CLEOPATRA

Cleopatra’s speeches and analyses.
Antony and Cleopatra

Cleopatra | Act 4, Scene 15| 61-70, 77-95

Noblest of men, woo’t die?

Source
Arden 3 | John Wilders. New York: Bloomsbury Publishing, 1995.

CLEOPATRA
Noblest of men, woo’t die?
Hast thou no care of me? Shall I abide
In this dull world, which in thy absence is
No better than a sty? O see, my women,
The crown o’th’ earth doth melt. My lord!                                        65

[Antony dies.]

O withered is the garland of the war,
The soldier’s pole is fallen; young boys and girls
Are level now with men; the odds is gone
And there is nothing left remarkable
Beneath the visiting moon.                                                                  70

[She faints.]

Charmian
O quietness, lady!

Iras
She’s dead too, our sovereign.

Charmian
Lady!

Iras
Madam!

Charmian
O madam, madam, madam!

Iras
Royal Egypt! Empress!                                                                    75

[Cleopatra stirs.]

Charmian
Peace, peace, Iras.

CLEOPATRA
No more but e’en a woman, and commanded
By such poor passion as the maid that milks
And does the meanest chares. It were for me
To throw my sceptre at the injurious gods                              80
To tell them that this world did equal theirs
Till they had stolen our jewel. All’s but naught;
Patience is sottish, and impatience does
Become a dog that’s mad. Then is it sin
To rush into the secret house of death                                     85
Ere death dare come to us? How do you, women?
What, what, good cheer! Why, how now, Charmian?
My noble girls! Ah, women, women! Look,
Our lamp is spent, it’s out. Good sirs, take heart.
We’ll bury him, and then what’s brave, what’s noble,          90
Let’s do’t after the high Roman fashion
And make death proud to take us. Come, away.
This case of that huge spirit now is cold.
Ah, women, women! Come, we have no friend
But resolution and the briefest end.                                             95

Exeunt, bearing off Antony’s body.

Thought Counts
Arden 3 | 1995

Thoughts |TBD

Short: 15
Medium: 6
Long: 1
Total: 22

End-stopped: 8
Mid-line: 14

Periods: 11
Exclamations: 5
Questions: 6
Unfinished: 0

Objective

 

Cleopatra needs Antony to live.
Cleopatra needs

Thoughts
Arden 3 | 1995

CLEOPATRA
1. Noblest of men, woo’t die?
2. Hast thou no care of me? 3. Shall I abide
In this dull world, which in thy absence is
No better than a sty? 4. O see, my women,
The crown o’th’ earth doth melt. 5. My lord!                                        65

[Antony dies.]

6. O withered is the garland of the war,
The soldier’s pole is fallen; young boys and girls
Are level now with men; the odds is gone
And there is nothing left remarkable
Beneath the visiting moon.                                                                  70

[She faints.]

Charmian
O quietness, lady!

Iras
She’s dead too, our sovereign.

Charmian
Lady!

Iras
Madam!

Charmian
O madam, madam, madam!

Iras
Royal Egypt! Empress!                                                                    75

[Cleopatra stirs.]

Charmian
Peace, peace, Iras.

CLEOPATRA
7. No more but e’en a woman, and commanded
By such poor passion as the maid that milks
And does the meanest chares. 8. It were for me
To throw my sceptre at the injurious gods                              80
To tell them that this world did equal theirs
Till they had stolen our jewel. 9. All’s but naught;
Patience is sottish, and impatience does
Become a dog that’s mad. 10. Then is it sin
To rush into the secret house of death                                     85
Ere death dare come to us? 11. How do you, women?
12. What, what, good cheer! 13. Why, how now, Charmian?
14. My noble girls! 15. Ah, women, women! 16. Look,
Our lamp is spent, it’s out. 17. Good sirs, take heart.
18. We’ll bury him, and then what’s brave, what’s noble,          90
Let’s do’t after the high Roman fashion
And make death proud to take us. 19. Come, away.
20. This case of that huge spirit now is cold.
21. Ah, women, women! 22. Come, we have no friend
But resolution and the briefest end.                                             95

Exeunt, bearing off Antony’s body.

