DOCSLIB.ORG

Play: a Midsummer Night's Dream Author:Shakespeare

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Play: A Midsummer Night’s Dream Author:Shakespeare Text used: Arden Library ref: Key: enter from within enter from without exit inwards Exit outwards act/sc door Entering door Space-time indication Commentary IN characters OUT and notes 1.1 Theseus Court scene Hippolyta Philostrate Attendants Philostrate Out to town. Egeus From town, for audience. Hermia Lysander Demetrius Theseus Inwards for further conference. Hippolyta Attendants Egeus Demetrius Helena From town, looking for Demetrius. Hermia Returns home. Lysander Ditto, spaced exits stand for physical separation before wedding. Helena Following Demetrius. 1.2 Snug Arriving from outwards to Quince’s Bottom house. Flute Snout Starveling Quince Quince from inwards. Quince Quince returns inwards, others go Snug off whence they came. Bottom Flute Snout Starveling 2.1 Fairy Enter a Fairy at one door, and Puck at Marked congestion, minimised by another. stagger. Titania in centre of grove, Oberon outwards. Puck Titania Ditto Train Oberon Ditto Train Titania TIT. If you will patiently dance in our Return to home base would seem Train round, And see our moonlight revels, logical; but if she were to go go with us; If not, shun me, and I will outwards it would solve a problem spare your haunts…Fairies, away! at end of scene. Puck Outward to find the ‘western’ flower. Demetrius Explicitly coming into the wood. Helena Demetrius Runs off further inwards to ‘hide within the brakes’. Helena She follows. 2 Puck Returns Oberon Split exit: Puck set to follow lovers, Puck Oberon in direction last taken by Titania. 2.2 Titania Minimal congestion, no matter Train what. BX establishes new location . All but 1 fairy Inwards, one left onstage as sentinel. Not in her bower yet: at end of 3.1 they exit inwards to bower. She falls asleep ‘near to her close and consecrated bower’, in Puck’s words (3.2.7). Oberon Now arriving from outwards. Oberon Exits whence he came. Lysander Have already lost their way in the Hermia wood. Puck He too has been in the middle of the forest. Puck Returns outwards to Oberon. Helena Simultaneous mid-scene. Lost in Demetrius middle of wood. Demetrius Onwards, outwards. Helena Follows him. Lysander Follows Helena Hermia Follows Lysander 3.1 Bottom Should be a min congestion, but Quince Titania remains asleep onstage, so Snout not even really a scene break. Starveling Flute Snug Puck Returns inwards. Bottom ‘Offstage’ is inwards, in ‘brake’. Puck Follows Bottom Returns from inwards. Puck Snug Flee in fear. Flute Starveling Quince Snout Puck Explicitly follows. Snout Returns, and Snout Exits again. Quince Ditto. Simultaneous mid-scene crossover, but Bottom onstage doing gags to cover. Quince Exits again. Fairies Re-entrance from inwards separated from previous use of inwards door as ‘offstage’ by 40 lines between Bottom and Titania who has woken. Titania TIT. Lead him to my bower. Inwards to bower. Bottom Fairies 3.2 Oberon Returns from outwards. Puck Ditto Demetrius Ditto Hermia Hermia Continues inwards. Puck Sent out around wood to find 3 Helena. Puck Returns, Lysander Followed by Lysander and Helena. Helena Hermia Now returns, oppositional pattern. Demetrius Exit inwards. Lysander Helena HEL. My legs are longer though, to run Escapes Hermia’s wrath, outwards. away. (343) Hermia HER, I am amaz’d, and know not what Inwards, just for opposition: to say.(344) rhetorical exit. Oberon Inwards, towards Titania. Lysander Puck has 4 line spacer before re- entrance of L. Doesn’t then exit as modern editor suggests: he remains on stage. Demetrius Enters following L. Puck Puck leads D off… Demetrius Puck They dodge about the stage. And returns with him once L is Demetrius asleep. Lovely SD Helena Ladies now return from whence they exited. Hermia Puck Returns outwards having sorted all. 4.1 Titania Not even a proper scene break, Bottom since 4 characters remain asleep on Fairies stage. Oberon Fairies Puck Returns from outwards Oberon OBE. We the globe can compass soon. Exit outwards Titania TIT. In our flight.(98, 100) Puck Theseus No congestion, 4 still asleep. Hippolyta Egeus Attendants Attendant THES. Uncouple in the western valley; Sent out to loose the hounds. let them go. (106) Theseus THES. Away, with us, to Athens. (183) Returning to Athens. Hippolyta Egeus Attendants Demetrius DEM. Let’s follow him. (196) Follow. Helena Lysander Hermia Bottom BOT. I will get Peter Quince to write a Ditto, back to Quince. ballad. (213) 4.2 Quince At Quince’s house, no sign of Flute Bottom. Snout Starveling Snug With news of Theseus’s marriage. Bottom Ditto Bottom and Off towards palace. fellows 5.1 Theseus Hippolyta Philostrate Attendants 4 Demetrius LYS. Your royal walks, your board, Seems they have been put up at the Helena your bed! (30) palace. Lysander Hermia Philostrate Sent out… Philostrate …and returns Quince …with Quince. All play-within- play entrances and exits can be from one door: possible congestions covered by spacer dialogue from onstage audience, marked below as *. Bottom * 8 line spacer. Flute Snout Starveling Snug Quince Bottom Flute Snug Starveling Bottom * 2 line spacer. Flute Bottom Flute Snout Snug * 10 line spacer. Starveling Flute Flute Snug Bottom * 3 line spacer. Starveling Moonshine exits, Pyramus dies. Flute * 6 line spacer. Quince Return to dance Bergamask, then Snug Snout Starveling Bottom and his Exit outwards. fellows Theseus THES. To bed. Inwards. Hippolyta Philostrate Attendants Demetrius Helena Lysander Hermia Puck Simultaneous mid-scene entrance and exit. Oberon Following, having entered the Titania house. Fairies Puck OBE. Now, until the break of day, Inwards. Oberon Through this house each fairy stray. Titania Fairies Puck Ditto. .
Recommended publications
  • A Midsummer Night's Dream

