Jaques’ speeches and analyses.
As You Like It
All the world’s a stage…
Source
Arden 3 | Dusinberre, Juliet. London: Methuen & Co. Ltd., 2006
JAQUES
All the world’s a stage,
And all the men and women merely players.
They have their exits and their entrances;
And one man in his time plays many parts,
His acts being seven ages. At first the infant,
Mewling and puking in the nurse’s arms;
Then the whining school-boy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school; and then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress’ eyebrow; then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honour, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon’s mouth; and then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side,
His youthful hose well saved, a world too wide
For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.
Re-enter ORLANDO, with ADAM
Thought Counts
Arden 3 | 2006
Thoughts |TBD
Short: 2
Medium: 2
Long: 2
Total: 5
End-stopped: 2
Mid-line: 3
Periods: 5
Exclamations: 0
Questions: 0
Unfinished: 0
Helena needs the audience to
Journey
Arden 3 | 2006
JAQUES
All the world’s a stage,
And all the men and women merely players.
They have their exits and their entrances;
And one man in his time plays many parts,
His acts being seven ages. At first the infant,
Mewling and puking in the nurse’s arms;
Then the whining school-boy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school; and then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress’ eyebrow; then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honour, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon’s mouth; and then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side,
His youthful hose well saved, a world too wide
For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.
Re-enter ORLANDO, with ADAM
Given Circumstances
Arden 3 | 2006
Thoughts |TBD
Short: 3
Medium: 4
Long: 2
Total: 9
End-stopped: 8
Mid-line: 1
Periods: 7
Exclamations: 1
Questions: 1
Unfinished: 0
Helena needs the audience to
Thoughts
Arden 3 | 2006
JAQUES
1. All the world’s a stage,
And all the men and women merely players.
2. They have their exits and their entrances;
And one man in his time plays many parts,
His acts being seven ages. 3. At first the infant,
Mewling and puking in the nurse’s arms;
Then the whining school-boy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school; and then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress’ eyebrow; then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honour, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon’s mouth; and then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. 4. The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side,
His youthful hose well saved, a world too wide
For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. 5. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.
Re-enter ORLANDO, with ADAM
Line Analysis
Arden 3 | 2006
JAQUES
All the world’s a stage,
And all the men and women merely players.
They have their exits and their entrances;
And one man in his time plays many parts,
His acts being seven ages. At first the infant,
Mewling and puking in the nurse’s arms;
Then the whining school-boy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school; and then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress’ eyebrow; then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honour, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon’s mouth; and then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side,
His youthful hose well saved, a world too wide
For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.
Re-enter ORLANDO, with ADAM
Pacing and Tempo
Arden 3 | 2006
JAQUES
All the world’s a stage,
And all the men and women merely players.
They have their exits and their entrances;
And one man in his time plays many parts,
His acts being seven ages. At first the infant,
Mewling and puking in the nurse’s arms;
Then the whining school-boy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school; and then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress’ eyebrow; then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honour, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon’s mouth; and then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side,
His youthful hose well saved, a world too wide
For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.
Re-enter ORLANDO, with ADAM
Alliteration
Arden 3 | 2006
JAQUES
All the world’s a stage,
And all the men and women merely players.
They have their exits and their entrances;
And one man in his time plays many parts,
His acts being seven ages. At first the infant,
Mewling and puking in the nurse’s arms;
Then the whining school-boy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school; and then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress’ eyebrow; then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honour, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon’s mouth; and then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side,
His youthful hose well saved, a world too wide
For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.
Re-enter ORLANDO, with ADAM
Assonance & Rhyme
Arden 3 | 2006
JAQUES
All the world’s a stage,
And all the men and women merely players.
They have their exits and their entrances;
And one man in his time plays many parts,
His acts being seven ages. At first the infant,
Mewling and puking in the nurse’s arms;
Then the whining school-boy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school; and then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress’ eyebrow; then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honour, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon’s mouth; and then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side,
His youthful hose well saved, a world too wide
For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.
