A Midsummer Night's Dream No Fear Shakespeare Part 2

Original Text Modern Text Act 2, Scene 1, Page 2 And now they never meet in grove or green, 15 By fountain clear or spangled starlight sheen. But they do square, that all their elves for fear Creep into acorn cups and hide them there. And now Oberon and Titania refuse to speak to each other, or meet each other anywhere— neither in the forest nor on the plain, nor by the river nor under the stars. They always argue, and the little fairies get so frightened that they hide in acorn cups and won’t come out. FAIRY Either I mistake your shape and making quite, Or else you are that shrewd and knavish sprite 20 Called Robin Goodfellow. Are not you he That frights the maidens of the villagery, Skim milk, and sometimes labor in the quern And bootless make the breathless housewife churn, And sometime make the drink to bear no barm, 25 Mislead night-wanderers, laughing at their harm? Those that “Hobgoblin” call you, and “sweet Puck,” You do their work, and they shall have good luck. Are not you he? FAIRY Unless I’m mistaken, you’re that mischievous and naughty spirit named Robin Goodfellow. Aren’t you the one who goes around scaring the maidens in the village, stealing the cream from the top of the milk, screwing up the flour mills, and frustrating housewives by keeping their milk from turning into butter? Aren’t you the one who keeps beer from foaming up as it should, and causes people to get lost at night, while you laugh at them? Some people call you “Hobgoblin” and “sweet Puck,” and you’re nice to them. You do their work for them and give them good luck. That’s you, right? ROBIN Thou speak’st aright. I am that merry wanderer of the night. 30 I jest to Oberon and make him smile When I a fat and bean-fed horse beguile, Neighing in likeness of a filly foal. And sometime lurk I in a gossip’s bowl In very likeness of a roasted crab, 35 And when she drinks, against her lips I bob And on her withered dewlap pour the ale. The wisest aunt telling the saddest tale Sometime for three-foot stool mistaketh me. Then slip I from her bum, down topples she, 40 And “Tailor!” cries, and falls into a cough, And then the whole quire hold their hips and laugh, And waxen in their mirth, and neeze, and swear A merrier hour was never wasted there. But, room, fairy! Here comes Oberon. ROBIN What you say is true. That’s me you’re talking about, the playful wanderer of the night. I tell jokes to Oberon and make him smile. I’ll trick a fat, well-fed horse into thinking that I’m a young female horse. Sometimes I hide at the bottom of an old woman’s drink disguised as an apple. When she takes a sip, I bob up against her lips and make her spill the drink all over her withered old neck. Sometimes a wise old woman with a sad story to tell tries to sit down on me, thinking I’m a three-legged stool. But I slip from underneath her and she falls down, crying, “Ow, my butt!” and starts coughing, and then everyone laughs and has fun. But step aside, fairy! Here comes Oberon. FAIRY 45 And here my mistress. Would that he were gone! FAIRY And here’s my mistress, Titania. I wish he’d go away! Act 2, Scene 1, Page 3 Enter OBERON, the King of Fairies, at one side with his train, and TITANIA, the Queen, at the other, with hers OBERON, the Fairy King, and his followers enter. On the opposite side of the stage, TITANIA, the Fairy Queen, and her followers enter. OBERON Ill met by moonlight, proud Titania. OBERON How not nice to see you, Titania. TITANIA What, jealous Oberon?—Fairies, skip hence. I have forsworn his bed and company. TITANIA What, are you jealous, Oberon?—Fairies, let’s get out of here. I’ve sworn I’ll never sleep with Original Text Modern Text him or talk to him again. OBERON Tarry, rash wanton. Am not I thy lord? OBERON Wait just a minute, you brazen hussy. Aren’t you supposed to obey me, your lord and husband? TITANIA 50 Then I must be thy lady. But I know When thou hast stolen away from Fairyland, And in the shape of Corin sat all day, Playing on pipes of corn and versing love To amorous Phillida. Why art thou here, 55 Come from the farthest step of India? But that, forsooth, the bouncing Amazon, Your buskined mistress and your warrior love, To Theseus must be wedded, and you come To give their bed joy and