOOD. TITANIA LYING ASLIEP

Inter the Clowns—QUINCE. SNU}. BOTTOM. FLUTE.
SHOUT. and. STARVELING.

BOT. Are we __al1 met?

QUIT. Pet. pet: and here's a marvellous
convenient place for our rehearsal. This ________green
plot she11 be our stage. this hawthorn-brake

saggy—u gwfi 4

 

 

our tiringe-house: and we will do it in action as
we will do it before the Dulce.

son. Peter Quince:

QUIN. What say'st thou. bully Bottom?

BOT. There are things in this comedy of
Pyramus and Thisby that will never please.
Tirst. Pyramus must draw a sword to kill
himself. which the ladies cannot abide. How
answer you that?

SHOUT. By'r lakin. e parlous fear.

STAR. I believe we must leave the killing
out. when all is done.

BOT. Not a whit! I have a device to make
all well. Write me a prologue: and let the pro-
1ogue seem to say. we will do no ham with our
swords and that Pyramus is not killed indeed:
and. for the more better assurance. tell
them that I Pyramus am not Pyramus. but
Bottom the weaver. This will put them out
0: 1681's

QUIH. Well. we will have such a prologue:
and it shall be written in eight and six.

BOT. No. make it two more: let it be writ-
ten in eight and eight.

SHOUT. Will not the ladies be afeard of the
lion?

STAR. I fear it. I promise you.

BOT. Masters. you ought to consider
with yourselves. To bring in—-God shield us!
---a lion among ladies. is a most dreadful
thing: for there is not a more fearful wild-
fowl than your lion living: and we ought to
look to 't.

SHOUT. Therefore another prologue'must
tell he is not a lion.

BOT. Hay. you must name his name. and
half his face must be seen through the lion's
neck: and he himself must speak through. say-
ing thus. or to the same defect. “Ladies.“ or
”Mr ladies. I would wish you.“ or I
would request you.“ or “I would entreat you.
not to fear. not to tremble: my life for yours.
If you think I come hither as a lion. it were
pity of my life. No. I am no such thing: I am
a man as other men are!‘ and there indeed
let him name his name. and tell them plainly
he is SHUG the Joiner.

QUIN. Well. it shall be so. But there is ”two
hard things: that is. to bring the moonlight
into a chamber: fer. you know. Pyramue and
Thisby meet by moonlight.

“SHOUT. Both the moon shine that night we
alas males?

BOT. A calendar, a calendar! Look in the
almanac! find out moonshine. find out moon-
shine.

QUIN. Yes, it doth shine_othat_night.

34

 

6

11

16

25

45

51

55

BOT. Why. then may you 19379.2 gmsement
of the great chainber window, wherIeI_ we play.
open. end the moon _Mnedn at the case-
ment. 6O
~"_QUIN. Ay: or else one must gone __in
with a buslTof thorns and a lantern. and say, he
c____omes to disfigure. or to present. thmmof
Moonshine. The. there is another thing; .we
must have a wa11fl§in 1211.96.13”? charmer; for
Pyramus and Thisby. says the story. did talk
through théohink ofawall. 66

'haSNOUT. You can never bring,_inma_ gall.

tsay yohjfit tom?

mBOT. Sane man or other mtmsgnt
Wall: and let him have some plaster. or some
loam. or some rough-cast about _him. to (71
signify wall: or let him hold hisjingers thus.
and through that crannym shall Pyramus and
Thigh by wwhis spor
QUIN. If that may bel then all is __well.
Cane. sit down. every mother's son. ago-
hearse yourjarts, Pyramue, you begin. (75
When you have spoken your speech. enter
into that ”brake. And :30 every one according

 

 

 

Inter ROBIN 000W behind.

ROBIN. Whot hempen home-Imogen
we swagg'ring here.
80 near the cradle of the fairy man? 80
What. a play toward! I'll be an auditor:
An actor too perhaps. if I seem
QUIN. Speak. Pyramus. Thisbyj stend
forth.

BOT. “Wimp
QUE. We. 85

fidear.

331 hark...” 19.1.93in
199.. mammndmm. "

EXIT BOTTOM.
ROBIN. A stranger Pyramus than e'er
pley'd here. EXIT ROBIN. 90

TL. Must I speak now?
QUIN. Ay1 maqu must youLfor you met
understand ES oes but to seo we noise that he

heard. 295 Win.
"Host radiant Pyramus. moot_l,ily-

white of hog. 95
Of coIourM like the red rose on triumphant
W'MMJ"
host—Efren invenal and eke most lovely Jew,

1:...1t._m._e..__.._89 imagines that ye Linguine?”

1‘8.
_._... 35

I'll, meet thee. Pyramus. a_t _Nihpy_'_s___tom‘b.”

QUIN. "Ninus" tomb.“ man. Why. you
meet“ not speak _thet yet thet you answer
to Pyremus. ._ You speak on your part at once
goes and all. Pyremus enter. Your cue is
Paifitj-i.,1§.--??n91912_.,tire."' " “ ‘”

FLU. O.---"As true as tmeihfiofireeethot’ yet
would never tire.“ 105

Re-sntsr ROBIN GOODHLLOW. end BOTTOM with
the ess's heed.

BOT. "If I were. fair Thisby. I were only

thine.“

QUE. egg}? trons! -.9-et.1:.sese:._19...ere
haunted. PPEILP§§£9£§3 fly. mastersnggelp}.
MUNT ALL THE GIDWNS.

ROBIN. I'll follow you. I'll lead you about

a round.
Through bog. through bush. through brake.
through brier. llO
Sanstime a horse I'll be. sanetime a hound.

L hog. a headless bear. sanstims a fire:

And neigh. and bark. and grunt. and roar. and
burn.

Libs horse. hound. hog. bear. fire. at every
turn. EXIT ROBIN.

BOT. Why do they ruh ew_ay‘l_~ This is a

mvery 99:, them,jo.makdma_afeard. 116
Be-enter SNOUT

SNOUT. A Bottan. thee are changed. What
do I see on thee? m
BOT. What do 199,969? You see an ass-
head of your own. do you? HIT SHOUT. 120

Re-enter QUINOB.

QUIN. Bless thee. Bottom: bless _t_hesi
thou art translated. EXIT QUINGE.
BOT: I see their knavery; this is to make
an ass of me. to fright 91°... if -1391 could. But}
will not stir fran this place. do what they can.
I will walk and down he ere. and I will (12?
si that they shall hear I am not afraid.
SIN The ousei cook so black of hue.
Wm, 321,1}.
The throstle with his note so true. 130
A?” wren with little quill. :"m—
TITA. (mo I.NG ) What angel wakes me from
no 129d?
nor. smos. )
“The finch. the sparrow. and the lark.
The plain-song cuckoo gray.
36

 

 

 

 

 

 

'hose note full many a man doth mark.
And dares not answer nay;"--- 136

for. indeed. who would set his wit to so foolish
a bird? Who would give a bird the lie. though
he cry “cuckoo" never so?

TITA. I pray thee. gentle mortali sisgggain.
Kine ear is much enamoured of thy note; 141
So is mine eye enthralled to thy shape:
And-WYaTr virtue's force (perforce) doth

 

move me
On the first view to say. to swear. I love thee.
BOT. Methinks, mistress, you should (145

have little reason for that; and yet. to say_ the
truth?” reason and love keep little company to-
gather now-ea-days; the more the pity that

some honest neighbours will not make them

friends. Nay. I can glee]: upon occasion. 150
N”- Thm art 98.11.96 43.9 3129;931 hemati-
ful. . . -....._..i-,.-_ .

3015‘" Not so. neither; but if I had wit
enough to get out of this wood. I have
enough to serve mine own turn.
TIM. Out of this wood do not desire to

go: 155
Thou shalt remain here. whether thou wilt or

no.
I am a spirit of no cannon rate:
The owner still doth tend upon an state:
And I do love _thse; therefore. go with me.
I'll givs thee fairies to attend on thee. 160
Kid they shall fetch thee Jewels from the

déQPo
And sigg whil_e thou on pressed flowers dost

sle
And I will purge thy mortal grossness so
i’hat thou shalt like an airy spirit go.
Peaseblossom! Cobweb}. Moth: and Mustard-

622.: 166
Inter FOUR FAIRIES: BILSlBLOSSOM. 003m.

M013. and HUSTABJBERD.

 

ms. 119221..

(“13- “41.3.;

MOTH. no.1.

nus. And I.

11.1..lhere shall we £91

rm. so kind and courtep‘iii' to" this" canno-
man.

Hop in his walks and gambol_ in his eyes;
Feed him with apricocks and dewberries.
With purple grapes, green figs,“ and mulber-
ries; 170
The honey-bsgs steal frm the bumble-bees.
And for night-tapers crop their waxen thighs
And light than at the fiery glow-wom's eyes.

37

To have my love to bed and to arise:
_ And pluck the swings from painted butterflies
To fan the moonbeams from his sleeping
eyes.’ 176
Nod_to,_him.,el!_ea...snd do him courtesies.
PMS. Haileortali

cos. Hail!
MOTH. @: 180
MUS. Hail}

BOT. I cry your warships mercy. heartily,
I beseech your worship's name.

603. Cobweb.
BOT. I shall desire you of more acquaint-
ance. good Master Cobweb. If I cut (186

my finger. I shall mks bold with you. Y_o__u__r
ngge. honest gentleman?

PEAS. PWPRPRQW’N

BOT. {pray you commend me to Mistress

Squash. your mother. and to Master Peascod.

your father. Good Master Posse-blossom. (190

I shall desire you of more acquaintance too.

Your ngmwe. I beseech you. sir?

HUS. “122591591933- 195

BOT. Good Master Mustardseed. I know
your patience well. That same cowardly. giant-
lik'e ox-beef hath devoured many a gentleman

of your house. I promise you your kindred

hath made my eyes water ere now. I desire

You of more acquaintance. good Master (200

flustardseed.

Tm. Qqammreis._upon_._hm: lead him to
my bower.

Ihe moon methinks looks with a watery
eye.

And when she weeps. weeps every little flower.
lamenting some enforced chastity. 205
I'ie up my love's tongue. bring him silently.

MUM.

Scene 11. ANOTHER PART 01'
THE WOOD.

Inter OBEBON, King of the Fairies.

033. I wonder if Titania be awak'd;
Then. what it was that next came in her eye.
lhich she must dots on in extremity.

Enter ROBIN GOOIE'ELLOW.

Here comes my messenger. How now. mad
spirit!
lhat night-rule now about this haunted
grove? 5
ROBIN. My mistress with a monster is in
love.
88

near to her close and consecrated bower.
Ihile she was in her dull and sleeping hour.
A crew of patches. rude mechanicals.
That work for bread upon Athenian stalls. lO
Iere met together to rehearse a play
Intended for great Theseus' nuptial-day.
The shallowest thickskin of that barren sort.
lho Pyrmnus presented in their sport.
lorsook his scene and enter'd in a brake. 15
then I did him at this advantage take.
An ass's nole I fixed on his head.
Anon his Thisby met be answered.
And forth my mimic canes. When they him
'1’?!
As wild geese that the creeping fowler eye. 20
Or russet-pated choughs. many in sort.
Rising and cawing at the gun's report.
Sever themselves and madly sweep the sky.
80. at his sight. away his fellows fly;
And. at a stump. here o'er and o'er one falls:
Be murder cries. and help frmn Athens
calls. 26
Their sense thus weak. lost with their fears
thus strong.
Made senseless things begin to do them
"‘03“
for briers and thorns at their apparel snatch:
So. sleeves. some hats. from yielders all
things catch. 80
I led them on in this distracted fear.
And left sweet Pyramus translated there;
lhen in that moment. so it came to pass.
Titania wak'd and straightway lov'd an ass.

03!. This falls out better than I could de-
vise. 35
But hast thou yet lateh'd the Athenian's eyes
lith the love-Juice. as I did bid thee do?

MIN. I took him sleeping--that is fin-

ish'd too.---
And the Athenian wanan by his side;
That. when he wak'd. of force she must be
ey'd. . 4O

Inter METRIUS and. EEBMIA.

(8!. Stand close; this is the same Athen-
ian.
ROBIN. This is the woman. but not this the
man.
mu. 0. why rebuke you him that loves
you so?
Lay breath so bitter on your bitter foe.
HER. low I but chide; but I should use
thee worse. 45
l'or thou. I fear. hast given me cause to
curse.

39

If thou hast slain Lysander in his sleep.
Being o'er shoes in blood. plunge in the deep.
And kill me too.
The sun was not so true unto the day 50
As he to me: would he have stolen away
I'm sleeping Bennie? I'll believe as soon
This whole earth may be bor'd and that the
moon
May through the centre creep and so displeaee
Ber brother's noontide with the Antipodes.
It cannot be but thou hast murder'd him; 56
So should a murderer look. so dead. so grim.
m. 80 should the murdered look. and

so should I.
Piere'd through the heart with your stern
cruelty;
Yet you. the murderer. look as bright. as clear.
As yonder Venus in her glimering sphere. 61
HER. lhat's this to my Lysander? [here
is he?

Ah. good Demetrius. wilt thou give him me?
III. I had rather give his carcass to w

hounds.
EBB. Out. deg! out. curl thou driv'st me
past the bounds 65
Of maiden's patience. Bast thou slain him.
then?

Benceforth be never nunber'd among men!
0. once tell this. tell true. even for m sake!
Durst thou have look'd upon him being awake.
And hast thou kill'd him sleeping? O brave
touch! 70
Could not a worm. an adder. do so much?
An adder did it: for with doubler tongue
Than thine. thou serpent. never adder stung.
Ill. You spend your passion on a mis-
pris'd mood.
I am not guilty of Lysander's blood; 75
For is he dead. for aught that I can tell.
BER. I pray thee. tell me then that he is
well.
mu. An if I could. what should I get
therefore?
EBB. A privilege never to see me more.
And from thy hated presence part I so: 80
See me no more. whether he be dead or no.
HIT HEmIA.
am. There is no following her in this
fierce vein:
Here therefore for a while I will ranain.
Bo sorrow's heaviness doth heavier grow 84
l'or debt that bankrupt sleep doth sorrow
owe;

40

Which now in some slight measure it will pay.
I'f”for his tender here I-make sane stay.
LIES DOWN AND SLEEPS.
0B3. What has thou. done? Thou hast
mistaken quite
And laid the love-Juice on sane true-love's
sight.
Of thy misprision must perforce ensue 90
Sane true love turn'd and not a false turn'd
true.
ROBIN. Then fate o'er-rules. that. one man
holding troth.
A million fail. confounding oath on oath.
033. About the wood go swifter than the
find.
And Helena of Athens look thou find. 95
All fancy-sick she is and pale of cheer
With sighs of love. that cost the fresh blood
dear.
By sane illusion see thou bring her here.
I'll charm his eyes against she do appear.
ROBIN. I go. I go: look how I go. 100
Swifter than arrow from the Tartar's bow.
EXIT ROBIN.
cm. flower of this purple dye.
Kit with Cupid's archery.
Sink in apple of his eye.
When his love he doth saw. 105
Let her shine as gloriously
As the Venus of the sky.
When thou wak'st. if she by by.
Beg of her for remedy.

Be-enter ROBIN GOODFEILOW.

ROBIN. Captain of our fairy band. 110
Helena is here at hand;
And the youth. mistook by me.
Pleading for a lover's fee.
Shall “we their fond pageant see?
glib? $99.19 the.” mortal!
belkq W 115
ms. Standwa‘side. The noise they make
Will cause Danetrius to awake.
ROBIN. Then will two at once woo one;
That must needs be sport alone.
And those things do best please me
That befall prepost'rously. 121

Inter LYSANIER and ELENA.

LYS. Why should you think that I should
woo in scorn?

41

Scorn and derision never come in tears.
Look. when I vow. I weep: and vows so born.

In their nativity all truth appears. 125
How can these things in me seem scorn to you.
Bearing the badge of faith to prove them true?

BEL. You do advance your cunning more

and more.
When truth kills truth. 0 devilish-holy
frav:
These vows are Bonnie's: will you give her
o'er? 130
Weigh oath with oath. and you will nothing
weigh.
Your vows to her and me. put in two scales.
Will even weigh. and both as light as tales.
LYS. I had no Judgement when to her I

swore.

Ella. Nor none. in my mind. now you give
her o'er.

LYS. Demetrius loves her. and he loves
not you.

mm. untrue.) 0 Helen. goddess.
mph. perfect. divine!
To what. aw love. shall I compare thine eyne?
Crystal is muddy. O. how ripe in show
Thy lips. those kissing cherries. tempting
grow! 140
That pure congealed white. high Taurus' snow.
Iann'd with the eastern wind. turns to a crow
When thou hold'st up thy hand. 0. let me kiss
This princess of pure white. this seal of bliss!
BIL. O spite! 0 hell! I see you all are bent
To set against me for your merriment. 146
If you were civil and knew courtesy.
You would not do me thus much inJury.
Can you not hate me. as I know you do.
But you met Join in souls to mock me
too? 150
If you were men. as men you are in show.
You would not use a gentle lady so:
To vow. and swear. and superpraise m parts.
When I as sure you hate me with your hearts.
You both are rivals. and love Bermia; 155
And now both rivals. to mock Helena.
A trim exploit. a manly enterprise.
To conjure tears 1m in a poor maid's eyes
With your derision! None of noble sort
Would so offend a virgin and extort 160
A poor soul's patience. all to make you sport.
LYS. You are unkind. Demetrius; be not
so:
For you love Bennie; this you know I know.
And here. with all good will. with all aw heart.

42

I |||| I I I ‘

In Hemia's love I yield you up my part; 165
And yours of Helena to me bequeath.
Whas I do love and will do till my death.
BIL. Never did mockers waste more idle
breathe
mu. Lysander. keep thy Hermie: I will
none.
If e'er I lov'd her. all that love is gone. 170
My heart to her but as guest-wise sojourn'd.
And now to Helen is it home return'd.
There to remain.

LYS. Helen. it is not so.
DEM. Disparage not the faith thou dost
not know.
Lest. to thy peril. thou aby it clear. 175
Look where they love comes; yonder is thy
dear.

He-enter HEBMIA.

HER. Dark night. that fran the eye his
function takes.
The ear more quick of apprehension makes;
Wherein it doth impair the seeing sense.
It pays the hearing double recompense. 180
Thou art not by mine eye. Lysander. found:
Nine ear. I thank it‘.: brought me to thy sound.
But why unkindly didst thou leave me so?
LYS. Why should he stay. whom love doth
press to go?
HER. What love could press Lysander fran
my side? 185
BIS. Lysander's love. that would not let
him bide. ‘
ll'air Helena. who more engilds the night
Than all you fiery oes and eyes of light.
Wlw seek'st than me? Could not this make
thee know.
The hate I bare thee made me leave thee so?
HIE. You speak not as you think. I can-
not be. 191
HIL. he. she is one of this confederacy!
Now I perceive they have conjein'd all three
To fashion this false sport. in spite of me.

Injurious Hernia! most ungrateful maid! 195
Have you conspir' d. have you with these con-
triv'd

To bait me with this foul derision?
Is all the counsel that we two have shar'd.
The sisters' vows. the hours that we have
mute
When we have chid the hasty-footed time 200
For parting us.-—O. is all forgot?

42

All school-days' friendship. childhood inno-
cence?
We. Hermie. like two artificial gods.
Have with our needles created both one flower.
Both on one sampler. sitting on one cush-
ion. 205
Both warbling of one song. both in one key.
As if our hands. our sides. voices. and minds.
Had been incorporate. So we grew together.
Like to a double cherry. seeming parted.
But yet an union in partition: 210
Two lovely berries moulded on one stem;
So. with two seeming bodies. but one heart;
Two of the first. like costs in heraldry.
Due but to one and crowned with one crest.
And will you rend our ancient love asunder.
To Join with men in scorning your poor
friend! 216
It is not friendly. 't is not maidenly.
Our sex. as well as I. may chide you for it.
Though I alone do feel the injury.
HER. I an amazed at your passionate
words. 220
I scorn you not: it seems that you scorn me.
BIL. Have you not set Lysander. as in
scorn.
To follow me and praise m eyes and face?
And made your other love. Demetrius.
Who even but now did spurn me with his foot.
To call me goddess. nymph. divine and
’rare. 226
Precious. selestial? Wherefore speaks he this
To her he hates? And wherefore doth Lysan-

der
Deny your love. so rich within his soul.
And tender me. forsooth. affection. 230

But by your setting on. by your consent?
What though I be not so in grace as you.
So hung upon with love. so fortunate.
But miserable most. to love unlov'd?
This you should pity rather than despise. 235
HER. I understand not what you mean by
this.
m. Ar. do persever. counterfeit sad
looks.
Make mouths upon me when I turn my back.
Wink each .at other. hold the sweet Jest up;
This sport. well carried. shall be chronicled.
If you have any pity. grace. or manners. 241
You would not make me such an argmnent.
But fare ye well: 't is partly m own fault.
Which death or absence soon shall remedy.
LYS. Stay. gentle Helena; hear my excuse.

43

Hy love. my life. my soul. fair Helena! 246
BEL. 0 excellent!
ER. Sweet. do not scorn her so.
mu. If she cannot entreat. I can compel.
LYS. Thou canst compel no more than she
entreat;
Thy threats have no more strength than her
weak prayers. 250
Helen. I love thee: by my life. I do!
I swear by that which I will lose for thee.
To prove him false that says I love thee not.
m. I say I love thee more than he can

dc.
LYS. If thou say so. withdraw. and prove
it too. 255

RM. Quick. come!
ass. Lysander. whereto tends all this?
LYS. Away. you lthiope!

DEM. No. no: he will
Seem to break loose. Take on as you would
follow.

But yet come not. You are a tame man. go!
LYS. Hang off. than cat. thou burr! Vile
thing. let loose. 260
Or I will shake thee from me like a serpent!
BER. Why are you grown so rude? What
change it this?
Sweet love.---
LYS. my love! Out. tawny Tartar. out!
Out.loathed med' cine! O hated potion.

hence!

HIE. Do you not Jest?

BIL. Yes. sooth: and so do you. 265

LYS. Demetrius. I will keep aw word with
thee.

DEM. I would I had your bond. for I per-
ceive

A weak bond holds you. I'll not trust your

word.

LYS. What. should I hurt her. strike her.
kill her dead?
Although I hate her. I'll not harm her so. 270
HER. What. can you do me greater harm
than hate?
Hate me! wherefore? 0 me! what news. m
love!
Am not I Hernia? Are you not Lysander?
I am as fair now as I was erewhile.
Since night you lov'd me; yet since night you
left me:
Why. then you left me--O. the ‘gods forbid!“-
In earnest. shall I say?
LYS. Ay. by aw life:

44

and never did desire to see thee more.
Therefore be out of hope. of question. doubt;
Be certain. nothing truer; 't is no Jest 280
That I do hate thee and love Helena.
HER. 0 me! you Juggler! you canker-blos-

som!
You thief of love! What. have you come by
night
And stol'n my love's heart from him?
BEL. Fine. 1' faith!
Have you no modesty. no maiden shame. 285

No touch of bashfulness? What. will you tear
Impatient answers from my gentle tongue?
I'ie. fie! you counterfeit. you puppet. you!
HER. Puppet? Why so? Ay. that way goes
the game.
New I perceive that she hath made compare
Between our statures; she hath urg'd her
height; 291
And with her personage. her tail personage.
Her height. forsooth. she hath prevaid'd with

him.
And are you grown so high in his esteem.
Because I am so dwarfish and so low? 295

How low am I. thou painted maypole? Speak.

How low am I. I am not yet so low

But that aw nails can reach unto thine eyes.

HBL. I pray you. though you mock me.

gentlemen.

Let her not hurt me. I was never curst; 300

I have no gift at all in shrewishness;

I am a right maid for my cowardice.

Let her not strike me. You perhaps may
think.

Because she is sanething lower than nwself.

That I can match her.

HER. Lower! her. again.
HIL. Good Bennie. do not be so bitter
with me. 306

I evezmore did love you. Hermia.

Did ever keep your counsels. never wrong'd
you;

Save that. in love unto Demetrius.

I told him of your stealth unto this wood. 310

He followed you; for love I followed him;

But he hath chid ms hence and threaten'd me

To strike me. spurn me. nay. to kill me too.

And now. so you will let me quiet go.

To Athens will I bear any folly back 315

And follow you no further. Let me go.

You see how simple and how fond I am.

HEB. Why. get you gone; who is 't that

hinders you?

45

HHL. A foolish heart. that I leave here
behind.
HER. What. with Lysander?
m. With Demetrius.
LYS. Be not afraid; she shall not harm
thee. Helena. 321
DEM. No. sir. she shall not. though you
take her part.
HEL. 0. when she's angry. she is keen and
shrewd!
She was a vixen when she went to school:
And though she be but little. she is fierce. 325
HEB. Little again! Nothing but low and
little!
Why will you suffer her to flout me thus?
Let me come to her.
LYS. Get you gone. you dwarf.
You minimus. of hindering knot-grass made;
You bead. you acorn.
DEM. You are too officious 330
In her behalf that seems your services.
Let her alone; speak not of Helena;
Take not her part; for if thou dost intend
Never so little show of love to her.
Thou shalt aby it.
LID. Now she holds me not. 335
How follow. if diou dar'st. to try whose right.
Of thine or mine. is most in Helena.
DEM. Follow! Nay. I'll go with thee.
cheek by Jowl. '
mum LYSANDEH AND DELETRIUS.
HER. You. mistress. all this coil is '1ong of
you.
Nay. go not back.
BBL. I will not trust you. I. 340
Nor longer stay in your curst company.
Your hands than mine are quicker for a fray.
My legs are longer though. to run away.
EXIT HELENA.
HEB. I am amas'd. and know not what to
say. HIT HERMIA.
(18!. This is thy negligence. Still thou
mistak'st. 345
Or else ccnsnitt'st thy knaveries wilfully.
ROBIN. Believe me. king of shadows. I mis-
took.
Did not you tell me I should know the man
By the Athenian garments he had on?
And so far blameless proves my enterprise.
That I have 'nointed an Athenian's eyes; 351
And so far am I glad it so did sort.
As this their Jangling I esteem a sport.

46

OBS. mou see'st these lovers seek a place

to fight;
Hie therefore. Robin. overcast the night.
The starry welkln cover thou anon
With drooping fog as black as Acheron.
And lead these testy rivals so astray
As one cane not within another's way.
Like to Lysander sometime fram thy tongue
Then stir Demetrius up with bitter wrong;
And sometime rail than like Demetrius;
And frcm each other look thou lead them
thus.

355

361

Till o'er their brows death-counterfeiting sleep

With leaden legs and batty wings doth creep;

Then crush this herb into Lysander's eye;

Whose liquor hath this virtuous preperty.

To take from thence all error with his might.

And make his eyeballs roll with wonted sight.

When they next wake. all this derision

Shall seem a dream and fruitless vision;

And back to Athens shall the lovers wend.

With league whose date till death shall never
end.

Whiles I in this affair do thee employ.

I'll to law queen and beg her Indian boy;

And then I will her charmed eye release

From momster's view. and all things shall be
peace.

ROBIN. My fairy lord. this__mus_t be done

Wit-h 1189-“: M... Fwd..-” L

Zea _..asni filfiflfiiyaswwget 311991911118 full
fast.

And yonderwihines Aurora's harbinger.

At whose approach. ghosts. wandering here
and there.

Troop home to churchyards; damned spirits
all.

That in crossways and floods have burial.

Already to their wormy beds are gone;

l'or fear lest day should look their shames
upon.

They wilfully themselves exile fran light

And must for aye consort with black-brow'd
night.

OBS. But we are spirits of another sort.

 

I with the morning's love have oft made sport.

And. like a forester. the groves may tread.
lven till the eastern gate. all fiery-red.
Opening on Neptune with fair blessed beams.

Turns into yellow gold his salt green streams.

But. notwithstanding. haste. make no delay.
We may effect this business yet are day.

4'?

366

370

375

380

385

390

395

EXIT OBERON.
ROBIN. Up and down. up and down.
I will lead them In) and down.
I an fear'd in field and town.
Goblin. lead them up and down.
Here canes one. - 400

He-enter LYSANDER.

