SCENE II. Another part of the wood.

Enter OBERON

OBERON:

1

I wonder if Titania be awaked,

2

Then, what it was that next came in her eye,

3

Which she must dote on in extremity.

She must love to the highest degree.

Enter PUCK

OBERON:

4

Here comes my messenger.

5

How now, mad spirit!

6

What night-rule now about this haunted grove?

Night-rule: chaos or lack of order. This is part of the theme that in Shakespeare’s time, deviation from the prescribed social order creates disorder on the large and small scale. Haunted, in this case, means regularly visited rather than ghostly.

PUCK:

7

My mistress with a monster is in love.

PERFORMANCE TIP: What is Puck’s attitude when delivering this line? Is he horrified? Amused? Make a strong choice and play it! Look to the rest of the speech for clues.

8

Near to her close and consecrated bower,

Close in this case means hidden. A bower is a shady clearing in a garden or forest.

9

While she was in her dull and sleeping hour,

While she was asleep.

10

A crew of patches, rude mechanicals,

patches: simple (not smart) people; rude: unsophisticated; mechanicals: workers

11

That work for bread upon Athenian stalls,

They earn their livings in shops or booths (stalls.)

12

Were met together to rehearse a play

13

Intended for great Theseus' nuptial-day.

nuptial day wedding day

14

The shallowest thick-skin of that barren sort,

The one who played Pyramus who was the stupidest of them, sat in the bushes after finishing his scene to wait for his next cue.

15

Who Pyramus presented, in their sport

16

Forsook his scene and enter'd in a brake

17

When I did him at this advantage take,

18

An ass's nole I fixed on his head:

ass’s nole: donkey’s head

19

Anon his Thisbe must be answered,

Anon: Soon; mimic: An actor; fowler: a bird hunter; russet-pated choughs: an antiquated term for brown-headed jackdaws or crows; sever themselves: go in seperate directions Soon after, he had to go back on stage to answer Thisbe, so he went back on stage. When the other actors saw him, they ran away like a bunch of geese frightened by a gunshot.

20

And forth my mimic comes. When they him spy,

21

As wild geese that the creeping fowler eye,

22

Or russet-pated choughs, many in sort,

23

Rising and cawing at the gun's report,

24

Sever themselves and madly sweep the sky,

25

So, at his sight, away his fellows fly,

26

And, at our stamp, here o'er and o'er one falls,

In folk stories, Puck has can shake the ground by stomping (stamping) his foot. According to the Folger edition of the play: “his use of ‘our’ is puzzling. It has been suggested that ‘at our stamp’ is a misprint of ‘at a stump.’” This line can be interpreted as: When one of them heard my footsteps, he fell over (frightened) OR One of them fell over a tree stump (as he was running). Both fit the meter of the line, so either version can be used.

27

He murder cries and help from Athens calls.

He (the one who fell) yelled “murder” and called for help from Athens.

28

Their sense thus weak, lost with their fears

With their common sense weakened by the strength of their fear, they believed that inanimate objects were trying to harm them.

29

thus strong,

30

Made senseless things begin to do them wrong,

31

For briers and thorns at their apparel snatch,

yielders: cowards Briars and thorns snagged their clothing, including sleeves and hats. Everything seems to be on the attack to a coward*

32

Some sleeves, some hats, from yielders all

33

things catch.

34

I led them on in this distracted fear,

35

And left sweet Pyramus translated there:

translated: transformed

36

When in that moment, so it came to pass,

At that moment, Titania woke up and fell in love with Bottom (with his donkey’s head)

37

Titania waked and straightway loved an ass.

OBERON:

38

This falls out better than I could devise.

falls out: happened or turned out

39

But hast thou yet latch'd the Athenian's eyes

latch’d: caught

40

With the love-juice, as I did bid thee do?

PUCK:

41

I took him sleeping,--that is finish'd too,--

42

And the Athenian woman by his side:

43

That, when he waked, of force she must be eyed.

of force: will have to; eyed: seen

Enter HERMIA and DEMETRIUS

OBERON:

44

Stand close: this is the same Athenian.