    A Midsummer Night's Dream

    Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears
  • PDF Download the Sandman Overture

    PDF Download the Sandman Overture

    THE SANDMAN OVERTURE: OVERTURE PDF, EPUB, EBOOK J. H. Williams, Neil Gaiman | 224 pages | 17 Nov 2015 | DC Comics | 9781401248963 | English | United States The Sandman Overture: Overture PDF Book Writer: Neil Gaiman Artist: J. The lowest-priced brand-new, unused, unopened, undamaged item in its original packaging where packaging is applicable. This would have been a better first issue. Nov 16, - So how do we walk the line of being a prequel, but still feeling relevant and fresh today on a visual level? Variant Covers. By continuing to use this website, you agree to their use. Click on the different category headings to find out more. Presented by MSI. Journeying into the realm of his sister Delirium , he learns that the cat was actually Desire in disguise. On an alien world, an aspect of Dream senses that something is very wrong, and dies in flames. Most relevant reviews. Williams III. The pair had never collaborated on a comic before "The Sandman: Overture," which tells the story immediately preceding the first issue of "The Sandman," collected in a book titled, "Preludes and Nocturnes. Help Learn to edit Community portal Recent changes Upload file. It's incredibly well written, but if you are looking for that feeling you had when you read the first issue of the original Sandman series, you won't find it here. Retrieved 13 March Logan's Run film adaptation TV adaptation. Notify me of new posts by email. Dreams, and by extension stories as we talked about in issue 1 , have meaning. Auction: New Other. You won't get that, not in these pages.
  • A Midsummer Night's Dream – As a Romantic Comedy