LYS. Where art thou. proud Demetrius?
Speak thou now.
ROBIN. Here. villain: drawn and ready.
Where art thou?
LYS. I will be with thee straight.
ROBIN. Follow me. then.
To plainer ground.
EXIT LYSANmB. FOLLOWING THE VOICE.

Be-enter DEMETRIUS.

DEM. Lysander. speak again!
Thou runaway. thou coward. art thou fled?
Speak! In sane bush? Where dost thou hide
thy head?
ROBIN. niou coward. art thou bragging to
the stars.
Telling the bushes that thou look'st for wars.
And wilt not case? Come. recreant; come.

thou child.
I'll whip thee with a rod. He is defil'd 410
That draws a sword on thee.
EM. Yea. art thou there?
ROBIN. Tollow my voice. We'll try no
manhood here.

EXEUNT ROBIN AND IEMETHI'US.
He-enter LYSANDEB.

LYS. He goes before me and still dares me
on.

When I come where he calls. then he is gone.

The villian is much lighter-heel'd than I; 415

I followed fast. but faster he did fly.

That fallen am I in dark uneven way.

And here will rest me. come. thou gentle day!
LIES DOWN.

Tor. if but once thou show me thy grey light.

I'll find Demetrius and revenge this spite. 420
SLEEPS.

He-enter ROBIN GOODEELLOW
and MTHIUS.

48

- ROBIN. Ho. ho. ho! coward. why com'st
thou not?
um. Abide me. if thou dar'st: for well I
wot
Thou runn'st before me}. shifting every place.
And dar'st not stand. nor look me in the face.
Where art thou now?

ROBIN. Come hither; I am here.
mm. Nay. then. thou mock' st me. Thou
shalt buy this dear. 426

If ever I thy face by daylight see.

Now. go thy way. Faintness constraineth me

To measure out my length on this cold bed.

By day's approach look to be visited. 430
LIES DOWN AND SLEEPS.

Re-enter HELENA

HEL. O weary night. 0 long and tedious
night.
Abate thy hours! Shine. comforts. from the
east.
That I may back to Athens by daylight.
Trom these that my poor company do-
test.
And sleep. that sometimes shuts up sorrow's
eye. 435
Steal me awhile from mine own oupany.
LIES DOWN AND SLEEPS.
ROBIN. Yet but three? Cane one more;
Two of both kinds make up four.
Here she comes. curst and sad.
Cupid is a knavish lad. 440
Thus to make poor females mad.

Be-enter HERMIA.
BER. Never so weary. never so in woe.
Bedabbled with the dew and torn with
briere.
I cancno further crawl. no further go;
My legs can keep no pace with my desires.
Here will I rest me till the break of day. 446
Heavens shield Lysander. if they mean a

fray! LIES DOWN AND SLEEPS.
BJBIN. On the ground
Sleep sound.
I'll apply 450

To your eye.
Gentle lover. remedy.
SQ-ZING THE JUICE 0N LYSANDER'S EYES.
When thou wak'st.

49

Thou tak'st
True delight 455
In the sight
Of thy former lady's eye;
And the country proverb known.
That every man should take his own.
In your waking shall be shown. 460
Jack shall have Jill;
Nought shall go ill;
The man shall have his mare again. and all
shall be well. EXIT ROBIN.

Act 1?. Scene 1. THE SAME.

LYSANDER. DEMETRIUS. HELENA. and HERMIA.
lying asleep.

Inter mums and the Clown 130m; PEASE"
snossm, coasts. nous. nusmansnsn and
other Tairies; OBERON behind than un-
seen.

mm. Gwagiufihsgsmmmspsuhio
flows on _bed. '
While I thy amiable cheeks do coy.
head.“ ‘
And kiss thy fair large ears. pg gentleJoy.

WBOT. Where‘s Peaseblossom?

PEAS. Heady.

BOT. Scratchmy head.~ Peaseblossom.
Where's Hounsieur Oobweb?

COB. Ready.

BOT. Nounsieur cobweb. good mounsieur.
get you your weapons in your hand. and (11
kill me a red-hipped humble-bee on the top of
a thistle; and. good mounsieur. bring me the
honey-bag. Do not fret yourself too much in
the action. mounsieur; and. good mounsieur.
have a care the honey-bag break not; I (16
would be loath to have you overflown with a
honey-bag. signior. Where's Hounsieur Mus-
tardseed:

HUS. Heady.

BOT. Give me your neaf. Mounsieur
Mustardseed. Pray you. leave your curtsie.
good mounsieur.

HUS. What's your will?

BOT. NEthing. good mounsieur. buLto
15933 Gamer: Gogol: to garatsh. Amt to

50

the barber's. mounsieur; for mothinks I (33
am marvellous hairy about the fade; and I am
such a tender ass. if my hair do but tickle
me. I must scratch.
TITA. What. wilt thou hear some msic.
my sweet love?
BOT. I have a reasonable good ear in music.
Let's have the tongs and the bones. 31
MUSIC. TONGS. RURAL MUSIC.
sirost to eat.
BOT. Truly. a peek of provender; I could
munch your good dry oats. Methinks I have a
great desire to a bottle of hay. Good hay.

sweet hay. hath no follow. 36
TITA. I have} venturowunsmfairythat shall
seek
filtggefifilismhoaro. and fetch thee new
nuts.

BOT. '"I_ hadm rather _have a handful or two
of dried poas. “But. I pray you._ lot none of (40
your people stir me; I have an exposition of
sumwe uponmo.
TITA. S_]_.__eep_wthou.wandt_I,will wind thee in
M31?“-
Lettiae ...129; .-eqne... and be. always away.
EXEUNT FAIRIES.
So dothM the woodbine the sweet honeysuckle
Gently entwist the female ivy so 46
lnrings the barky fingers of the elm.
0. how _I love thee! how I dots” on thoo'
THEY SLEEP.

Enter ROBIN GOODFEILOW.

oer. (mvmcmo.) Welcome. good 30pm.

See'st then this sweet sight?
Her dBtage now I do begin to pity; 50
l'or. meeting her of late behind the wood.
Seeking sweet favours for this hateful fool.
I did upbraid her and fall out with her.
l'or she his hairy temples then had rounded.
With coronet of fresh and fragrant flowers;
And that same dew. which onetime on the

buds 56
Was wont to swell like round and orient

pearls.
Stood now within the pretty flowerets' eyes
Like tears that did their own disgrace bowail.
When I had at my pleasure taunted her 60
And she in mild toms begg'd my patience.
I thenhdld :aSk of her _her changeling child;

 

51

Which straight she gave me. and her fairy
sent
To bear him to 511 bow__sr in faimlaad.
And. now I have the boy. I will undo 65
This hateful imperfection of her eyes;
And. gentle Puck. take this transformed scalp
from off the head of the Athenian swain.
The? Be awaking when the other do.
May all to Athens back again repair. 70
And thin no more of this night's accidents
But as the fierce voxation of a dream.
sugars..t.f.irili ereleaée the fairy queen.
TOUCHING HER EYES.
Be as then wast wonLto be;
See as thou wast wont to see: '75
Dion's Bud o'er Cupid's flower
Hath such force and blessed power.
150'. my Titania; wake. 19.1.1. .emxjneettqueen.
TITA. My Oberon' what visions have I
soon!“ _.-“--. . . ,
Rehnquist; see enamom" d of an an . 80
ODE. There lies your love. . ’
TITA. 39' came thoserthigngshtggpass?
0. how mine eyes do loathe his visage now:
03!. Silence ”11.1123... $912.13.. Eek? of! thi-
head.

Titania. music call; and strike more dead 84
Thu cannon sleep of all these five the sense.
TITA. Music. ho! music. such as charmeth

sleep! MUSIC STILL.
ROBIN. low. when thou wak'st. with thine
own fool's eyes peep.
OBS. Sound. music: Owns”.
tabs hands with me. 89
And rock the ground whoreon these sleepers
be.
How thou and I are now in_ omity
And will to-morrow midnight solemnly
Dance in Duke Theseus' house trimnphantly
AnT‘bless it to “lI fair prosperity.
There eEfii the pairs of faithful lovers be 95
Wedded. with Theseus. all in Jollity.
ROBIN. Dairy king. attend. and mark;
I do hear the morning lark.
WE. Then. 11w queen. in silence sad
Trip we after night's shade. 100
We the globe can compass soon.
Swifter than the wandering moon.
TITA. Come. out lord. and in our flight
Tell me how it came this night 104
That I sleeping here was found
With these mortals on the ground.
We 'IND HORNE.

 

 

 

 

52

.- Enter THESEUS. HIPPOLYTA. EGEUS.
and all his train.

THE. Go. one of you. find out the forester.
Il'or now our observation is perfonn'd.
And since we have the vaward of the day.
My love shall hear the music of my hounds.
Uncouple in the western valley. let them
go. 111
Despatch. I say. and find the forester.
We will. fair queen. up to the mountain's top
And mark the msical confusion
Of hounds and echo in conjunction.
HIP. Iwas with Hercules and Cadmus
once.
When in a wood of Crete they bay'd the bear
With hounds of Sparta. Never did I hear
Such gallant chiding; for. besides the groves.
The skies. the fountains. every region near 120
Beem'd all one mutual cry. I hever heard
80 musical 8. discord. such sweet thunder.
THE. My hounds are bred out of the Spar-
tan kind.
So flew'd. so sanded. and their heads are hung
With ears that sweep away the morning dew;
Crook-knee'd. and dew-lapp'd like Thessalian
bulls; 126
Blow in pursuit. but match'd in mouth like
bells.
Each under each. A cry more tuneable
Was never holla‘d to. nor cheer'd with horn.
In Crete. in Sparta. nor in Thessaly. 130
Judge when you hear. But. soft! whatgymphs
Mass?
103. ily lord. this is my daughter here
asleep. '
And this. Lysander; this Demetrius is;
This Helena. old Nedar's Helena.

I wonder of their being here together. 136
THE. No doubt they rose up early to ob-
serve

The rite of Ray. and. hearing our intent.
Came here in grace of our solemnity.
Dut speak. lgeus; is not this the day
That Hermie should give answer of her
choice?
30!. It is. nw lord. . 141
N. Go. bid the huntsmen wake them
with their horns.

HORNS AND SHOUT wmsm. LYSANDER. 11m-
smms. HELENA. mu hEEMIA WAKE AND START
UP.

53

Good morrow. friends. Saint Valentine is
past;
Begin these wood-birds but to couple now?
1.18. Pardon. my lord.
THE. I pray you all. stand up.
I know you two are rival enemies; 146
How cases this gentle concord in the world.
That hatred is so far from Jealousy.
To sleep by hate. and fear no enmity?
LYS. liv lord. I shall reply amazedly. 150
Half asleep. half waking; but as yet. I swear.
I cannot truly say how I came here.
But. as I think.---for truly would I speak.
ind now I do bethink me. so it is.---

I came with Hermie hither. Our intent 155

Was to be gone from Athens. where we might.
Without the peril of the Athenian law--
101. Enough. enough. my lord; you have
enough.
I beg the law. the law. upon his head.
They would have stolen away; they would.
Demetrius. 1
Thereby to have defeated you and me.
You of your wife. and me of my consent.
Of my consent that she should be your wife.
DEM. 1hr lord. fair Helen told me of their
stealth.
Of this their purpose hiether to this wood;
And I;.in fury hither followed them.
Fair Helena in fancy following me.
But. my good lord. I wot not by what
power.”
But by some power it is.---my love to Hermie.
Melted as the snow. seems to me now
As the remembrance of an idle gaud
Which in w childhood I did date upon;
And all the faith. the virtue of my heart.
The object and the pleasure of mine eye.
Is only Helena. To her. my lord.
Was I betroth'd ere I saw Hermie;
But like a sickness did I loathe this food;
But. as in health. cans to my natural taste.
Now I do wish it. love it. long for it.
And will for evermore be true to it.
THE. Fair lovers. you are fortunately met;
Of this discourse we more will hear anon.
Egeus. I will overhear your will;
l‘or in the temple. by and by. with us
These couples shall eternally be knit.
And. for the morning now is something worn.
Our purpos‘d hunting shall be set aside.
Awangirtfihmusmtprthens; three and three.
We' 11 h°1dfiwf9§9t ~in 6.1793,? solemni ty.

'-- “sierra-1*

54

60

165

170

175

180

185

Game. Hippolyta. 190
mm THESEUS. erromn. moms. mm mm.

mm. These things seem small and undis-
tinguishable.
Like far-off mountains turned into clouds.

HER. Methinks I see these things with

parted eye.
When every thing seems double.

HEL. So methinks;
And I have found Demetrius like a Jewel. 195
line own. and not mine own.

1. Are you sure that we're awake? It
seems to me
That yet we sleep. we dream. Do not you
think
The Duke was here. and bid us follow him?
HER. Yea: and my father.

HEL. And Hippolyta 200
LYS. And he did bud us follow to the
temple.

DEM. Why. then. we are awake. Let's
follow him:
And by the way let us recount our dreams.
IEUNT THE LOVERS.

BOT. (AWAKING. ) When my one comes.
call me. and I will answer. My next is. “Most
fair Pymmus." Heigh-ho“ Peter Quince' 205
Flute. the bellows-mended Snout. the tinker.
Starveling. God's my life. stolen hence. and
left me asleep! I have had a most rare vision.
I have had a dream. past the wit of man to say
what dream it was. Man is but an ass. if (210
he go about to expound this dream. Methought
Igwas-u-there is no man can tell what. He:-
thought I was.--and-methought.l..had.—-
but man is but a patched fool. if he will offer
to say what methought I had. The eye of (215
man hath not heard. the ear of man hath not
seen. mn's hand is not able to taste. his
tongue to conceive. nor his heart to report.
what m7 dream was. I will get Peter Quince
to write a ballad of this dream. It shall (220
be called Bottom's Dream. because it hath no
bottom; and I will sing it in the latter end of
our play. before the Duke; peradventure. to
make it the more gracious. I shall sing it at
her death. EXIT.

Scene 11. ATHENS. QUINCE'S
HOUSE

55

Inter TIESEUS. HIPPOLYTA. and PHILOSTRA'I‘E.
with Lords and Attendants.

HIP. 'T is strange. my Theseus. that these
lovers speak of.
Th3. More strange than true; I never may
believe
These antique fables. nor these fairy toys.
Lovers and madman have such seething brains.
Such shaping fantasies. that apprehend 5
More than cool reason ever comprehends.
The lunatic. the lover. and the poet
Are of imagination all compact.
One seusmore devils than vast hell can hold;
That is. the madman. The lover. all as frantic.
Sees Helen's beauty in a brew: of Egypt. 11
The poet's eye. in a fine frenzy rooling.
Doth glance from heaven to earth. from earth
to heaven;
And as imagination bodies forth
The forms of things unknown. the poet's pen
Turns them to shapes and gives to airy noth-
ing 16
A local habitation and a name.
Such tricks hath strong imagination.
That. if it would but apprehend some Joy.
It canprehends some bringer of that Joy; 20
Or in the night. imagining some fear.
How easy is a bush suppos'd a bear!
HIP. But all the story of a night told

over.
And all their minds transfigur'd so together.
More witnesseth than fancy's images. 25

And grows to sanething of great constancy;
But. howsoever. strange and admirable.

Inter the lovers. LYSANDEH. DELETRIUS.
HERMIA and HELENA.

THE. Here come the lovers. full of Joy and
mirth.
Joy. gentle friends! Joy and fresh days of love
Accompany your hearts:

LYS. More than to us 30
Wait in your royal walks. your board. your
bed!

THE. Come now; what masmlesl..what
dances shall we have.
To wearm away this long age of three hours

chfiavm—grh‘

Where is our usual manager of mirth? 35
What “reveleware "in hand? Is there no play

56

To ease the anguish of a torturing hour?
Cell Philostrete.
PHIL. Here. mighty Theseus.
m. anew. ehfléssssnLheZuw for
Whitening?
What masque? what music? How shall we
beguile 40
The lazy time. if not with some delight?
PHIL. There is a brief how many sports are

ripe.
labs choice of which your Highness will see
first. GIVING A PAPER.

THE. (KHAN). ”The battle with the Gen-
taurs,...td_b_e sung
31.9%..-.Ajhenisn.,eunuch. to the. harp." 45
We'll none of that: that have I told my love.
In glory of my kinsman Hercules.
“The riot of the tipsy Hecchanals.
Teariag;;the Thracian singer in their rage.“
That is an old device; and it was play'd 50
When I fras Thebes came last a conqueror.
'The__ thrice three Muses mourning for the
death
oummm idecsas'..d in beggary. "
That is some satire. keen and critical.
Hot sorting with a nuptial ceremony. 55
I'A tedious brief scene of young Pyramus
And his love Thisbe;_ very tragicel mirth. "
[013118114 tragicall Tedious and brief'
That is. hot ice and wondrous strange snow.
How shall we find the concord of this dis-
cord? 60
PHIL. A pl ay_ there). is; my lord.,_sane ten
words long.
Which is as brief 3:“ I have kaown a play;
But by ten words. xiv laid. it is too long.
Which makes it tedious; for «in all the play
There is not one word apt. one player fitted.
And tragical. w noble lord. it is; 66
for Pyramus therein doth kill himself.
Which. when I saw rehears'd. I must confess.
Made mine eyes water; but more merry tears
The passion of loud laughter never shed. 60
THE. What are they that do play it?
PHIL. hflrMQimefihaL work in
Athens here.
Which never labour' (1 in their minds till now.
And“ new have toil'd their unbreathed mem-
"cries
With this same play. against your nuptial. 75

THE. Will hear it.
PHIL. Na...nu.aabls.l9rd:

 

57

It is not for you. I heve heard ito gyer.
And it is nothingJ nothing in the 1931,51;
6n1ess you can find sport in their intents. '79
htranely stretch'd and conn'd with cruel
Pain- '
To do you service.

TEE. I will hear that play;
193: ”mammals...
'駧.§¥921sness andhdnty.tsnder it.

Go. bring them in; and take your places.
ladies.
BIT PHILOSTBATI.

HIP. I love not to see wretmoier

 

 

 

 

char ed. 85
And du L his service perdehing.
THE. . entle sweet.__y_9wuu_§_hell see no
such ng.
BET—W35” the} can digfih‘qthblh‘g in this
kind

.__...s...
THE. The kinder we to iv 1&9!!!»th

 

was.
Our sport shed} be to take whettheymis-
take____; 90
And what _poor duty cannot do. noble respect
Tafies £15.... 19 mgh‘tknot merit.
Where I have cane. great clerks have pur-
posed
To greet me with premeditated wilcomes:
Where I have seen them shiver and look pale.
lake periods in the midst of sentences. 96
Throttle their practis‘d accent in their fears.
And in conclusion dumbly have broke off.
Hot paying me a welcome. Trust as. meet.
Out of this silence yet I pick'd a welcome: 100
And in the modesty of fearful duty
I read as much as from the rattling tongue
Of saucy and audacious eloquence.
Love. therefore. and tongue-tied simplicity
In last speak most. to my capacity. 105

 

Re-enter PHILOSTRATE.

PHIL. So please your Grace. the Prologue
is addresé‘d.

THE. Wémm.
l'LOURISH. TBUIPETS.

Inter QUINCE for the Prologue.
PRO. If we offend. it is with our geod" will.
The; you should- think.. we come not. to
“392?»
3“ ".139...s99.<1,11.1..1:-£9 9h?!...°ur simple skill-

68

Thatei‘eethewtgmheginningwof our end. 111
Consider t1}?§-",_9.9®°. but {in despite.
._, Weldon'ot come as minding to content you.
Our, true intent is. All for..your,.de11ght
We are not here. That you should here re-
pent'you. 115
Themaci‘éféfaifb athand .899 by their show
You shall “know an that you are 'lfike to ._ know.
THE. This fellow dothnot stand upon
points. “ "" ” ' '
LIS. He hath rid his prologue like a rough
colt; he knows not the step. A good moral.

w lord: it is not enough to speak. but to
speak true. 121
311’. Indeed he hath played on this pro-
logue like a child on a recorder; a sound. but

not in government.

TEE. His epeech was pg newimlfld-Aheln:
nothing impaired. but all disordered. (126
Who is next?

 

Inter with a trunpet before them. PYRAMUS
and THISBE. WALL. MOOHSHINE. and LION.

PRO. GentleeL perchancejou ‘WOBdeliagt this
than:

mwgrssseelljhnss
Plain.

m_.s___mn_._.....z._18 P m4..i£_.19n x9191. know; 130
Th1.____...8 bew.,§sss§.lsdx-Thisbxnis germs.
This man. with lime and rough-cash doth pre:
sent ‘ '
tell. newevfleh $144,333.22. Mars
mde 1‘3
Wmenlmnhey
arewsgstsnt
Maseramnihslhich. 192,119 men. 19.11-

M

 

 

 

 

 

der. 135
This man. 'L‘EE...L3§J?E§3I dog. and bush of

thorn.

Premeth Moonshine-L forL__if you gel

know.
3 moonshine did these L9!9§§,,.Q¥Q¥E,.99.800m

0 meet atT—ifiusr tomb} there. them...»

E22:

 

This grisl beast. which Liannehightmhyhpeme.
‘55 {iii filahy.,gming_.flm_hy..night. 141

Did‘ scare aw or rather did gafright;
And. as s e fledL her mantle 3113,5133 fall.

“Which Lion vile _w_ith bloodyfihuihl‘did
stainl

59

Anon canes Pyramus. sweet youth and
" _t___:.all
And finds his trusty Thisby's gant1e s1ein;
Whereat. with bladehwith hloody, blameful
blade.

He bravel broach'd his 1 dy
reas‘

And Thisb ta in NEW. 149
s or drew:_and “£111.. 191511.112: rest.
Let Lion. Moonshine. Wa11. and lovers twain
At large discourse. while here they} do remain.
MUN?! ALL BUT WALL.
TEL. I wonder if the lion be to speak.
m. lo wonder. w lord; one lion may

 

 

when many asses do. 155
WALL. In this same interlude it doth befall

Tat I. onenggtb y g” present a well;

And such a wall. as I would have ”you think.

That ham ft a crannied hole 9r chink. 159

Thr which the loversLPyremus and

-__..Xs
Did whisper often very secretly.
This' fo'Em. thfs rough-cast. and this stone
doth show
That I am that sane wall; the truth is so;
And this the craggy 191...!1811t_ andwgiqupgter.
Thrmgh..!high.§hs_ieaz£ul.,. levers. are, 39.111.13-
per. 165
THI. Would you desire lime and hair to
speak better?
mu. It is the wittiest partition that ever
I heard discourse. my lord. 169

Int er PYRAMUS .
m- PMsness $11.2... mil .

Silence'
PER. 5__gr im-look'd ni g ht' 0 night twith
hue so break!

0 nf 55' which ever art when d_ey is net!
0 niht 5 hi t! alack alack alack.

  

And thouI 0 wall. 0 sweet. 6 O1ove1y wall. 175
That stand'st between her father' -.3 ground
r

Thou wall. 0 wall. 0 sweet and love1y_wa11.
8W

steam:
WALL HOLDS UP HIS FINGEE.
Thanks. courteous wa11° Jove shie1dwthee well
for this:
Bufifi‘a‘t“ see I? No Thishv do} _seg. 180
0 wiéked wall. through whom I seeflnou 131.13"

(H’s w‘g-d-s q

 

60

Ours'c1 he” thy stones ”for ”thus deceiving
me.

THE. The wa11. methinkshbeingIeensible.

“WP-1.4.. curse again.

Pm. No in truth. sir. he should not. (185
'mwixingfmefmie_mThieby' s cue. She is to on-
ter now. and I am to spy her through the wall.
Ioii shall see it will fell pat as I told you.

Yonder she cogee. WM" " "W” _..- _.-...

 

Enter THISBE.

THIS. 0 wall. full often hast thou heard
my moanings. ' -__. ' ' _-- 190
Ibr parting my)” fair Pyramus and me'
My cherry lips have often kiss'd they stones.
The stones with lime and hair knit up in

 

tees;
PYB. I..§99.9.121921-,Hon £1.11. I... to the
chaste
TmLan.--.£.e§e..§s§mx.Thgl.sbx'§.£ac.9. 195
Tst -3 '

THIS. 11y love thou art. my 1ove I think.
PYR. Think what thpu wing. I @11th
lover-Ls grace;
And. like Limander. am I trusty still.
THIS. And I like Helen. till the Fates mo
kill. 200
PIE. Not Shafalus to Procrus was so true.
THIS. As Shafalus to Procrus. I to you.
m 04...... kiss .99. 311303151; the hole 91’ this
vile wall?
THIST‘I'TEI'ss the wall's hole. not your lips
at all. W "
PYR. Wilt thou et Ninny's tanb meet me
straightway? 205
WIS. ”'Tido life. 'tide death; I _cano with-
out de1ay. EXEUNT PYRAMUS AND ThISBE.'.
WAIJ... Thus have I. Wall. meghdis-
charged esp;
And being _done. thus Wall awey doth go.
m” “m '1 ‘ ” EXIT.
THE. Now is the mural dgwn between the
two neighbours.
”DEM.“ No remedy. my lord. when walls
are so wilful to hear without warning. 211
HIP. W3-!§..,2119.3$11.198§.917.415.981.12?” I
heard. ‘ h h ' I ._
“TEE. The best in this kind are but shad-
ows: and the worst are no worse. if imagina-
tion amend them. 215
HIP. It must be your imagination then.
and not theirs.

 

 

61

THE. If we imgine no. 139me them than
they of themselves, thEZ..E§I gage for excel-
lent-men. Eerocome two noble“be'asts in. a
me; and a lion. 221

 

Inter LION and MOONSHINI.

LION. Igu. ladies. you. whose gentle hoerts
do fear '
Tho-most monstrous moecse thet creeps
0

1H now horchence both gueke and treghle
ere.

When lion rgggh in WALQEM-.£Q£9-SLQ,RLKQBJ‘-
Then know that I. as Snug th°..9.93;993.2..am 226
I‘m—"foil r sdem:

For. if I shoal. .51 .2; .1..1.....os..qsse-in strife
Into this place. 't were pityge'gyulife.

THE. A very gent1ebeast.m__en'dwpf a 599d
senseless:- 2303

m. The very best at a beast. m lord.
that e'er I saw.

LIS. This lion is a very fox for his velour.

THE. True: and a goose for his discretion.

mu. Not so. my lord: for his velour (236
cannot carry his discretion. and the fox car-
rise the goose.

THE. His discretion. I am sure. cannot
carry his velour; for the goose carries not the
fox. It is well; leave it to hisdiscretion. (240
and let us hoerken to the moon.

noon. Enema

moon present:--

mur‘sa‘mm‘ have worn the horns on
his head. 245

m. Re is no crescent. and his horns are
invisible within the circumference.

NOON. This lenthorn doth the horned

moon present;
E139” “19 m 1' $31.1..m99edoseem.to.be.

THE. This is the greatest error of__a_11_'the
rest. The fseféH-fuai‘bfiiefiao *the‘ (251
Tan—té'rn'.‘_”“How is it else the MP. 11,111; goon?

DEM? he dares not case there for the
candle: for. you see. it is already in snuff.

RIP. I am awaary ofthis moon. Would
152.!de cheese! ‘ 256

THE. It appears. by his small light of dis-
crotion. that he is in the wane; but yet. in
courtesy. in all reason. we must stay the time.

L130 P3993241¥99m 350

110011. All that I have'to sayL ie‘ tofi tell

 

62

you that the lanthorn is the moon; I. .the man
in the moon: this thorn-bush. my thorn-bush;
anm dog. my dog.

DEM. Why. all those should be in the
lenthorn: for a11 these are in the moon. But.

 

 

sIIenceI: :heE comes Thisbe. 266
Enter THISBE.
THIS. This is old Nfinox'gjmbo..- Where .is
my love? -
LION ‘TEOARING. ) OhmTHISBE RUNS OFF.
DEM. Well roared. Lion. 270

THE. W611; run.“ “Thisbe.
HIP. Well I139£¢_M°QE;.-TWJ-Ia.fihe -moon
shines with a gggh_graeo.
THE LION SHAKES THISBE'S
MANTLE AND EXIT.
TEE. Well moused. Lion.
mu. Mammalian.
LYS. And so the 1E9919313h°d0 275

 

 

Inter PYRAMUS.