Stand close: Hide

PUCK:

45

This is the woman, but not this the man.

DEMETRIUS:

46

O, why rebuke you him that loves you so?

47

Lay breath so bitter on your bitter foe.

HERMIA:

48

Now I but chide, but I should use thee worse,

chide - to scold

49

For thou, I fear, hast given me cause to curse,

50

If thou hast slain Lysander in his sleep,

51

Being o'er shoes in blood, plunge in the deep,

52

And kill me too.

53

The sun was not so true unto the day

54

As he to me: would he have stolen away

In this context, stolen away means “snuck away”.

55

From sleeping Hermia? I'll believe as soon

56

This whole earth may be bored and that the moon

57

May through the centre creep and so displease

58

Her brother's noontide with Antipodes.

noontide with Antipodes

59

It cannot be but thou hast murder'd him,

60

So should a murderer look, so dead, so grim.

DEMETRIUS:

61

So should the murder'd look, and so should I,

62

Pierced through the heart with your stern cruelty:

63

Yet you, the murderer, look as bright, as clear,

64

As yonder Venus in her glimmering sphere.

This reference is in regards to Venus, the goddess of love. In 1593, Shakespeare’s poem [Venus and Adonis] was published. (http://www.shakespeare-w.com/english/shakespeare/w_venus.html)

HERMIA:

65

What's this to my Lysander? where is he?

66

Ah, good Demetrius, wilt thou give him me?

DEMETRIUS:

67

I had rather give his carcass to my hounds.

HERMIA:

68

Out, dog! out, cur! thou drivest me past the bounds

69

Of maiden's patience. Hast thou slain him, then?

70

Henceforth be never number'd among men!

71

O, once tell true, tell true, even for my sake!

72

Durst thou have look'd upon him being awake,

durst - an archaic past tense of dare.

73

And hast thou kill'd him sleeping? O brave touch!

74

Could not a worm, an adder, do so much?

An [adder] is an Old English term for serpent. (https://www.livescience.com/54227-adder-facts.html)

75

An adder did it, for with doubler tongue

76

Than thine, thou serpent, never adder stung.

DEMETRIUS:

77

You spend your passion on a misprised mood:

In this context, misprised means mistaken.

78

I am not guilty of Lysander's blood,

79

Nor is he dead, for aught that I can tell.

HERMIA:

80

I pray thee, tell me then that he is well.

DEMETRIUS:

81

An if I could, what should I get therefore?

HERMIA:

82

A privilege never to see me more.

83

And from thy hated presence part I so:

84

See me no more, whether he be dead or no.

Exit

DEMETRIUS:

85

There is no following her in this fierce vein:

86

Here therefore for a while I will remain.

87

So sorrow's heaviness doth heavier grow

88

For debt that bankrupt sleep doth sorrow owe:

89

Which now in some slight measure it will pay,

90

If for his tender here I make some stay.

Lies down and sleeps

OBERON:

91

What hast thou done? thou hast mistaken quite

PERFORMANCE TIP: What is Oberon’s attitude here? Is he angry? Disappointed? What would cause this feeling in such an alien and powerful creature?

92

And laid the love-juice on some true-love's sight:

you’ve put the potion on the eyes of someone who was in true love

93

Of thy misprision must perforce ensue

misprision: mistake; perforce: inevitably Your mistake has caused this guy’s true love for someone else to fail instead of making his false love turn to true love.

94

Some true love turn'd and not a false turn'd true.

PUCK:

95

Then fate o'er-rules, that, one man holding troth,

holding troth: keeping an oath Puck is blaming his mistake on fate and making the case that for every one person who keeps their oath, there are a miollion others who do not.

PERFORMANCE TIP: What is Puck trying to do here? He’s in trouble with Oberon for making a mistake. How is he reacting to Oberon’s criticism?