    A Midsummer Night's Dream – As a Romantic Comedy

    A MIDSUMMER NIGHT’S DREAM – AS A ROMANTIC COMEDY DR. MANISH D. BHATT (M. A., M. Phil., B. Ed., Ph. D.) Assistant Professor, Department of English, Vijaynagar Arts College, Vijaynagar - 383460 Dist. S. K. (GJ) INDIA The thirty-seven Shakespearean plays consist of the greatest, the most varied and the perfect work ever done by any man in literature. Any work, however, beautiful, seems monotonous after Shakespeare. He was free from every theory. He accepted all of life, rejected nothing. He united the real and the ideal. He appealed to the most varied men to a rude worker as well as to a wit. Shakespeare’s drama is a great river of life and beauty. All who thirst for art or truth, comic or serious, ecstasy or satire, light or shade, can stoop to drink from its waters, and in their changing moods they will find a drop to quench their thirst. INTRODUCTION The Shakespearean comedy is basically a romantic comedy. Love pervades the entire Shakespearean comedy. The whole plot revolves around love. Several types of love are depicted is one single story making it veritably a rainbow world of love. All journeys end in lovers meeting and all love culminates in marriage. Love and marriage are two cardinal points which constituted the beginning and the end of a Shakespearean comedy. Vivacity, cheerfulness and sprightliness; music, mirth and merri-making permeate the Shakespearean comedy. Wit and humour are equitably interspersed scintillating the comedy with appropriate fun frolic. A comedy may be classical or romantic. A classical comedy is realistic. It does not allow a mixture of the light and the serious.
  • Rebecca Stanton 1. the Story of Pyramus and Thisbe Chosen by The

    Rebecca Stanton 1. the Story of Pyramus and Thisbe Chosen by The

    1/27/2015 Blog Wow: View blog Rebecca Stanton A Midsummer Night's Dream, redux Oct 4, 2013 2:25 PM As we discussed in class on Thursday, while Shakespeare's play is both more light­ hearted and just plain "lighter" ­­ easier to digest ­­ than Spenser's deliberately MAGIC AND MODERNITY difficult, densely allegorical poem, A Midsummer Night's Dream nonetheless Official Course Blog shares certain background assumptions and even thematic concerns with The Faerie Queene. Similar vocabulary is used to talk about magic, love, dreams, visions ­­ as in The Faerie Queene, the inherent unreliability (and potential demonic origin?) of dreams and visions, and even of straightforward sensory data about the material world, is at issue. To put it another way, it's not just the "mind's eye" that is easily bamboozled ­­ our actual eyes are as well. What does Shakespeare's comedy have to say about empirical knowledge and human understanding? Where does magic play into all of this? Fairies, as we've seen in Spenser, are serious business ­­ not, as the historian Diane Purkiss suggests in the introduction to her superb At the Bottom of the Garden: A Dark History of Fairies, Hobgoblins, Nymphs, and Other Troublesome Things, merely "tiresome wingy thingies who are always good." Purkiss continues: "Actually, as we shall see, fairies are an invention that almost wholly lacks moral engagement. In stories about fairies, there are exceedingly strict rules of behaviour, but these apply not to the fairies but to human beings, and they exist for reasons of self­preservation,
  • A Midsummer Night's Dream Act I

    A Midsummer Night's Dream Act I

    A Midsummer Night’s Dream Act I William Shakespeare, 1590s, performed in 1594-96 William Shakespeare ACT I SCENE I Theseus passes judgement to Hermia, who refuses to marry Demetrius and agrees to run away with Lysander. They confide in Helena, who is already in love with Demetrius. THESEUS: Now, fair Hippolyta, our nuptial hour ​ ​ Draws on apace; four happy days bring in ​ ​ ​ Another moon– but, O, 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. ​ 1. Our nuptial hour: the time of our wedding. ​ 2. Apace: quickly. ​ 3. Four happy days bring in Another moon: there will be a full moon ​ in four days’ time. 4. Lingers: makes me wait for. ​ 5. A step-dame or a dowager Long withering out a young man’s revenue: like a step-mother or a widow who is growing old and ​ spending a young man’s inheritance (which he would not be able to claim until she died). HIPPOLYTA: Four days will quickly steep themselves in night; ​ ​ ​ Four nights will quickly dream away the time; And then the moon, like to a silver bow New bent in heaven, shall behold the night Of our solemnities. ​ ​ 1. Steep: drown ​ 2. Solemnities: marriage ceremonies. ​ THESEUS: Go, Philostrate, ​ Stir up the Athenian youth to merriments; ​ ​ Awake the pert and nimble spirit of mirth; Turn melancholy forth to funerals; The pale companion is not for our pomp. ​ Hippolyta, I woo'd thee with my sword, ​ And won thy love, doing thee injuries; ​ But I will wed thee in another key, ​ ​ With pomp, with triumph and with revelling.
  • A Midsummer Night's Dream Education Pack