PYR. Sweet Moon. I thank thee for thy
sunhy beams.
I thank “thee. icon. for _Fshining now so
bright;
l'or. hyfith‘yhgrat:iouelgoldenz glittering _gleams.
T trusuto... tekeJLtmst Thisby sight. 280
But s_________t__ay._10 spite'
3.313-133.1343; 150933131113.
What dreadful do1e is here}.
Eyes. do you see?
391,! 9.8.9 it be? 285
0_gaihty duck' 0 dearI
Thy mantle good.
Whet. stain'________d with blood:
Amoech. ye Furies EfellI
O Fates. come. come. 290
Gut thread ”and“ thrum;
Quail. crush. conclude and. quell!
m. This passion. and the death of a
dear fii'e'nd. wofild go near to make a man
look so. M" W"
HIP. Buhrmhssetihatl .9191. the
man.
PIE." 0 wherefore. Nssmsimdst. magmas

 

 

frame?
Since lion vile hath 13°39,_d°f£9.‘!°.1‘.'.d m
49.3!“ ..-. .. .
mishgjrzmiaoirzwhich was the fairest dame
That ltv'd. that 1.913.011-1511“. 111: a.-- ..that .lpok'd

 

 

63

with cheer.

Come. Toni‘i'z'confound; 300

Out. sword and wound
The pap of Pyramus;

Ay. that left pap.

Where heart doth hop. STABS HIMSELF.
Thus die I. this; thus. time. 305

How “am I dead.

now 3131...! “£166.;

sould: is in__ the sky.
Tongu_.nlose _thi1ight;

 

Mogniwtake thy f1ight. 310
EXIT MOONSHIbEE.
How die, dig. 9,151-6,151416. DIES.

 

DEM. No die. but an see. for him. for he
is but one.

LYS. Less than an ace. man. for he is
dead. he is nothing. 315
THE. With the help of a surgeon he might

yet recover, and yet prove an ass.
. How chance_ Moonshine _is gone be-
1ore Thisbe comes back and 11118113 her lover?

Widotwnm‘wn A.) .1

 

Be-enter THISBE.

THE. She will find him by starlight Here
she comes; earner passion ends ”the "
Ply- _..--- 331

HIP. Methinks "she should not use a long
one for such a Pyramus. I hope she will be
brief. W " ' "W “ ‘

MDEM. A mote will turn the balance. which
Pyramus. which Thisbe. is the better; he for a
man. God warrant us; she for a woman. (326
God bless us.

LYS. She hath spiedfl him already“ with
those sweew'flt’ eyes. '

DEM. And thus she means. videlice:-—-

THIS. Asleep. My love? 331

What. dead, my dove?

OJramus,_ arTseI
Speak. speakI Quite dumb?

Dead. dead? 1 toinb ' 335

1.3513931111193911. ..eyee .

These .1 11y lips
filflfim 11°39!

The.s.e_me.119!v muslin .che eke .
Are_______m,go_1_1e_.__w are gone: 340
Lovers. make moan.

His eyes were green as leeks.

0 sisters three.
Come. cans to me.
With hands as pale as milk; 345

 

 

 

64

Lay them in gore.
Since you have shore
With shears his thread of silk.
Tonguej not a_ word!
ComeL‘trusty sword:
Cane blade. __my breasytwimbms:
SQABS HEBSELF.
Lndkgarewellgjxiends. '
Thus. Thisby ends.
Adieu. adieu. adieu.

 

 

DIES.

'EHE. Moonshine and Lion are .__1eft. to (355
bury the déad.

DEM. 1y. and Wall too.

BOT. (STARTING UP. ) No, I assuruou; “the
wall _.is down that parted their fathers. Will it
please you to see the epilogue. or to hear“ a
Bergomask dance between two of our (361
company?

THE. N0 epilpsQeLJ 13173119131392.1041-
P}H_&ses18. searches. _Nezez; 9591;123:3419: when
the. Mammalhdeada them needJLone to be
blamed. Harry. if he that writ it had played
Pyramus and hanged himself in Thisbe's (365
garter. it would have been a fine tragedy.-and
so it is, truly; and Jery notably discharged.
But. case. your Bergmask; let your epilogue
alone. A DANCE.
Ehe iron tongue of midnight hath told twelve.
Lovers. to bed; 't is almost fairy_time. 871
I fear we shall out-sleep the caning morn
is much as we this night have overwatch‘d.
This palpable-gross play” hath well beguil'd
The wheavy gait of night. Sweet friends, to

bed.
A fortn_ght hold we thi_s solemnity 376
In __jnightly revels _and new Bollity. EXEUNT.

 

 

Inter ROBIN GOODFELLOW.

ROBIN. Now the hungry lion roars.

And the wolf behawls the moon;
Whilst the heavy ploughman snores.

All with weary task fordone. 381
How the wasted brands do glow.

Whilst the soresch-owl. screeching

loud.

Puts the wretch that lies in woe

In remembrance of a shroud. 385
How it is the time of night

That the graves. all gaping wide.
Every one lets forth his sprite,

65

In the church-way paths to glide.
And we fairies. that do run
By the triple Hecate's team
Irom the presence of the sun.
Iollowing darkness like a dream.
Now are frolice. Not a mouse
Shall disturb this hallowed house.
I am sent with broom before.
To sweep the dust behind the door.

Enter KING and QUEEN OF FAIRIES with

03!.

TIM.

Obe.

all their train.

Through“ the (house. give glimmering
light,
By the dead and drowsy fire.
Every elf and fairy sprite
' as light” as bird from brier;
And t s ditty. flier me,
Sing. and dance it trippingly.
First. rehearse your song by rote.
To each word a warbling note.
Hand in hand. with fairy grace.
lill we sing, and bless this place.
' SONG "AND DANCE.

 

 

m_re.

Through this house each fairy astray.
To_:the 'Best bride-bedgwill we.
Which hy us shall blessed be:
And the issue there create
Ever shall be fortunate.
So shall all the couples three
Iver tme in loving be:
And the blots of Nature's hand
Shall not in their issue stand;
Never mole. hare-lip. nor scar.
Nor mark prodigious. such as are
Despised in nativity.
Shall upon their children be.
With this field-dew consecrate.
Every “ram“ take his gait.
lid” each several; chamber bless.
Th—ough this pa‘fILeC“:el with sweet

peace;
And the ewner of it _blest
Ever shall in safety rest.
Trip away; mmake no stay;
Meet me alI by $5691: of day.

’ ‘W'IXEUNT 'ALL BUT ROBIN.

 

 

 

 

 

ROBIN. If we shadows have offended.

 

Thigh _but___ this 4. and all is mended.

That you have but slumbeer here
While these visions did appear.

-M““P P‘W‘HJ‘C Irm‘a-

66

390

395

400

405

410

415

420

430

And this weak and idle theme.

"so“ moruielding but a dream, 435

Gentles. do not reprehend.

If _you pardon...le will mend.

And, _as I am an honest Puck,

If we have unearned luck

Now to iscape the serpent's tongue,

We will make amends ere long; 441

Hgfirjéalwushiaiisz “call.

Shgooihight unto. you. all.

Give me your hands, if we be friends.

And Robin shall restore amends. 445
EXIT.

67

ms FAIRY FOREST

AN ADAPTATION FOR CHILDREN
or

LEIDSUMMER NIGHT'S DREAM
BY

WILLIAM SHAKESPEARE

THE FAIRY FOREST

Cast of Characters

Robin Goodfellow, a sprite.
Cobweb, a fairy.

Oberon, king of the fairies.
Elves.

Titania, queen of the fairies.
Moth, a fairy.

Mustardseed, a fairy.
Peaseblossom, a fairy.

Nick Bottom, a weaver.

Peter Quince, a carpenter.
Francis Flute, a bellows-mender.
Robin Starveling, a tailor.

Tom Snout, a tinker.

Snug, a joiner.

Theseus, duke of Athens.
Hippolyta, betrothed to Theseus.

Philostrate, master of the revels to Theseus.

SCENE: A Wood Near Athens.

TIME: Early evening.

EXPLANATION OF TERMS

D downstage
U upstage

L left stage
R right stage

0 center stage

L0 left of center

R0 right of center

DC down stage at center

UO up stage at center

DR down stage right

DL down stage left

DLG down stage left of center
DRO down stage right of center

x'. crosses

All stage directions are given from the actor's viewpoint.

THE FAIRY FOREST

(TEEENTIRE CAST APPEARS IN TIDE REAR OF THE OUTDOOR AUBITORIUM.
TORNING Two LINES ON EITHER SIDE OF A TRIUNPETER. MEN THE TRIM-
PET IS SOUNIED THE PROCESSION STARTS DOWN THE CENTER AISLE TO-
wARD THE STAGE. UPON REACHING THE STAGE THE CAST TURNS. Rows IN
UNISON TO THE AUDIENCE. THEN ALI. EXCEPT RUBIN GOODIELLON MOVE
TO THEIR PLACES IN THE WINGS. NHEN THE STAGE IS CLEAR ROBIN
GOES TO CENTER AND ADDRESSES THE AUDIENCE.)

ROBIN. Hail mortals' L83? Robin Gggdf_ellow-
fiweet andlpavish sprite Act 11. s.1,1.ss.raizy
Who doth haunt the fairy forest
Thou dost lOoE upon this night.
I come to shell. Jhee this iairyland
Ed all the revels in it
Whilst the moon doth rise on high
And sings the woodland linnet.
Here have the fairies gathered
Where the nodding fioiet grow. Act 11. S. l. 1. 250, Oberon
Here will they _..frslic in_thsinight.
'Ere the first cock crows. Act ll.Sl.1.26'7. Oberon
from the farthest steeps of India Act 11. 8.1.1.69 Tits.
Eve they cogne. each elf and sprite. Act 11.8.1.1.400
To bless to all prosperity Oberon
The _eegesigh__of the night.
Duke Theseus doth this. evening
Take Hippolyta for queen
1. And he hath stirred Athenian youth Act 1.8. 1. 1. 12. Theseus
TCLIEIBILQILJM green.
)‘or this the fairies gather
lith delicate fairy grace Act V. 81. 1.406. Titania
To dance and hop. as bird from brier. Act V.S.1. 1.401 Oberon
To sing. and bless this place. Act V. S. l ..l.407 Oberon
And others wander through this wood
2. As the nuptial hour draws near. Act 1.5.1. 1. l. Theseus
Mmfieseanon..- and”.
1. 52.x.swanggqaherei

(a TURNS TO LEAVE, SPIES COBWEB APPROACHING FROM RIGHT, TURNS
AGAIN TO THE AUDIENCE.)

Rho comes? A fairy.
HIE a fair and pretty gait. Act 11. 8.1.1.130. Titania
QM“ 1'1 ,9.8,1$...!.Lth_b9r.
L3; Riley 3:; .381 t 3
(SPEAKS TO COBWEB)

How now, spirit! Whither wander you? Act ll.S.l..l.l.
603m (DANCING DOWN STEPS R, RUNNING UP STEPS C. TO ROBIN)

Over Hill. over dale.

68

3. . Through brush. through brier

Over park. over pale.

Through flood. through fire.

I do wander everywhere.

Swifter than the moon's sphere;
And I serve the fairy queen.

And dew her orbs upon the green. Act 11.8.1.1s 2—13
The cowslips tell her pensioners be Fairy
In their gold coats spots you see;
Those be rubies. fairy favours.

In those freckles live their savours.

In so L or ROBIN. RUNNING DOWN STEPS L. SWEEPING GRASS WITH
HER HAND.)

I must go seek some dewdrops here. Act 11.8.1.1s l4 and
And hang a pearl in every cowslip's car. 15. Fairy

(TURNING UL. NAVING TO ROBIN)

4. Farewell spirit. I'll be gone Act 11.8.1.1s 18-
Our queen and all her elves cane here 31. Fairy
anon.

ROBIN (Is TO GGBWEB)

5. King Oberon doth deep his revels here tonight.
TaJne heed the queen come not within his sight.
6. For Oberon is angry and full of wrath

Because she as her attendant hath
A lovely boy stolen from an Indian king.
She never had so sweet a changeling:
And Jealous Oberon would have the child Act 11. 8.1.
Knight of his train. to trace the forest wild. 15.18-81
But she perforce withholds the loved boy.
Crowns him with flowers. and makes him all her
JOY:
And now they never meet in grove or green.
By fountain clear. or Spangled starlight
sheen.
7. But they do quarrel and all their elves for fear
Creep into acorn-cups and hide them there.

OGBWEB (TAKING A STEP IN HIS DIRECTION)

Either I mistake your shape and making quite.

Or else you are that shrewd and knavish sprite Act 11.8.1.

Gall'd Robin Goodfellow. Are not you he ls.32-35
8. Who frightens the maids of the villagery? Fairy

Are not you he? Act 11.8.1.1.42. Fairy

ROBIN. Thou speakest aright; Act 11.8.11.1s.42-43
I am that merry wanderer of the night
But room Fairy: here comes Oberon. Act 11.5.1.1.58

69

(ROBIN Xe UR. OBERON AND HIS ELVES ENTER R. TITANIA AND HER
EAIRIES ENTER L. ROBIN SITS ON STEP DR.)

GOBWEB And here my mistress. (SHE RUNS TO HOVER Act 11.8.1.1.59.
BEHIND TITANIA WITH THE OTHER FAIRIES.) Fairy

(OBERON AND TITANIA MEET AT C. THEIR ELVES AND FAIRIES BEHIND
THEM.)

OBERON Ill met by moonlight. proud Titania. Act ll.S.11.1.60

TITANIA What. Jealous Oberon. is it you? Act 11.5.1.1.61
Why art thou here? Act 11.5.1.1.68
To ble_s_s__the wedding of good DuhaTheseus
And his bride Hippplyta?

 

OBERON AthQLTitania. gbut 7Inhave another purpose still.
9 'Tis to beg of you once more the littl Act 11.5.1.1.120
Changeling boy to be my henchmen.

TITANIA Set your heart at rest. Act 11.8.1.1.22
10 Th fairy land buys not the child of me
11 His mother was my friend and when she died. Act 11.8.1.1.136
12 Being mortal. I did for her sake rear up Act 11.8.1.1.136
her boy.

For her sake I will not part with him. Act 11.8.1.1.137

OBERON 13 How long do you intend to stay within Act 11.8.1.1.138
this wood?

TITANIA 14 Till after Theseus' wedding day.
If you will patiently dance in our round Act 11.8.1.
And see our moonlight revels, go with us: 1s.139-142
If not. shun me. and I will spare your
haunts.

OBERON Give me that boy. and I will go with these. Act 11.8.1.1.143

TITANIA Not for thy fairy kingdcm. Fairies. away! Act 11.S.l.ls.
15 If I longer stay. we shall quarrel long: 144 and 145

(TITANIA AND HER FAIRIES GO OFF RIGHT.)

OBERON 16 (LOOKING AETER HER) Well. go thy way;
Thou shalt not leave this grove Act 11.8.1.13.
Till I toment thee for this injury 146 and 148
My gentle Puck. come hither.

(ROBIN s. TO OBERON. NINICKING HIS MOVEMENTS. OBERON
PAGES L AND R. THINKING OF SCHEME. ELVES SIT ON STEPS
DL. wATCHING WITH mTEREST.)

17 l'etch me that flower which maidens call Act 11.8.1.1.169
'Love-in-Idleness.” Act 11.8.1.1.168
18 The Juice of that little purple flower. Act 11.8.1.1.170

7O

laid on sleeping eyelids
19. 1111 make a man or wanan madely dot Act 11.8.1.1s.17l

on the first thing seen and 172
I'll watch Titania when she is Act 11.8.1.1.177
asleep

20. And drop the Juice of the flower Act 11.8.1.1.178
in her eyes.

(ROBIN LEANS ON STOMP. NODDING GLEEEUL APPROVAL.)

21. Then the next thing she looks upon when
she wakes. Act 11.8.1.
Ihether it be lion. bear. wolf. or bull. 13.179-185
Ora meddling monkey. or a busy ape.
She shall pursue with the soul of love.

(ROBIN SOMEBSAULTS IN FRONT or m. OHUCKLING)

22. And before I take this charm from off her sight.
23. As I can take it with the Juice of another flower.
24. I'll make her give up her boy to me.

25. letch me this flower. good Robin:

ROBIN I'll put a girdle round about the earth Act 11.8.1.1.175
In forty minutes...for such mirth! (RUNS OFF 1..)

OBERON Ognguelygespse'll- go Off space. .I think

Inst-an..- .v-mm‘

(ELVES JUMP TO THEIR FEET HASTI'LY. RUN OEEL. OBERON
BEHIND THEM. TITANIA AND HER EAIRIES. Two ON EITHER
SIDE ON HER. ENTER R. THEY PAUSE DR wHERE TITANIA
GIVES THEN HER DIRECTIONS.)

 

TITANIA 26. Cane. now dance in a ring and a fairy song.
Then. for the third part of a minute. hence.
27. Sane to kill canker worms in the mick-rose

buds.
28. Sane war with bats for their leathery wings Act 11.
To make no? small elves coats. and some 8.11.1s.
keep back 1534

To clamorous owl that nightly hoots and wonders
At our quaint spirits. (Xe TO BOWER UO MERE SEE
LIES DOWN. FAIBIES FOLLOV.) Sing me asleep now;
Then to your offices and let me rest.

(OOBWEB STEPS UP TO DR EDGE OE BOWER. THE OTHER EAIRIES STAND
IN A LINE DR. I'AOING HER. OOBWEB SINGS:)

OOBWEB. “You spotted snakes with double tongues. Act 11.5.11.
thorny hedgehogs. be not seen. ls.9-34
Lizards and blind-worms. do no wrong,
come not near our fairy queen.“

71

(ALL JOIN HANDS AT 0 WITH CORNER. WHO JUHPS DOWN FROM
THE ROVER. THEY DANCE AND SING:)

“Philomel. with melody
sing in our sweet lullaby:
Lulla. lulla. lullaby; lulla.1ulla.lullaby.
Never ham
Nor spell nor charm
Come our lovely lady night.
So goodnight. with lullaby."

(OOBWEB Re To DL EDGE OE BOWER. OTHERS IN A LINE AT L.
RACING HER. SING:)

"Weaving spiders. come not here;

hence. you long-legg'd spinners. hence!
Beetles black. approach not here.

worm nor snail. do no offence.“

(ALI. JOIN HANDS ONCE MORE AT C AND REPEAT CHORUS.)

NOTE (RUNS TO DR EDGE OF BOWER. PEERS AT THE SLEEPING
TITAlgTIA. GESTURES To OTHERS WHO HAVE FOLLOWED
HER.

Hence away! Now all is well.
One aloof stand sentinel.

(PAIRmS GO OFF R. OBERON ENTERS L. HIS ELVES FOLLOWING.
ALL ARE REPRESSING LAUGHTER. As OBERON I. TO BOWER ON

R SIDE ON IT. THE ELVES STOOP AND FOLLOW. LINING UP
BEHIND HIE. OBERON SQUEEZES THE JUICE OF A FLOWER ONTO
TITANIA'S EVELIDS.)

OBERON (RECITING.) What thou see'st when thou dost wake.
Do it for thy true-love take.
29. Love and languish for his sake.
' Be it lynx. or cat. or bear.
30. Leopard. or boar with bristled hair.
In thy eye that shall appear
When thou wak'st. it is thy dear.
lake when some vile thing is near.

(OBERON THROWS THE FLOWER INTO THE AIR. TURNS AND GOES OPE R,
ELVES EOLLONING. BOTTOM. QUINGE. SNOUT. SNUG, FLUTE AND STARVE-
LING ENTER FROM DL GATE. THEY AD. LIB. RENARHS ABOUT THE FOREST.
THEY I: TO C. QUINCE Is To BENCH DR. PUTS DOEN BURLAP RAG WHICH HE
HAS CARRIED ON WITH Rm.)

BOTTOM Are we all net? Act 111. 8.1.1.1

QUINO! Pat.pat; and this is a marvelous place for our
rehearsal. This green plot shall be our stage. Act 111.8.1.
31. this grove of trees our dressing-room; and we ls.2—6
will do it in action as we will do it before the

72

30m
32.

QUINCI

BOTTOM
34.

QUIHCE

30m

35.

Duke. Is all our company here? Act 1.8.11.1.1

It would be best to call them man by man.accord-
ing to the script. Act 1.8.11.1.3

(OPENING BURLAP BAG. PULLING OUT SCROLL WHICH HE
HOLDS HIGH FOR ALL TO SEE.)

Act 1.8.11.
1s.4-7

Here is the scroll with every man's name who is
thought fit to take part in our play before the
Duke and the Duchess on their wedding day.

first. good Peter Quince. say what the play treats Act 1.8.11.
on. then read the names of the actors. and get on 1s.8-lO
with the rehearsal.

Harry. our play is 23 Most Entable Comegy g9
Host Cruel Death Of Pyramus And Thisbe. Act 1.8.11.1s

11 and 12
A very good piece of work. I assure you.
How. good Peter Qiincs. call forth your Act 1.8.11.
actors by the scroll. llasters. spread your- 1s.13-16
selves.

(TE! ARTISANS. WITH THE EXCEPTIONS 03' BO'I'TOH AND QUINCE.

SEAT THEMSELVES.

FLUTE BITS 0N STOMP RC. SHOUT 0N SECOND

STEP DC. STARVELING ON STEP DLC. AND SNUG ON TOP sm
DEC. RONAHDQDINCHRENAIN INDRAHEA.)

QUINCE
BOTTOM
QUINCD
BOTTQI

QUINCE

BOTTGA

Answer as I call you. lick Bottom. the weaver.

Act 1.8.11.
1.017.55

Ready. lame what part I am for. and proceed.
You. Nick Bottom. are set down for Pyremue.
'hat is Pyramus? A lover. or a tyrant?

A lover. that kills himself most gallantly
for love. ,

36. That will take sane tears in the true perform-
ing of it. If I do it. let the audience pre-
pare to weep. To the rest. let. my chief
humor is for a tyrant. I could play Hercules
rarely. (RACES OTHEm. LOOKING FOR APPLAUSL
A8 HE RECITES:)

"The raging rocks

And shivering shocks.

Shall break the locks
of prison gates!”

That was lofty! New name the rest of the players.

73

QUINCE
FLUTE

QUINCE
FLUTE
QUIN CE
FLUTE
QUIN GE

(FLUTE

BOTTOM

QUINCB

BOTTOM
QUINCE
STARVE

Q10 DICE

SNUG

QUINCE

BOTTOM

SITS 0N STUILP AGAIN.

Francis Flute. the bellows-mender.

(RISES. TAKES SCROLL WHICH QUINCE EXTENIJS) Here.
Peter Quince.

37. Flute. you must play Thisbe.

What is Thisbe? A wandering knight?

It is the lady that Pyramus must love.

Nay. let me not play a woman; I have a bear caning.

38. Never mind. you shall play it in a mask and
you may speak as small as you will.

BOTTOM COMES FORWARD.)

39. Let me hide any fees and play Thisbe too.
I'll epeak in a monstrous little voice:
“Thisbe! Thisbe!“ 'Ah. Pyramus. cw lover
dear. thy Thisbe dear and lady dear!" (m
TURNS FROM SIDE TO SIDE. INDICATING THAT
n IS PLAYING TWO PARTS.)

Act 1.8.11.
ls.56—79

No. no; you met play Pyramus; and Flute. you
Thisbe.

Fell. proceed.

Robin Starveling. the tailor. (x: DLC To STARVRLING.)
(RISES. TABS SCROLL WHICH QUINCE HANDS HIM.) Here.
Peter Quince.

Robin Starveling. you met play Thisbe's mother.
Sung. the Joiner. you will play the lion's part.
(x: TO BENCH DR.)

(RISESJH TO QUINCE.) Have you the lion's part
written? Pray you. if it be. give it to me. for
I am slow of study.

You may do it extempore. for it is nothing but
roaring.

(RUNNING BEMEN THEN. GOING DOWN STEPS R, PLAYING
PROFILE TO AUDIENCE.) Let me play the lion too.

I will roar that I will do any man's heart good to
hear me. I will roar and make the Duke say "Let
him roar again. let him roar again.” (APPLAUDS
HINSELI' VIGOROUSLI.)

74

GUINCE
41 .

42.

BOTTOM
QUINCE

SHOUT

BOTTGI

(MOVING DOWN STEPS. LEADING BOTTOM BACK m’ BY
THE Am.) And you would do it too terribly.
You would frighten the Duchess and the ladies.
and they would shriek. That would be enough
to hang us all. You can play no part but Act 1.8.11.
Pyramus: for Pyramue ie a sweet-faced man. a ls 87-91
most lovely gentleman-like man. Therefore.
you must needs play Pyramus.

43. Well. I will undertake it. Act 1.8.11.1.92

(x- to 0 To GET THEIR ATTENTION.) Now. there is a Act 111
hard thing here; that is. to bring the moonlight 8.l.ls.
into a room: for you know. Pyramus and Thisbe 48-51

met by moonlight.

(TURNING UP TO O.) Both the moon shine this night? Act n1.-.1.
1.52

(RUNNING To C. POUNDING THE OTHERS ON THEIR BACKS. Act 111 5.1.
ETC.) A calendar! A calendar! Look in the al- ls.54 & 55
manac! find out moonshine. find out moonshine.

(QUINCE I: TO BENCH, PULLS OUT ALMANAG TRON BAG. RUNS BACK
TO C mm: THEY ALL CRONE ABOUT Hm AS 1m CONSULTS IT.)

QUINGE
BOTTm

QUINCE
46.

SHOUT

BOTTOM

Yes. it doth shine. Act lll.8.l.l.56

(x. DR. GESTURING WITH RELIEF.) Why. then you
may leave a casement of the great chamber win-
dow open where we play. and the moon may shine
in at the casement.

Act lll.S.l.
1.057‘88

(TOWING BOTTOM.) Av. or else one of must
cane in with a bush of thorns and a lantern
and say he canes to present the person of
Hoonshine. (TURNING TO STABVELING) Robin
Btarveling may play. Moonshine. not, Thisbe‘s
mgthsr. ..atmell....fozt . balsam- e- lantern. (AI-L
NOD ASSENT.) Then. there is another thing;
we must have a wall in the great chamber. for
Pyramus and Thisbe. says the story. did talk
through the chin]: of a wall.

You can never bring in a wall. What say you.
Bottom? \

(CHIN IN HANIS. THINKING HARD.) Some man must pre-
sent tell. And let him have some plaster. or some
rough-cast about him. to signify wall: or let him
hold his fingers thus (INDICATING) and through that
cranny shall Pyramus and Thisbe whisper. Snout may
present Wall. not Pyramus' father.

75

SHOUT ”O I ’hfllle

QUINCE (I: TO BENCH DR.) If that may be. then all is
.well. Come now. rehearse your parts. Pyramus.
48. you begin. When you have given your speech.
enter that thicket. And so everyone. according
to his cue.

(FLUTE AND BOTTOM TAKE STANDS ON EITHER SIDE OF THE STUNP.
BOTTOM AT R or IT. FLUTE AT L. QUINCE MOUNTS THE BENCH.
THE OTHERS SIT ON STEPS DR. ROBIN GOODFELLOW ENTERS L.
ADDRESSES THE AUDIENCE. THE ARTISANS DO NOT SEE HIE.)

ROBIN What hempen home-spuns have we swaggering here?
So near the cradle of Titania dear?
49. What. a play! I'll wait to hear.
And act a part. if one appear.

(ROBIN HIIES HmSELN AT L SIIE OT BOWER UC. ONLY HIS HEAD
SHOWING.)

QUINCE Speak. Pyramue. Thisbe. stand forth.
DOTTQI Thisbe. the flowers of odious eavours sweet."...
QUINCE Odours. odours.