Line Analysis
Arden 3 | 1995

CLEOPATRA
Noblest of men, woo’t die?                                                                  6
Hast thou no care of me? Shall I abide                                           10 or 10 R
In this dull world, which in thy absence is                                     10
No better than a sty? O see, my women,                                       11 W
The crown o’th’ earth doth melt. My lord!                                       8                                             65

[Antony dies.]

O withered is the garland of the war,                                               10 or 10 R
The soldier’s pole is fallen; young boys and girls                        10  or 10 R or 11
Are level now with men; the odds is gone                                      10 R
And there is nothing left remarkable                                                10 R
Beneath the visiting moon.                                                                  6 or 7                                     70

[She faints.]

Charmian
O quietness, lady!

Iras
She’s dead too, our sovereign.

Charmian
Lady!

Iras
Madam!

Charmian
O madam, madam, madam!

Iras
Royal Egypt! Empress!                                                                                                       75

[Cleopatra stirs.]

Charmian
Peace, peace, Iras.

CLEOPATRA
No more but e’en a woman, and commanded                            11 W
By such poor passion as the maid that milks                              10
And does the meanest chares. It were for me                             10 R
To throw my sceptre at the injurious gods                                    10 R or 11                            80
To tell them that this world did equal theirs                                  10 R
Till they had stolen our jewel. All’s but naught;                           10 R or 11
Patience is sottish, and impatience does                                      10 or 11 or 12
Become a dog that’s mad. Then is it sin                                        10 or 10 R
To rush into the secret house of death                                            10 or 10 R (into)              85
Ere death dare come to us? How do you, women?                     11 W
What, what, good cheer! Why, how now, Charmian?              10
My noble girls! Ah, women, women! Look,                                   10 R
Our lamp is spent, it’s out. Good sirs, take heart.                       10 R
We’ll bury him, and then what’s brave, what’s noble,                11 W                                  90
Let’s do’t after the high Roman fashion                                          10 W
And make death proud to take us. Come, away.                          10 or 10 R
This case of that huge spirit now is cold.                                      10
Ah, women, women! Come, we have no friend                           10 or 10 R
But resolution and the briefest end.                                                 10 R                                  95

Exeunt, bearing off Antony’s body.

Pacing and Tempo
Arden 3 | 1995

CLEOPATRA
Noblest of men, ^ woo’t die?   PAUSE?
Hast thou no care of me? ^ Shall I abide →
In this dull world, ^ which ^ in thy absence ^ is →
No better than a sty? ^ O ^ see, ^ my women,
The crown o’th’ earth doth melt. ^ My lord!    PAUSE                          65

[Antony dies.]

O ^ withered is the garland of the war,
The soldier’s pole is fallen; ^ young boys and girls
Are level now with men; ^ the odds is gone
And there is nothing left remarkable →
Beneath the visiting moon.              PAUSE                                            70

[She faints.]

Charmian
O quietness, lady!

Iras
She’s dead too, our sovereign.

Charmian
Lady!

Iras
Madam!

Charmian
O madam, madam, madam!

Iras
Royal Egypt! Empress!                                                                    75

[Cleopatra stirs.]

Charmian
Peace, peace, Iras.

CLEOPATRA
No more but e’en a woman, ^ and commanded →
By such poor passion as the maid that milks →*
And does the meanest chares. ^ It were for me
To throw my sceptre at the injurious gods →*                          80
To tell them that this world did equal theirs →*
Till they had stolen our jewel. ^ All’s but naught;
Patience is sottish, ^ and impatience does →
Become a dog that’s mad. ^ Then is it sin
To rush ^ into the secret house of death  →*                                   85
Ere death dare come to us? ^ How do you, ^ women?      PAUSE?
What, ^ what, ^ good cheer! ^ Why, ^ how now, ^ Charmian?    PAUSE?
My noble girls! ^ Ah, ^ women, ^ women! ^ Look,
Our lamp is spent, ^ it’s out. ^ Good sirs, ^ take heart.          PAUSE?
We’ll bury him, ^ and then what’s brave, ^ what’s noble,          90
Let’s do’t ^ after the high Roman fashion
And make death proud to take us. ^ Come, ^ away.        PAUSE?
This case of that huge spirit ^ now is cold.                    PAUSE?
Ah, ^ women, ^ women! ^ Come, ^ we have no friend
But resolution ^ and the briefest end.                                             95

Exeunt, bearing off Antony’s body.