    A Midsummer Night's Dream Education Pack

    EDUCATION PACK 1 Contents Introduction Introduction ....................................................................................................................................................3 Section 1: An Introduction to Shakespeare ……………………......................................................................……4 William Shakespeare 1564 - 1616 ..................................................................................................................5 Elizabethan and Jacobean Theatre..................................................................................................................7 Section 2: The Watermill’s Production of A Midsummer Night’s Dream....................................................10 A Brief Synopsis ............................................................................................................................................11 Character Profiles…………………………………………………………………………………………………………………………………….13 Character Map...............................................................................................................................................15 Themes of The Watermill’s A Midsummer Night’s Dream………………………………………………………………………..16 Meet the Cast................................................................................................................................................18 The Design Process........................................................................................................................................21 Costume Designs……………………………………………………………………………………………………………………………………..23
  • A Midsummer Night's Dream

    A Midsummer Night's Dream

    EXPLORING IMAGINATION IN DARK TIMES Eight Painted Masks inspired by Shakespeare’s A Midsummer Night’s Dream SUMMER SOLSTICE I feel growing excitement as summer solstice - June 21 - approaches and my mind turns to nature and fantasy, and especially a play written by William Shakespeare, A Midsummer Night’s Dream. The play, which premiered on January 1, 1605, is set in midsummer in Athens. Shakespeare lived all his life in the shadow of the bubonic plague, writing prolifically during outbreaks and quarantine lockdowns in London and Stratford-on-Avon. MAKING MASKS OF IMAGINARY FAIRIES My project – painting odd alien paper masks - explores my need for vicarious pleasure in imagination. I am making masks of imaginary fairies from Shakespeare’s play A Midsummer Night’s Dream. These are freakish but cathartic. I begin with Titania’s fairy assistants, Peaseblossom, Cobweb, Mustardseed, and Moth, flowers and creatures from the garden or field, tiny and magical in imagination; in reality, complex, interconnected and amazing. COMPLETING EIGHT FAIRIES After the four fairies are complete, I am still thinking about the fairy characters. First, I make Fairy. Then I make contrasting King Oberon and Queen Titania to express their fraught relationship and the extreme dichotomies of jealous rage and peaceful gratitude. I complete the set with Puck, who enlivens the plot with his maddening pranks. The Stratford Festival’s 2021 paired down “pandemic” version of the play uses 8 actors to perform all the many human and fairy characters. PEASEBLOSSOM My imagination identifies with these fantastical creatures – my name Oonagh is that of an Irish fairy goddess and it is fun to imagine what a fairy’s life might be as compared to my life as a lawyer.
  • Fairy Queen Resource Pack