96

A million fail, confounding oath on oath.

OBERON:

97

About the wood go swifter than the wind,

98

And Helena of Athens look thou find:

99

All fancy-sick she is and pale of cheer,

fancy-sick: love-sick; *cheer:** face

100

With sighs of love, that costs the fresh blood dear:

In Shakespeare’s time, scientists and doctors believed that the body was ruled by the four humours (blood, black bile, yellow bile, and phlegm). Each was connected to an element. Blood is connected to air, so sighing or exhaling is depleting the blood humour.

101

By some illusion see thou bring her here:

102

I'll charm his eyes against she do appear.

PUCK:

103

I go, I go, look how I go,

104

Swifter than arrow from the Tartar's bow.

Tartar’s bow: (archaic spelling) a bow of the Tatar people. This bow is more powerful and more accurate than the English bow.

Exit

OBERON:

105

Flower of this purple dye,

PERFORMANCE TIP: Oberon is casting a spell here. How might that differ from dialogue or a regular monologue? Might this be set to music to set it apart from regular dialogue?

106

Hit with Cupid's archery,

107

Sink in apple of his eye.

108

When his love he doth espy,

109

Let her shine as gloriously

110

As the Venus of the sky.

111

When thou wakest, if she be by,

112

Beg of her for remedy.

Re-enter PUCK

PUCK:

113

Captain of our fairy band,

114

Helena is here at hand,

115

And the youth, mistook by me,

116

Pleading for a lover's fee.

117

Shall we their fond pageant see?

fond pageant: silly scene or spectacle

118

Lord, what fools these mortals be!

OBERON:

119

Stand aside: the noise they make

*Stand aside:** hide

120

Will cause Demetrius to awake.

PUCK:

121

Then will two at once woo one,

Both of them will woo the same woman

122

That must needs be sport alone,

sport: entertainment

123

And those things do best please me

124

That befal preposterously.

Enter LYSANDER and HELENA

LYSANDER:

125

Why should you think that I should woo in scorn?

126

Scorn and derision never come in tears:

127

Look, when I vow, I weep, and vows so born,

128

In their nativity all truth appears.

129

How can these things in me seem scorn to you,

130

Bearing the badge of faith, to prove them true?

HELENA:

131

You do advance your cunning more and more.

132

When truth kills truth, O devilish-holy fray!

133

These vows are Hermia's: will you give her o'er?

134

Weigh oath with oath, and you will nothing weigh:

135

Your vows to her and me, put in two scales,

136

Will even weigh, and both as light as tales.

LYSANDER:

137

I had no judgment when to her I swore.

HELENA:

138

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

LYSANDER:

139

Demetrius loves her, and he loves not you.

DEMETRIUS:

140

[Awaking] O Helena, goddess, nymph, perfect, divine!

In Greek mythology, a [nymph] is a minor deity often depicted as nature personified or as a beautiful maiden. (https://en.wikipedia.org/wiki/Nymph)

141

To what, my love, shall I compare thine eyne?

142

Crystal is muddy. O, how ripe in show

143

Thy lips, those kissing cherries, tempting grow!

144

That pure congealed white, high Taurus snow,

In this passage, Demetrius compares Helena’s hand to the beauty of the snow-capped [Taurus mountains] in Turkey. (https://en.wikipedia.org/wiki/Taurus_Mountains)

145

Fann'd with the eastern wind, turns to a crow

146

When thou hold'st up thy hand: O, let me kiss

147

This princess of pure white, this seal of bliss!

HELENA:

148

O spite! O hell! I see you all are bent

149

To set against me for your merriment:

150

If you we re civil and knew courtesy,

151

You would not do me thus much injury.

152

Can you not hate me, as I know you do,

153

But you must join in souls to mock me too?

154

If you were men, as men you are in show,

155

You would not use a gentle lady so,

156

To vow, and swear, and superpraise my parts,

157

When I am sure you hate me with your hearts.