prosperity. TITANIA If you’re my lord and husband, I must be your lady and wife, so you’re supposed to be faithful to me. But I know for a fact that you snuck away from Fairyland disguised as a shepherd, and spent all day playing straw pipes and singing love poems to your new girlfriend. The only reason you left India was to come here and see that butch Amazon Hippolyta. She was your bootwearing mistress and your warrior lover, and now that she’s getting married to Theseus, you’ve come to celebrate their marriage. OBERON 60 How canst thou thus for shame, Titania, Knowing I know thy love to Theseus? Glance at my credit with Hippolyta, Didst thou not lead him through the glimmering night From Perigouna, whom he ravishèd? 65 And make him with fair Ægles break his faith, With Ariadne and Antiopa? OBERON How can you stand there shamelessly talking about me and Hippolyta, when you know that I know about your love for Theseus? Weren’t you the one who made him desert Perigouna in the middle of the night, right after he’d raped her? And weren’t you the one who made him cheat on all of his other girlfriends, like Aegles, Ariadne, and Antiopa? Act 2, Scene 1, Page 4 70 75 80 85 90 TITANIA These are the forgeries of jealousy. And never, since the middle summer’s spring, Met we on hill, in dale, forest, or mead, By pavèd fountain, or by rushy brook, Or in the beachèd margent of the sea, To dance our ringlets to the whistling wind, But with thy brawls thou hast disturbed our sport. Therefore the winds, piping to us in vain, As in revenge, have sucked up from the sea Contagious fogs, which falling in the land Have every pelting river made so proud That they have overborne their continents. The ox hath therefore stretched his yoke in vain, The ploughman lost his sweat, and the green corn Hath rotted ere his youth attained a beard. The fold stands empty in the drownèd field, And crows are fatted with the murrain flock. The nine-men’s-morris is filled up with mud, And the quaint mazes in the wanton green For lack of tread are undistinguishable. The human mortals want their winter here. No night is now with hymn or carol blessed. Therefore the moon, the governess of floods, Pale in her anger, washes all the air, That rheumatic diseases do abound. And thorough this distemperature we see TITANIA These are nothing but jealous lies. Since the beginning of midsummer, my fairies and I haven’t been able to meet anywhere to do our dances in the wind without being disturbed by you and your arguments. We haven’t been able to meet on a hill or in a valley, in the forest or a meadow, by a pebbly fountain or a rushing stream, or on the beach by the ocean without you disturbing us. And because you interrupt us so that we can’t dance for them, the winds have made fogs rise up out of the sea and fall down on the rivers so that the rivers flood, just to get revenge on you. So all the work that oxen and farmers have done in plowing the fields has been for nothing, because the unripe grain has rotted before it was ripe. Sheep pens are empty in the middle of the flooded fields, and the crows get fat from eating the dead bodies of infected sheep. All the fields where people usually play games are filled with mud, and you can’t even see the elaborate mazes that people create in the grass, because no one walks in them anymore and they’ve all grown over. It’s not winter here for the human mortals, so they’re not protected by the holy hymns and carols that they sing in winter. So the pale, angry moon, who controls the tides, fills the Original Text The seasons alter: hoary-headed frosts Fall in the fresh lap of the crimson rose, And on old Hiems' thin and icy crown 95 An odorous chaplet of sweet summer buds Is, as in mockery, set. The spring, the summer, The childing autumn, angry winter change Their wonted liveries, and the mazèd world, By their increase, now knows not which is which. 100 And this same progeny of evils comes From our debate, from our dissension. We are their parents and original. Modern Text air with diseases. As a consequence of this bad weather and these bad moods the seasons have started to change. Cold frosts spread over the red roses, and the icy winter wears a crown of sweet summer flowers as some sick joke. Spring, summer, fertile autumn and angry winter have all changed places, and now the confused world doesn’t know which is which. And this is all because of our argument. We are responsible for this. Act 2, Scene 1, Page 5 OBERON Do you amend it then. It lies in you. Why should Titania cross her Oberon? 