BOTTOH ..................'odours. savours sweet.
Bo hath thy breath. In dearest Thisbe dar.
But hark. a voice: Stay thou but here awhile.
And by and by I will to thee appear.“

(BOTToi GOES ONE L. FLUTE I: TO QUINCE. PANTOUINING
THE ASKING OT QUESTIONS ABOUT THE LINES ON THE SCROLL.)

ROBIN (RUNNING UL. ADDRESSING AUDIENCE.) Now 1'11 this
advantagetakae
‘94..£.%§-.9£.h1m,11l1 mnke....(r0LLows some
on L IHEm HE PUTS ASS'S HEAD ON Hm.)

 

l'LUTl (T0 QUINCE) lust I speak now? Act 111.
8.1.ls.
QUINGI Ay. marry. you must; for you must understand 91-105
that he goes but to see a noise that he has
heard. and is to cane again.

nun (Is To STUMP AGAIN AND REAmz) Intent radiant
Pyrams‘. most lily-white of hue.
or colour like the red rose on triumphant brier.
lost brisky Juvenal and eke most lovely Jew.
As true as truest horse that yet would never tire.
I'll meet thee. Pyrams. at Ninny's tanb.‘

QUINCE (GETTING OFF BENCH. HURRYING TO FLUTE'S SIIE.)
I'Ninue tomb” man. Why you met not speak that

76

yet: that you answer to Pyramus.
your part at once. cues and all.
Your cue is past. It is “never tire.“
(QUINGE RETURNS TO BENCH AS TLUTE BEGINS To SPEAK.)
FLU!!! O.--- “As true as truest horse. that yet would
never tire“....

(BOTTOM RE-ENTERS WITH THE ASS'S HEAD ON HIS OWN. ROBIN
EOLLONS A SHORT DISTANCE BEHIND, HIDES HINSELE AGAIN.)

QUINGB (SHIN BOTTOM) O monstrous! O strange! We
are haunted! Pray masters! l'ly masters! Help!
Help! (HE LEAPS OVER THE OTHERS SEATED ON THE
STEPS DR. RUNS OPE THROUGH DR GATE.)

SNOUT 0 Bottom. thou art changed!

thee?

What do I see on

BOTTOM What do you see! Act lll.8.l.l.120

(SNOUT RUNS OFF BEHIND QUINCE. SNUG, STABVELING, AND

TIME DO LITETISE.)

BOTTOM Why do they run away? This is a knavery of
theirs to males me afraid. This is to make
an ass of me. to frighten me if they could.
But I will not stir fran this place. do what
they can. I will wald up and down here. and
I will sing. that they shall hear I am not
afraid. (SINGS. WALKING L ON FIRST TWO LINES.
THEN R ON LAST Two.)

“The ousel cock so black of hue
With orange-tawny bill.

The throstle with his note so true.
The wren with little quill....."

TITANIA (AWAKENING) What angel wakes me from m
50. flowery bed? (STRETCHES. MOVES QUICKLY

You speak all
Pyramus enter.

Act 111.
S.l.1s.

107 and
108

Act 111.
8.1.1.118

Act 111
S.l.ls.
115-116
Act 111.
S.1.ls.
123-128

Act lll.8.l.1.131

DBO TO BOTTOM.) I pray thee. gentle mortal Act 111.8.1.

sing again. Nine ear like thy music; mine
eyes like thy shape: and thy fair face moves
as on first view to say. to swear. I love
thee.

(ROBIN GOES OFF 1.. HOLDING HIS SIDES WITH LAUGHTER.)

BOTI‘CM Methinks. Mistress. you should have little
reason for that: and yet. to say the truth.
reason and love keep little company together

DOW-8.6.”! .
77

13.141-144

TITANIA (MOVING CLOSER TO HIM) Thou art as wise as
thou art beautiful. Act lll.S.l.l.150
And I do love thee Act 111.5.1.1.159
I'll give thee fairies to attend on thee Act 111
And they shall fetch thee Jewels from the s.l.ls.
deep. 160-165
And sing to thee while thou dost sleep on
pressed flowers (Xe TO R. CALLING ONT.)
Peasebloesom! Cobweb! Moth and Mustardseed! line 164
(RETURNS TO C. NONDLING BOTTOM'S EARS AS SHE
Xe BEHIND HIM. HE Is SITTING ON THE STUHP.)

(m TAIRIES ENTER. Two RUN TO STAND ON EITHER SIDE OE
BOTTOM.)

PEAS]. Reedy.

GOBWFAB And I.

MOTH And I.
MUSTARD. ' And I.
ALI. [here shall we go?

TITANIA (STEPPING BETWEEN THE Two FAIRIES ON BOTTOM'S
LEET. PUTTING AN ARM AROUND EACH NAIRI.) Be

kind and courteous to this gentleman. Act 111.
369 in his walks and gambol in his eyes. s.l.ls.
reed him with apricots and dewberries. 167-170

With purple grapes. green figs. and mulberries: Act 111.
And pluck the wings from painted butterflies s.l.ls.
To fan the moonbeams from his sleeping eyes. 175-177
Nod to him. fairies. and do him courtesies!

(SHE MOVES A STEP TOWARIIL. VIEWING Tm SCENE

WITH LOVING EYES.)

PHASE. Hail mortal!
003m Hail:
MUSTARD. 30111

TITANIA (STEPPING CLOSE TO BOTTOM AGAIN.) Cane. wait
upon him. Act 111. 8.1.1.201

BOTToi (TO PEASBBLOSSOM IN HIS RIGHT.) I beseech thee.
what's thy name?

PEASI. Peasebloseom

'78

BOTTOM Peaeeblossom. scratch w head. Act lY.S.l.1.7

(PEASEBLOSSON STEPS BEHIND BIN AND SCRATCRES ASS'S HEAD.)
And thy name?

NUSTARD. Mustardseen. What's your will? Act 17.8.1.1.22

BOTTOM 51 Nothing. but to help Peaseblossom to scratch. Act 1V.
I must to the barber's for methinks I am mar- s.l.ls.
Irelous hairy about the face. 24 and 25

(NUSTARDSEED LEANS TOWARD Hm. ALSO SCRATCHES ASS'S HEAD.)

TITANIA 0r say. sweet love. what thou desirest to eat. Act lV.S.1
I have a ventourous fairy that shall seek 1.32
the squirrel's heard.
And fetch thee new nuts. Act 1V. 8.1.1.37

BOTTOM I had rather have a handful or two of dried Act 1V.
peas and a bottle of hay. (RISES SUDDENLY. s.l.ls.
STRETCHING. THE EALRIES JUHP BACK. TRIGHTENED.) 39-42
But I pray you. let none of your peOple stir
me: I have an exposition of sleep come upon
me

TITANIA (GESTURING TOWARD BOEER.) Come. sit thee

52. down upon this grassy bed. Act 1V.
While I do coy thy amiable cheeks. S.l.ls.
And in thy sleek smooth head stick musk- 1-4
roses

And kiss thy fair large ears. my gently

Joy. (SHE LEADS HIM BY THE HAND TO
THE POWER WHERE HE LIES WITH HIS READ
IN HER LAP. THE FAIRIES LINE UP AT E
OF POWER. WAITING FOR DIRECTIONS.)

Sleep thou. and I will wind thee in Act 1V.
my arms. s.l.ls.
Fairies. be gone. and be always away. 43 and 44
(THE FAIRIES GO OFF R. TITANIA FOLIB BOTTOM IN HER
Ame.)
TITANIA So doth the woodbine the sweet honeysuckle Act 1V
53. Gently entwist; the lovely ivy so S.l.le.

lnrings the barky fingers of the elm. 45-48
0. how I love thee! How I dots on thee!

(THEI SLEEP. ROBIN ENTERS TRON L. LAUGHING SILENTLI
AT THE SIGHT OF THE LOVERS. OBERON ENTERS TRON R.
SELLING BROADLI.)

OBERON Welcane. good Robin Act lV.S.l.ls.
See'st than this sweet sight? 48-50

79

54.

(OBERON Xe TO TITANIA AND SNAKES HER GENTLY.

I do begin to pity her dotage.

But before I set things right; I'll halvegthat boy.

«~3Mrv-t «..- .m ,

 

BOTTOM IDES

NOT WAKE.)

OBERON

TITAN IA
55.

OBERON
56.

TITAN IA
WERON

57

TITAN IA
58.
59.

OBERON

(OBERON OPEEIS HIS HAND TO TITANIA.

Titania._awake_!_ wHow dost thou here.

Th3 .fieeere Llovinalx..f9ndl.inathe ears...of.-an ass!
1' thighs .vaY 15.1.1011 wedd'sttorment me?
HATES} mopstsagkmege.-n° JealOWA

 

(AWAKENING AND HALE RISING) Oberon. I do

beg thy patience. Act 1V.S.l.l.61

Tell._not what“ thou, hast seen.

I do bewail this -- but alas.

I did love this sweet mortal“ on firetwsight!

You do in mild terms beg ow patience. Titania. Act 1V.
Then I'll ask of you the changeling child. s.l.ls.
Bear him to m bower in fairyland and 61-64
I'll undo the imperfection of thy eyes.

Straightway he's thine. sweet Oberon. Act lV.S.l.l.63

Gentle Robin. take this transfdrmed scalp

From Off the head of this Athenian swain. Act IV.
That he. awakening. s.l.ls.
May to Athens again repair. 67-78

And think no more of this night's
accidents
But as the fierce vexation of a dream.
But first I will release the fairy queen.
(OBERON TOUCHES THE EYES OE TITANIA WITH A
FLWEB HE HOLDS IN HIS HAND. REGIIES:)
'Be as thou wast wont to be;
See as thou wast wont to see:
Dian's bud o'er Cupid's flower
Hath such force and blessed power."
Now. m Titania. Wake you. my sweet queen.

(RUBBING HER EYES AND RISING) My Oberon! What
visions have I seen! Methought I loved this
ass! How came these things to be? Act 1V.S.l.l.82

Robin take off this head. Act 1V.S.l.
1.83

SHE STEPS DOWN ERG!

Silence awhile.

THE BOWEB AND THEY x R TOGETHER.)

OBERON
60.

61.

Cane. cw queen. take hands with me Act 1V.S.l.1.89

Now than and I are friends anew. Act 1V.S.l.l.91

%m'111..13.1& (9111‘. fair! trains

To dance triumphantly in Duke
Theseus' house.

‘01; 1v.s.1.1.93

80

OBERON

ROBIN

(TURNING T0 RORIN) Robin. 1001: thou meet me
'ere the first cock crows. Act ll.S.ll.l.267

Fear not. my lord. your servant shall do so. Act 11.8.11.
(HE RENOYES THE ASS'S HEAD EROHBOTTOH) 1.268
Now. when thou wak'st. with thine own fool's

eyes peep. Act 1V.S.l.l.88

(OBERON AND TITANIA GO OAT R. HAND IN HAND. ROBIN GOES OFFL.)

3091011
62.

(AWAKENING) When my cue comes. call me and I

will answer. My next line is. “Most fair Pyra- Acth
mus." Heigh—ho! Peter Quince! Flute! Snug! s.l.ls.
Snout! Starveling! (REALIZES HE IS ALONE. RURS 204-224
HIS EYES. ROUNDS IRON RONER. MOVES Dc SLONLY.

LOOKING ABOUT HIM.) I have had a most rare

vision. I have had a dream. past the wit of

man to say what dream it was. Methought I was-

and methought I had...(FEEIS THE AIR AROVE HIS

HEAD. SEARCHING FOR ASS'S EARS.) I will get

Peter Quince to write a ballad of this dream.

It shall be called “Bottan's Dream" because it

hath no bottom! And. I will sing it in the

latter end of our play before the Duke. Per-

adventure. to make it the more gracious. I

shall sing it at Thisbe's death! Iam off to

find a fellows. (TURNING ABOUT IN CIRCLES.)

fich way? mWhich way? I have forgot! This

way perhaps. .__... (GOING TOWARD R.) I amjistxauéht!
(TURNING AND GOING ONE L.) Adieu. adieu. fair

tarsal.

(QUINOI. FLUTE. SNOUT AND STARVELING ENTER FROM DR GATE.
STARVELING HOLDS HIS HANDS OVER HIS EYES.)

QUINCI

STAR“.

FLUTE

QUINGE

FLUTE

SHOUT

(IS TO 0. LOOKING ABOUT) He _i_s_____ not here! 0
"9° ENSEMFSJBMAPEERIl-fis'

(DROPPING HANDS FROM RAGE) Not here? Ligand
too look upon him. Out of doubt he is transformed
ana transported.

Act IV.
(Xs TO 0. SPEAKS TO QUINCE) If he comes not. S.ll.ls.
then the play is marred. It goes not forward 4-11
doth it?

It is not possible. You have not a man in all
Athens able to discharge Pyramus but he.

No. he hath simply the best wit of any handi-
craft man in Athens.

Yea. and the best person too.

80

(@310 ms m DR GATE. W38.)

SNUO Masters. the Duke _comes through the “weed. He
comes --9 returned from huntingL he goes to
the temple. to his wedding feast. 01.. If our

playihad gone forward we had all been made

FLUTE 0 sweet hilly Bottom! Thus hath he lost six- Act 1V.S.II.1.18

pence. And the Duke had not given him six-

pence for playing Pyramus. I'll be hanged. He Act lV.S.II.l.ZO

would have deserved it. Sixpence for Pyrams!
Alas!
(ROTTm ENTERS 1mm LEIT, NUTTERINO TO HIMSELF.)
BOTTOM This way perhaps. (SEES FELLOWS) These lads! Act 1V.8.II.1.26
63. These hearts!
(ALI. HASTEN TOWARD HIN MEETING TO MRACE HIM. SHAKE
HIS HAND, ETC.)

QDINGE Bottom! 0 most courageous day! 0 most hapm Act lV.S.II.1-.27

hours!

BOTTOL! 64. (TAKING CENTER) Hasters. I have wonders to Act 1V.
tell. I will tell everything. right as it S.II:.: 1.81
fell out.

QDINGE. Let us hear. sweet Bottom. Act iV.S.II.l.33
SNUG Nay. anon. The Duke comes.

BOTTOM W Get your apparel together; every Act 1V. SII.l.35
man look o'er his part. We met loo]; to. Act 1V.S.II.1.38
that our sweet comedLbe preferred: Mayhap
the ”Dulce will list t9 eur 11.1199... that he
may say it is a swam} comedy and give us

leave to Elam iifitihisleasiamlmoktn!

(EACH I’RODUGES HIS SCRIPT AND STUDIES, EXCEPT SNUG WHO
SITSTHINKINGVERYHARDMTOPLAYTHELION. ALSIT
DL ON TOP STEP. THESEOS, HIPPOLYTA, AND PHILOSTRATE
ENTER 1mm DR GATE, mssus AND NIPPOLITA LEADING,

HER RAND ON HIS.)

 

 

TESEUS (T0 NIPPOLYTA) Now our hinting shall be Act Iv,S.I,1.ise
65. set aside.

lint masques. what dances shall we have. Act V. 8.1.1.32

To wear away this long age of three hours Act V.S.I.1.83
66. Between our supper and our bedtin? Act V.S.I.l.34

(HE TURNS TO PHILOSTRATE AB R RFIAGIES

THE TO? OR THE STEPS RD.) Bhilostrate. Act v,S.I.I.SS
67. manager of mirth. what revels are at

hand? (NOTICES TEE ARTISANS WHO OOWER

AT HIS GLANCE.) But soft! What swains Act IV.S.I.1131

are these?

81

(THE ARTISANS LEAP TO THEIR FEET. BACKING INTO EACH

OTHER. GRINNING FOOLISHLY. BOIING CLUMSILY. ALL BUT

BOTTOM WHO ATTEMP'I‘S A MANLY STANCE. DURING TIE ENSUING

CONVERSATION BETWEEN THE DUKE AND PHILOSTRATE. THE ARTIb

SANS PROD BOTTOM T0 SPEAK FOR THEN. SEVERAL TIMES HE

STARTS FORWARD. THEN STOPS AND HUSHES THEM. NOT PROCEED-

ING. WHAT THE ARTISANS HEAR OF THE CONVERSATION PROVOKES

LOOKS OF ANGUISH AND DESPAIR. UNTIL THESEUS SAYS POSITIVELI

II WILL HEAR THAT PLAY.")

PHILOS. My lord. hard-handed men that work in Athens

669. he never laboured in their minds till now. Act V.S.l.
70. And now have toil'd their unpracticed memories ls.72-75
71. lith a play to present at your wedding.

THESEUA (TAKING A STEP TOWARD THEN) An abridgement Act V.S.l.l.39
for the evening? A play? We will hear it! Act V.S.l.l.76

PHILOS. (FOLLOWING. ANXIOUS TO DISSUADE THESEUS) As Act V.S.l.1.77
lea-.master...o_f-the.revels. my noble 10rd.
I say no. it is not for you.
I have read it over. while you were a—hunting Act V.S.l.
And it is nothing, nothing in the world. 1.78
But here is a schedule of goodly sports
l'rdn whiéh your Highness may make choice.
(PRODUOES A SCROLL FROM WHICH HE REAIB. )

72. “The battle with the Centaurs. to be sung Act V.S.l.l.44
By an Athenian Eunuch to the harp; Act V.S.l.l.45
The riot of the tipsy Bacchanals. Act V.S.l.l.48
Tearing the Thracian singer in their rage: Act V.S.l.l.49

The thrice three Muses. mourning for the

death of learning.
Late deceased in beggary;" and theirs - Act V.S.l.l.53
(INDICATING THE ARTISANS WITH A SHRUG.)
"A tedious brief scene of young Pyramus Act V.S.l.l.56
And his love Thisbe: very tragical mirth.“ Act V.S.l.l.57

' TIESEUS Harry and tragical! Tedious and brief! Act V.S.l.l.58

PHILOS. A play it is. my lord. some ten words
long.
lhich is as brief as I have known a play; Act V.S.l.
But by ten words. my lord. it is too long. ls.61-65
Ihich cakes it tedious; for in all the play
There is not one word apt. one player

fitted.
THESEUS I will hear that play: Act V.S.l.
For never anything can be amiss ls.81-83

When simpleness and duty tender it.
And since our evening revels stand the clock.
73. We'll hear it now to beguile the lazy time. Act V.S.l.l.40
(18 TO BENCH WITH HIPPOLYTA. )
74. Go. tell them to prepare. Seat yourself. Act V.S.l.l.84
Hippolyte.

82

(PHIIOSTRATE x. UNEILLINGLY TO THE ARTISANS WHO ARE VERY
EECImD. HE GESTURES, INDICATING THAT THEY MUST HASTEN.
THEY GO OPP L. BOTTOM HERDING THEE AND HISSING "MASTERS.
MASTERS. HASTE: OUR PLAY IS PREFERRED. EVERY MAN LOOK
O'ER HIS PART“ ETC. PHILOSTRATE FOLLOWS THEM. A LOOK OE
DISTASTE ON HIS PACE. THESEUS AND HIPPOLYTA SIT ON Tm
BENCH DR. OBERON. TITANIA. AND THEIR TRAINS ENTER TRON R.
THEY EXCHANGE GLANCES OE SURPRISE. THEN (HERON GES TUBES
THE FAIRIES AND ELVES TO TAKE PLACES OUT OF SIGHT WHERE
THY MAY WATCH. UNOBSERVED. THEY SIT UC ON BONER. ROBIN
ENTERS FROM L. LAUGHING SILENTLY. OBVIOUSLY HAVING SEEN
THE ARTISANS AT THEIR PREPARATIONS. 3 Is TO OBERON AT C.)

HIPPOL. (SITTING ON DR END OF BENCH) I love not to see Act V.S.1.

wretchedness o'ercharged 18.85 and
75. And duty perishing in his service. 86
THESEUS Why. gentle sweet. you shall see no such Act V.S.l.

thing. 1.87

HIPPOL. He says they can do nothing in this kind. Act V.S.l.l.88

THESEUS The kinder we. to give them thanks for nothing.
Our sport shall be to take what they mistake: Act V.S.l.
And what poor duty cannot do. noble respect ls.89-92
Takes it in might. not merit.
Trust me. sweet. Act V.S.1.1.99

ROBIN (TO OBERON) Shall we their fond pageant see? Act 111.3.11.
Lord. what fools these mortals boils.ll4 and 115

(PHILOSTRATE RE-ENTERS AND ADDRESSES THESEUS.)

PHILOS. 76. So please your Grace. the ProlOgue is Act V.S.l.l.106
ready.

THESEUS Let him approach. Act V.S.l.1.lO7

(PHILOSTRATE GESTURES BEHIND HIM To QUINCE WHO IS PEEK-
ING OUT. WAITING FOR THIS SIGNAL. PHILOSTRATE Is TO
THESEUS AND HIPPOLYTA AND STANDS DIRECTLY BEHIND THEM.
A SCORNFUI. LOOK ON HIS FACE. HE PAYS LITTLE HERD TO
THE PLAY WHICH FOLLOWS EXCEPT 10R A FEW DISDAINFUL
SNIPPS Now AND THEN. QUINCE I. To C.)
WINCE (READING FROM SCROLL) I'If we offend. it is with Act V.S.l.
our good will. ls.108-117
That you should think. we come not to offend.
But with good will. To show our simple skill.
That is the true beginning of our end.
Consider then we cane but in despite.
We do not come as mindng to content you.
Our true intent is. All for your delight
We are not here. That you should here repent you.

83

- The actors are at hand. and by their show
You shall know all that you are like to know.

TESEUS 77. This fellow does not regard punctuation. Act V.S.I.l.118
His speech was like a tangled chain. Act 7.8.1.1.126
'ho is next?
(m. BLUTE, SHOUT, SNUG, AND STARmLING ENTER TRON L A8
PIHANUS. THISBE. WALL. LION. AND MOONSHINE. THEY STAND 0N
VITI-IER SIDE OF QUINCE, SLIGHTLY BEHIND Hm. BOTTOM NOW
HAS A CRUDE SWORD THRUST THROUGH THE SASH AT HIS WAIST.
FLUTE HEARS A YELLOW WIG WITH BHAIDS AND A COLORFUL CLOAK.
SHUG WEAHS A LION'S HEAD. SNOUT CARRIED A SMALL BRANCH.
AND STARVELING CARRIES HIS LANTEITI.)
WINCH. Gentles. perchance you wonder at this show;
But wonder on. till truth make all things plain.
This man is Pyremcm. if you would know. Act 7.3.1.
(BOTTOM Bows LOW.) ls.127-152
This beautious lady is Thisbe certain.
(ELUTE CURTSIES CLUHSILY.)
This nan. with lime and rough-cast. doth present
Wall. that vile Wall which did these lovers sander;
(mom Bows) -
And through Wall's .chink. poor souls. they are content
To whisPer. At the which let no man wonder.
78. This man. with mighty bush of torn
Prasenteth Moonshine; for. if you will know.
(STAHVELING STEPS FORWARD. SWINGING LAITEHN.)
Hy moonshine did these lovers think no scorn
To meet at Ninnus' tomb. there. there. to woo.
79. This grisly beast. which is Lion called by name.
(SNUG HENOVES LION'S RAD AND Bows, THEN REPLACES HEAD.)
The trusty Thisbe. coming first by night.
Did scare away. or rather. did affright.
And as she fled. her mantle she did fall.
Which Lion vile with bloody mouth did stain.
Anon comes Pyrams. sweet youth and tall.
(BOTTaI BOWS AGAIN.)
hid finds his trusty Thisbe's mantle slain.
Ihsreat with blade. with bloody blameful blade.
80. He bravely stabbed his boiling bloody breast;
(QUINCE PANTONmES ACTION Hr PYRAMUS.)
And Thisbe. tarrying in mlberry shade.
H1s dagger drew and died. For all the rest.
Let Lion. Hoonshine. Wall. and lovers twain
At large discourse. while here they do rasin.

(ALL 00 OFF Ia EXCEPT SWOT WHO Xe TO CENTER)

SNQIT. In this same interlude it doth befall
That I. one Inout by flame. present a Wall. Act V. 8.1.
hd such a wall. as I would have you think. ls.156-161
That had in it a crannied hole or chink.
Through which the lovers. Pyrazms and Thisbe.
Did whisper often very secretly.

84

(HOLDS FINGERS UP To INDICATE CRANNY.)

And this the cranny is. right and sinister. Act 7.8.1.

Through which the fearful lovers are to ls.l64 and 165
whisper.

(BOTTOM ENTERS.)

THESEUS

LOTTO!

81

BOTTOI!

mews

BOTTOM

Pyramus draws near the Wall. Silence! Act Y.S.1.l.170

O grim-look'd night! 0 night with heu so black!
0 night. which ever art when day is not!

(WALL WATCHES HIS GRIIAACES WITH INTERST)

0 night! 0 night! alack. alack. alack.

I fear tl'w Thisbe's promise is forgot!

And thou. 0 Wall. 0 sweet. 0 lovely Wall.

(1s BELOW .OUT. SHOUT SMILES HAPPILY AT

BOTTOM'S PRAISE, FORGETTING TO HOLD UP
HIS FINGERS FOR THE CHANNY.)

That stand' st between her father's ground and mine!
Thou Wall. 0 Wall. 0 sweet and lovely "all.

Show me tlw chink. to blink through with mine eye!
(BOTTOM PUNCHES WALL NHO FINALLY HOLDS UP HIS
FINGERS.)

Thanks. courteous Wall. Jove shield thee well

for this! (LOOKS THROUGH FINGERS.) Act V.s.I,
hit what see I? No Thisbe do 1 see. ls.179-182
O wicked Wall. through whom I see no bliss!
Ours'd by thy stones for thus deceiving me!
(SHOUT LOOKS CHUSHED AT HIS CURSE.)

The Wall. methinks. being sensible. should Act V.S.1.
wee again. 10183

(Is DR T0 THESEUS) He. in truth. sir.he

should not. 'Deceiving me“ is Thisbe's cue. Act V.S.I.
She is to enter now. and I am to spy her ls.185-189
through the Wall. You shall see it will fall

pat as I told you. Yonder she comes.

(mm: ENTERS AND STANDS ON SNOUT'S LEFT.)

FLUTE

(IN A HIGH VOICE) 0 Wall. full often hast

thou heard nw means. for parting W fair Act V.S.1.
Pyrams and me! ls.190-197
AU cherry lips have often kiss'd thy stones.

Tm stones with lime and hair lmit up in thee.

(Is to C AGAIN.) I see a voice! How will
1 to the chink am I can hearnw Thisbe's

face! (LOOKING THROUGH SNOUT'S FINGERS.)

Thisbe!

1hr love thou art. w love 1 think. (ALSO
LOOKS THROUGH SNOUT'S FINGERS.)

85

BOTTOM Think what thou wilt. I am thy lover's grace.
0. kiss me through the hole of this vile wall! Act V.S.l.l.203

(BOTH LEAN TO KIss)

FLUTE (DRAWING AWAY SADLY) I kiss the Wall's hole.
not your lips at all.

BOTTOM Wilt than at Ninny's tomb meet me straightway?

FLUTE Tide life. tide death. I come without delay.
Act v.51.
(BOTTOM AND FLUTE GO OFF L. HAND IN HAND.) 18.204-209

SNOUT Thus have 1. Well. my part discharged so.
And being done. thus Wall away doth go.
(EXITS L.)

THESEUS 82. Now is the wall down between neighbors.

HLPPOL. This is the silliest stuff that I ever Act V.S.l.1.212
hearde

THESEUS If we imagine no worse of them than they
of themselves. they may pass for excellent
men. Here come two noble beasts in. a moon
and a lion.

(SNUG AND STARVELING ENTER FROM L.)

SNUG (Xs DR. REEOVES LION'S HEAD AND ADDRESSES HIPPOLYTA.
STARVELING STANDS NEARER C. PROFILES TO AUDIENCE.)

83. Dear lady. you whose heart doth fear the smallest-
Monstrous mouse that creeps on floor.
May now perchance both quake and tremble here. Act V.S.l.
When Lion rough in wildest rage doth roar. ls.222-229
Then know that I. as Snug the Joiner. am
A lion fierce. nor else no lion's dam;
Zl'or if I should as lion come in strife
Into this place. 'twere a pity on nw life.