Repeated Sounds
Arden 3 | 1995

CLEOPATRA
Noblest of men, woo’t die?
Hast thou no care of me? Shall I abide
In this dull world, which in thy absence is
No better than a sty? O see, my women,
The crown o’th’ earth doth melt. My lord!                                        65

[Antony dies.]

O withered is the garland of the war,
The soldier’s pole is fallen; young boys and girls
Are level now with men; the odds is gone
And there is nothing left remarkable
Beneath the visiting moon.                                                                  70

[She faints.]

Charmian
O quietness, lady!

Iras
She’s dead too, our sovereign.

Charmian
Lady!

Iras
Madam!

Charmian
O madam, madam, madam!

Iras
Royal Egypt! Empress!                                                                    75

[Cleopatra stirs.]

Charmian
Peace, peace, Iras.

CLEOPATRA
No more but e’en a woman, and commanded
By such poor passion as the maid that milks
And does the meanest chares. It were for me
To throw my sceptre at the injurious gods                              80
To tell them that this world did equal theirs
Till they had stolen our jewel. All’s but naught;
Patience is sottish, and impatience does
Become a dog that’s mad. Then is it sin
To rush into the secret house of death                                     85
Ere death dare come to us? How do you, women?
What, what, good cheer! Why, how now, Charmian?
My noble girls! Ah, women, women! Look,
Our lamp is spent, it’s out. Good sirs, take heart.
We’ll bury him, and then what’s brave, what’s noble,          90
Let’s do’t after the high Roman fashion
And make death proud to take us. Come, away.
This case of that huge spirit now is cold.
Ah, women, women! Come, we have no friend
But resolution and the briefest end.                                             95

Exeunt, bearing off Antony’s body.

Rhetoric
Arden | 1979

CLEOPATRA
Noblest of men, woo’t die?
Hast thou no care of me? Shall I abide
In this dull world, which in thy absence is
No better than a sty? O see, my women,
The crown o’th’ earth doth melt. My lord!                                        65

[Antony dies.]

O withered is the garland of the war,
The soldier’s pole is fallen; young boys and girls
Are level now with men; the odds is gone
And there is nothing left remarkable
Beneath the visiting moon.                                                                  70

[She faints.]

Charmian
O quietness, lady!

Iras
She’s dead too, our sovereign.

Charmian
Lady!

Iras
Madam!

Charmian
O madam, madam, madam!

Iras
Royal Egypt! Empress!                                                                    75

[Cleopatra stirs.]

Charmian
Peace, peace, Iras.

CLEOPATRA
No more but e’en a woman, and commanded
By such poor passion as the maid that milks
And does the meanest chares. It were for me
To throw my sceptre at the injurious gods                              80
To tell them that this world did equal theirs
Till they had stolen our jewel. All’s but naught;
Patience is sottish, and impatience does
Become a dog that’s mad. Then is it sin
To rush into the secret house of death                                     85
Ere death dare come to us? How do you, women?
What, what, good cheer! Why, how now, Charmian?
My noble girls! Ah, women, women! Look,
Our lamp is spent, it’s out. Good sirs, take heart.
We’ll bury him, and then what’s brave, what’s noble,          90
Let’s do’t after the high Roman fashion
And make death proud to take us. Come, away.
This case of that huge spirit now is cold.
Ah, women, women! Come, we have no friend
But resolution and the briefest end.                                             95

Exeunt, bearing off Antony’s body.

Before and After
Arden | 1979

SCENE XV. The same. A monument.
Enter CLEOPATRA and her maids aloft, with CHARMIAN and IRAS
CLEOPATRA
O Charmian, I will never go from hence.
CHARMIAN
Be comforted, dear madam.
CLEOPATRA
No, I will not:
All strange and terrible events are welcome,
But comforts we despise; our size of sorrow,
Proportion’d to our cause, must be as great
As that which makes it.
Enter, below, DIOMEDES

How now! is he dead?
DIOMEDES
His death’s upon him, but not dead.
Look out o’ the other side your monument;
His guard have brought him thither.
Enter, below, MARK ANTONY, borne by the Guard