105 I do but beg a little changeling boy, To be my henchman. OBERON Do something about it, then. You have the power to fix it. Why would Titania want to argue with her Oberon? All I’m asking for is to have that little human boy as part of my crew. TITANIA Set your heart at rest. The Fairyland buys not the child of me. His mother was a votaress of my order, And in the spicèd Indian air by night 110 Full often hath she gossiped by my side, And sat with me on Neptune’s yellow sands, Marking th' embarkèd traders on the flood, When we have laughed to see the sails conceive And grow big-bellied with the wanton wind; 115 Which she, with pretty and with swimming gait Following—her womb then rich with my young squire— Would imitate, and sail upon the land To fetch me trifles and return again 120 As from a voyage, rich with merchandise. But she, being mortal, of that boy did die. And for her sake do I rear up her boy, And for her sake I will not part with him. TITANIA Get over it. I won’t give up this child for all of Fairyland. His mother was one of my worshippers, and we always used to gossip together at night in India, sitting together by the ocean and watching the merchant ships sailing on the ocean. We used to laugh to see the sails fill up with wind so that they looked like they had big, pregnant bellies, as if the wind had gotten them pregnant. She would imitate them—since she was already pregnant with the little boy—and she would go sailing over the land herself to go get me little presents, and come back carrying gifts like she was a ship coming back from a voyage. But since she was a mortal, she died giving birth to that boy, and for her sake I’m raising him and will not give him up. OBERON How long within this wood intend you stay? OBERON How long do you plan to stay here in this forest? TITANIA Perchance till after Theseus' wedding day. 125 If you will patiently dance in our round And see our moonlight revels, go with us. If not, shun me, and I will spare your haunts. OBERON Give me that boy and I will go with thee. TITANIA Not for thy fairy kingdom.—Fairies, away! 130 We shall chide downright, if I longer stay. Exeunt TITANIA and her train TITANIA Maybe until after Theseus’s wedding day. If you behave yourself and join us in our circle dance and moonlight celebrations, then you can come with us. If not, leave me alone, and I’ll stay away from your turf. OBERON Give me that boy and I’ll come with you. TITANIA Not for your entire fairy kingdom.—Come, fairies, let’s go. We’re going to have an out-and-out brawl if I stay any longer. TITANIA and her FAIRIES exit. Original Text Modern Text Act 2, Scene 1, Page 6 OBERON Well, go thy way. Thou shalt not from this grove Till I torment thee for this injury.—(to ROBIN GOODFELLOW) My gentle Puck, come hither. Thou rememberest 135 Since once I sat upon a promontory And heard a mermaid on a dolphin’s back Uttering such dulcet and harmonious breath That the rude sea grew civil at her song And certain stars shot madly from their spheres To hear the seamaid’s music? ROBIN OBERON Well, go on your way, then. You won’t leave this grove until I’ve paid you back for this insult. (toROBIN GOODFELLOW) My dear Puck, come here. You remember the time when I was sitting on a cliff, and I heard a mermaid sitting on a dolphin’s back sing such a sweet and harmonious song that it calmed the stormy sea and made stars shoot out of the sky so they could hear her better? ROBIN Yes, I remember. I remember. OBERON 140 That very time I saw (but thou couldst not) Flying between the cold moon and the Earth, Cupid all armed. A certain aim he took At a fair vestal thronèd by the west, And loosed his love shaft smartly from his bow 145 As it should pierce a hundred thousand hearts. But I might see young Cupid’s fiery shaft Quenched in the chaste beams of the watery moon, And the imperial votaress passèd on, In maiden meditation, fancy-free. 150 Yet marked I where the bolt of Cupid fell. It fell upon a little western flower, Before milk-white, now