    Fairy Queen Resource Pack

    1 The Fairy Queen Resource Pack 2 Contents Page 3-4 Plot Summary 5 Characters: The Faeries 6 Characters: The Lovers 7 Characters: The Mechanicals 8-9 Henry Purcell & The Fairy Queen 10 Creative Writing Exercise: Mischievous Puck 11 Drama Exercise: You Spotted Snakes 12-13 Design and make a Fairy Crown 14 Magical Muddle character game 15 A Midsummer Night’s Dream Word Search 3 “A Midsummer Night’s Dream” by William Shakespeare Plot Summary Duke Theseus and Queen Hippolyta are preparing for their wedding. Egeus, a nobleman, brings his daughter Hermia to Theseus, as he wants her to marry Demetrius but she is in love with another man, Lysander. The Duke, Theseus, commands Hermia to obey her father and either marry Demetrius or, according to Athenian Law, she must be put to death or enter a convent. Hermia and Lysander decide to runaway together that night to get married in secret. Hermia tells her best friend Helena of her plans. Helena is in love with Demetrius (even though he hates her and loves Hermia), so she tells him about Hermia and Lysander’s plans, hoping that she might win his love. All the four lovers run away into the woods that night - Demetrius following Hermia & Lysander and Helena following after Demetrius. Meanwhile, there are a group of tradespeople called the Mechanicals who are rehearsing a play in the same woods. They include Bottom the weaver, Quince the taylor and Flute the bellows mender, among others. The play they are rehearsing is ‘The Tragedy of Pyramus and Thisbe’ and it is to be performed for the Duke and Queen at their wedding.
  • THESEUS, HIPPOLYTA, and PHILOSTRATE Enter, with a Number of Lords and Servants

    THESEUS, HIPPOLYTA, and PHILOSTRATE Enter, with a Number of Lords and Servants

    ACT 5 THESEUS, HIPPOLYTA, and PHILOSTRATE enter, with a number of lords and servants. HIPPOLYTA These lovers are saying some strange things, Theseus. THESEUS Yes, strange—and totally made up too. I’ll never believe any of these old legends or fairy tales. Lovers and madmen hallucinate about things that sane people just can’t understand. Lunatics, lovers, and poets all are ruled by their overactive imaginations. some people think they see devils and monsters everywhere—and they’re lunatics. Hippolita Lovers are just as crazy, and think a dark-skinned gypsy is the most gorgeous woman in the world. Poets are always looking around like they’re having a fit, confusing the mundane with the otherworldly, and describing things in their writing that simply don’t exist. All these people have such strong imaginations that, when they feel happy, they assume a god or some other supernatural being is bringing that happiness to them. Or if they’re afraid of something at night, they look at the shrubbery and imagine it’s a wild bear! HIPPOLYTA But the story that these lovers are telling, and the fact that they all saw and heard exactly the same things, make me think there’s more going on here than imaginary fantasies. Their story is bizarre and astounding, but it’s solid and consistent. The lovers—LYSANDER, DEMETRIUS, HELENA, andHERMIA—enter. THESEUS Here come the lovers, laughing happily.—I wish you joy, my friends! I hope the days ahead are full of joy for you. LYSANDER We wish you even more joy, and hope joy comes to you in your royal walks, at your table, and in your royal bed! THESEUS Now, what kind of entertainment do we have to fill up the long three hours between dinner and bedtime? Where is our entertainment director? What performances have been prepared? Aren’t there any plays for us to enjoy while we wait in torture for bedtime to come? Let me see Philostrate.
  • DC Comics Jumpchain CYOA

    DC Comics Jumpchain CYOA

    DC Comics Jumpchain CYOA CYOA written by [text removed] [text removed] [text removed] cause I didn’t lol The lists of superpowers and weaknesses are taken from the DC Wiki, and have been reproduced here for ease of access. Some entries have been removed, added, or modified to better fit this format. The DC universe is long and storied one, in more ways than one. It’s a universe filled with adventure around every corner, not least among them on Earth, an unassuming but cosmically significant planet out of the way of most space territories. Heroes and villains, from the bottom of the Dark Multiverse to the top of the Monitor Sphere, endlessly struggle for justice, for power, and for control over the fate of the very multiverse itself. You start with 1000 Cape Points (CP). Discounted options are 50% off. Discounts only apply once per purchase. Free options are not mandatory. Continuity === === === === === Continuity doesn't change during your time here, since each continuity has a past and a future unconnected to the Crises. If you're in Post-Crisis you'll blow right through 2011 instead of seeing Flashpoint. This changes if you take the relevant scenarios. You can choose your starting date. Early Golden Age (eGA) Default Start Date: 1939 The original timeline, the one where it all began. Superman can leap tall buildings in a single bound, while other characters like Batman, Dr. Occult, and Sandman have just debuted in their respective cities. This continuity occurred in the late 1930s, and takes place in a single universe.
  • A Midsummer Night's Dream, by William Shakespeare Being Most