CLEOPATRA
O sun,
Burn the great sphere thou movest in!
darkling stand
The varying shore o’ the world. O Antony,
Antony, Antony! Help, Charmian, help, Iras, help;
Help, friends below; let’s draw him hither.
MARK ANTONY
Peace!
Not Caesar’s valour hath o’erthrown Antony,
But Antony’s hath triumph’d on itself.
CLEOPATRA
So it should be, that none but Antony
Should conquer Antony; but woe ’tis so!
MARK ANTONY
I am dying, Egypt, dying; only
I here importune death awhile, until
Of many thousand kisses the poor last
I lay up thy lips.
CLEOPATRA
I dare not, dear,–
Dear my lord, pardon,–I dare not,
Lest I be taken: not the imperious show
Of the full-fortuned Caesar ever shall
Be brooch’d with me; if knife, drugs,
serpents, have
Edge, sting, or operation, I am safe:
Your wife Octavia, with her modest eyes
And still conclusion, shall acquire no honour
Demuring upon me. But come, come, Antony,–
Help me, my women,–we must draw thee up:
Assist, good friends.
MARK ANTONY
O, quick, or I am gone.
CLEOPATRA
Here’s sport indeed! How heavy weighs my lord!
Our strength is all gone into heaviness,
That makes the weight: had I great Juno’s power,
The strong-wing’d Mercury should fetch thee up,
And set thee by Jove’s side. Yet come a little,–
Wishes were ever fools,–O, come, come, come;
They heave MARK ANTONY aloft to CLEOPATRA

And welcome, welcome! die where thou hast lived:
Quicken with kissing: had my lips that power,
Thus would I wear them out.
All
A heavy sight!
MARK ANTONY
I am dying, Egypt, dying:
Give me some wine, and let me speak a little.
CLEOPATRA
No, let me speak; and let me rail so high,
That the false housewife Fortune break her wheel,
Provoked by my offence.
MARK ANTONY
One word, sweet queen:
Of Caesar seek your honour, with your safety. O!
CLEOPATRA
They do not go together.
MARK ANTONY
Gentle, hear me:
None about Caesar trust but Proculeius.
CLEOPATRA
My resolution and my hands I’ll trust;
None about Caesar.
MARK ANTONY
The miserable change now at my end
Lament nor sorrow at; but please your thoughts
In feeding them with those my former fortunes
Wherein I lived, the greatest prince o’ the world,
The noblest; and do now not basely die,
Not cowardly put off my helmet to
My countryman,–a Roman by a Roman
Valiantly vanquish’d. Now my spirit is going;
I can no more.
CLEOPATRA
Noblest of men, woo’t die?
Hast thou no care of me? shall I abide
In this dull world, which in thy absence is
No better than a sty? O, see, my women,
MARK ANTONY dies

The crown o’ the earth doth melt. My lord!
O, wither’d is the garland of the war,
The soldier’s pole is fall’n: young boys and girls
Are level now with men; the odds is gone,
And there is nothing left remarkable
Beneath the visiting moon.
Faints

CHARMIAN
O, quietness, lady!
IRAS
She is dead too, our sovereign.
CHARMIAN
Lady!
IRAS
Madam!
CHARMIAN
O madam, madam, madam!
IRAS
Royal Egypt, Empress!
CHARMIAN
Peace, peace, Iras!
CLEOPATRA
No more, but e’en a woman, and commanded
By such poor passion as the maid that milks
And does the meanest chares. It were for me
To throw my sceptre at the injurious gods;
To tell them that this world did equal theirs
Till they had stol’n our jewel. All’s but naught;
Patience is scottish, and impatience does
Become a dog that’s mad: then is it sin
To rush into the secret house of death,
Ere death dare come to us? How do you, women?
What, what! good cheer! Why, how now, Charmian!
My noble girls! Ah, women, women, look,
Our lamp is spent, it’s out! Good sirs, take heart:
We’ll bury him; and then, what’s brave,
what’s noble,
Let’s do it after the high Roman fashion,
And make death proud to take us. Come, away:
This case of that huge spirit now is cold:
Ah, women, women! come; we have no friend
But resolution, and the briefest end.
Exeunt; those above bearing off MARK ANTONY’s body

Definitions
Arden | 1979

woo’t

dull

sty

crown

melt

withered

garland

soldier’s pole

level

odds

remarkable

visiting moon

quietness

sovereign

meanest

chares

sceptre

injurious

jewel

naught

patience

sottish

impatience

sin

noble

lamp

spent

brave

noble

high Roman fashion

case

spirit

resolution

briefest

Translation
Arden | 1979

CLEOPATRA
Most noble man, will you die? Don’t you care about me? Shall I stay in this dreary world, which is no better than a pigsty without you? Oh, look, ladies. The best of the world disappears. My lord!