purple with love’s wound. And maidens call it “love-in-idleness.” Fetch me that flower. The herb I showed thee once. 155 The juice of it on sleeping eyelids laid Will make or man or woman madly dote Upon the next live creature that it sees. Fetch me this herb, and be thou here again Ere the leviathan can swim a league. OBERON That same night, I saw Cupid flying from the moon to the earth, with all of his arrows ready. (You couldn’t see him, but I could.) He took aim at a beautiful young virgin who was sitting on a throne in the western part of the world, and he shot his arrow of love well enough to have pierced a hundred thousand hearts. But I could see that Cupid’s fiery arrow was put out by watery, virginal moonbeams, so the royal virgin continued her virginal thoughts without being interrupted by thoughts of love. But I paid attention to where Cupid’s arrow fell. It fell on a little western flower, which used to be white as milk but now has turned purple from being wounded by the arrow of love. Young girls call it “love-in-idleness.” Bring me that flower. I showed it to you once. If its juice is put on someone’s eyelids while they’re asleep, that person will fall in love with the next living creature he or she sees. Bring me this plant, and get back here before the sea monster has time to swim three miles. ROBIN 160 I’ll put a girdle round about the Earth In forty minutes. ROBIN I could go around the world in forty minutes. Act 2, Scene 1, Page 7 Exit ROBIN OBERON Having once this juice, I’ll watch Titania when she is asleep And drop the liquor of it in her eyes. The next thing then she waking looks upon— 165 Be it on lion, bear, or wolf, or bull, On meddling monkey or on busy ape— She shall pursue it with the soul of love. And ere I take this charm from of her sight— As I can take it with another herb— ROBIN exits. OBERON When I have the juice of that flower, I’ll trickle some drops of it on Titania’s eyes while she’s sleeping. She’ll fall madly in love with the first thing she sees when she wakes up—even if it’s a lion, a bear, a wolf, a bull, a monkey, or an ape. And before I make her normal again—I can cure her by treating her with another plant—I’ll make her give me that little boy as my page. But who’s that coming this way? I’ll make myself Original Text 170 I’ll make her render up her page to me. But who comes here? I am invisible. And I will overhear their conference. Enter DEMETRIUS, HELENA following him Modern Text invisible and listen to their conversation. DEMETRIUS enters, followed by HELENA. DEMETRIUS I love thee not, therefore pursue me not. Where is Lysander and fair Hermia? 175 The one I’ll stay, the other stayeth me. Thou told’st me they were stol'n unto this wood. And here am I, and wood within this wood, Because I cannot meet my Hermia. Hence, get thee gone, and follow me no more. DEMETRIUS Look, I don’t love you, so stop following me around. Where are Lysander and beautiful Hermia? Lysander I want to stop, but Hermia stops my heart from beating. You told me they escaped into this forest. And here I am, going crazy in the middle of the woods because I can’t find my Hermia. Go away, get out of here, and stop following me. HELENA 180 You draw me, you hard-hearted adamant. But yet you draw not iron, for my heart Is true as steel. Leave you your power to draw, And I shall have no power to follow you. HELENA You attract me to you, you cruel magnet! But you must not attract iron, because my heart is as true as steel. If you let go of your power to attract me, I won’t have any power to follow you. DEMETRIUS Do I entice you? Do I speak you fair? 185 Or rather, do I not in plainest truth Tell you I do not, nor I cannot, love you? DEMETRIUS Do I ask you to follow me? Do I speak to you kindly? Don’t I tell you in the clearest terms that I do not and cannot love you? Act 2, Scene 1, Page 8 HELENA And even for that do I love you the more. I am your spaniel. And, Demetrius, The more you beat me, I will fawn on you. 190 Use me but as your spaniel—spurn me, strike me, Neglect me, lose me. Only give me leave, Unworthy as I am, to follow you. What worser place can I beg in your love— And yet a place of high respect with me— 195 Than to be usèd as you use your dog? HELENA Yes, but that makes me love you even more. I’m