Re-enter ORLANDO, with ADAM
Consonance & Onomatopoeia
Arden 3 | 2006
JAQUES
All the world’s a stage,
And all the men and women merely players.
They have their exits and their entrances;
And one man in his time plays many parts,
His acts being seven ages. At first the infant,
Mewling and puking in the nurse’s arms;
Then the whining school-boy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school; and then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress’ eyebrow; then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honour, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon’s mouth; and then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side,
His youthful hose well saved, a world too wide
For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.
Re-enter ORLANDO, with ADAM
Rhetoric
Arden 3 | 2006
JAQUES
All the world’s a stage,
And all the men and women merely players.
They have their exits and their entrances;
And one man in his time plays many parts,
His acts being seven ages. At first the infant,
Mewling and puking in the nurse’s arms;
Then the whining school-boy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school; and then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress’ eyebrow; then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honour, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon’s mouth; and then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side,
His youthful hose well saved, a world too wide
For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.
Re-enter ORLANDO, with ADAM
Before and After
Arden 3 | 2006
JAQUES
All the world’s a stage,
And all the men and women merely players.
They have their exits and their entrances;
And one man in his time plays many parts,
His acts being seven ages. At first the infant,
Mewling and puking in the nurse’s arms;
Then the whining school-boy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school; and then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress’ eyebrow; then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honour, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon’s mouth; and then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side,
His youthful hose well saved, a world too wide
For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.
Re-enter ORLANDO, with ADAM
Definitions
Arden 3 | 2006
JAQUES
All the world’s a stage,
And all the men and women merely players.
They have their exits and their entrances;
And one man in his time plays many parts,
His acts being seven ages. At first the infant,
Mewling and puking in the nurse’s arms;
Then the whining school-boy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school; and then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress’ eyebrow; then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honour, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon’s mouth; and then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side,
His youthful hose well saved, a world too wide
For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.
Re-enter ORLANDO, with ADAM
Translation
Arden 3 | 2006
JAQUES
All the world’s a stage,
And all the men and women merely players.
They have their exits and their entrances;
And one man in his time plays many parts,
His acts being seven ages. At first the infant,
Mewling and puking in the nurse’s arms;
Then the whining school-boy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school; and then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress’ eyebrow; then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honour, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon’s mouth; and then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side,
His youthful hose well saved, a world too wide
For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.
Re-enter ORLANDO, with ADAM
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
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! 10 | 11
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, 10R | 11 | 12
Have you conspir’d, have you with these contriv’d 10R | 10
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 10 | 11 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 11w | 12
Like to a double cherry, seeming parted, 11w
But yet an union in partitiön; 10R | 10
Two lovely berries moulded on one stem; 10R | 10
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? 10R | 10
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, <c> she is one of this confederacy! pause
Now I perceive <c> they have conjoin’d<c> all three
To fashion this false sport in spite of me. pause slowly
Injurious Hermia,<c> most ungrateful maid,
Have you conspir’d,<c> have 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,<c> the hours that we have spent slowly?
When we have chid the hasty-footed time
For parting us–<c> <pause> O, is all forgot? pause
All school-days’ friendship,<c> childhood innocence? pause
We,<c> Hermia, <c> like two artificial gods
Have with our needles <c> created both one flower,
Both on one sampler, <c> sitting on one cushion,
Both warbling of one song,<c> both in one key, slowly?
As if our hands,<c> our sides,<c> voices,<c> and minds slowly?
Had been incorporate.<c><quickly> So we grew together carefully
Like to a double cherry,<c> seeming parted,
But yet an union in partitiön; slowly
Two lovely berries <c> moulded on one stem;
So with two seeming bodies <c> but one heart,
Two of the first,<c> like coats in heraldry, carefully
Due but to one <c> and 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, <c> as well as I,<c> may 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 contrah–eev’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.