(SNUG AND STARVELING EXCHANGE PLACES. SNUG PUTS HIS
LION'S mAD BACK ON.)

THESEUS A very gentle beast. and of a good con- Act V.S.l.
science. 1.230

STARVE. This lanthorn doth the horned moon present. Act Y.S.1.

Myself the man 'i the moon do seem to be. ls.248-249

THESEUS This is the greatest error of all. The Act Y.S.I.

man should be put into the lantern. How 1s.250-252

is it else the man 'i the moon?

86

HIPPOL. I am aweary of this moon. Would he would Act V.S.I.l.255
change!

Tums Proceed. Moon. Act V.S.I.I.260.Iysander

STARVE (CONFUSED) All that I have to say is to tell Act V.s.I,
you that the lanthorn is the moon; I.the man 1s.261-262
in the moon.

THESEUS 84. W. you should be in the lanter. But Act 17.8.1.
silence! Here comes Thisbe. ls.264-265

(FLUTE ENTERS m Lm.)

FLUTE This is old Ninny's tanb. But where is w lover? Act V.S.I.

1.267
SNUG (HOAHS. 1s TO LC. TOWARD FLUTE. ON HANDS AND
-8.)
ME ms 01'! L. DROPPING CLOAK WHICH SNUG PAWS.)
MS '81]. med, Lion. ‘Dt V.V.SeI,1e270.
Demetrius
HIPPOL. Well run. Thisbe Act V.S.I.l.27l

THESEUS Well shone. Noon. Truly. the moon shines Act Y.S.I.ls.
with a good grace. 272-273. Hippol.

(SNUG GIVES HDTE'S NANTLE A FINAL SHAKE AND THEN
GOES OPE L. BOTTOM ENTERS FHCM L.)

HIPPOL. And then came Pyrams. Act V.S.1.l.274. Demetrius
THESHJS And so the lion vanished. Act V,S.1.1.275. Iysander

BCTTOH (Is TO STAHVEING AT C.) Sweet moon. 1
thank thee for thy sunny beams.
I thank thee. Noon. for shining now so bright;
(MOON IS PIEASED. SMILES HAPPILY.)
hr. by try gracious. golden glittering gleams. Act v.3. I.
1 tmst to take of truest Thisbe sight. ls. 276-292
But stav. 0 spite!
But mark. poor night.
(NOTICING CLOAK ON GRGJND AND PICKING IT UP.)
What dreadful dole is here!
Eyes. do you see:
How can it be?
0 dainty duck! O dear!
(STARVELING WATCHES CLOSELY, VERY SYNPATHETIC.)
le mantle is good
What. stain‘d with blood!
Approach ye furies fierce!
0 rates. come. cane.
Cut thread and thrum;
85. Overpower. crush. conclude. and kill!

87

THESEUS

HIPPOL.
BOTTOM

THESEUS

HIPPOL.

This passion. and the death of a dear friend.
Would go near to make a man look sad.

Beshrew my heart. but I pity the man. Act V.S.l.1.295

O wherefore. Nature. did'st thou lions frame?
Since Lion vile hath here deflower'd my dear; Act V.S.l.
Which is - no. no.-which was the fairest dame ls.296-SOl
That liv' d. that lov'd. that lik' d. that look'd
with cheer. (XS DEC.)

Cane. tears. confound:

Out. sword. and wound. (STARS HIMSELF.)

Thus die I. thus. thus. thus. Act V.S.l.l.305
(THRUSTS SWORD UNDER ARNPIT AT EACH

“THUS". FALLS TO THE GROUND ON HIS
BACK. HIS FEET TOWARD MSEUS AND

HIPPOLYTA. HE SUDDENLY SITS Ur AND

GESTUHES T0 STARVELING TO EXIT. THEN

LIES DOWN AGAIN.)

Now I am dead.

Now 1 am fled; Act V.S.l.

My sould is in the sky. ls.306-811

Tongue. lose thy light;
Hoon. take thy flight.
(STARVELING GOES OFF L.)

Now die. die. die. die. die (MES)

With the help of a surgeon he might yet Act V.S.l.l.316
recover.

How chance Moonshine is gone before Thisbe Act Y.S.l.
comes back and finds her lover? ls.318-319

(FLUTE ENTERS FRON L. WITH DAINTY. NINCING STEPS.)

TEESEUS

HDPOL.

TEESEUS

FLUTE

She will find him by starlight. Here she Act V.S.l.
comes. and her passion ends the play. ls.320-321

Methinks she should not use a long one Act V.S.1.
for such a Pyramus. I hope she will be ls.822-328
brief.

She hath spied him already with those Act Y.S.l.
sweet eyes. 1.327.Lysander

(Xe TO WHERE BOTTOM LIES. HOVERS OVER HIM.)

Asleep. my love? Act V.S.1.
What. dead. my dove? ls.331-341
O Pyramus. arise! (KNEELS. POUNDS HIS CHEST.)

Speak. speak! Quite dumb.

Dead? Dead“ tomb must cover thy sweet eyes.

These cherry nose.

These yellow cowslip cheeks

Are gone. are gone!

88

THESEUS
HIPPOL.

BOTTOM

THESEUS

86.

(RISES. X8 TO THESEUS AND HIPPOLYTA)

Lovers. make moan.

Tongue. not a word!

(BEACHES EOR SWORD. DISCOVERS HE DOESN'T HAVE ONE.

KICKS BOTTw WHO SITS UP AND HANDS HIM HIS SWORD.

FLUTE NODS "THANKS“ AND CONTINUES.) Act v.s.1.
Come trusty sword. 18.331-341
Cane blade. my breast imbrue;

(STAB: HnISELr WITH HANDLE END OE SWORD.)

And farewell. friends;

Thus Thisbe ends.

Adieu. adieu. adieu.

(WAVES. FALLS ON BOTTOM WHO GRUNTS.)

Moonshine and Lion are left to bury the dead. Act V.S.l.l.355
And Wall too. Act V.S.l.l.356. Demetrius

(SITTING UP. THEN RISING AND GOING OVER TO THESEUS.)
No. I assure you. the wall is down that parted their Act V.S.l.
fathers. Will it please you to see the epilogue? 1s.357-359

(RISING. Xs TO CENTER) No epilogue. I pray you Act V.S.l.

for your play needs no excuse. Never excuse. for 13.362-364

when the players are all dead. there need none

to be blamed. It is a fine tragedy. truly. and

notably discharged. (To HIPPOLYTA) This palpable- Act v.S.1.

gross play hath will beguiled the heavy gait of 1.374

night. But come. (GESTURES TO HIPPOLYTA WHO Xs

T0 0.) Away with us to Athens. We'll hold a Act V.S.l.

feast in great solemnity. then nightly revels 18.376-377

and new Jollity. Come. 'tis almost fairy tine. Act V.S.l.
1.371

(THESEUS. HIPPOLYTA. AND PHILOSTRATE. FOLLOWED BY THE ART-
ISANS GO ONE THROUGH DL GATE. THE ARTISANS ARE VERY
PLEASED WITH THEMSELVES. PAT EACH OTHER ON THE BACK AND
GRIN HAPPILY. THE TIMES STRETCH THEASELVES AND GATHER
ABOUT OBERON AND TITANIA AT C WHEN THE STAGE Is CIEAR.)

ROBIN (SKIPPING QUICKLY DI...) My fairy lord. we must Act lll.S.1.
87. Off with haste 13.378-379

For night's swift dragons cut the clouds full
fast.

OBERON (GIVING DIRECTIONS TO ELVES AND EAIRIES.)

a;--

And. through the house give glimmering light. Act V.S.l.l.398

88. There. until the break of day.

89. Through the house each fairy stray. Act V.S.l.

90. To the Duke's bride-bed will we. ls.408-4ll
Which by us shall blessed be.
With this field-dew consecrate. Act v.§.1.
Every fairy take his gait. 18.422-423

89

And each several chambers bless.

Through the palace with sweet pease.

And the owner of it blest

Ever shall in safety rest. Act V.S.I.
Trip away; make no stay. 13.424-429
Meet me all by break of day.

(THE FAIRIES AND ELVES RUN OER THROUGH DL GATE. TITANIA
AND OBERON FOLLOW. BREAKING INTO A RUN WHEN THE EAIRIES
AND ELVES ARE OUT ON SIGHT. ROBIN REMAINS ON STAGE.)

ROBIN. (x9 T0 C, ADDRESSES THE AUDIENCE TRON THE TOP STEP.)
If we shadows have offended.
Think but this. and all is mended.
That you have but slumbered here
While these visions did appear. Act V.S.I.
And this weak and idle theme. ls.430—445
No more yielding but a dream.
Gentles. do not reprehend.
If you pardon. we will mend.
And as I am an honest Puck.
If we have unearned luck
Now to 'scape the serpent's tongue.
We will make amends 'ere long;
Else the Puck a liar call.
So goodnight unto you all.
(APPLAUDING LIGHTLY)
Give me your hands if we be friends.
And Robin shall restore amends.
(HE EXITS THROUGH DL GATE AT A RUN.)

THEEND

90

L.

9.

10.

11.

12.

15.

14.

15.

AN EXPLANATION OF THE LINE CHANGES MADE IN ADAPTING

A MIDSUMMER NIGHT'S DREAM

Theseus' line. “Stir up Athenian youth" was borrowed for
Robin's prologue and changed from the present tense to the
past tense. which Robin uses in delivering the exposition.

'Near' substituted for "Space" which is a word unfamiliar to
children.

I'Through" used instead of “thorough“ which is an obsolete
spelling and pronunciation of the word.

IThou lob of spirits" omitted because of its unfamiliarity
and doubtful connotation. "Farewell spirit" used instead.

I'King Oberon“ substituted for "The King.“ Substitution
made for the purpose of clarifying the subject of the
conversation.

'Angry and full of wrath" clearer than "passing fell and
wrath.”

“Quarrel' substituted for "square" which is an obsolete
expression.

I'Who" used instead of "that" for clarification of person.
llFrightens" substituted for the abbreviated "frights."

'Tis to beg of you once more" substituted for "I do but
beg' in order to show. without including the long con-
versation between Oberon and Titania. how long their
quarrel over the boy had been going on.

'Thy' substituted for ”The" in order to differentiate
between the fairy domains ruled by Oberon and Titania.

“His mother was my friend" used instead of “His mother
was a votress of my order' which would not be understood_
by children.

'I did for her sake rear up her boy' instead of "For her
sake do I rear up her boyI because Titania has been using
the past tense in describing the circumstances to Oberon.

“How long do you intend to stay within this wood!" is
more conversational. and thus more easily comprehended than
“How long within this wood intend you stay?‘

'Perchange' omitted as unnecessary.

Word order change to remove rhyme. "Quarrel" substituted
for the less common 'chide.'

91

16.

17.

18.

19.

20.

21.

22.

25.

24.

25.

26.

27.

28.
29.

50.

51.

52.

55-

'Thou shalt not leave this grove“ clearer than "Thou shalt
not from this grove.“

"Which maidens call" connects "Fetch me that flower" (line 169)
with 'Love-in—Idleness' taken from line 168.

Description of the flower condensed to three words ("little
purple flower“) and added to the first three words of line
170 for the sake of brevity.

I'On sleeping eyelids laid” re-arranged to read “Laid on
sleeping eyelids" which is a more common word order. “On
the first thing seen“ shorter than “Upon the next live crea-
ture that it sees.I

“Liquor“ replaced with “juice" for clarity. "Flower" repeated
for understanding.

Word order of the four lines changed to a more conversational
.tyle e

'Before' substituted for I”ere" which is less familiar.

IJuice of another flowern used instead of 'another herb“ to
avoid confusion of meaning.

“Give up her boyll used instead of "Render up her page.. De-
sirdhle to use one description.of the boy lest the chfldren

“become confused.

'Flower' used instead of nherb." (See number 25.)

“Now dance in a ring“ substituted for "Now a roundel' which
is less familiar.

'Gankersn is an abbreviation of "canker worms” which was in-
cluded in full for clarity.

'Bats' more familiar than 'rere-mice."
"Lynx“ substituted for "ounce“ which is obsolete.

I'Pard" is an abbreviation of 'leopard.' The full word used
for clarity.

“Convenient“ omitted as unnecessary. "Grove of trees" sub-
stituted for “Hawthorn brake" because it more aptly described
the setting. I'Dreasing room'I used instead of l'tiring house"
because it is a more familiar term.

'It would be best' instead of 'IOu were best." Modern termin-
ology preferred for clearer understanding of the direction.
'Generally“ omitted as unnecessary.

“with“ substituted for “or". "who" substituted for 'which'
because they are more commonly used in such word relation-
ships today.

92

$5.

56.

57-

59.

40.
41.

#2.

45.

45.

46.

#7.

49.

ITo take part in our play“ used instead of |lTo play in our
interlude. to ensure understanding of the preposed project.
IIThrough all Athens'omitted as unnecessary. I'On their wedding—
day' substituted for “On his wedding-day at nightII which is un-
necessarily lengthy.

"So grow to a point' an obsolete expression. "Get on with the
rehearsal“ substituted.

“And a marry“ cut as unnecessary.

“Take“ substituted for ”Ask“; "Let the audience prepare to
weep' substituted for ILet the audience look to their eyes"
for purposes of clarity. Other lines cut for brevity. ”Her-
cules' used instead of the abbreviation. I'EJrcles.‘I

IIPlay 'l'hisbe'l clearer than "Take Thisbe on you.'
'Nsver mind“ clearer than “Take Thisbe on you.n

”Let me“ substituted for "An I may' for clearer understanding
of Bottom's pr0posa1. l'Thisbe“ substituted for "Thisne“ which
is funny but might be confusing to children.

"And. I hope. here is a play fitted“ out as unnecessary.

'Frighten' used instead of the abbreviated IIfright.n 'And'
for That.“ 'That would be enough" instead of nThat were
enough.I All of these substitutions made for clarity.

'As one shall see in a summer's day“ out for brevity.

nWhat beard" (etc.) omitted in order to cut ensuing discussion
of beards which is meaningless today. Also cut for brevity.

Preferring to take the 'hard things. one at a time. the line
was changed to deal with the first one only.

“This night9~substituted for ”That night we play our play"
because in the adaptation the rehearsal is held and the
play is given on the same day.

“One of us'I clearer than “One must." 'To disfigure, or"
out as unnecessary and confusing.

"Or other' and “some loam" not needed for the description.

“Come nown substituted for llSit down. every mother's son'
for brevity. ”Given your speech" easier for the actor than
“Spoken your speech.I "Thicket“ a more commonly heard word
than “brake.“

This speech was re-written to rhyme in accordance with the
decision to have Robin speak consistently in rhyme. “I'll
wait to hear' better for the understanding of children than
I'I'll be an auditor.“

95

50.

51.

55.

54.

55.

56.

57.

59.

60.
61.

"Mine ear likes" clearer than “Mine ear is much enamoured of."
nEnthralled" omitted for the same reason. 'And thy fair face"
both clearer and briefer than “And thy fair face virtue's
force (perforce).'

The names Bottom assigns the fairies were cut to avoid confusion.
Word order changed to remove rhyme.
“Lovely ivy'l substituted for "Femab evy" to avoid sex element.

'1 do begin to pity her dotage" instead of "Her dotage now I do
begin to pity.‘ The former is more direct. thus clearer.

Oberon'. line to Robin telling of his meeting with Titania in
the woods reads. "And she is mild terms begg‘d my patience.ll
The line has been changed to the present tense and given to
Titania in order to show this scene on stage. Oberon repeats
the line. again in the present tense. in his next speech.

Change of tense. In the original play. Oberon tells what he
had done. The tense has been changed because the scene is
being enacted. not described.

IIWhen the other don omitted because it refers to the four
lovers who have not been included in the adaptation.

'1 loved this ass“ substituted for 'I was enamoured of this
ass." The word "enamoured“ is not familiar to children.

"To be.‘ substituted for 'To pass" to remove the rhyme.
'Are friends anew“ clearer to children than "Are new in amity."

I'Dance in Duke Theseus' house triumphantly" re-arranged to read.
I'To dance triumphantly in Duke Theseus' house“ in order to make
sense with the line which precedes it. ''And will join our fairy
trainb."

Omissions made for the sake of brevity. "'I‘hisbe'l substituted
for 'her' for clarity.

"Where are these lads? Where are these hearts?" changed from
questions to exclamations because Bottom has come upon his
fellows when he delivers the line.

“I have wonders to tell.' substituted for "I am.to discourse
wonders" because the meaning is clearer.

I'Our purpos'd huntingI replaced with “Now our hunting“ to
indicate that the Duke has already spent the day hunting.

l|AfterI omitted to avoid confusion. In the adaptation. the
Duke has not yet dined.

This line is composed oftPhilostrate" plus l'Manager of
mirth“ taken from line 55. and “What revels are at hand?“

94

70.

71.

72.

75.

74.

75.

76.
77.

78.

79.

80.
81.
82.

8).

taken from.line 56. The phrases were condensed into one
sentence for purposes of brevity.

This line in the original play is delivered by Thegeus when

he discovers the lovers asleep in the wood. It was borrowed
for his discovery of the artisans. and "swains" was substituted
for 'nymphs'. being more appropriate. ‘

'Uho“ substituted for "which" as a better reference to human
beings e

'Unpractic'd" substituted for “Unbreath'd" which is an obsolete
Wage.

llThis same" omitted because this is the first reference to the
play in the adaptation. “To present at your wedding. clearer
than I'Against your nuptial."

For reasons of clarity. brevity. and interest, this speech by
Philostrate contains only the list of entertainments. Philo-
strate's comments about them have been omitted.

This line has been changed from question to statement in order
that the play may be given.

Since the artisans are already in. the line is changed to "Go
tell them to prepareII in order that the artisans may go off-

stage for properties. etc. Since Hippolyta is the only lady

present. the direction is addressed to her. rather than to a

company of ladies.

'And duty in his service perishingu re-arranged to read "And
duty perishing in his service" which is the customary word
order today and clearer to ears tuned to the modern style of
expression.

'Ready' substituted for “address'd” for clarity.

'Does not regard punctuation. substituted for the obsolete
phrase. 'Doth not stand upon points.ll

I'Mighty bush of thorn“ substituted for I'I.-antern. dog. and
bush of thorn“ because the mention of a dog might cause
children to watch for its appearance and be disturbed at
its not appearing.

'Hight is an obsolete word meaning "is called." The latter
was used for clarity.

"Stabbed" preferred to 'Broash'd“ which is an obsolete word.
"lye” substituted for "Eyne' for clarity.
'Wall' substituted for Imural for clarity.

Singular '1ady“ instead of the plural Iladies because Hip-

95

85.

86.

87.

89.

90.

polyta is the only woman present.

IAll these" refers to thorn-bush and dog in the previous line.
both of which were omitted. The change to "you" is to accomo-
date this omission.

“overpower" and "K111' are used instead of "Quail" and "Quell"
which are unfamiliar to children.

Thegeus' final speech was too long to include all of it. The
lines retained are those which are absolutely necessary to the

~ closing of the play. 'A fortnight hold we this solemnity in

nightly revels and new jollity' was changed to read "We'll hold
a feast in great solemnity. then nightly revels and new jollity'
in order to indicate that the feast and festivities were to be-
gin as soon as the company reached Athens. "Come. tie almost
fairy time“ use placed at the end of the speech for two reasons:
to indicate that the party was to leave; and to indicate to the
audience that the fairies still had a part to play.

“This must be done with haste'| (original play) refers to Oberon's
plan to charm.Titania with the love-juice. The line has been
borrowed for the last part of the adaptation and the above phrase
altered to “We must off with haste“ to indicate that the fairies
are about to leave for the palace of Theseus.

"Nofi'I replaced with 'There" because the fairies are still in the
forest. only preparing to leave for the palace.

"The“ substituted for "This" because they are not in the palace.

“Duke's bride-bed“ substituted for “The best bride-bed" to make
clear who it is Oberon means to bless.

96

AN EXPLANATION OF THE ORIGINAL LINES ADDED IN THE ADAPTATION

PAGE 68

PAGE 70

PAGE 71

PAGE 75

Except for the words and phrases noted in the right-hand
margin of the script. Robin's introductory speech is or—
iginal material and was written to supply the necessary
information about the Duke's wedding. which is the envel-
oping action of the play. 'This speech also serves to set
the scene of the play. and to introduce to the children

many of the characters in the play.

'To bless the wedding of good Duke Theseus and his bride
Hippolyta‘ was inserted to re-emphasize the main reason
for the gathering of the fairies in the wood. “oh yes,
Titania. but I have another purpose still" was written
to introduce the quarrel theme. The discussion of the
disagreement between Oberon and Titania having been
omitted for reasons of clarity and brevity, it was ne-

cessary to bring the situation into focus in a few words.

Oberon's “Come elves. we'll go off space. I think Titania
revels here as soon as we depart" was inserted as a means
for getting Oberon and his elves off-stage. and Titania

and her fairies back on-stage in the same area.

'Robin Starveling may play Moonshine. not Thisbe's mother
at all. for he hath a lantern'| was written in to prepare

the children for Starveling's appearance later as Moon—

97

shine. Otherwise. the children might have watched for
nThisbe's mother." The same holds true of the line. "Not
Pyramus' father“ added to Bottom's line. "Snout may pre-
sent Wall." I

PAGE 76
Robin's I'Now I'll this advantage take and an ass of him
I'll make" was written to prepare the children for Bottom's
appearance wearing the ass's head. Without this‘prepara-
tion. the children would have good reason to wonder why
Bottom wears the ass's head and who put it on his head.

PAGE 80
“But before I set things right. 1'11 have that boy" was
written in order to show Oberon in the process of getting
the boy from Titania. In the original play. Oberon gets
the boy and relates the experience to Robin. Titania's
speech. which follows. was likewise written for the pur-
pose of showing this scene on-stage.

PAGE 80
"And will join our fairy trains" serves to prepare the
children for the entrance. later. of Oberon. Titania,
their fairies and elves. and was written for this reason.
Bottom's l'I am.off to find my fellows. Which way? Which
way? I have forgot: This way perhap. I am.distraught1
Adieu. adieu. fair forest." was written in as a device to
get Bottom off-stage until the other artisans re-appeared,
and then. to get him back on-stage so that he mdght join

them. His state of confusion is to justify his wandering

back in a few moments after he exits.

98

PAGE 81

PAGE€32

Quince's "He is not here! 0 woe that hath befell us:n was
inserted to justify the re-appearance of the artisans in the
forest.

Starveling's "Not here? I feared to look upon him!u was
written to remind the audience of Bottom. and to prepare
them for the reunion to follow.

Snug's speech about the Duke being in the wood was written
in order to bring Theseus. Hippolyta. and Philostrate into

the forest setting. thus making it possible for the Pyramus

and Thisbe play to be performed.

Bottom's directions to the artisans were suggested by his
speech to the artisans in Act IV. Scene II, which takes
place in Peter Quince's shop in Athens. In the original
play. the artisans leave the shop to make their prepara-
tions. In the adaptation. slightly different directions
had to be written so that the artisans might remain in full

view of the audience.

"As I am master of the revels" was written to make Philo-
strate's identity absolutely clear to the children.
"While you were a-hunting' was inserted to justify Philo-
strate's familiarity with the artisan's play.

'But here is a schedule of goodly sports from which your
Highness may make choice" was suggested by "There is a
brief how many sports are ripe. Make choice of which
your Highness will see first.'| The lines from the orig-
inal play are not easy to comprehend quickly, so the new

lines were written to replace them.

99

PAGE 89

nAnd since our evening revels crowd the clock" was writ-

ten to justify Theseus' decision to remain in the wood to

see the play.

IThen to the palace each elf and sprite" was written to

'8 next

prepare the children in the audience for Oberon
speech in which he given directions to the fairies and
elves. With this line added. the audience knows that di-

rections are to follow, and also. where the fairies are

going to perform their duties.

100

SECTION II

DIRECTING THE PLAY

DRAMATIC VALUES

DRAMATIC VALUES

In compiling Shakespeare's plays and writing introductions to the study
of them. editors generally agree that A Midsummer Night's Drggm,was written. in
the first instance. for a private entertainment in celebration of the marriage
of some nobleman.5 This seems a logical assumption since the wedding of Duke
Theseus to Hippolyta is the enveloping action of the play. We may assume. too.
that Shakespeare's primary purpose in writing the play was to entertain an audi-
ence of people who would be delighted with spectaele. with music and dance.
However. in addition to the practical certainty of later revision of the play.6
certain elements are present which indicate that Shakespeare wrote gzgidsummer
Night's Dream with more than one type of audience in mind. The play is a ro—
mantic comedy and the playwright's over-all purpose is to entertain. But it is
to entertain all types of people with many types of appears.

Perhaps if we think of Shakespeare as a doctor. prescribing for his audi
once as a doctor would his patients. we can visualize hum as he was writing A_
Midsummer Nighgfs Dream. For the sophisticated London playgoers he might have
prescribed the Story of the four lovers. Parrott describes this theme as I'The
conception of love from the standpoint of comedy as Opposed to the idea of love
as a consuming and purifying passion...."7 To the worldly-wise gallants seated
on the stage. the ridiculous complications of the lovers' affairs must have
seemed highly amusing. For the "groundlings" Shakespeare might have prescribed
a strong dose of Nick Bottom and his friends. The riotous lower-class Londoners
must have found the rude mechanicals hilariously funny. and more staid citizens
probably chuckled indulgently at Bottom’s antics. A mild treatment of the old
classical tradition may have been Shakespeare's order for the sdholars. stu-

dents. and courtiers of his audience. Oberon and Titania. stately monarchs of

 

5 Ibid. p. 151. c.f. The Complete Works of William.Shakespeagg. The Cambridgz'
Edition Text. Doubleday. Doran and Company. New York. 1956. p. 586.

6 P‘rrOtt, OE. Cite, P. 1§1e
7 Ibid.. 0. 152.

the fairy world. Theseus. the gentleman-ruler. and Hippolyta. his dignified
lady. would have satisfied the most devoted lovers of the classical drama.

And for all Elizabethans. from Queen to villager. Shakespeare might have pres-
cribed an escape from the realities of daily life. This would be. of course.
the fairies and Robin Goodfellow of A Midggmmer Night's Dream. They repre-
sent the traditional English conception of the fairy world. and their fanciful.
romantic circle of activity is delightfully "ekeapist" in nature. The play.
then. is a veritable cure-all for anyone low in spirit. To all appearances.
Shakespeare's sole intent was to provide a pleasurable interlude for all and
sundry.

In adapting A Midsummerfiight's Dream. a cloae examination of Shake-
speare's purpose in writing the play was necessary in order to determine which
elements would fit my purposes. As stated previously. I too wanted to produce
a play whiCh would be entertaining. But my concern was for the entertainment
of children. rather than for a diverse group of adults. This meant. first. that
I must determine what children like in a play. and second. select from Shakesv
peare's play these ohm-nts which correspond with children's tastes and convey
them effectively in dramatic form.

Winifred Ward. in her book Thegtge for Children. discusses at length the
factors which are requisite in a play for children.8 Briefly. the things most
important to children. according to Miss Ward. are: stories full of action;
life-like characters; short speeches; and interesting settings. What children
dislike in plays is equally important. Lengthy dialogue causes them to lose
interest. superficial characters make them.squirm.in their seats. and prolonged
exposition exasperates them. But the thing children find most offensive in
plays is romance. Miss Ward says emphatically. 'Let the play chairman avoid
romance in choosing plays for children if she does not want her audience to

scoff.'9

 

8 Ward. Winifred. Theatre forgghildrgg. D. Appleton-Century. New York. 1959.
Chapter VI, "We Find the Right Play.'

9 Bil-.10: P0 1520 102

Amati of these likes and dislikes in child-audiences. my task was to
adapt and stage A Midgummer_Night's Dream in accordance with them. So far
as the selection of material is concerned. this has already been discussed
in Section I. The Process of Making the Adaptation. The plot had been re-
(ranged to be satis factorily legical in sequence. the speeches had been out
to read conversationally and in a language comprehensible to children. the
most vital characters had been retained. and a realistic and interesting set-
ting had been chosen. But the most important business was yet to come: that
of bringing the play to life on the stage. The director's job is to convey
the dramatic values inherent in the play in such a way that the play becomes
meaningful to his audience. This is usually accomplished through the medium
of lines. Characters. and action. Let us examine The Fairy Forest for these

intOP'e

1. LINES

In a good play. each line is purpOseful. That is. it functions for a
definite reason. It may serve to further plot. supply comedy relief. hmplant
an idea. illuminate a character. or indicate an action. It is possible to
designate the primary function of each line in a well-written play. One knows
instantly. for example. that Robin's line. "King Oberon doth keep his revels
here tonight'I isga plot line because it tells us something of the story of the
play. On the other hand. Cobweb's line. "Are not you he who frightens the maids
of the villagery?” is definitely a character line because it describes Robin.
Another of Cobweb's lines - “Farewell Spirit. I'll be gone" -— is an action
line because it indicates that she is about to make an exit.