your little dog, Demetrius. The more you beat me, the more I’ll love you. Treat me like you would treat a dog—kick me, hit me, neglect me, try to lose me. Just let me follow behind you, even though I’m not good enough for you. Could I ask for a worse place in your heart than to be treated as you would treat a dog? And yet I would consider it an honor to be your dog. DEMETRIUS Tempt not too much the hatred of my spirit. For I am sick when I do look on thee. DEMETRIUS Don’t push it. Just looking at you makes me sick. HELENA And I am sick when I look not on you. HELENA And I get sick when I can’t look at you. DEMETRIUS You do impeach your modesty too much, 200 To leave the city and commit yourself Into the hands of one that loves you not, To trust the opportunity of night And the ill counsel of a desert place With the rich worth of your virginity. DEMETRIUS You’re risking your reputation by leaving the city and stalking someone who doesn’t love you. Standing around alone in a deserted area in the middle of the night isn’t the best way to protect your virginity. HELENA 205 Your virtue is my privilege. For that It is not night when I do see your face. Therefore I think I am not in the night. Nor doth this wood lack worlds of company, For you in my respect are all the world. HELENA I rely on your virtue to protect me. And because I can see your shining face, it doesn’t feel like nighttime to me. This forest doesn’t seem deserted when you’re here, because you are all the world to me. So how can anyone say I’m Original Text Modern Text 210 Then how can it be said I am alone When all the world is here to look on me? DEMETRIUS I’ll run from thee and hide me in the brakes, And leave thee to the mercy of wild beasts. HELENA The wildest hath not such a heart as you. 215 Run when you will, the story shall be changed. alone, when the whole world is here to look at me? DEMETRIUS I’ll run away from you and hide in the bushes, and leave you to the mercy of wild animals. HELENA The wildest animal isn’t as cruel as you are. Run whenever you want to. The story of Daphne and Apollo will be changed: Act 2, Scene 1, Page 9 Apollo flies and Daphne holds the chase. The dove pursues the griffin. The mild hind Makes speed to catch the tiger—bootless speed, When cowardice pursues and valor flies. the lustful god Apollo runs away from the virginal nymph Daphne who pursues him, the dove chases after the griffin, which is usually its predator, and the gentle deer tries to hunt down the tiger—speed is useless when the cowardly person chases and the brave person runs away. DEMETRIUS 220 I will not stay thy questions. Let me go. Or if thou follow me, do not believe But I shall do thee mischief in the wood. DEMETRIUS I’m not sticking around to listen to you any longer. Leave me alone. Or if you follow me, you’d better understand that I’ll do something bad to you in the forest. HELENA Ay, in the temple, in the town, the field You do me mischief. Fie, Demetrius! 225 Your wrongs do set a scandal on my sex. We cannot fight for love as men may do. We should be wooed and were not made to woo. HELENA Yes, you already hurt me in the church, in the town, and in the fields. Shame on you, Demetrius! Your behavior is an insult to all women. We cannot fight for love as men can. We should be pursued and courted. We weren’t made to do the pursuing. Exit DEMETRIUS I’ll follow thee and make a heaven of hell, To die upon the hand I love so well. DEMETRIUS exits. I’ll follow you and turn this hell I’m in into a kind of heaven. It would be heavenly to be killed by someone I love so much. Exit HELENA OBERON 230 Fare thee well, nymph. Ere he do leave this grove, Thou shalt fly him and he shall seek thy love. HELENA exits. OBERON Goodbye, nymph. Before he leaves this part of the forest, you’ll change places: you’ll be the one running away, and he’ll be in love with you. Enter ROBIN ROBIN enters. Hast thou the flower there? Welcome, wanderer. Do you have the flower? Welcome, traveler. ROBIN Ay, there it is. ROBIN Yes, here it is. OBERON I pray thee, give it me. (takes flower from ROBIN) 235 I know a bank where the wild thyme blows, Where oxlips and the nodding violet grows, Quite overcanopied with luscious woodbine, With sweet musk roses and with eglantine. Act 2, Scene 1, Page 10 OBERON Please, give it to me. (he takes the flower fromROBIN) I know a place where wild thyme blooms, and oxlips and violets grow. It’s covered over with luscious honeysuckle, sweet muskroses and sweetbrier. Original Text Modern Text There sleeps Titania sometime of the night, 240 Lulled in these flowers with dances and delight. And there the snake throws her enameled skin, Weed wide enough to wrap a fairy in. And with the juice of this I’ll streak her eyes And make her full of hateful fantasies. 