[Antony dies.]

Oh, the glory of war has faded. The flags have fallen. Young boys and girls are equal to men. There is nothing distinctive, nothing remarkable left in the world.

[She faints.]

CHARMIAN
Oh, stay calm, lady!

CLEOPATRA faints.

IRAS
Our Queen is dead too.

CHARMIAN
Lady!

IRAS
Madam!

CHARMIAN
Oh, madam, madam, madam!

IRAS
Royal Egypt, Empress!

CLEOPATRA wakes up.

CHARMIAN
Quiet, quiet, Iras.

CLEOPATRA
Now I am no more than a woman, ruled by the same lowly passion as the maid who milks and does the humblest chores. I might now hurl my scepter at the destructive gods and tell them that this earthly world was as good as their heavenly one, until they stole away its jewel, Antony. Now all is for nothing. Patience is foolish. Impatience suits a mad dog. So why should it be a sin to rush toward death, to seek it out in its hiding place before it dares to come to find me? How are you, my ladies? Tell me! Cheer up! How are you, Charmian? My gallant girls! Ah, ladies, look: the light of our lives has gone out. Good noble ladies, be brave. We’ll bury him, and then we’ll commit acts as brave and fine as any Romans, and make death proud to take us. Come on, you can go. The container of that great soul is now cold. Ah, ladies, ladies! Let’s go. We have no friends but determination and the quickest death.

Helena | Act 3, Scene 2 | 192-219

Lo, she is one of this confederacy!

Source
Oxford | Roma Gill. London: Oxford University Press, 2001

HELENA
Lo, she is one of this confederacy!
Now I perceive they have conjoin’d all three
To fashion this false sport in spite of me.
Injurious Hermia, most ungrateful maid,
Have you conspir’d, have you with these contriv’d
To bait me with this foul derision?
Is all the counsel that we two have shar’d,
The sister’s vows, the hours that we have spent
When we have chid the hasty-footed time
For parting us–O, is all forgot?
All school-days’ friendship, childhood innocence?
We, Hermia, like two artificial gods
Have with our needles created both one flower,
Both on one sampler, sitting on one cushion,
Both warbling of one song, both in one key,
As if our hands, our sides, voices, and minds
Had been incorporate. So we grow together
Like to a double cherry, seeming parted,
But yet an union in partitiön;
Two lovely berries moulded on one stem;
So with two seeming bodies but one heart,
Two of the first, like coats in heraldry,
Due but to one and crownèd with one crest.
And will you rent our ancient love asunder,
To join with men in scorning your poor friend?
It is not friendly, ’tis not maidenly.
Our sex, as well as I, may chide you for it,
Though I alone do feel the injury.

Thought Counts
Oxford | 2001

Thoughts |TBD

Short: 4
Medium: 5
Long: 2
Total: 11

End-stopped: 9
Mid-line: 2

Periods: 5
Exclamations: 1
Questions: 4
Unfinished: 1

Objective

 

Helena needs the audience:
to show sympathy for her.

Helena needs Hermia:
to demonstrate satisfactory acknowledgement of her hurt

Thoughts
Oxford | 2001

HELENA
1. Lo, she is one of this confederacy!
2. Now I perceive they have conjoin’d all three
To fashion this false sport in spite of me.
3. Injurious Hermia, most ungrateful maid,
Have you conspir’d, have you with these contriv’d
To bait me with this foul derision?
4. Is all the counsel that we two have shar’d,
The sister’s vows, the hours that we have spent
When we have chid the hasty-footed time
For parting us– 5. O, is all forgot?
6. All school-days’ friendship, childhood innocence?
7. We, Hermia, like two artificial gods
Have with our needles created both one flower,
Both on one sampler, sitting on one cushion,
Both warbling of one song, both in one key,
As if our hands, our sides, voices, and minds
Had been incorporate. 8. So we grow together
Like to a double cherry, seeming parted,
But yet an union in partition;
Two lovely berries moulded on one stem;
So with two seeming bodies but one heart,
Two of the first, like coats in heraldry,
Due but to one and crowned with one crest.
9. And will you rent our ancient love asunder,
To join with men in scorning your poor friend?
10. It is not friendly, ’tis not maidenly.
11. Our sex, as well as I, may chide you for it,
Though I alone do feel the injury.

