The Names of the Persons. The Duke [Theseus]. Egeus, Father to Hermia. Lysander, in Love with Hermia. Demetrius, in Love with Hermia, and Betroth'd to Helena. Hermia, in Love with Lysander. Helena, in Love with Demetrius.

The Fairies. Oberon, King of the Fairies. Titania, the Queen. Robin-Good-Fellow [Puck]. Fairies [Fairy], [Fairies], [Fairy 1], [Fairy 2], [Fairy 3], [Fairy 4].

The Comedians. Bottom the Weaver Quince the Carpenter Snug the Joyner Flute the Bellows-mender Snout the Tinker Starveling the Taylor. [Prologue], [Wall], [Pyramus], [Thisby], [Lion], [Moonshine]

Singers and Dancers in the Second Act. Fairy-Spirits, Night, Mistery, Secresie [Secrecy], Sleep, and their Attendants, Singers, and Dancers. [Chorus]

Singers in the Third Act. Nymphs, Coridon, and Mopsa; with a Chorus of Fawns, and Naids, with Woodmen, and Hay-makers Dancers. [Dryades], [Nymph],

Singers and Dancers in the Fourth Act. Spring, Summer, Autumn, Winter, and their Attendants. Phœbus [Phoebus]: A Dance of the four Seasons. [Attendant], [Attendant 2], [Attendant 3]

Singers and Dancers in the Fifth Act. Juno, Chinese Men and Women [Chinese Man], [Chinese Woman]. A Chorus of Chineses [Chinese Chorus]. A Dance of 6 Monkeys. An Entry of a Chinese Man and Woman. A Grand Dance of 24 Chineses. [Woman 1], [Woman 2], [Hymen]

THE PREFACE.

'Tis known to all who have been any considerable time in Italy, or France, how Opera's are esteem'd among 'em. That France borrow'd what she has from Italy, is evident from the Andromede and Toison D'or, of Monsieur Corneille, which are the first in the kind they ever had, on their publick Theaters; they being not perfect Opera's, but Tragedies, with Singing, Dancing, and Machines interwoven with 'em, after the manner of an Opera. They gave 'em a tast first, to try their Palats, that they might the better Judge whether in time they would be able to digest an entire Opera. And Cardinal Richelieu (that great Encourager of Arts and Learning) introduced 'em first at his own Expence, as I have been informed amongst 'em.

What encouragement Seignior Baptist Luly had from the present King of France, is well known; they being first set out at his own Expence; and all the Ornaments given by the King, for the Entertainment of the People. In Italy, especially at Venice, where Opera's have the greatest Reputation, and where they have 'em every Carnival, the Noble Venetians set 'em out at their own cost. And what a confluence of People the fame of 'em draw from all parts of Italy to the great profit of the City, is well known to every one who has spent a Carnival there. And many of the English Gentry are sensible what advantage Paris receives, by the great number of Strangers which frequent the Opera's three days in a Week, throughout the Year. If therefore an Opera were established here, by the Favour of the Nobility and Gentry of England; I may modestly conclude it would be some advantage to London, considering what a Sum we must Yearly lay out among Tradesmen for the fitting out so great a work.

That Sir William Davenant's Siege of Rhodes was the first Opera we ever had in England, no Man can deny; and is indeed a perfect Opera: there being this difference only between an Opera and a Tragedy; that the one is a Story sung with proper Action, the other spoken. And he must be a very ignorant Player, who knows not there is a Musical Cadence in speaking; and that a Man

may as well speak out of Tune, as sing out of Tune. And though few are so nice to examine this, yet all are pleas'd when they hear it justly perform'd. 'Tis true, the Siege of Rhodes wanted the Ornament of Machines, which they value themselves so much upon in Italy. And the Dancing which they have in such perfection in France. That he design'd this, if his first attempt met with the Encouragement it deserv'd, will appear from these Lines in his Prologue.