Every play has a different proportion of these types of lines depending
upon the relative importance to the play of the characters. plot. action,

ideas. and exposition. Because The Fairy Forest is primarily an action play.
105

action lines predominate throughout the script. Practically all of the lines
spoken by Robin. Theseus. and Titania suggest action of some sort. These ac-
tion of some sort. These action lines may. and frequently do. function at the
same time as plot lines and more often as character lines. Character lines in
The nggy Forest are second in point of frequency. exposition and plot lines are
third. and idea lines are fewest in number. This ratio indicates to the direc-
tor which elements in the play should be emphasized. which subordinated. It
likewise determines the manner of the interpretation and delivery of lines.

In making my selection of lines from A Midsummer Night's Dream. I took
care to retain.most of the lines which embodied or suggested action. When it
was necessary to add lines for the sake of continuity the added lines were for
the most part action lines. A brief analysis of a few pages of the script wil;
illustrate the preponderance Of action lines in The Faigy Forest.

Robin ends his introductory speech (whiCh is almost pure exposition and
will be discussed later) with the line. III go - away from here!" He sees
Cobweb approaching and says. “List. I'll speak with her. List. I'll wait."
Cobweb's response to his question. "Whither wander you?II consists of sixteen
lines. the last four of which are action lines:

'I must go seek some dewdrops here,

And hang a pearl in every cowslip's ear.
Farewell Spirit. I'll be gone.

Our Queen and all her elves come here anon.n

Cobweb starts to leave. but Robin's warning:

'King Oberon doth keep his revels here tonight.
Take heed the Queen come not within his sight..."

causes her to pause to hear what Robin has to say. Robin describes the exist-
ing situation and answers in a few words Cobweb's query "Are not you he who
frightens the maids of the villagery?’ Then Oberon and Titania appear on the
scene with Robin's line. “But room. fairy: here comes Oberon." The next six
speeches. delivered by Oberon and Titania. consist mainly of plot and charac-
ter lines. But Titania's "If not. shun me. and I will spare your haunts' is

104

followed by'a series of action lines beginning with Oberon's "Give me that boy
and I will go with thee.'I Of the twenty-one lines spoken before Titania's re»
appearance with her fairies and Oberon and Robin's departure. nine of them are
strictly action lines. These are:

I'li‘airies. away!I (Titania)

“Well. go thy way;" (Oberon)

'My gentle Puck. come hither.“ (Oberon)

'Fetch me that flower which maidens call 'Love-In-Idleness'."
(Oberon)

III'll watch Titania when she is asleep
And drop the juice of the flower in her eyes.' (Oberon)

“Fetch me this flower. good Robin.I (Oberon)

'I'll put a girdle round about the earth
In forty minutes -- for such mirth.n (Robin)

'Come. elves. we'll go off space." (Oberon)

When Oberon and his elves leave. Titania returns with her fairies. She
gives them directions (all action lines) and then lies down in her bower while
the fairies sing and dance. The fairies go off when Titania falls asleep. and
Oberon comes in to squeeze the juice of the flower into her eyes. Preceding
the entrance of the artisans and including the fairies' song. there are approx-
imately fifty action lines in the first five pages of the script. This should
suffice to indicate the ratio of action lines to other types of lines in Eng.
Faigy Forest. ‘

when I began my selection of lines for the deliniation of character. I
kept in.mind the fact that long descriptive passages serve only to confuse and
disinterest children. For that reason. I carefully selected those lines which
I felt would give the children brief. clear-cut pictures of the characters.
and left the rest to their imaginations. The best example of this is the char-
acter of Robin Goodfellow. In the original play Robin is first seen in ACT II.
Scene II. where his character is conveyed through his conversation with a

fairy. The following dialogue gives a complete picture of Robin:
105

FAIRY Either I mistake your shape and making quite
Or else you are that shrewd and knavish sprite
Oall'd Robin Goodfellow. Are not you he
That-frights the maidens of the villagery:

Skim milk. and sometimes labour in the quern.

And bootless make the housewife churn,

And sometimes make the drink to bear no harm.
Iislead night-wanderers. laughing at their harm?
Those that Hobgoblin call you. and sweet Puck.
You do their work. and they shall have good luck.
Are not you he!

ROBIN Thou speakest aright;

I am.that merry wanderer of the night.

I jest to Oberon and make him.smile

When I a fat and bean-fed horse beguile.
Neighing in likeness of a filly foal;

And sometimes lurk I in a gossip's bowl.

In very likeness of a roasted crab.

And when she drinks. against her lips I bob
And on her withered dewlap pour the ale.

The wisest aunt. telling the saddest tale.
Sometime for three-foot stool mistaketh me.
Then slip I from her bum. down topples she.
And "tailor'I cries. and falls into a cough;
And then the whole quire hold their hips and laugh.
And waxen in their mirth. and neeze. and swear
A merrier hour was never wasted their.

But roam. fairy: here comes Oberon.

Both of these speeches are long. and many of the words and expressions in
the-.are obsolete. I felt that the character of Robin could be effectively
portrayed in fewer and more concise words. I decided to lay the groundwork in
Robin's introductory speech where he appears before the audience and identifies
himself in the first four lines. Then I cut the long descriptions given in the
two speeches quoted above. and condensed the necessary information into seven
lines. In The Faigy Forest. the character of Robin is established in a total
of eleven lines. These are:

neeeeeeeeeeeeeeeI ‘m RObin GOOdfOIIOI -.
A sweet and tnavish sprite

Who doth haunt the fairy forest

Thou dost look upon this night.‘

eeeeeeeeeeeeeeeeeeeeeoe Robin)

'Either I mistake your shape and making quite.
Or else you are that shrewd and knavish sprite
Gall'd Robin Goodfellow. Are not you he
Who frightens the maids of the villagery?

Are not you he!“ (Cobweb)

IThou speakest aright;

I an that merry wanderer of the night.n
eeeeeeeeeeeeeeeeeeeeeee(ROb1n)

Practically the same treatment was given Oberon and Titania. In the
original play approximately 124 lines are delivered in conversation between
the two to show that Oberon is jealous and domineering. that Titania is stub-
born. that their quarrel has even caused the seasons to change. and that
Oberon will have his revenge. I felt that the discussion of the altering sea-
sons was too lengthy for inclusion. and really unimportant. I felt too that
Titania's resistance and Oberon's jealousy and desire for revenge could be con-
veyed in much less time in the adaptation. Consequently. the characters of
both are sharply drawn in a very few speeches. Oberon's “Illmet by moonlight.
proud TitaniaI at once implies that Oberon is displeased with the fairy queen.
Her retort. 'What jealous Oberon. is it you?" firmly convinces us that we have
drawn the correct inference. When Oberon tells Titania that he wants the
changeling boy. her hasty answer. "Set your heart at rest. Thy fairyland buys
not the child of me—I .111 not part with him“ indicates her firmness and her
obstinance. Oberon then asks Titania how long she intends to remain in the
wood. possibly because he thinks that with a little time might be able to dis-
suade Titania from her decision. But she gives him.1ittle satisfaction. She

' wedding day. and curtly

says she will be in the wood only “Till after Theseus
invites him.to join her fairy revels. Using a different approach. Oberon says,
l'Give me that boy and I will go with thee.“ This angers Titania. She replies.
'Not for thy fairy kingdom" and moves off with her fairies. Oberon's next
speech. delivered to Titania's receding figure. shows us how resentful he is of
Titania's attitude. He says. "Well. go thy way; thou shalt not leave this
grove till I torment thee for this injury." He then calls Robin to his side
and plots his revenge. Later. of course. we get frequent glimpses of other
sides of Oberon's character -- his good humor. his kindliness. and his gentle-

ness. But these too are portrayed briefly and concisely.

107

The characters of the artisans are shown mainly through their own
speeches. rather than through the speeches of others about them. Bottom. the
most fully-developed character in the play. is the only exception to this.

We see him.as a bumptious. boastful. unabashed buffoon through his own remarks
and through the remarks of other characters. Oberon refers to him.as "This
Athenian swain." Flute calls him."8weet bully Bottom” and say. of him. IHe
hath simply the best wit of any handicraft man in all Athensl to which Shout
adds. "Yes. and the best person too.” But Bottom outlines his character most
effectively by himself. His dictatorial nature is exposed in these lines:

'It would be best to call them man by man. according to the script.“

IFirst. good Peter Quince. say what the play treats on. then read
the names of the actors. and get on with the rehearsal.‘

I'Now name the rest of the players.‘
His self-conceit is apparent in these lines:
II could play Hercules rarely.‘I
“Let me hide my face and play Thisbe too.“
I'Iaet me play the lion too.“
And his utter complacency is seen most prominently in his scene with the doting
fairy queen whom he regards with no more dismay than he would a broken shoe-
lace:
liter Qnincsois a pretty level-headed manager. He has written the play.
arranged for the rehearsal. selected the cast. and thought of all the problems
giving the play will involve. All of this is evident from his lines. Some of
these are:
“This is a marvelous place for our rehearsal. This green plot
shall be our stage. this grove of trees our dressing-room.
and we will do it in action as we will do it before the Duke.
Is all our company here?"
'Now there is a hard thing here: that is. to bring the moon-
light into a room; for you know. Pyramus and Thisbe met by
Moonlight."

"Come now. rehearse your parts. Pyramus. you begin. When you

have given your speech. enter that thicket. And so everyone.
accor ing to his cue. '

As for the rest of the artisans. Shakespeare has given them few character
lines. Flute objects to playing 'a woman“ because he has 'a beard coming" but
says no more when Quince tells him he may play it in a mask. Snug is obviously
the least sagacious of the group as evidenced by his assignment to the part of
the lion. and his confession. '1 am slow of study." Snout is concerned over
the problems which arise. but is incapable of solving them himself. Two of his
lines indicate this: "Both the moon shine this night?" and “You can never
bring in a wall. What say you Bottom?" Starveling has only one character line
which is: I'Not here? I feared to look upon him. Out of doubt he is trans-
formed and transported.“

The characters of Theseus. Hippolyta. and Philostrate are the least de-
ve10psd. mainly because they are tools used to round out the plot rather than
interesting personalities in their own right. However. all three characters
have distinctive characteristics which are shown through their lines. Theseus
is a kind ruler. tolerant and obliging. He is also a well-bred lover. courte-
ous and gracious. All that was necessary to establish Theseus’ attitude toward
his subjects was the line. '1 will hear that play; for never anything can be
amiss when simpleness and duty tender it.I Theseus' respect and affection for
Hippolyta is displayed clearly and unsentimentally in such lines as "Why gentle
sweet...a and 'Trust me. sweet."

The character of Hippolyta is set forth briefly in one line: "I love not
to see wretchedness o'ercharged and duty perishing in his service." And Philo-
strate's smug attitude of superiority is firmly embedded in this one of his
speeches to Oberon:

A play it is. my lord. some ten words long,
which is as brief as I have known a play;
But ten words. my lord. it is too long.
Which makes it tedious; for in all the play
There is not one word apt. one player fitted.
The character lines in The Fairy Forest are brief and to the point. giv-

ing easily perceptible portrayals of the characters.

109

The exposition lines necessary to every play are few in number in The

Fairy Forest. There were three things the audience had to know in order to
understand what the play was about. They had to know where the action was
taking place. why it was taking place. and who was involved in the action of
the play. Since I had completely eliminated the four—lovers' theme in Shakes-
peare's play. and had arranged the action to play in one setting. disposing of
the exposition was a comparatively simple matter. I wrote a speech for Robin
Goodfellow. incorporating most of the exposition in it. and made it the first
speech of the play. This speech tells the audience that they are looking at a
fairy forest in which the fairies have gathered in order to be on hand to bless
the wedding of Duke Theseus who on this day weds Hippolyta. This disposed of
the necessary information mentioned above. quickly and clearly. There was only
one other matter of which the audience needed to be aware. This was the quarrel
atmosphere prevailing in the forest because of a disagreement between Oberon and
Titania over a little changeling boy in Titania's possession. Shakespeare had
provided for this. and I retained Robin's speech to Cobweb which illuminates the
matter:

King Oberon doth keep his revels here tonight.

Take heed the queen come not within his sight

For Oberon is angry and full of wrath

Because she as her attendant hath

A lovely boy stolen from.an Indian king.

She never had so sweet a changeling;

1nd jealous Oberon would have the child

Knight of his train to trace the forest wild.

But she perforce withholds the loved boy.

Crowns him with flowers and makes him all her joy;

And not they never meet in grove or green.

By fountain clear. or Spangled starlight sheen.

But they do quarrel and all their elves for fear
Creep into acorn-cups and hide them there.

' pres-

However. lest the quarrel theme obscure the real reason for the fairies
once in the wood. I inserted an exposition line in Titania's first speech to
Oberon. The line reads:

110

What. jealous Oberon. is it you?

Why art thou here? To bless the wedding of Good Duke Theseus

And his bride HippolytaY
The last question is simply a reiteration of the information Robin has already
divulged in his introductory speech. I

The exposition lines in The Faigy Forest are few because children are not
interested in long descriptions of what has gone before. but are interested in
what is going to happen. By furnishing them with only the most essential infor-
mation. I insured both their understanding and their interest.

The plot lines in the Faigy Forest are likewise few in number because the
plot in this play is not of the greatest importance. The plot is merely a factor
which ties together interesting characters and entertaining activity. The lines
which develop the story of the play are the plot lines. They are frequently in-
terchangeable with the lines of exposition. For example. Robin's introductory
speech is expository in the sense that it tells the audience what has happened
before the play begins. (The Duke has announced his wedding plans and had in-
vited the pe0ple of Athens to take part in the festivities. The fairies have
travelled from India to be on hand to bless the wedding.) This speech. however,

also contains plot lines. indicators of that which is about to happen:

"Here will they (the fairies) frolic in the night.
'Ere the first cock crows."

"And others wander through this wood as the nuptial
hour draws near.
But then you'll 899 anon - eeeeee'

Following Robin's speech. the lines are primarily character and exposi—

tion lines until Titania leaves in anger with her fairies. Oberon a speech.

which follows her exit. contains three plot lines:

'Well. go thy way; thou shalt not leave this grove till I
torment tee for this injury."

'I'll watch Titania when she is asleep and
Drop the juice of the flower in her eyes.‘

l'I'll make her give up her boy to me."

111

The exit of Oberon and Robin is followed by the entrance of Titania and
her fairies. The fairies sing their queen to sleep and Oberon re-appears. He
squeezes the love-juice onto Titania's eyelids and recites a verse which con-
tains two polet lines:

"What thou see'st when thou dost wake.
Do it for thy true-love take"

'Wake when some vile thing is near."
While Titania sleeps. the artisans appear. Their plan to present a play
at the Duke's wedding comes out in lines from two of Quince's speeches;
I'o..and we will do it in action as we will do it before the Duke.“
'Here is the scroll with every man's name who is thought fit to
take part in our play before the Duke and Duchess on their wedding
day.‘I
In the midst of their rehearsal. Robin appears and quickly perceives what
is going on. He says. "What. a play! I'll wait to hear. and act a part if one
appear.I This last is a plot line because if prepares the audience for the
part which Robin does play. His next speech is. “Now I'll this advantage take.
and an ass of him.I'll make." With that. he follows Bottom off and puts an
ass's head on him. The audience is now fully prepared for what happens next:
the frightening away of the other artisans. the awakening of Titania and her
dotage on Bottom. the discovery of Titania by Oberon and his success in getting
the boy from.her. and the renewing of friendship between the king and queen of
fairies. The next plot line is found in Oberon's speech to Titania as they

leave her bower:

'Now thou and I are friends anew and will join our fairy
trains to dance triumphantly in Duke Theseus' house."

This. tOgether with Oberon's parting line. "Robin. look thou meet me
'ere the first cock crows“ prepares the audience for the re-appearance of the
fairies at the end of the play.

New Bottom awakes and joins his friends. The next plot line appears in

112

Snug's speech: "Masters. the Duke comes through the wood." This is followed
by Bottom's instructions to the artisans. and the line which prepares the audi-
ence for the performance of the artisans' play: "May hap the Duke will list to
our lines. that he may say it is a sweet comedy and give us leave to play it at
his feast." With the performance of the play, the plot is completely unfolded
and only the denouement remains to be delivered.

There are approximately fifteen plot lines in The Fairy Forest, all that
are necessary to develop the story of the play.

Idea lines are fewest in number in The Fairy Forest. The fact that the
play was adapted primarily for its entertainment value is responsible for this.
The one character who may be associated with a philosophy expressed by the
author is Theseus. The idea Shakespeare may have desired to implant in the
minds of his audience is that virtue is its own reward. Theseus' attitude to-
ward the I'hempen home-spuns' who I'have never labour‘d in their minds till now"
is that of a gentleman who sees in their awkward efforts a modest tribute to
himself. more eloquent in its sincerity than the I'premeditated welcomes" of
“great clerks.ll In the original play. Theseus has two speeches in which he ex-
presses Shakespeare's philosOphy. One of these I have retained in full:

"I will hear that play
For never anything can be amiss
When simpleness and duty tender it."
The other. which was too long for inclusion in full. I have cut. retaining.
however. the essence of the philosOphy expressed. 'The idea is found in The-
seus' response to Hippolyta's objection that the artisans “can do nothing in
this kind." Theseus replies:
"The kinder we. to give them thanks for nothing.
Our sport shall be to take what they mistake;
And what poor duty cannot do. noble respect
Takes it in might. not merit.
Trust me. sweet.I
The various types of lines. then. serve in their different ways to con-

vey the purpose of the play to the audience.
ll)

2. CHARACTERS

Before producing the play. the director must analyze the charac-
ters for their contributions to the end purpose of the play. The char-
acters in The Fairy Forest are of three types: realistic. imaginative.
and romantic.

Bottom. Quince. Snout. Snug. Flute. and Starveling are the real-
istic characters of the play. Good-hearted. sincere fellows of the
artisan class. they are at once ridiculous and lovable in their clumsy
attempt to present a play for their Duke. They are real to us because
we see their types around us every day. Bottom. the braggart. the self-
appointed leader. the complacent and comical clown. is a common figure
in society. Quince. the thoughtful. careful. conscientious manager is a
familiar personality. And we have our Snugs - anxious fellows who real-
ize their limitations; our Snouts -— helpful lads who are incapable of
carrying responsibility on their own shoulders; our Flutes - obliging
followers; and our Starvelings - apprehensive creatures. afraid of their
very shadows. All of them are unmistakably human. which.makes them real
to us.

Quite the opposite to the realistic characters are the imaginative
figures of Oberon. Titania. Robin. the fairies and elves. Only by giv-
ing the imagination free reign can we visualize these characters of the
fairy world who perfonm incredible feats with superhuman prowess. Robin.
who can ”put a girdle round about the earth in forty minutes." the elves.
who "creep into acorn-cups and hide them there, ”and the fairies. who
‘war with bats for their leathery wingsn are completely unreal. Oberon
and Titania are less chimerical because in many respects they are simi-
lar to ordinary human beings. But they are fanciful characters in that

114

they govern a mythical realm. and direct the incredible activities of
their illusory retinuos.

Distinguished from the purely whimsical fairy world characters.
are the more probable. but by no means conventional characters of The-
seus. Hippolyta. and Philostrate. These characters. while considered
classical figures in Shakespeare's day. are to us romantic because they
belong to a province nearly remote from our understanding.’ We do not

' type reigning in the world today. For

have courtly princes of Theseus
that reason I have chosen to refer to them as romantic figures. They
belong to the child's world of kings and queens. which is unreal but
credible. and characterized by pomp and pageantry.

Each of these types of characters serves in a different way to
achieve the purpose of the play which is. to repeat. to entertain. An
analysis of the characters in The Fairy Forest shows that the realistic
characters supply broad comedy. the romantic characters supply spec-
tacle. and the imaginative characters supply fantasy. Comedy. spectacle,
and fantasy are an appropriate combination for a children's play. Chil-
dren like realistically "funny'l characters such as Bottom and Flute whom
they can understand. They like glamoursly romantic characters such as
Theseus and Hippolyta who might have stepped out of their story-books.

And they like fanciful. imaginative characters such as Oberon and Titania.

Robin. the fairies and elves who are shrouded in the delicious mystery of

make—believe.

5. ACTION
"Action speaks louder than words“ is merely a trite phrase to most
people. but to a director of children's plays it is a fundamental truth.
As Miss Ward says. “The story should be told in action as well as in

115

words. for children object to static scenes even if the dialOgue is dra-

matic.'10

This means that the director must analyze his play carefully
to find apprOpriato action for the characters and. in the event that the
play proffers little action. he must impose business to enliven the play.

Finding action for the characters was not a problem in The Fairy
‘225323: the majority of the lines indicate or suggest action. Nor was
it difficult to distinguish the types of actions apprOpriate to the char-
acters. In my analysis of the characters and their lines in The Faigy
Forest. I discovered three distinct action patterns which I shall differ-
entiate with the adjectives awkward. courtly. and graceful. The first of
these applies to the artisans. They are clumsy fellows. ungainly and un-
graceful. quite out of their sphere in the presence of the Duke and his
lady. Theseus. Hippolyta. and Philostrate. on the other hand. are regal
in bearing. restrained by virtue of their breeding. and courtly in manner.
And the fairy folk are graceful creatures apparently propelled by the
breezes which flutter around them. -

The chief problem in working with action in The Fairy Forest was to
get grade school children and college students to execute the action con-
vincingly and naturally. The actors playing the parts of the artisans had
no difficulty in projecting their characterizations through suitable action
once they understood the characters. They immediately assumed lumbering
walks. jerky movements and gestures. They eat and stood in decidedly awk-
ward poaitions. and reacted to each other with facial expressions typical
of their characters. But with the remainder of the actors it was quite
another matter. Although each character and his specific contribution to

the play was-explained and discussed with the individual actors. there

 

10. Ward. OPe Cite, Fe 159.

116

was considerable inflexibility to be overcome. and a certain amount of
inhibition to be offset. The fairy world characters presented the big-
gest problem here. Because the characters are so far removed from real-
ity. it was difficult for the actors to assimilate the parts. By going
over the lines of each character. and pointing out the peculiarities of
the character's action. understanding was achieved. After this came ex-
ercises for relaxation and graceful motion. Gradually rigidity disap-
peared and was replaced with litheness.

The courtly characters also presented a problem. The natural pos-
tures and sitting positions of the three college students playing the
parts were not fitting to Theseus. Hippolyta. and Philostrate. Their en-
trance was rehearsed many times before it became satisfactorily imperial
in appearance. and their gestures were scrutinized carefully for excess
or unmajestic motion.

The manner in which the action patterns for the various characters
were worked out will be discussed more fully in the Action section under

Technical Values.

4. SUMMARY

The director of a play functions in two capacities: as an inter-
pretative artist. and as a dramatic technician. His first task is to
study his play carefully. analyze the author's purpose in writing the
play. and discover what contributions to the author's purpose are made
by the lines. characters. and action. This analysis of the inherent
dramatic values of the play prepares him.for his second task: that of
interpreting the author's purpoBe to an audience in an actual theatre
situation. To do this. the director uses certain technical factors of
stage direction. He emplOys the factors of composition. picturization.

117

action. pantomine. and rhythm to emphasize important elements. subordin-
ate others. and blend the whole play. These factors will be discussed in

respect to The Fairy Forest in the following section. Technical Values.

118

TECHNICAL VALUES

TECHNICAL VALUES

1. PICTURIZATION
Every play is composed of a series of stage pictures which convey to
the audience the mood and meaning of each moment in the play. This is what
Alexander Dean calls Picturization and. which he defines as ”...Tho visual

..ll

interpretation of each monent in the play. Stage pictures are constantly

changing. Yet. if someone were to stop the movement and dialogue of the
characters at any manent during the course of the play. he would find the
characters arranged on the stage in certain positions and attitudes which
would suffice to convey the meaning of that particular scene.

Like the artist. the director is faced with the problem of composing
his picture. and the factors of composition which the director uses are.
according to Mr. Dean. emphasis, stability. sequence. and balance. In can-
plating his picturization. the director first analyzes each scene of the
play for the idea underlying it and the mood value inherent in it. Then he
determines which factors of composition will be employed to stress the em—
phatic elements. The final step is the actual placing of the characters on
the stage in the positions which will make the idea and the mood of the scene
significant to the audience. Picturization is a means of intensifying the
relationships of the characters to one another. While a line delivered by
one of the characters may inform the audience that an argument between two
characters is about to take place. the feeling of discordance is strengthened
if the characters are placed opposite each other in positions which dos-
ignate their antagonism even without the use of words.

In fig Iain Forest. vivid stage pictures were particularly necessary

 

11. Dean. Alexander. Fundamentals of Fla Directi . Farrar and Bhinehart.
New York. 1941. P. 203

119

to aid the children in understanding the story. the characters. and the
changing moods of the play. Also. apprOpriate stage pictures were
highly desirable for maintaining a story-book quality in the play which
appeals to the child's eye and to his imagination. The positions. fa-
cial expressions. and costumes of the characters all contributed to the
stage pictures in the achievement of this quality.

The major scenes in which emphasis was placed on picturization
were: the exposition scene between Robin and Cobweb; the conflict scene
between Titania and Oberon; the direction scene between Titania and her
fairies; the rehearsal scenes of the artisans; the love scone between
Bottom and Titania in the presence of the fairies; the entrance scene of
Theseus. Hippolyta and Philostrate; the play scene; and the final fairy
scene. Each of these will be discussed in terms of the effect desired.
and the methods used to achieve the desired effect.

The scene between Cobweb and Robin previews the scene of conflict
between Oberon and Titania. Robin is Oberon's henchman; Cobweb is a
member of Titania's train. There is a minor conflict in the meeting of
the two when Robin warns Cobweb to "Take heed the Queen come not within
his (Oberon's) sight." Cobweb. gaily intent on her search for dewdrOps.
has given Robin only a passing glance and is on his way to other parts of
the wood when Robin gives this warning of impending disaster. To show
Cobweb's sudden wariness and Robin's admonition. I placed Robin at center
stage and Cobweb down left. Robin. at center. stood full-front. feet
apart. a finger pointing at Cobweb.aslightly beligerent expression on his
face. Cobweb. standing several feet away. focusing up to him. were a
worried look and kept her hands pressed tightly against her short billow-
ing skirt. The picture was one of warning and guarded vexation. antici-
pating the scene to follow.

In the Oberon and Titania scene which climaxed the mood set by

120

Robin and Cobweb. the desired effect was Open hostility. Oberon. entering
from stage left. his elves behind him. moved defiantly to center stage.
Robin hastily ran to sit on the tap step down right where he watched the
proceedings. Cobweb ran for cover behind Titania who. like Oberon. moved
directly to center stage. her fairies behind her. Oberon. one hand on his
hip. his feet set firmly apart. his facial expression slightly defiant.
faced Titania at center. Titania. on the same level with him. her head
high. her body erect. her face composed. was the epitome of unrelenting
determination. The picture was one of two forces in opposition. and it
was achieved by a symmetrical balance of characters and a placement of the
' main characters in strong center positions.