Line Analysis
Oxford | 2001

HELENA
Lo, she is one of this confederacy!                                   1011
Now I perceive they have conjoin’d all three                    10
To fashion this false sport in spite of me.                          10R
Injurious Hermia, most ungrateful maid,                            10R1112
Have you conspir’d, have you with these contriv’d           10R10
To bait me with this foul derisiön?                                       10R
Is all the counsel that we two have shar’d,                         10R
The sister’s vows, the hours that we have spent               10R
When we have chid the hasty-footed time                          10R
For parting us–O, is all forgot?                                                 9
All school-days’ friendship, childhood innocence?             10R | 10
We, Hermia, like two artificial gods                                      1011  stretch
Have with our needles created both one flower,                   11w | 12w
Both on one sampler, sitting on one cushion,                       11w
Both warbling of one song, both in one key,                        10R 10
As if our hands, our sides, voices, and minds                      10
Had been incorporate. So we grew together                        11w12
Like to a double cherry, seeming parted,                              11w
But yet an union in partitiön;                                                 10R10
Two lovely berries moulded on one stem;                          10R10
So with two seeming bodies but one heart,                        10
Two of the first, like coats in heraldry,                                   10
Due but to one and crownèd with one crest.                      10R | 10
And will you rent our ancient love asunder,                         11w
To join with men in scorning your poor friend?                  10R10
It is not friendly, ’tis not maidenly.                                           10R
Our sex, as well as I, may chide you for it,                         11w
Though I alone do feel the injury.                                         10R

Phrasing and Tempo
Oxford | 2001

HELENA
Lo, <cshe is one of this confederacy!  pause
Now I perceive <c> they have conjoin’d<call three
To fashion this false sport in spite of me.  pause      slowly
Injurious Hermia,<cmost ungrateful maid,
Have you conspir’d,<chave you with these contriv’d  carefully
To bait me with this foul derision?  pause    carefully
Is all the counsel that we two have shar’d,
The sister’s vows,<cthe hours that we have spent  slowly?
When we have chid the hasty-footed time
For parting us–<c> <pauseO, is all forgot?  pause
All school-days’ friendship,<cchildhood innocence?  pause
We,<cHermia, <c> like two artificial gods
Have with our needles <ccreated both one flower,
Both on one sampler, <c> sitting on one cushion,
Both warbling of one song,<cboth in one key,  slowly?
As if our hands,<cour sides,<cvoices,<cand minds   slowly?
Had been incorporate.<c><quickly>  So we grew together   carefully
Like to a double cherry,<cseeming parted,
But yet an union in partitiön;  slowly
Two lovely berries <cmoulded on one stem;
So with two seeming bodies <cbut one heart,
Two of the first,<clike coats in heraldry,  carefully
Due but to one <cand crownèd with one crest.  pause    carefully
And will you rent our ancient love asunder,
To join with men in scorning your poor friend?  pause
It is not friendly, <c’tis not maidenly.  pause
Our sex, <cas well as I,<cmay chide you for it,  slow
Though I alone do feel the injury.

Repeated Sounds
Oxford | 2001

HELENA
Lo, shee is one of this confederacee!
Now I perseeve they have conjoh-een’d all three
To fashion this false sport in spite of mee.
Injeree-us Hermee-ah, most ungreh-eeteful meh-eed,
Have you conspah-eer’d, have you with these contraheev’d
To beh-eet mee with this foul derision?
Is all the counsel that oow-ee two have shar’d,
The sister’s vows, the howrs that oow-ee have spent
When we have chid the hasty-footed time
For parting us–O, is it all forgot?
All school-days’ friendship, childhood innocence?
We, Hermia, like two artificial gods
Have with our needles cree-eh-eeted both one flower,
Both on one sampler, sitting on one cushion,
Both warbling of one song, both in one key,
As if our hands, our sides, voices, and minds
Had been incorporate. So we grow together
Like to a double cherry, seeming parted,
But yet an union in partition;
Two lovely berries moulded on one stem;
So with two seeming bodies but one heart,
Two of the first, like coats in heraldry,
Due but to one and crowned with one crest.
And will you rent our ancient love asunder,
To join with men in scorning your poor friend?
It is not friendly, ’tis not maidenly.
Our sex, as well as I, may chide you for it,
Though I alone do feel the injury.