245 (gives ROBIN some of the flower) Take thou some of it and seek through this grove: A sweet Athenian lady is in love With a disdainful youth. Anoint his eyes. But do it when the next thing he espies 250 May be the lady. Thou shalt know the man By the Athenian garments he hath on. Effect it with some care, that he may prove More fond on her than she upon her love. And look thou meet me ere the first cock crow. Titania sleeps there sometimes at night, lulled to sleep among the flowers by dances and other delights. Snakes shed their skin there, and the shed skin is wide enough to wrap a fairy in. I’ll put the juice of this flower on Titania’s eyes, and fill her with horrible delusions and desires. (he gives ROBIN part of the flower) You take some of it too, and look around in this part of the forest. A sweet Athenian lady is in love with a young man who wants nothing to do with her. Put some of this flower’s juice on his eyes, and make sure to do it in such a way that the next thing he sees will be the lady. You’ll be able to tell it’s him because he’s wearing Athenian clothes. Do it carefully, so that he’ll end up loving her more than she loves him. And then make sure to meet me before the rooster’s first crow at dawn. ROBIN 255 Fear not, my lord. Your servant shall do so. ROBIN Don’t worry, sir. I’m at your service. Exeunt severally They all exit, separately. Enter TITANIA, Queen of Fairies, with her train ofFAIRIES TITANIA, the Fairy Queen, enters with her following of FAIRIES. Act 2, Scene 2 TITANIA Come now, a roundel and a fairy song. Then for the third part of a minute, hence— Some to kill cankers in the musk-rose buds, Some war with reremice for their leathern wings 5 To make my small elves coats, and some keep back The clamorous owl that nightly hoots and wonders At our quaint spirits. Sing me now asleep. Then to your offices and let me rest. TITANIA Come, dance in a circle and sing a fairy song, and then go off for a while to do your work. Some of you will kill the worms infesting the rosebuds, some of you will fight with bats to get their leathery wings, so we can make coats for my small elves. Some of you will keep that loud owl away, the one that hoots and wonders every night at us dainty fairies. Sing me to sleep now, and then go off to do your duties and let me rest. FAIRIES sing FIRST FAIRY (sings) You spotted snakes with double tongue, Thorny hedgehogs, be not seen. Newts and blindworms, do no wrong. Come not near our fairy queen. FAIRIES 10 (sing) Philomel, with melody Sing in our sweet lullaby. Lulla, lulla, lullaby, lulla, lulla, lullaby. Never harm Nor spell nor charm Come our lovely lady nigh. So good night, with lullaby. FIRST FAIRY (sings) The FAIRIES sing. FIRST FAIRY (singing) Snakes with forked tongues, And porcupines, don’t be seen. Deadly lizards, don’t be mean. Don’t come near our fairy queen. FAIRIES (singing) Nightingale, melodiously Sing our sweet lullaby. Lulla, lulla, lullaby, lulla, lulla, lullaby. Let no harm Or spell or charm Come near our lovely lady. Say good night with a lullaby. FIRST FAIRY (singing) Original Text Modern Text Weaving spiders, come not here. Hence, you long-legged spinners, hence! Spiders with your webs, stay away. You long-legged things, begone! Act 2, Scene 2, Page 2 Black beetles, don’t come near. Worms and snails, don’t be bad. Beetles black, approach not near. Worm nor snail, do no offense. FAIRIES (sing) Philomel, with melody Sing in our sweet lullaby. Lulla, lulla, lullaby, lulla, lulla, lullaby. Never harm Nor spell nor charm Come our lovely lady nigh. So good night, with lullaby. FAIRIES (singing) Nightingale, melodiously Sing our sweet lullaby. Lulla, lulla, lullaby, lulla, lulla, lullaby. Let no harm Or spell or charm Come near our lovely lady. Say good