Quite a different stage picture was composed for Titania's first
scene with her fairies. The queen was holding court and I wished to con-
voy a feeling of warm. relaxed intimacy. lightness and affability. To
bring this out. I had Titania stand down right. two fairies on either side
of her. her arms resting lightly on the shoulders of the two nearest her.
to give the fairies their instructions. The soft pastel shades of the
costumes worn by Titania and the fairies made a pleasing blend of color.
No words were necessary to convey the mood and meaning of the scene: the
emotional relationship was expressed in the proximity of the characters
and in the focus of attention on Titania.

Still another stage picture was composed for the first scene of the
artisans. This was a casting and first rehearsal scene and the object of
the picture was to show the artisans planning cooperatively. To show
this. I had the artisans sit and stand in a variety of informal positions
on different levels in the down right and down center areas. Quince and
Bottom stood down right in open positions. above the others who sat on the
steps. focusing their attention on the leaders. ‘Costumes and postures in-

121

dicated the class of people the artisans were; arrangement on the stage
indicated that a simple rehearsal was in prOgress.

In the love scene between Titania and Bottom. I wanted to emphasize
the incongruity of the clumsy artisan in his ass's head surrounded by the
fairies and their lovely queen. To do this. I had Bottom sit awkwardly on
the stump down right center. two fairies on his left. two on his right. and
placed Titania lightly down left of the group. Titania looking on adoring-
ly. the fairies gazing up wonderingly at the peculiar being in their midst.
and Bottom sitting complacently on the stump. did present a delightfully
ridiculous picture.

The second scene in which the artisans make preparations for giving
their play takes place after Bottom's reconversion to normality. In this
scene. the stage picture I wished to create was one of hasty. diligent
preparation. The artisans are aware that the Duke is coming through the
wood. and Bottom excitedly instructs them to "look o'er" their parts. To
convey the feeling of hurry and disorder. I had the artisans sit on the
top step down left center. jammed uncomfortably against one another. with
harassed expressions on their faces. Bottom. nervously hovering over them,
completed the picture.

With the entrance of Theseus. Hippolyta. and Philostrate. the pic-
ture was changed. The effect desired was one of contrast between the
humble. clumsy artisans. and the dignified. courtly Duke and his party.

To achieve a picture of comparative character relationships. I had the
artisans move even more closely together on stage left. looking fear-
fully at Theseus. who then moved to right center stage in an Open posi-
tion. Hippolyta. profile to the audience. focused on Theseus. as did
Philostrate who stood on the bottom step down right. The picture was one
of humble obeisance to the noble Duke.

122

In the scene which followed. the artisans' play was given. Here
too I wanted contrast: the contrast of the three character groups of
the play. To obtain this contrast most effectively. I brought Oberon.
Titania. Robin. the fairies and elves into the picture. I seated Theseus
and Hippolyta in stately postures on the bench down right; Philostrate
took a disinterested stance behind the bench; the fairy characters occupied
the bower up center; and the artisans played down left. The stage picture
thus composed was this: a play being presented for a distinguished audi-
ence on the stage. Yet the play-within-the-play was aimed at the offstage
audience. as well as at Theseus. Hippolyta. and Philostrate.

In the last scene of the play I wanted to compose a "pretty" picture
which the children in the audience would remember with pleasure. In this
scene Oberon outlines the duties to be performed by the fairies and elves
in Duke Theseus' palace. The scene lent itself to one of pictorial beauty.
I had Oberon move down center. Titania at his side. and ranged the fairies
and Titania in their light dresses. the elves in forest green costumes. and
Oberon all in white. made a very pleasing picture.

Thus. each movement in the play is expressed in a stage picture which
serves to identify the mood and meaning of that particular moment in the
play. Arrangement of the characters on the stage. positions taken by the
actors. facial expressions. and costumes all contribute to the full stage

picturization.

125

2. ACTION

Action is the term used to encompass all movements. business. and
gestures made by the characters in a play. It includes the exits. en-
trances. and movements necessary to the pragresaion of the story pre-
scribed by the author in the script. and the action imposed by the dir-
ector for clarity. pictorial effect. humor. character delineation. mood
and atmosphere.

In A Midsummer Night's Dream, Shakespeare provided few written stage
directions for the actors. Exits and entrances are indicated in the orig-
_ inal script as well as such directions as “They sleep." 'lies down and
sleeps.‘ and “Wall holds up fingers" but little more is given. The reason
for this is emphasized by Mr. Dean:

It is generally believed that business was not indicated

by the Elizabethan playwright because he wrote his parts

with definite actors in mind who had their individual

pieces of business for which they had achieved fame.12
However. a great deal of action is suggested by the lines of the play and
this I utilized in The Fai;y,Fore§§_to the fullest extent.

An examination of specific scenes from The Fairy Foregt will illusa
trato the use of action in the play.

When the play begins. Robin is the only character on the stage. He
delivers a fairly long speech which is primarily expository in nature.

To grasp and hold the attention of the audience to this speech. which is
necessary for understanding the play. it was necessary to enliven it with
action. Consequently. Robin made a broad gesture of welcome on "Hail mor-
tals." strutted on "I am Robin Goodfellow-a sweet and knavish sprite.”

moved closer to the audience and lowered his voice secretively on “I come

to show thee this fairyland and all the revels in it.ll executed a few

 

12. Ibid' p. y“.

124

tripping steps on ”With delicate fairy grace." etc. Action accompanied
nearly every line spoken. and the attention of the audience was constant
throughout the delivery of the speech.

When cobweb appeared it was necessary to likewise enliven her speech
to Robin. She was given such movements as dancing down the steps at stage
right. running up to center stage on "Swifter than the moon's sphere.“ and
crossing down left. below Robin. bonding andsweeping the grass with her
fingertips on I'I must go seek some dewdrops here."

Robin's next speech. also fairly long. was enlivened with appropri-
ate gestures on ”Take heed the Queen come not within his sight.“ I'crowns
him.with flowers.n and "all their elves for fear creep into acorn-cups and
hide them.thore.'

Thus. speeches which might otherwise have been uninteresting to chil-
dren were vitalizod with business and movement.

In the scene between Robin and Oberon in which Oberon plans his revenge
on Titania. considerable business and movement was imposed for character do-
linoation. humor and attention. Oberon followed after Titania. admonishing
with "Well. go thy way; thou shalt not leave this grove till I torment thee
for this injury.' Then he returned to center stage and paced right and left
as he conceived his plan. At the same time. Robin prankishly followed in
his footsteps. mimicking Oberon's every movement. On Oberon’s line. “I'll
watch Titania when she is asleep and drop the juice of the flower in her
eyes.“ the pacing halted. for the plan was now well in mind. Robin. also
halting. leaned his elbows on the stump and nodded gleeful approval. As
Oberon's attitude changed from resentment to good hwmor. Robin became even
delighted with the scheme and turned a somersault in front of Oberon. All
of this action served to hold audience attention. provoke laughter. and to
portray the fun-loving natures of Robin and Oberon.

125

In the next scene. Titania gives her fairies directions. then tells
them.to sing her to sleep. Because the bower in which Titania was to sleep
occupied the up center area, and because I wanted to create a picture denot-
ing intimacy and warmth of feeling. I had Titania deliver her instructions
in the down right area. Then she crossed to the bower. the fairies follow-
ing. and lay down on it. (To make the singing of the song more interesting
to the audience. and to establish the fairy world atmosphere more pictures-
quely. I had Cobweb stand on the down right edge of the bower to sing the
first verse. The other fairies stood in a line at right. focusing up to
her. and then all joined hands at center and executed a simple dance as they
sang the chorus. This action was repeated for the second verse and chorus.
but was varied by having Cobweb step up to the down left edge of the bower
to sing the verse. With the end of the song. the fairies ran to see if Ti-
tania slept. then ran quickly off on tiptoe.

In the artisan scenes. action was imposed for the purpose of changing
mood. creating character. and providing comedy.

The bumptions quality of the artisans' movements and actions wan an
abrupt change from the light. graceful movements of the fairies in the pre-
ceding scene. The artisans trod heavily and used broad gestures. They
ambled onto the stage and stood looking quite out of their element before
getting down to business. All of this served to change the mood from fan-
tasy to reality.

In the creating of character. the following action was imposed. To
show Bottom's conceitedness. he was given such action as running to center
stage or down right stage to deliver his lines. To illustrate his fussi-
ness. Quince was given business with the burlap bag containing the scripts,
and such movements as following Bottom and leading him by the arm to the
bench. Likewise. Flute turned appealingly to Quince. then the others. on
"Nay. Let me not play a woman; I have a beard coming;' Snug crossed fear-

126

fully to Quince to ask if the lion's part were written; Starveling
moved away apprehensively as Bottom began his tirade on roaring; and Snout
turned lethargically to inquire if the moon was shining.

Action imposed for comedy effect included Flute's vigorous (but sil-
ent) applause of Bottom's recitation; the shoving and pushing which ensued
when all tried to see the almanac; Quince's standing on the bench when the
rehearsal began. and his stepping down to correct Flute's incorrect pronun-
ciation of Eggggj Bottom's patting Flute roughly on the shoulder as he made
his exit; and Quinco's undignified leap over the seated Starveling when
Bottom re-appoared wearing the ass's head.

In the scene in which the artisans present their play for Theseus and
Hippolyta. even more action was improvised for mood effect. character de-
lineation. and comedy purposes.

The action in the artisans' play was exaggerated in order to insure
the children's understanding of what was happening. By exaggerating Quince's
faulty punctuation. Bottom's anguished pleas. and Flute's mourning. there was
no danger that the children would take the Eyggmus and Thisbe play seriously.
They knew at once that the play was a poor one being performed clumsily by a
group of unpolishod but sincere tradesmen.

The action in this scene also further illuminated the character traits
of the artisans. Quince read his prolOgue in a business-like (if incorrect)
manner. Snout ambled good-naturedly onto the stage to deliver his speech as
Wall. Bottom threw himself into his part with vigor. Flute minced clumsily,
wearing a long cape and yellow braids. Snug politely removed his lion's had
when addressing the Duke. and Starveling exhibited characteristic fear and
confusion when the Duke commented on his part.

Action imposed purely for comedy purposes included Bottom's punching
Snout when he failed to hold up his fingers for the chink in the wall; the

127

audible kissing of Snout's fingers by Bottom and Flute; the exit of Bot-
tom and Flute. hand in hand; Snug's chasing Flute on hands and knees as he
portrayed the lion attacking Thisbe; Bottom's handing the dagger to Flute
so he could kill himself; and Flute's falling on the “dead" Bottom. causing
him.to grunt.

For this same scene. specific action was given to Theseus. Hippolyta
and Philostrate to illustrate their characters. Theseus used formal ges-
tures. walked in a stately fashion. and sat in a dignified position. Hip-
polyta seated herself gracefully. fanned herself gently with a handerchief,
and moved majestically. Philostrate bowed low to Theseus and Hippolyta.
walked stiffly. and stood behind the royal pair holding himself aloof from
the artisans.

When the play was over. Theseus moved regally to the center of the
stage. thus commanding the attention of the entire company. The movement
was a strong one. intended to emphasize the Duke at this particular point
in the play. Hippolyta crossed to center. and they walked off. followed
by Philostrate and the artisans. who patted each other on the back happily
and enthusiastically. All of this action served to get the characters off
the stage and to establish an atmosphere of good-will and well-being.

In the last scene of the play. action was contrived for establishing
a mood. for achieving a pictorial effect. and for getting the characters
offstage. When the Duke and his company with the artisans had left the
Stage. Robin ran quickly down left. saying "My fairy lord. we must off
with haste for night's swift dragons cut the clouds full fast.I Oberon
and Titania. their fairies and elves. rose. stretched themselves. then
moved down center. When Oberon had given their instructions. the fairies
and elves ran off. and Titania and Oberon. joining hands. followed at a
run.

Action. then. is that movement and business indicated by the drama-
128

tist and imposed by the director which helps to dovelOp plot. embellish
characters. build atmosphere. control attention. supply humor. and create
mood. Action was a major directing problem in The Fairy Forest. Through
the use of action in the above-mentioned ways. I managed to over-clarify
ideas and characters. thus insuring the interest. understanding. and atten-
tion of the children. By using different types of actions for the three
types of characters. I appealed to the child's sense of humor. his aesth-

etic sense. and his appreciation of things dignified and orderly.

120

5. Pmromms DRAMATIZATION

Pantomimic dramatization is the term used by Alexander Dean to des-
ignate business and pantomime which is not accompanied by dialOgue. The
distinction between action and pantomime may be seen from Mr. Dean's ex-
planation:

By action is meant a sequence of facial expressions.
gestures. hand operations. and body positions and move-
ments that. observed from life. is used imaginatively
by the actor and the director to tell something about
the elements of character. situation. locals. and
atmosphere of a play. If these elements are made clear
without the use of dialogue. they are dramatized by
pantomime. This process is called "pantomimic dramatiz-
ationculj

Pantomimic dramatization is used to dress the action of the play.
establish atmosphere and locale. build characterizations. and supply comedy.
In The Fairy Forest. pantomimic dramatization was also used by the artisans
to bridge the speeches of Theseus. Hippolyta. and Philostrate.

The best example of pantomime used to dress action was Robin's reac-

's scheming when Oberon planned his revenge cn Titania. This

tion to Oberon
has already been discussed in connection with action. but the business per-
formed by Robin was. in reality. pantomime because he spoke no lines to
'convey his glee.

In this same scene. the elves sat down left on the top stop watching
and nudging each other. slapping their thighs. and laughing silently at
the proposed plan. This too was pantomime used to dress the action of the
scene.

When Quince crossed to center Stage to correct Flute's reading of
his script. the action was "dressed" by having him heave a sigh. shake his
head despairingly. and mop his brow as he returned to the bench.

Again. when Titania led Bottom to the bower. the movement of the two

characters was enriched by having Bottom stumble clumsily. Titania smile

15s Ibid' Pe 297s 150

 

sweetly and offer her hand to help him up. and Bottom crawl across the
bower to put his head in Titania's lap.

In these ways pantomimic dramatization was used to dress the ac-
tion.

In several instances. atmosphere was established through the use of
pantomimic dramatization.

In their first scene. Oberon and Titania meet and argue over the
possession of a changeling boy. They do not speak. however. until they
reach center stage and face each other. To create an atmosphere of anim-
osity before the characters spoke. several pieces of business were per-
formed in pantomime as they crossed to center from their respective en-
trances. Oberon paused briefly. surveyed the situation with a critical
glance. beckoned his elves to keep back. and placed one hand on his hip as
he stopped at center and faced Titania. Titania. on making her entrance.
paused. gazed straight at Oberon. then. with a proud gesture. raised and
turned her head away. adjusted the voluminous cape about her shoulders,
and continued toward center stage.

An entirely different atmosphere was established by pantomimic dram-
atization in the scene where Oberon squeezes the love-juice onto Titania's
eyelids. Oberon and the elves. entering from stage left. crossed to the
bower on tiptoe. Oberon leading. With every few steps. Oberon would turn
to the elves and putting a finger to his lips. indicate that they must be
quiet. Each elf would then turn and hush the one behind him. As Oberon
crossed to the right side of the bower. the elves. stooping. crossed be-
hind him with heads down. The atmosphere of mischievous secrecy was com-
municated by the pantomimic dramatization.

A third instance of atmosphere established by pantomime was in the
return of the artisans to the wood to look for the missing Bottom. An at-

mosphere of chagrin. despair. and futility was desired. It was achieved

by having the artisans run to the stage from the down right gate. stop

suddenly when it was obvious that Bottom was not in sight. and then move
despondently onto the stage. heads hanging. feet shuffling. and faces
shadowed with disappointment.

Characterizations were built by the use of pantomimic dramatization
in many cases. Once more. Robin is the best example. After he had put the
ass's head on Bottom. he followed him onto the stage and watched the effect
Bottom's appearance had on the other artisans. While Bottom cavorted and
the artisans fled in horror. Robin capered gleefully. holding his sides with
laughter. Robin's mischief-loving nature was exposed entirely in pantomime.

Other examples of character establishment by pantomimic dramatization
were fluto's frequent rubbing of his chin where he had "a beard coming."
Bottom's standing with arms crossed. feet apart. and a speculative expres-
sion on his face during the distribution of parts. Starveling's covering
his eyes with both hands when the artisans returned to look for Bottom.
Quince's near-sighted perusal of the script before he began to read. etc.
Each detail of pantomimic activity served to tell something more about the
character.

The major use made of pantomimic dramatization in The Fairy Forest,
however. was in bridging the speeches of Theseus. Hippolyta. and Philostrate
in the scene where the artisans present their play. Business for the ar-
tisans had to be contrived to keep them occupied while Theseus. Hippolyta.
and Philostrate made comments about them and their play because the artisans
were not supposed to hear all of their remarks.

During the conversation between Theseus and Philostrate which proce-
dod the presentation of the play. the artisans were told to pantomime in
this way: first they leaped to their feet and bowed awkwardly. then sat
huddled against one another. nudging each other. pointing unobtrusively at
Theseus. prodding Bottom to speak for them. and trying to hear what the two
men were saying. Bottom. at their silent insistence. rose three times,

152

' direction. then stopped. scratched his

taking a few steps in Theseus
head and the back of one leg with the other. and returned to the artisans,
unable to muster sufficient courage to speak. When Theseus said, deci-
sively. 'I will hear that play“ and instructed Philostrate to bid the ar-
tisans prepare. Philostrate crossed haughtily to the artisans to fulfill
the command. The delivery of the message and the happy response of the
artisans was all conveyed in pantomime. Philostrate. wearing a disgusted
frown. tapped Bottom on the shoulder with hisscroll and gestured off left,
indicating that the artisans were to make their preparations. The arti-
sans rose quickly. grinning broadly. threw their arms around each other
joyfully. and moved off left. Bottom at their heels. Philostrate dusted
his hands arrOgantly. and followed them off. At the same time. Oberon and
Titania. the fairies and elves entered from stage right. Oberon and Ti-
tania exchanged glances of surprise. then Oberon gestured the fairies and
elves to take places out of sight on the bower where they might watch. un-
observed. As the artisans and Philostrate moved off left and the fairies
moved on from stage right. Theseus and Hippolyta seated themselves on the
bench and delivered'their lines. The only lines spoken were those of The-

seus and Hippolyta; the remainder of the story in this scene was related

in pantomime.

' play. more pantomime was

During the presentation of the artisans
executed by the actors while Theseus and Hippolyta delivered their lines.
After Snug gave his speech explaining the part of the Lion. Theseus said.
"A very gentle beast. and of a good conscience." In order that Snug would
not overhear the remark. I had him simply change places with Starveling
who was the next to speak.

Again. following Bottom's discovery of Thisbe's mantle and his vig-

ordus plea to the Fairies. I had him cross to Starveling and shake hands.

155

as if he were well satisfied with himself. to avoid their hearing The-
seus and Hippolyta's comments.

In these ways pantomimic dramatization connected the play of the ar-
tisans and the by-play of the Duke and Hippolyta naturally and effect-
ively.

Pantomimic dramatization was also inserted purely for comedy pur-
poses. When Quince read his pr010gue to the play. the rest of the ar-
tisans stood on either side of him and pantomimed his descriptions of
them. For example. Bottom bowed low as Quince read. "This man is Pyra-
mus. if you would know." Flute curtsied clumsily when Quince pointed to
him saying. IThis beauteous lady Thisbe is certain." Starveling swung his
lantern when introduced. and Snug removed his lion's head and bowed when
he was described.

During Bottom's tirade to Wall. Snout evidenced alternating sympathy.
happiness. dismay. and dejection by a series of facial expressions. ges-
tures and movements in pantomime. Likewise. during Bottom's speech to
Moon. Starveling displayed pleasure. surprise and sorrow in pantomime.

Flute pantomimed the artisans' conception of a fair lady by taking
small dainty steps and toying with his yellow braids as he entered. The
comedy was heightened by having Flute occasionally forget that he was
playing a lady. and stride off manfully. struggling with the confining
cloak he wore.

In these ways pantomimic dramatization was used in The Fairy Forest
to dress action. establish atmosphere. build characterisation. bridge

speeches. and supply comedy.

151+

4. RHYTHM

Rhythm in a play is the regular recurrence of auditory and visual
impressions which affects the audience with the mood of the play.
Mr. Dean defines rhythm in this way:

Rhythm is primarily the factor that gives life to a
play; that ties it tOgether into a unified whole.
coordinating action. actors. dia10gue; creating an
illusion; and carrying {He audience along through
the action of the play.

Every play has its own distinctive rhythm. determined by the lines.
the action. and the characters of the play. It is the task of the direc-
tor to ascertain the basic rhythm of his play. apply it. maintain it. and
vary it with changes of tempo to avoid monotony.

The fundamental rhythm of The Fairy Forest may be described as
light. quick. and steadily pregressive. At once a comedy and a fantasy.
the play prOgresses at a speed which suggests gayness. illusiveness. and
mild excitement.

The cue to the underlying rhythm of this play is taken from the
lines. actions. and character of Robin Goodfellow. Robin sets the pace
when the play begins. acts as a transitional element between scenes. and
dlimaxes the play with his epilOgue at the end of the play. He is the
link between the fairy-world characters and the mortals. Robin. lively.
merry. and genial. pervades the play with an air of mischief. and thus
sets the basic rhythm pattern of the play.

An examination of a few of Robin's lines will indicate the quick.

clipped quality of his speeches. His sentences are. on the whole. short

and to the point. The following are examples:

"King Oberon doth keep his revels here tonight.“

I'Thou speakest aright; I am that merry wanderer of the night."

 

14. Ibid.. p. 286.
155

"What hempen home-spuns have we swaggering here.
So near the cradle of Titania dear?

What. a play! I'll wait to hear.

And act a part if one appear.

“Now I'll this advantage take.
And an ass of him 1'11 make."

It will be noted that the last two of the speeches quoted above
contain action lines which suggest the manner of Robin's movements. Thus.
Robin "waits to hearI with his hands resting on his knees and his head
cocked. When he follows Bottom off to put the ass's head on him. he moves
rapidly and mischisviously. and exits with a leap. other examples of
Robin's movements are suggested by these lines:

l'I'll put a girdle round about the earth
In forty minutes for such mirth.n

“My fairy lord. we must off with haste
For night's swift dragons cut the clouds full fast."

And the character of Robin. illuminated in his line. "Thou speakest
aright; I am that merry wanderer of the nightn likewise suggests agility
and alertness.

The pace of the entire play is set by this character. and that pace
is derived from Robin's lines. actions and his personality. .

The other characters in the play also have a lightness. a fun-loving
quality about them. as indicated by their lines and actions. They do not
all move and speak in a manner identical to Robin's. but they vary only
enough to change the tempo within the fundamental rhythm.

The lines and actions of Oberon and Titania. for example. are tem—
pered with a degree of decorum because they are the rulers of the fairy
world. There is less abandon in their natures. yet the feeling of seri-
ous unconcern is ever-present. Oberon and Titania do not run and leap as
do Robin. the fairies and elves. but they do move lightly and gracefully.
Their speeches are clear-cut but they have a melodious, harmonious quality

about them.
156

The artisans. on the other hand. move rapidly and speak with also-
rity. but both the movements and the speeches of the artisans are charac-
terized by awkwardness. abruptness and irregularity.

Theseus. Hippolyta and Philostrate move and speak in still another
manner through which. however. the mood of the play penetrates. Their
lines are flowing. their movements are graceful. but there is no sugges-
tion of dilatoriness present.

In maintaining the fundamental rhythm of The Fairy Forest, my prob-
lem.was to blend the various tempos of the three character-type elements.
The airy. ethereal quality set by Robin and the other fairy-world charac-
ters had to be maintained throughout the play. although less whimsical
characters penetrated and played important parts in it. The structure of
the play simplified my problem considerably. for there is a consistent re-
currence of fairy scenes preceding and following each of the scenes in
which the realistic and romantic figures appear. Thus. I was able to
merge the tempos of the true-to-life characters with that of the imagina-
tive characters. Robin and Cobweb are the first characters introduced in
the play. Oberon and Titania. the fairies and elves come on next and re-
main for approximately twenty minutes. The fundamental rhythm of the play
is firmly established by the time the artisans appear. The tempo changes
temporarily while the artisans are on stage. than Robin re-appears and. in
so far as the rhythm is concerned. sustains the original mood. The scene
following Robin's mischievous act is a combination of the realistic and
the imaginative elements. (It is the scene of Titania's doting on Bottom.)
When the fairies leave. at Titania's bidding. Oberon and Robin once more
appear and the fundamental rhythm is again felt. Then the artisans come
back to the wood and their reunion fuses into the climatic scene of the

play in which all of the characters have a part. The last scene of the

157

play is a fairy scene which leaves the audience experiencing the orig-
inally conceived rhythmic pulsation. This recurrence of the fundamental
rhythm may be shown graphically:

FAIRY ARTISAN \\ FAIRIES ‘~ FAIRY ARTISAN \~ ALL THREE FAIRY

SCENE SCENE / AND / SCENE SCENE / ELmisNTS SCENE
BOTTOM
1 2 5 4 5 6 7

The emotional content of the scenes effected tempo changes as
much as the different movement and speech patterns of the various char-
acters. The speed of movement and dia10gue was increased for climatic
scenes. intensified for suspense scenes. and diminished for transitional

scenes and scenes of dropping action. The graph below shows the build

of the play.

0\

158

SECTION III

STAGING THE PLAY

STAGING THE PLAY

The Fairy Forest was presented June 5. 1946. in the Auditorium Gar-
den at seven o'clock in the evening.

The setting consisted of the following items: one platform. twelve
feet wide. five feet deep. and fifteen inches high. which was covered
with cushions over which were thrown several pieces of green velvet drap-
ery; a small set of steps which were placed in front of the platform; ten
evergreen trees of various sizes which were braced behind the platform and
wired to the garden walls; a wooden bench which was set at an angle down
right stage; a tree stump which was wired to an iron base and placed down
right center stage; four three-fold screens nine feet wide and ten feet
high. and two two-fold screens six feet wide and ten feet high. which were
used for making the wings at left and right of the stage.

No artificial lighting was necessary for the play because of the
early evening hour. Twilight began to fall during the last scene of the
play. which aided considerably in effecting a midsummer night atmosphere
as the play ended.

Three micrOphones were used to amplify the voices of the actors.
They were necessaryfor several reasons. In order to use the gates in
the garden walls for the entrances and exits of the actors. it was neces-
sary to situate the audience at a distance twelve feet from the playing
area. Also. the audience area extended back some two hundred feet.

There was. as well. considerable competition from birds. ducks. an air-
plane. a train. and a few automobiles. all of which necessitated a pub-
lic address system to enable the audience to hear the actors. Two micro-
phones were placed on either side of the platform.up center stage. and
one was placed behind a small tree down right stage (directly across

from the bench.) They were so placed because the majority of the action

159 a

took place in the down right and down center areas. and much important
action took place in the bower area which was farthest from the audi-
ence.

on the following pages will be found the sketch of the setting as
originally conceived. the floor plan of the setting. and photOgraphs of
the garden and setting. the stage setting at close view. and the cast

onstage.

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PROPERTY LIST

. ON«STAGE
FURNITURE:

Bench
Platform.(bower)

Tree stump
TRIM

Cushions covered.with green velvet draperies on bower.
Flowers on trees and.bower.