Rhetoric
Oxford | 2001

HELENA
Lo, she is one of this confederacy!
Now I perceive they have conjoin’d all three
To fashion this false sport in spite of me.
Injurious Hermia, most ungrateful maid,
Have you conspir’d, have you with these contriv’d
To bait me with this foul derision?      (imagery, implied metaphor)
Is all the counsel that we two have shar’d,
The sister’s vows, the hours that we have spent
When we have chid the hasty-footed time   (imagery, list)
For parting us–O, is all forgot?
All school-days’ friendship, childhood innocence?   (imagery)
We, Hermia, like two artificial gods       (simile, imagery)
Have with our needles created both one flower,  (paradox, antithesis)
Both on one sampler, sitting on one cushion,  (imagery)
Both warbling of one song, both in one key,  (imagery)
As if our hands, our sides, voices, and minds  (simile, comparison, paradox, repetition)
Had been incorporate. So we grew together
Like to a double cherry, seeming parted,   (simile, imagery)
But yet an union in partitiön;  (paradox)
Two lovely berries moulded on one stem;   (metaphor, imagery, repetition)
So with two seeming bodies but one heart, (paradox)
Two of the first, like coats in heraldry,  (metaphor, simile, comparison, imagery)
Due but to one and crownèd with one crest.
And will you rent our ancient love asunder,     (imagery, anthesis)
To join with men in scorning your poor friend?   (antithesis)
It is not friendly, ’tis not maidenly.
Our sex, as well as I, may chide you for it,  (hyperbole, imagery, personification, antithesis)
Though I alone do feel the injury.

Before and After
Oxford | 2001

LYSANDER
Why should you think that I should woo in scorn?
Scorn and derision never come in tears:
Look, when I vow, I weep; and vows so born,
In their nativity all truth appears.
How can these things in me seem scorn to you,
Bearing the badge of faith, to prove them true?

HELENA
You do advance your cunning more and more.
When truth kills truth, O devilish-holy fray!
These vows are Hermia’s: will you give her o’er?
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.

LYSANDER
I had no judgment when to her I swore.

HELENA
Nor none, in my mind, now you give her o’er.

LYSANDER
Demetrius loves her, and he loves not you.

DEMETRIUS
[Awaking] O Helena, goddess, nymph, perfect, divine!
To what, my love, shall I compare thine eyne?
Crystal is muddy. O, how ripe in show
Thy lips, those kissing cherries, tempting grow!
That pure congealed white, high Taurus snow,
Fann’d with the eastern wind, turns to a crow
When thou hold’st up thy hand: O, let me kiss
This princess of pure white, this seal of bliss!

HELENA
O spite! O hell! I see you all are bent
To set against me for your merriment:
If you we re civil and knew courtesy,
You would not do me thus much injury.
Can you not hate me, as I know you do,
But you must join in souls to mock me too?
If you were men, as men you are in show,
You would not use a gentle lady so;
To vow, and swear, and superpraise my parts,
When I am sure you hate me with your hearts.
You both are rivals, and love Hermia;
And now both rivals, to mock Helena:
A trim exploit, a manly enterprise,
To conjure tears up in a poor maid’s eyes
With your derision! none of noble sort
Would so offend a virgin, and extort
A poor soul’s patience, all to make you sport.

LYSANDER
You are unkind, Demetrius; be not so;
For you love Hermia; this you know I know:
And here, with all good will, with all my heart,
In Hermia’s love I yield you up my part;
And yours of Helena to me bequeath,
Whom I do love and will do till my death.

HELENA
Never did mockers waste more idle breath.

DEMETRIUS
Lysander, keep thy Hermia; I will none:
If e’er I loved her, all that love is gone.
My heart to her but as guest-wise sojourn’d,
And now to Helen is it home return’d,
There to remain.

LYSANDER
Helen, it is not so.

DEMETRIUS
Disparage not the faith thou dost not know,
Lest, to thy peril, thou aby it dear.
Look, where thy love comes; yonder is thy dear.

Re-enter HERMIA

HERMIA
Dark night, that from 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.
Thou art not by mine eye, Lysander, found;
Mine ear, I thank it, brought me to thy sound
But why unkindly didst thou leave me so?

LYSANDER
Why should he stay, whom love doth press to go?