night with a lullaby. TITANIA sleeps SECOND FAIRY Hence, away! Now all is well. One aloof stand sentinel. TITANIA falls asleep. SECOND FAIRY Okay, let’s go! Everything’s fine now. One of us will stay and stand guard. Exeunt FAIRIES The FAIRIES exit. Enter OBERON OBERON 15 (squeezing flower juice on TITANIA ’s eyelids) What thou seest when thou dost wake, Do it for thy true love take. Love and languish for his sake. Be it ounce or cat or bear, 20 Pard or boar with bristled hair, In thy eye that shall appear, When thou wakest, it is thy dear. Wake when some vile thing is near. OBERON enters. OBERON (he squeezes flower juice on TITANIA ’s eyelids) Whatever you see first when you wake up, think of it as your true love. Love him and yearn for him, even if he’s a lynx, a cat, a bear, a leopard, or a wild boar. Whatever’s there when you wake up will be dear to you. Wake up when something nasty is nearby. Exit OBERON OBERON exits. Enter LYSANDER and HERMIA LYSANDER and HERMIA enter. LYSANDER Fair love, you faint with wandering in the wood. 25 And to speak troth, I have forgot our way. LYSANDER My love, you look like you’re about to faint from wandering in the woods for so long, and to tell you the truth, I’ve gotten us lost. Act 2, Scene 2, Page 3 We’ll rest us, Hermia, if you think it good. And tarry for the comfort of the day. We’ll take a rest, if you think it’s a good idea, and wait until daylight when things will be easier. HERMIA Be it so, Lysander. Find you out a bed, For I upon this bank will rest my head. HERMIA Let’s do that, Lysander. Find something to cushion you while you sleep. I’m going to rest my head on this little slope. LYSANDER 30 One turf shall serve as pillow for us both. One heart, one bed, two bosoms, and one troth. HERMIA LYSANDER We can both sleep together on the grass. We’ll have one heart, one bed, two bodies, and one faithful vow. HERMIA Original Text Modern Text Nay, good Lysander. For my sake, my dear, Lie further off yet. Do not lie so near. No, Lysander. Please, for my sake, sleep a little farther away. Don’t sleep so close to me. LYSANDER O, take the sense, sweet, of my innocence. 35 Love takes the meaning in love’s conference. I mean that my heart unto yours is knit So that but one heart we can make of it. Two bosoms interchainèd with an oath— So then two bosoms and a single troth. 40 Then by your side no bed room me deny. For, lying so, Hermia, I do not lie. LYSANDER Oh, sweetheart, I didn’t mean anything naughty when I said that. When lovers talk to each other, their hearts should understand each other. I just meant that our hearts are joined, so we can almost think of them as one heart. Our two bodies are linked together by the promises we’ve made to each other, so there are two bodies and one faithful vow. So let me sleep next to you. If I lie next to you, I won’t lie to you—I’ll be faithful and respect you. HERMIA Lysander riddles very prettily. Now much beshrew my manners and my pride If Hermia meant to say Lysander lied. 45 But, gentle friend, for love and courtesy Lie further off in human modesty. Such separation as may well be said Becomes a virtuous bachelor and a maid. So far be distant. And, good night, sweet friend. 50 Thy love ne'er alter till thy sweet life end! HERMIA Lysander’s got a way with words. I would certainly be rude and shameful if I had implied that you were a liar. But please, darling, sleep a little farther away so we can behave properly. It’s only proper for a well-behaved bachelor and a well-behaved girl to be physically separated like this. Stay away for now, and good night, my sweet friend. I hope your love for me remains this strong for your entire life! LYSANDER Amen, amen to that fair prayer, say I. And then end life when I end loyalty! Here is my bed. Sleep give thee all his rest! LYSANDER Amen to that. I hope my life ends before my loyalty to you does. I’ll sleep over here. Sleep well! Act 2, Scene 2, Page 4 HERMIA With half that wish the wisher’s eyes be pressed! HERMIA and LYSANDER sleep HERMIA You sleep well too. HERMIA and LYSANDER sleep. ROBIN enters. Enter ROBIN ROBIN Through the forest have I gone. But Athenian found I none, On whose eyes I might approve This flower’s force in stirring love. 55 (sees LYSANDER and HERMIA) Night and silence! Who is here? Weeds of Athens he doth wear. This is he, my master said, Despisèd the Athenian maid. And here the maiden, sleeping sound On the dank and dirty ground. Pretty soul! She durst not lie Near this lack-love, this kill-courtesy. (squeezes flower juice on LYSANDER’s eyelids) Churl, upon thy eyes I throw All the power this charm doth owe. When thou wakest, let love forbid Sleep his seat on thy eyelid. So awake when I am gone, ROBIN I’ve been through the entire forest, but I haven’t found any Athenian man to use the flower on. (he sees LYSANDER and HERMIA) Wait a second, who’s this? He’s wearing Athenian clothes. This must be the guy who rejected the Athenian girl. And here’s the girl, sleeping soundly on the damp and dirty ground. Pretty girl! She shouldn’t lie near this rude and heartless man. (he puts flower juice on LYSANDER ’s eyelids) Jerk, I throw all the power of this magic charm on your eyes. When you wake up, let love keep you from going back to sleep. Wake up when I’m gone, because now I have to go to Oberon. Original Text Modern Text For I must now to Oberon. Exit ROBIN ROBIN exits. Enter DEMETRIUS and HELENA, running DEMETRIUS and HELENA enter, running. HELENA Stay, though thou kill me, sweet Demetrius. HELENA Stop, Demetrius! Stop, even if only to kill me. DEMETRIUS I charge thee, hence, and do not haunt me thus. DEMETRIUS I’m telling you, get out of here, and don’t follow me around like this. HELENA O, wilt thou darkling leave me? Do not so. HELENA Oh, will you leave me alone in the dark? Don’t. Act 2, Scene 2, Page 5 DEMETRIUS 60 Stay, on thy peril. I alone will go. DEMETRIUS Stay here at your own risk. I’m going on alone. Exit DEMETRIUS DEMETRIUS exits. HELENA Oh, I am out of breath in this fond chase. The more my prayer, the lesser is my grace. Happy is Hermia, wheresoe'er she lies, For she hath blessèd and attractive eyes. 65 How came her eyes so bright? Not with salt tears. If so, my eyes are oftener washed than hers. No, no, I am as ugly as a bear, For beasts that meet me run away for fear. Therefore no marvel though Demetrius 70 Do, as a monster, fly my presence thus. What wicked and dissembling glass of mine Made me compare with Hermia’s sphery eyne? (sees LYSANDER)But who is here? Lysander, on the ground? 75 Dead or asleep? I see no blood, no wound.— Lysander, if you live, good sir, awake. HELENA Oh, I’m out of breath from this foolish chase. The more I pray, the less I get out of it. Hermia is lucky, wherever she is, because she has beautiful eyes. How did her eyes get so bright? Not from crying. If that’s the case, tears wash my eyes more than hers. No, no, I’m as ugly as a bear, since animals that see me run away in terror. So it’s no surprise that Demetrius runs away from me as if I were a monster. What evil and deceitful mirror made me think I could rival Hermia’s starry eyes? (she sees LYSANDER)But who’s this here? Lysander, on the ground? Is he dead or sleeping? I don’t see any blood or injuries— Lysander, if you’re alive, wake up. LYSANDER (waking) And run through fire I will for thy sweet sake. Transparent Helena! Nature shows art That through thy bosom makes me see thy heart. Where is Demetrius? Oh, how fit a word 80 Is that vile name to perish on my sword! LYSANDER (waking up) I’d even run through fire if you told me to. Radiant, beautiful Helena! I feel like Mother Nature has allowed me to see into your heart, as if by magic. Where is Demetrius? Oh, I’d kill that name with my sword if I could! HELENA Do not say so, Lysander. Say not so. What though he love your Hermia? Lord, what though? Yet Hermia still loves you. Then be content. LYSANDER Content with Hermia? No. I do repent 85 The tedious minutes I with her have spent. Not Hermia but Helena I love. Who will not change a raven for a dove? The will of man is by his reason swayed, And reason says you are the worthier maid. HELENA Don’t say that, Lysander. Don’t say that. Why do you care that he loves Hermia? What does it matter? Hermia still loves you, so be happy. LYSANDER Happy with Hermia? No. I regret all the boring time I wasted with her. I don’t love Hermia; I love Helena. Who wouldn’t love a dove more than a crow? A man’s desires are influenced by his logical mind, and it’s simply logical that you’re more worthy of love than Hermia is.