158

You both are rivals, and love Hermia,

159

And now both rivals, to mock Helena:

160

A trim exploit, a manly enterprise,

161

To conjure tears up in a poor maid's eyes

162

With your derision! none of noble sort

163

Would so offend a virgin, and extort

164

A poor soul's patience, all to make you sport.

LYSANDER:

165

You are unkind, Demetrius, be not so,

166

For you love Hermia, this you know I know:

167

And here, with all good will, with all my heart,

168

In Hermia's love I yield you up my part,

169

And yours of Helena to me bequeath,

bequeath - to give or leave to one by will

170

Whom I do love and will do till my death.

HELENA:

171

Never did mockers waste more idle breath.

DEMETRIUS:

172

Lysander, keep thy Hermia, I will none:

173

If e'er I loved her, all that love is gone.

174

My heart to her but as guest-wise sojourn'd,

The phrase “guest-wise sojourn’d” refers to how a guest resides temporarily in a place, as he says his heart similarly only temporarily resided with Hermia before returning to Helena.

175

And now to Helen is it home return'd,

176

There to remain.

LYSANDER:

177

Helen, it is not so.

DEMETRIUS:

178

Disparage not the faith thou dost not know,

179

Lest, to thy peril, thou aby it dear.

aby - to suffer a penalty

180

Look, where thy love comes, yonder is thy dear.

Re-enter HERMIA

HERMIA:

181

Dark night, that from the eye his function takes,

182

The ear more quick of apprehension makes,

183

Wherein it doth impair the seeing sense,

184

It pays the hearing double recompense.

185

Thou art not by mine eye, Lysander, found,

186

Mine ear, I thank it, brought me to thy sound

187

But why unkindly didst thou leave me so?

LYSANDER:

188

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

HERMIA:

189

What love could press Lysander from my side?

LYSANDER:

190

Lysander's love, that would not let him bide,

191

Fair Helena, who more engilds the night

engilds - to make bright with light

192

Than all you fiery oes and eyes of light.

oes - this archaic word refers to an orb, circle or sphere, here referring to the stars.

193

Why seek'st thou me? could not this make thee know,

194

The hate I bear thee made me leave thee so?

HERMIA:

195

You speak not as you think: it cannot be.

HELENA:

196

Lo, she is one of this confederacy!

While many Americans have a certain image in mind when they think of the word “confederacy”, in this context it refers to an alliance or conspiracy.

197

Now I perceive they have conjoin'd all three

198

To fashion this false sport, in spite of me.

false sport - derision, mockery

199

Injurious Hermia! most ungrateful maid!

200

Have you conspired, have you with these contrived

201

To bait me with this foul derision?

202

Is all the counsel that we two have shared,

203

The sisters' vows, the hours that we have spent,

204

When we have chid the hasty-footed time

chid the hasty-footed time - scold the quickly-passing time

205

For parting us,--O, is it all forgot?

206

All school-days' friendship, childhood innocence?

207

We, Hermia, like two artificial gods,

208

Have with our needles created both one flower,

209

Both on one sampler, sitting on one cushion,

sampler - a decorative piece of needlework

210

Both warbling of one song, both in one key,

211

As if our hands, our sides, voices and minds,

212

Had been incorporate. So we grow together,

incorporate - to make one

213

Like to a double cherry, seeming parted,

214

But yet an union in partition,

215

Two lovely berries moulded on one stem,

216

So, with two seeming bodies, but one heart,

217

Two of the first, like coats in heraldry,

This passage refers to the imagery of a coat of arms, a class distinction of English nobility. Here Helena says they were so close as to be of one lineage, one family, like sisters.

218

Due but to one and crowned with one crest.

219

And will you rent our ancient love asunder,

rent - rend, tear asunder

220

To join with men in scorning your poor friend?

221

It is not friendly, 'tis not maidenly:

222

Our sex, as well as I, may chide you for it,

223

Though I alone do feel the injury.

HERMIA:

224

I am amazed at your passionate words.