OFF STAGE

Branches

Two flowers
Ass's head
Lion‘s head

PERSONAL PROPERTIES

Quince - burlap bag containing:
six scrolls
almanac
yellow wig
flannel cloak
Bottom - wooden sword
Starveling - lantern
Hippolyta - handkerchief
Philostrate - scroll

144

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ACTOR‘S N

a v.
$1.1. 1

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Dick Beale

 

Robin Goodfellow

Green blouse

Green pants (short: 5 inches above knee)
Green cap

Green shoes which lace around the ankles

 

 

 

 

ACTOR e s Iii—LEE

__V. _ .—

Claire deters

 

 

Cobweb

-—Llu':_i.d-_‘

"hits ballet dress (short)
No stockingsy barefoot

 

 

 

 

MHGNSNME

CHARACTER

_.. -

Bob Youngman

Oberon

 

White tights

white tunic

Purple Cape (lined with yellow) with imitation
ermine collar

Purple cord sash

Gold crown

 

 

145

 

C 03 TUE-‘3 I‘ZLJ‘. “T 3'". CH

 

ACTOR‘S NAME TUQLBFUEdLHLG

CHARACTER

Red, black, and white striped tunic
Black sandals

Black felt cap

Black sash for waist

 

 

.__-_._

ACTOR'S NSHE Bill Brechenser

S
cams ACTEF. mg

Red tunic with full sleeves
Beige tam for head
Black sandals

 

 

 

 

ACTafits NAME Patrick Driscoll

Duke Theseus

 

 

CHARACTER
Brown, green, and gold robe
Brown tights
Black sandals
Gold crown
Gold cord sash for waist
L—____

 

 

I45

 

ACTOR' 8 NAME

CHARACTER

John Swank

Peter Quince

Maroon blouse with full sleeves

Beige knee breaches with draw-string ties
at knees

Clack half-stockings

Black sandals

maroon tam for head

 

 

w

ACTOR ' 5 NAME

CHAEACTER

Arnold Bransdorfer

 

Francis Flute

 

Light blue tunic

Black sandals

Yellow cape

Light blue tam for head

 

 

ACTOR '8 RATE

CHARACTER

j-‘w- ._1'

Russel Keyworth

 

Robin Starveling

 

Purple tunic
Black sandals
Brown cap

 

147

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

ACTOR|S NAME Judith King A. ¢_4
CHARACTER Mustardseed #4
Lavender ballet dress (short) trimmed
in silver
No stockings; barefoot
ACTORIS NAME Nancy Spencer
CHAPACTEK? Peaseblossom U k
Dark green ballet dress (short) trimmed
with vari-colored stars.
No stockings; barefoot
Ammgs NAME ~Norman Tipton -
CMRACTER Bottom

 

 

Gunny Cloth tunic

Scarlet sash

Yellow felt cap with feather
Dark blue flannel cape

 

148 I

 

 

 

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Jim dallantine, Frank Tharp, Richard Bright

ACTOR ' S NATE -

CHARACTER “”38 _

Green jackets with long sleeves and high
ecklines.
Green c ps
Green pants (short)
Long green stockings

:3

ii?

 

 

ACTOR'S NEME Eileen Sidner

 

 

Light blue net dress (floorllength)
White evening sandals

billowing white cape trimmed in silver
5ilver Crown

 

 

 

 

man's seas leans Fewer -
CHARACTER 3'10 th
Light green ballet dress (short) trimmed

in silver
No stockings; barefoot

 

 

149

 

 

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U“\."A-‘l.n:‘ $.11... Vasl‘da'a-‘L J.\a..“

ACTCR'S 1.1.1351.) Jean Robinson

CHARACTER Hippolyta

Green floor-length gown trimmed in white
lace and gold brocade

Pearl Coronet for hair

Ahite evening sandals

 

 

W

ACTOR'S HALL John Jottrell

 

CHAPACTER Philostrate

 

Long purple robe with purple velvet collar

Black velvet cap trimmed with black ostrich
plume

Black sandals

Gold cord with brass key at waist

 

 

 

ACTOR'S NAME

 

 

CHARACTER._

 

150

 

 

PFVIL' . ...

um LIST
The following Max Factor makeup was used.

lawman. COLORS FACE POWERS
1- light pink 2 light pink
flesh 4 flesh
sunburn 18 natural
LINING COLORS EYEBROW PENCIL (Kresge)
3 light brown brown
ms cam HAIR
3 (moist) medium dark brown

4 (moist) dark

MISMWB ITMS
mscars - dark brown (Kresge)

paper liners
cold cream

1515

L . a

 

 

 

 

 

 

 

r—’
ACTOR'S NAEE _' Dick Beale
CHARACTER __ Robin Goodfellow AGE
TYPE A sprite. elfin. knavish
BASE ligand 2% _; P0 Dee 2
l LINERS b rown ROUGE 5

 

 

GFHER. INSTRUCTIONS Give him a fairly ruddy complexion.

keep rouge high and lining light.

 

 

 

 

 

WW0$~M~~— -....-s-s-r... ...-..., ._. ...“; _ .—..-. ,.,_ -_-. -. ... “_.., .... “_'-
ACTCE'S NAME Leone. Nancy, Claire, and Judith
CHARACTER __ Fairies f AGE

 

 

TYPE Young, graceful. fair.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

BASE 1% and 2% revamp 2

Liisls bFOW“ sores 5__

GENERAL INSTFUCTION Keep makeup light but avoid death-
like pallor.

ACTOR'S CAME Jim' Frank: and Dick

csArAcsss Elves Asa

TYPE fibrry, mischievous, healthy

BASE 2% with a little 1% POWDER 2

LINERS brown Bones 5

 

 

GswsaAL IUST?UCTIONS Slishtly heavier makeup than Fairies'

 

a trifle ruddier.

 

 

 

151

 

 

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ACTOR'S RAKE

Bob Youngman

 

 

 

 

 

CHARACTER Oberon King of the Fairies AGE
TYPE Young, elflike king

BASE 2% an? 1% POVDVR 2
LINERS brown ROUGE 5

 

GVNERAL IFSTRUCTIONS

makeup light.

 

Darken eyebrows slightly, keep

 

 

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ACTOE'S NAME_w

Eileen Eidner

 

Titania, Queen of the Fairies

 

 

 

 

 

CHARACTER ACE
TYPE Fair delicate, gracful, young,

'1L with a touch on 2; 2
BASE 2 ’ l 3 PCfiDEP
L1h~.S brown RO"GE 5

 

GENERAL INSTTUCTIOES

 

Darken eye-brows slightly, keep

 

makeup light and delicate.

 

ACTOR'S BANE

CHAPACTEP

Snug - ajoiner

Bill fireghenser

 

TYPE

 

 

 

I
BASE 2?

 

LINERS

 

AGE
Quiet, polite
mmm 13
brown ROUGE 5

 

GENWRAL IUSTFUCTIONS

 

Keep facial lines light, give him a

 

healthy but not rudfly look.

 

 

152

4L.

MAKWUP IfiTCEHATION

11.) A4
II

ACTOR'S RAKE Norman Tipton

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

CHARACTER N'16er 5ottom - a weaver A33
TYPE 5u11y, bragsnrt, Self-avainted leeler

BASE 2% and 5% rovnva 4
LINERS brawn ROUGE___ 4
G'JT'IERAL IETCSTRUCTICE‘ES Waive him, a ruddy complexion
ACTOF. '3 ENE _.. John iwank ‘
CHARACTER Peter Qunce, :wcsrpenter AGE
TYPE Conscientious leader, Il'siigrly intelligent

BASE 2; and 9 little 1; $02,133? 3
LINERS bTUW“ {0"GE 5

 

 

IV. A ‘ . . "w . fl .
GENERAL INSTTUCTIOWS ”1’” “1m »°r1y lines at mouth and

4.

between eyes ani at corners of eyes.

 

 

 

 

 

 

 

 

 

 

ACTORIS MAME Arnold Bransdorfer _—
CHAFACTE'B Flute - a bellows-slender AG“! _
TYPE A follower, ready to do his part,

BASE 2% and a little 5% PoonR__ 18

LINERS br°wn ROUGE 4

 

 

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GENYE‘. AL IUST‘FUCT I OBIS

 

 

 

 

 

 

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Russel Keyworth

 

 

 

 

CHARACTER __ Starveling - a tailor A,E

TYFE Older man,wfearful, anxious, a worrier I
BASE 1;}:— and 2.32-— room 18

mes br 0"” ROUGE 5

 

GVNFBAL INSTRUCTIONS

Line eyes, give him a dark brown

 

 

 

Lm-—w~t-MM-—-— « ~—-—~‘-—-”--»' 3‘

beard.

3r. -~t...:.... In .'

. ' find" -5 Q‘.“o“r.~c~ .... nor—vwmu‘ we... » --._ _i

 

 

 

ACTGE'S NAME Ted Brundidfe

Snout - a tinker

 

 

 

 

CHARACTTR _"_ CE

TYPE Easy going, irresponsible _- ‘_
BASE 22 an? 5'13 POWDER 4

LINERS br°wn RO"GE 5

 

 

 

Give him a healthy, out-door look.

 

.__—.w—

 

 

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ACTOR'S mm John Gottrell

 

 

 

 

 

 

 

 

 

 

 

CHAFACTEP Philostrate, Master of Revels AGE
TYPE Dignified, heughty, rather regal attendant i
Bass __ 2% rows? = 18
LINERS brm‘m RCUGE 5 __n,
GENTEAL IKSTFUCTIONS Line face fairly heavily, darken
brows. 1
4

 

154

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ACTORIS mum _ Patrick Driscoll
CHARACTER Duke i"magma AGE
TYPE Regal, dignified, youthful monarch
BASE 2313— and a little 1%- P07317131 18 _fl
LINERS brown BOYFGE 5
6%me INSTRUCTIONS : Keep rouse light, gye him‘amvgnqzrke
beard and mustache. _fi
t--.....- . ....l is." ....l.....,.._.... -.. _-

 

 

 

 

ACTO‘E '5‘, 3,3555 Jean Robinson

w

 

my. a“ _ _.

 

TYI‘EE Regal, dignified, but young: Duchess

*M'. n-g - w. .__ --‘_“; "P" - -..—...—

 

 

 

 

 

 

BASE 1% and 3 t0 UCh Of 2%— Esme:- 2

LINERS bm‘m ROGB 5 y __
c wm y ~45 K C? . C" n.

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lines. ,

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

ACTOR '3 ma w

CHAT ACT? AG ,

TYPE _ “.__ “

BASE POWDER _ _J

Llamas ROUGE

GFN’EPL INSPECTIONS _
A;
4;

 

 

155

REHEARSAL SCHEDULE

EVENINGS

Monday, May 15th Block play 7-9
Wednesday, May 15th Pages 1-12;18-l9 7-9
Thursday, May 16th Pages 12-18 7-9
Monday, May 20th Pages 1-19 7-9
Wednesday, May 22nd Pages 1-12;18-l9 7-9
Thursday, May 25rd Pages 12-18 7-9
Friday, May 24th Entire play

(Fairies and elves) 7-9
Monday, May 27th Entire play

(Fairies and elves 7-9
Wednesday, May 29th Pages 12-19 7-9

AFTERNOONS

Friday, May 17th Pages 2-4;1§-19

Oberon, Titania,

Fairies and elves 5-5
Wednesday, May 22nd Pages 8-9

Bottom, Titania,

Fairies and elves #-5
Friday, May 24th Pages 3-4

Titania, Fairies 4-5
Monday, May 29th Pages 1-2

Robin, Cobweb 4-5
Saturday, June lst Entire play

(Dress Rehearsal) 2-5
Sunday, June 2nd Entire play

(Dress Rehearsal) 2-4
Monday, June 3rd PERFORMANCE

ALL REHEARSALS WILL BE HELD IN THE AUDITORIUM GARDEN,
WEATHER PERMITTING. IN CASE OF INCLENENT WiATHER, WE
WILL REHEARSE IN ROOM 246 AUDITORIUM.

156

l.

5.

DIRECTIONS TO CAST FOR MONDAY, JUNE 5rd.

6:00 o'clock call.

Go to the room below the stage for costumes. The
costume committee will have them ready for you.
Dress in the lounges off this room.

As soon as you are in costume, go to the make-up
room. When make-up is on, return to first room

and wait for call. Do not go wandering off.

Those who carry properties on with you, check to
see that you have every item.

Line—up for procession to the stage:

Stage
Left Right
Theseus Hippolyta
Philostrate
Oberon Titania
Elves Fairies
Bottom Snug
Snout Starveling
Flute Robin Goodfellow

a. Theseus and Hippolyta join hands at center in
front of trumpeter.

b. Philostrate walks directly behind The. and Hipp.

c. Oberon and Titania join hands at center in front
of trumpeter.

d. Fairies, two by two, and elves, two by two, fol-
low Oberon and Titania.

6. Bottom and Quince, Snout and Snug, Flute and
Starveling walk tOgether.

f. Robin Goodfellow follows artisans.

Onstage, watch and listen carefully for cues. There can
be no whispering or talking backstage because the micro-
phones will pick it up and carry it to the audience.

Be sure to ''freeze" (hold positions) during laughter
from the audience.

Be prepared to "take a bow" after the play. Then go off
once more, but no farther than the down left gate.
PICTURES WILL BE TAKEN IMMEDIATELY AFTER THE PERFORMANCE.

When the pictures have been taken, return to the Auditorium
and remove your costumes. Leave them in the room where you
got them.

157

CREW

CONSTRUCTION

SETTING SET

STRIKING SET

PROPERTY

COSTUME

MAKE—UP

NMSIC

PUBLICITY

CREW RECORD

NUMBER OF PEOPLE

158

TOTAL NUMBER OF HOURS

28

16

5O

20

GRAND TOTAL é - 158

 

MUSIC USED IN THE PLAY

TAKEN FROM

A MIDSUMMER-NIGHT'S DREAM
WILLIAM SHAKESPEARE

 

Arranged and Condensed by Thomas P. Robinson"I

‘ The Player's Shakespeare, "A Midsummer—Night's Dream, William Shakes-
peare," Arranged and Condensed by Thomas P. Robinson, The Viking
Press, New York, 1941, pp. 121-122.

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159

 

 

PUBLICITY

A SAMPLE OF THE CARDS SENT TO
THIRTY DRAMA STUDENTS PRIOR TO

CASTING

rn . nary-a as" r?" .... v. .. . ‘T‘I’. '7 f‘ i ‘-
2) I 3;! I k‘ b-LA.'.8~$ 3-s; ; fiAl ~ "5“.)ij

for my master's Thesis Production, I am planning t ‘2 ’3 fin
«adaptation of Shakespeare's giggly??? Eligfiat‘s D77 _. 1’0?
nublic appearance. in the thedtér garden in fro“! 31' F31?“
child. Mr. Buell has suggested that you migh‘ ‘96 inter-
nested in trying out. If so will you come +5 3 reading
for the play on Monday evening at 7:15 in (use 112 of

the Union Annex. If you can't make it radar night but
are interested will you ccniact me at the above phone
number. Hope you can see your my clear to work in the
~51“. I think its going to be fun. .Thanks and see you

Honday.
us 6 Ass atant.

 

 

ARTICLES WHICH APPEARED IN THE MICHIGAN STATE COLLEGE NEWS

FRIDAY, MAY 24, 1946

Children To- View
Shakespeare Play
[11 Outdoor Stage

“Fairy Forest,’ an adaptation
of Shakespeare’s “Mid-summer
Night’s Dream,” will be staged
in auditorium garden facing Fair-
child theater on June 3 at 7 p.m.,
according to Director Jean Gran-
ville, Saginaw graduate assistant
in speech.

Miss Granville, who is director
of Children’s theater, revealed
that the production is for her
master’s thesis, and will be given
before a children’s audience,

‘ Actors for “Fairy Forest”1 'n
2clude Patrick Driscoll, Detronit,
'freshman; Jean Robinson, Bat-
tle Creek junior; John Cottrell,
Ypsilanti SOphomore; Robert
Youngman, Lakeview sophomOre
and Eileen Eidner, Fort Wayne
I Ind.,freshman.

Other performers are Norman

 

 

T1 pton Dearborn sophomore; 1
ERichard Beals, Birmingham!
' f1 eshman; Arnold Bransd01fe1 ,1

ILansing freshman; John Swank 1
!Eat0n Rapids soph0m01e;Wil—
liam B1echner,D0wagiac fresh-
man; Ted Biurige, East Lansing
#50ph0m0re, and Russel Key,W0rth
Detroit f19shma11

_ _._. __fi._ d.‘ _._

WEDNESNY .

MAY 29, 1946

 

 

F aerhlld Garden
For Fairy Forest,’

By SYLVIA CIERNICK

Sprightly fairies and elves will take over the auditorium
garden behind Fairchild theater Monday evening at 7 ,

«pr—‘9

Acts As Setting
Childrens Play

 

,When the speech and dramatics department presents “The
Fairy Forest, ” a one-act play.
This is one of the few times that the garden has been

'used for an outdoor plank
and it will provide an excel-
1lent Setting as the entire ac-

ttion takes place in a forest.
An adaptation of Shake-
speare’s “A Midsummer Night’s
Dream,” “The Fairy Forest” was
especially prepared for children
by Jean Granville, graduate as-
sistant in speech and dramatics.
-Miss Granville has undertaken
{this project as her master thesis
production. During the year she
has supervised the Children's
theater, an active group of 60
children in the fourth, fifth, and
sixth grades from Lansing and
'East Lansing.
Children to Portray Parts
Seven members of the cast of
19 are from this children’s group.
They will portray elves and

‘ fairies.

The remainder of the cast,

 

 

includes Jean Robinson, Battle
Creek junior; Pat Driscoll, De-
troit freshman;‘ John Cottrell,1
Ypsilanti SOphomore; Robert
Youngman, Lakeview freshman;

Eileen Eidner, Fort Wayne, Indz,

freshman; Norman Tipton, Dear-‘
born sophomore; John Swank,
Eaton Rapids sophomore; Arnoldi
Brandsdolfer, Lansing freshman;'
Ted Brundidge, East Lansing
SOphomore; Bill Brechenser, Do-
wagiac freshman; Russell Key-
worth, Detroit freshman, and
Dick Beals, Brighton freshman

Grad Student Works
Miss Granville’s creative dra-'

'matics class has charge of props

and other backstage work.

In case of rain, the play, to
which everyone is invited, will
be presented at the ’same time
Tuesday evening, Miss Granville
stated.

 

 

drawn from students on campus,

_._...

NOTICES ALSO APPEARED IN THE MICHIGAN STATE COHEGE STAFF
BULIETIN ON FRIDAY, MAY 24, AND FRIDAY, MAY 31.

RADIO STATION WKAR FURTHER PUBLICIED THE PLAY DY ANNOUNCING
INB‘OIMATION ABOUT THE PLAY ON THE AIR SUNDAY. JUNE 2 AND

MONDAY, JUNE 3.

161

SECTION IV

ANALYZING
AUDIENCE REACTION

TOTHEPIAY

ANALYZING AUDIENCE REACTION

1. EXPLANATION OF PURPOSE AND PROCEIIIRE

In the last analysis, the success of any production is detemined
by the reactions of the audience to it. Every director is interested in
the reception the play is given by those who see it. Ordinarily, the
director gauges reaction simply by noticing whether or not the audience
remained for the entire performance, were attentive throughout, laughed
when they were expected to, applauded the performance. and expressed
their satisfaction with the play upon leaving the theatre.

In 11w case, however, I wanted to know more about the reaction of .
the particular group for whom the play had been designed: the children
in the audience. I wanted to know specifically which parts of the play
held their attention, and which did not; which parts they enjoyed; which
parts they did not understand; which parts they reacted to physically:
and which parts they disliked. Having this information, I could then
hope to determine which speeches were too long, which scenes were over-
played, which scenes needed more action, etc. In short, I could dis-
cover the weak spots in the adaptation and in the acting and directing
of the play.

I enlisted the assistance of three faculty members and three grad-
uate assistants from the departments of Basic Written and Spoken English
and Speech, Dramatics, and Radio. I gave each of these peOple a copy of
the play and asked them to familiarize themsele with the script and
with the characters. I also requested that they attend at least one re-
hearsal of the play in order to becane more familiar with the actors
playing the various roles. Their instructions were to sit near the groups

of children during the performance of the play and record their reactions

162

to the play on the following points:

1, Evidences of attention.

2., Evidences of empathic response. (physical movement.) .

3. Evidences of waning attention.

4. Evidences of enjoyment. (laughter.)

5. Evidences of dislike or disapproval.

6. Evidences of not understanding.
Before proceeding, it may be well to explain number two, empathic re-
sponse. On the subject of empathic response, John Dolman, in his book,
The Art of Plgy Productipp. says, "....We show these imitative responses
in visible action; more often we feel and conceal them; and more often
still we experience them only as motor sets, or patterns, and are not
even conscious of them." 15 Since it was impossible to gauge concealed
responses and motor patterns in this situation, the general understand-
ing of the term was, for our purposes, visible physical action.

To facilitate the recording of the above factors, the individuals
were asked to memorize the six points and the corresponding numbers and
indicate the appropriate reaction by number on the margin of the script.
A copy of the instructions given to these six people will be found on
page 166.

It is obvious that such a procedure as the one outlined above
would not be too accurate. I relied entirely upon the subjective
judgments of the people who assisted. However, there were only two pos-
sible procedures Open in this situation: asking the children specific
questions about the play after the performance; and recording their re-
actions subjectively during the perfomance. I rejected the first

method for these reasons: (1) fewer children would have been reached

 

15 Dolman, John, The Art of Play Production, Harper and Brothers,
New York, 1946, p.14.
163

because it would have been impossible to detain all of the children in

the audience for questioning: (2) the person making the inquiries would
have had to write down their responses, which might have dispelled the
theatre atmosphere and would assuredly have taken considerable time;

(3) it is doubtful that children would be able to analyze their reactions
in the same way an adult would, because they are not aware of their] re-
sponses; and (4) it is difficult even for an adult to remember his emo—
tional reaction to a specific speech or scene. The procedure used was
best for cw purposes since it made possible the recording of the reactions
of nearly every child in the audience, was less obvious than the question-
answer method, did not rely upon memory, and took less time.

Unfortunately, the six peeple were unable to meet together before ~
the performance and agree fully upon common interpretations of the six
factors. Also, not all of them were able to attend rehearsals of the
play and were handicapped during the performance by their unfamiliarity with
the actors. A third disadvantage was the necessity for making hasty judg-
ments during the performance of the play. Lastly, the audience was composed
of children as young as four years of age (whan I had not intended to reach.)
and it was difficult for the recorders to eliminate entirely their reactions
to the play.

All of these elements must be taken into consideration in analyzing
the records obtained. Despite the disadvantages, however, there was a
remarkably high correlation in the finds of the six individuals, which
proved to cw satisfaction that the project was well worth the time and
effort expended.

The charts on pages 167 and 168 indicate, according to scene. the
frequency of four of the six factors. Except for those places where
waning attention was specifically recorded, attention prevailed through-

164

.out. Therefore, “Evidences of Attention" has been eliminated from
the chart. No evidences of dislike or disapproval were recorded, so

that factor has likewise been eliminated from the chart.

165

DIRECTIONS TO THOSE RECORDING AUDIENCE REACTION

TO THE FAIRY NRES

PLACE: AUDITORIUM GARDEN

TIME: JUNE 3rd, 7:00 o'clock.

1.

2.

3.

5.

6.

Please read the play carefully in order to be as familiar with
it as possible.

Try to attend at least one rehearsal of the play.
You. are to look for the following factors during the performance;
1. Evidences of attention.
2. Evidences of empathic response. (physical response.)
8. Evidences of waning attention.
4. Evidences of enjoyment. (laughter.)
5. Evidences of dislike or disapproval.
6. Evidences of not understanding.

You are to designate (by number) on the margins of your play
script the above factors. For example:

BOTTOM Let me play the lion too. I will roar that it 1.
will do any man's heart good to hear me. I will
roar and make the Dillon say "Let him roar again, 4.
let him roar again. “

Please keep your scripts until I ask for them. Do not
turn them in to me directly after the perfonnance. They
may be lost or picked up by someone else by mistake, etc.

I AM INTERESTED ONLY IN THE REACTIONS OF THE CHILDREN IN
THE AUDIENCE, NOT TIE ADULTS. TAKE SEATS NEAR GROUPS 01‘

CHILDREN. I AM NOT COIICERNED WITH THE REACTIONS OF CHIP-
DEEN BELOW THE AGE OF EIGHT YEARS.

Thank you very much,

166

2.

CHARTS

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

'EVIDENOES EVIDENOES EVIDENCES EIIDENOES
0F 03' OF 03'
smut EMPATHIO WANING ENJOYMENT NOT UMBR-
TITLE RESPONSES ATTENTION (LAUGHIER) STANDING
Robin's prologue XX xxx
Robin - Cobweb moo: XX XXXX xx
Oberon - Titania
Robin - Oberon XX X X
Titania - Fairies X X XX XX
Oberon - Titafiia
Artisan (Casting) XX XXX XXXXXX
Artisan (Problems) XX XXXX XXX X
Artisan (Rehearsal) XX XXXXX X
Bottom in ass's head XX mm X
Bottan and Titania X XXX X
Bottun,Titania,Fairie XX XXXXX
Bottom, Titania(bower) XXX X XXXX X
Oberon,Titania,Robin X X XXX X
Bottan (awakening) XX X XXXXX
Retrun of artisans X X xxx X

 

 

 

 

 

167

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

EVIDENCES EVIDENCES EVIDENCES EVIDENCES
OF 03‘ 03' OF
SCENE ENPATHIO WANING ENJOYMENT NOT UMBR-
TITLE RESPONSE ATTENTION (LAUGHTER) STANDING

Artisan reunion XX XX
Entrance of Duke

Conversation between

Theseus and Philo-

strata XXIOI X XXX
Quince's prologue XXXXXX X
Quince's introduction X XXX XXX X
Snout's speech (Wall) X X XX
Bottom and Flute XX XXXXXX X
Snug's speech (lion) XX XX

Starveling's speech XX X
'Lion' chasing Flute

as "Thisbe" n XXXXXX

Bottan's “suicide" XXX X XXXXXX X
Pluto's mourning and

"death“ XX XXXXJDI

Remarks of Theseus

and Hippolyta X100! X
Theseus' invitation X XXX X X
Oberon's instructions

to the fairies,e1ves X X
Robin's epilogue XXXX ' X XXX

 

 

 

 

 

168

 

3. CONCLUS ION

The charts on the fore-going pages provide an over-all picture of
the reactions of the children in the audience to The Fain Forest. As
would be expected, enjoyment was most apparent in the artisan scenes,
and attention waned in scenes of long discussion. This observation sub-
stantiates the conviction that children enjoy broad comedy. like action,
and dislike lengthy diaIOgue. It also indicates that the following scenes
needed mom breaking up with movement and business: the scene in which
the artisans discuss their production problems; the scene in which Philo-
strate and Theseus discuss the artisans; the scene in which Quince intro-
duces the artisans to Theseus and Hippolyta; and the scene in which The-
seus extends the invitation to the company to come to Athens.

The children apparently understood the play on the whole, but
failed to comprehend the meaning of several lines. The specific lines
checked by the recorders were these:

OOBUEB I must go seek some dew-drops here
And hang a pearl in every cowslip's ear

TITANIA Some to kill canker worms in the mask-rose
buds....

FLUTE Nay, let me not play a woman: I have a beard
coming.

BOTTOM So hath thy breath, my dearest Thisbe dear.

ROBIN Now I'll this advantage take
And an ass of him I'll make.

OBERON And think no more of this night's accidents
But as the fierce vexation of adream.

PHILO. “The battle with the Oentraurs, to be sung
By an Athenian Eunuch to the harp;
The riot of the tipsy Bacchanals,
Tearing the Tracian singer in their rage;
The thrice three Muses. mourning for the death
Of learning, late deceased in beggaryfl

169

TESEUS I will hear that play:
For never anything can be amiss
When simpleness and duty tender it.
QUINCE .........That you should here repent you,
The actors are at hand, and by their show
You shall know all that you are like to know.
THESEUS This is the greatest error all. The man should
be put into the lantern. How is it else the
man 'i the moon?
OBERON With this field-dew consecrate,
Every fairy take his gait,
And each several chambers bless,
Through the palace with sweet peace,
And the owner of it blest,
Ever shall in safety rest.

It should be noted, in regard to lines not understood, that only
in two places did more than two of the recorders check the same lines.
The two places were in the Titania-Fairy scene where Titania gives her
fairies instructions, and in the scene of conversation between Theseus
and Philostrate.

It is interesting to note that the children responded empathically
more often to the movements and lines of Robin, Cobweb, Oberon and Titania
than to the movements and lines of the other characters. This indicates
the importance of appropriate movement and gesture.

The results of the analysis may be summed up in this way: for the
most part. the play was enjoyed and understood by the children in the
audience; certain lines need to be written for better understanding;
several scenes need further enlivening with movement and business; and

Theseus and Philostrate's speeches should either be cut or rephrased to

hold audience interest and attention.

170

 

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