Th'other by the Cuckow.

Ver, begin.

The Song.

When Dasies pied, and Violets blew,
And Cuckow-buds of yellow hew:
And Ladie-smockes all silver white,
Do paint the Medowes with delight.
The Cuckow then on everie tree,
Mockes married men, for thus sings he,
Cuckow.

Cuckow, Cuckow: O word of feare,
Unpleasing to a married eare.

When Shepheards pipe on Oaten strawes,
And merrie Larkes are Ploughmens clockes:
When Turtles tread, and Rookes and Dawes,
And Maidens bleach their summer smockes:
The Cuckow then on everie tree

Mockes married men; for thus sings he,
Cuckow.

Cuckow, Cuckow: O word of feare,
Unpleasing to a married eare.

Winter.

When Isicles hang by the wall,

And Dicke the Sphepheard blowes his naile;
And Tom beares Logges into the hall,
And Milke comes frozen home in paile:
When blood is nipt, and waies be fowle

975. shifted after 976-THEOBALD.

994. Sphepheard: shepherd (Sheepheard)-1Q.

980

990

Then nightly sings the staring Owle

Tu-whit to-who.

A merrie note,

1 stir or skim

1001

While greasie Jone doth keele1 the pot.

When all aloud the winde doth blow,
And coffing drownes the Parsons saw:
And birds sit brooding in the snow,
And Marrians nose lookes red and raw:
When roasted Crabs hisse in the bowle,
Then nightly sings the staring Owle,
Tu-whit to who:

A merrie note,

While greasie Jone doth keele the pot.

Brag. The Words of Mercurie, Are harsh after the songs of Apollo: You that way; we this way.

999, 1008. to-who: prefixed next 1.-CAPELL. 1011-13. prose-MALONE.

1010

Exeunt omnes.

FINIS.

A MIDSOMMER NIGHTS

DREAME

First printed in two Quartos, 1600

The First Folio, 1623, follows the Second Quarto, with additional stage directions and a few changes

INTRODUCTION

ARGUMENT OF THE PLAY

AMIDSOMMER NIGHT'S DREAME' is aptly

described by its title, for it is a play of fanciful texture airy, musical, joyous. Fairies divide the stage with bewildered men and women, and exercise a kindly, though sometimes misdirected, influence over them.

The first act opens at Athens, showing preparations for the nuptials of Duke Theseus with Hippolyta, queen of the conquered Amazons. Hermia, an Athenian maiden, has two suitors at this time, about the choice of whom she and her father differ. The case is referred to the duke for decision, and he commands Hermia to obey her father. Rather than do so, she plans to flee with her accepted lover to a forest near by.

Act II opens in this wood, which is the realm of the fairy king and queen, Oberon and Titania, who just now are quarreling. In the midst of their dispute, Hermia and her lover arrive, as well as her other suitor and Helena, whom he has deserted. By means of an enchanted love-juice, Oberon, seeking to gain his point with Titania, works havoc with the diverse loves of these four mortals.

In Act III some humorous elements are introduced in the persons of a group of Athenian tradesmen, who

M. N. D. C

iii. 8