    A Midsummer Night's Dream, by William Shakespeare Being Most

    A Midsummer Night's Dream, by William Shakespeare Being Most Shamelessly Condensed for a Small Company and Limited Duration by Jennifer Moser Jurling With Mechanics Set Forth for Use in the Role-Playing Game The Play's the Thing, by Mark Truman With Thanks to MIT for http://shakespeare.mit.edu/ DRAMATIS PERSONAE OBERON, king of Faerie. Part: Faerie. Plot: Betrayer to Titania. Prop: Lantern. PUCK, servant to Oberon. Part: Faerie. Plot: Sworn to Oberon. Prop: Disguise. TITANIA: queen of Faerie. Part: Faerie. Plot: Rival to Oberon. Prop: Coin. THESEUS: duke of Athens. Part: Ruler. Plot: In Love with Hippolyta. Prop: Crown. HIPPOLYTA: queen of Amazons. Part: Maiden. Plot: In Love with Theseus. Prop: Crown. PETER QUINCE: director, Athens Acting Guild. Part: Hero. Plot: Rival to Nick Bottom. Prop: Letter. NICK BOTTOM: actor in the guild. Part: Fool. Plot: Rival to Peter Quince. Prop: Lantern. SNUG: actor in the guild. Part: Commoner. Plot: Friend to Peter Quince. Prop: Disguise. Note to Playwright: You may wish to use “In Love with Hippolyta” as Oberon’s starting plot and “In Love with Theseus” as Titania’s starting plot. Of course, these can also be added later or not at all. ACT I Faerie king Oberon and his queen, Titania, quarrel. (Titania has a changeling human boy among her attendants, and she refuses to let him be one of Oberon’s henchmen. They also argue over Oberon’s love for Hippolyta and Titania’s love for Theseus.) Oberon enlists his servant Puck to fetch a flower that will enable him to cast a love spell on Titania, so that she will fall in love with a monstrous beast.
  • A Midsummer Night's Dream

    A Midsummer Night's Dream

    THE SHAKESPEARE THEATRE OF NEW JERSEY EDUCATION PRESENTS SHAKESPEARE LIVE! 2017 A Midsummer Night’s Dream BY WILLIAM SHAKESPEARE STUDENT-TEACHER STUDY GUIDE COMPILED AND ARRANGED BY THE EDUCATION DEPARTMENT OF THE SHAKESPEARE THEATRE OF NEW JERSEY Shakespeare LIVE!, The Shakespeare Theatre of New Jersey’s educational touring company, is part of Shakespeare in American Communities: Shakespeare for a New Generation, a national program of the National Endowment for the Arts in cooperation with Arts Midwest. Additional support for Shakespeare LIVE! is provided by The Investors Foundation, Johnson & Johnson, The Provident Bank Foundation, and the Turrell Fund. COVER: Mustardseed, Peasblossom and Moth from the 2015 touring production of A MIDSUMMER NIGHT’S DREAM THIS PAGE: The Mechanicals from the 2015 touring production of A MIDSUMMER NIGHT’S DREAM. ALL PHOTOS by Jerry Dahlia ©2015 unless noted. In This Guide: Classroom Activities for Teachers and Students ...............................p2 Shakespeare: Helpful Tips For Exploring & Seeing His Works .......p3 About the Playwright ................................................................................p4 Shakespeare’s London .............................................................................p5 Shakespeare’s Verse ..................................................................................p6 “Are you SURE this is English?” .............................................................. p7 A Midsummer Night’s Dream: An Introduction ...................................p8 Midsummer: