mˈoːɹ fɹˈiːkwəntli sˈɪns, hiː hˈæzbiːn ðə fˈɑːðɚɹ ʌvðə hˈɛɹoʊˌɪn hˌuː ɪnsˈɪsts ˌɔn hɜː jˈuːniən wɪððə bˈæd fiˈɑːnsˈeɪ; æz sˈʌtʃ, hiː ɐpˈɪɹz ɪn bˈoʊθ ɐ mˈɪdsʌmɚ nˈaɪts dɹˈiːm, wˌɛɹ hiː fˈeɪlz ænd sˌoʊ ðə plˈeɪ ɪz ɐ kˈɑːmədi, ænd ɹˈoʊmɪˌoʊ ænd dʒˌuːlɪˈɛt, wˌɛɹ hɪz ˈækts ɑːɹ səksˈɛsfəl ɪnˈʌf tə ɹˈɛndɚ ðə plˈeɪ ɐ tɹˈædʒədi.
More frequently since, he has been the father of the heroine who insists on her union with the bad fiancé; as such, he appears in both A Midsummer Night's Dream, where he fails and so the play is a comedy, and Romeo and Juliet, where his acts are successful enough to render the play a tragedy.