HERMIA
What love could press Lysander from my side?

LYSANDER
Lysander’s love, that would not let him bide,
Fair Helena, who more engilds the night
Than all you fiery oes and eyes of light.
Why seek’st thou me? could not this make thee know,
The hate I bear thee made me leave thee so?

HERMIA
You speak not as you think: it cannot be.

HELENA
Lo, she is one of this confederacy!
Now I perceive they have conjoin’d all three
To fashion this false sport in spite of me.
Injurious Hermia, most ungrateful maid,
Have you conspir’d, have you with these contriv’d
To bait me with this foul derision?
Is all the counsel that we two have shar’d,
The sister’s vows, the hours that we have spent
When we have chid the hasty-footed time
For parting us–O, is it all forgot?
All school-days’ friendship, childhood innocence?
We, Hermia, like two artificial gods
Have with our needles created both one flower,
Both on one sampler, sitting on one cushion,
Both warbling of one song, both in one key,
As if our hands, our sides, voices, and minds
Had been incorporate. So we grow together
Like to a double cherry, seeming parted,
But yet an union in partition;
Two lovely berries moulded on one stem;
So with two seeming bodies but one heart,
Two of the first, like coats in heraldry,
Due but to one and crowned with one crest.
And will you rent our ancient love asunder,
To join with men in scorning your poor friend?
It is not friendly, ’tis not maidenly.
Our sex, as well as I, may chide you for it,
Though I alone do feel the injury.

HERMIA
I am amazed at your passionate words.
I scorn you not: it seems that you scorn me.

HELENA
Have you not set Lysander, as in scorn,
To follow me and praise my 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,
Precious, celestial? Wherefore speaks he this
To her he hates? and wherefore doth Lysander
Deny your love, so rich within his soul,
And tender me, forsooth, affection,
But by your setting on, by your consent?
What thought I be not so in grace as you,
So hung upon with love, so fortunate,
But miserable most, to love unloved?
This you should pity rather than despise.

HERMIA
I understand not what you mean by this.

Definition
Oxford | 2001

HELENA
Lo, she is one of this confederacy!
Now I perceive they have conjoin’d all three
To fashion this false sport in spite of me.
Injurious Hermia, most ungrateful maid,
Have you conspir’d, have you with these contriv’d
To bait me with this foul derision?
Is all the counsel that we two have shar’d,
The sister’s vows, the hours that we have spent
When we have chid the hasty-footed time
For parting us–O, is all forgot?
All school-days’ friendship, childhood innocence?
We, Hermia, like two artificial gods
Have with our needles created both one flower,
Both on one sampler, sitting on one cushion,
Both warbling of one song, both in one key,
As if our hands, our sides, voices, and minds
Had been incorporate. So we grow together
Like to a double cherry, seeming parted,
But yet an union in partitiön;
Two lovely berries moulded on one stem;
So with two seeming bodies but one heart,
Two of the first, like coats in heraldry,
Due but to one and crownèd with one crest.
And will you rent our ancient love asunder,
To join with men in scorning your poor friend?
It is not friendly, ’tis not maidenly.
Our sex, as well as I, may chide you for it,
Though I alone do feel the injury.

Translation
Oxford | 2001

HELENA
Lo, she is one of this confederacy!
Now I perceive they have conjoin’d all three
To fashion this false sport in spite of me.
Injurious Hermia, most ungrateful maid,
Have you conspir’d, have you with these contriv’d
To bait me with this foul derision?
Is all the counsel that we two have shar’d,
The sister’s vows, the hours that we have spent
When we have chid the hasty-footed time
For parting us–O, is all forgot?
All school-days’ friendship, childhood innocence?
We, Hermia, like two artificial gods
Have with our needles created both one flower,
Both on one sampler, sitting on one cushion,
Both warbling of one song, both in one key,
As if our hands, our sides, voices, and minds
Had been incorporate. So we grow together
Like to a double cherry, seeming parted,
But yet an union in partitiön;
Two lovely berries moulded on one stem;
So with two seeming bodies but one heart,
Two of the first, like coats in heraldry,
Due but to one and crownèd with one crest.
And will you rent our ancient love asunder,
To join with men in scorning your poor friend?
It is not friendly, ’tis not maidenly.
Our sex, as well as I, may chide you for it,
Though I alone do feel the injury.

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