225

I scorn you not: it seems that you scorn me.

HELENA:

226

Have you not set Lysander, as in scorn,

227

To follow me and praise my eyes and face?

228

And made your other love, Demetrius,

229

Who even but now did spurn me with his foot,

230

To call me goddess, nymph, divine and rare,

231

Precious, celestial? Wherefore speaks he this

232

To her he hates? and wherefore doth Lysander

233

Deny your love, so rich within his soul,

234

And tender me, forsooth, affection,

forsooth - indeed

235

But by your setting on, by your consent?

236

What thought I be not so in grace as you,

237

So hung upon with love, so fortunate,

238

But miserable most, to love unloved?

239

This you should pity rather than despise.

HERMIA:

240

I understand not what you mean by this.

HELENA:

241

Ay, do, persever, counterfeit sad looks,

persever - an obsolete form of persevere.

242

Make mouths upon me when I turn my back,

243

Wink each at other, hold the sweet jest up:

244

This sport, well carried, shall be chronicled.

245

If you have any pity, grace, or manners,

246

You would not make me such an argument.

247

But fare ye well: 'tis partly my own fault,

248

Which death or absence soon shall remedy.

LYSANDER:

249

Stay, gentle Helena, hear my excuse:

250

My love, my life my soul, fair Helena!

HELENA:

251

O excellent!

HERMIA:

252

Sweet, do not scorn her so.

DEMETRIUS:

253

If she cannot entreat, I can compel.

LYSANDER:

254

Thou canst compel no more than she entreat:

255

Thy threats have no more strength than her weak prayers.

256

Helen, I love thee, by my life, I do:

257

I swear by that which I will lose for thee,

258

To prove him false that says I love thee not.

DEMETRIUS:

259

I say I love thee more than he can do.

LYSANDER:

260

If thou say so, withdraw, and prove it too.

DEMETRIUS:

261

Quick, come!

HERMIA:

262

Lysander, whereto tends all this?

LYSANDER:

263

Away, you Ethiope!

Ethiope is a problematic reference to a person of Ethiopian or African descent or those with a “dark countenance”. Here Lysander insults Hermia by negatively referring to her complexion. For suggestions on how to dismantle anti-blackness in Shakespeare, check out this [field guide]. (https://docs.google.com/document/d/1Kpq3nTAUVKwTrY_XLiH6aCr3agUMu-pSCe87fg8DYQM/mobilebasic)

DEMETRIUS:

264

No, no, he'll [ ]

265

Seem to break loose, take on as you would follow,

266

But yet come not: you are a tame man, go!

LYSANDER:

267

Hang off, thou cat, thou burr! vile thing, let loose,

In Shakespeare’s time, “hang off” meant “let go”. This line also demonstrates Shakespeare’s creativity with expressions and insults.

268

Or I will shake thee from me like a serpent!

HERMIA:

269

Why are you grown so rude? what change is this?

270

Sweet love,--

LYSANDER:

271

Thy love! out, tawny Tartar, out!

Tawny Tartar is another negative reference to skin color. Tawny meaning brown and Tartar being a reference to a Turk. This reflects the racial prejudice that existed in Elizabethan times and persists to this day. For suggestions on how to dismantle anti-blackness in Shakespeare, check out this [field guide]. (https://docs.google.com/document/d/1Kpq3nTAUVKwTrY_XLiH6aCr3agUMu-pSCe87fg8DYQM/mobilebasic)

272

Out, loathed medicine! hated potion, hence!

HERMIA:

273

Do you not jest?

HELENA:

274

Yes, sooth, and so do you.

LYSANDER:

275

Demetrius, I will keep my word with thee.

DEMETRIUS:

276

I would I had your bond, for I perceive

277

A weak bond holds you: I'll not trust your word.

LYSANDER:

278

What, should I hurt her, strike her, kill her dead?

279

Although I hate her, I'll not harm her so.

HERMIA:

280

What, can you do me greater harm than hate?

281

Hate me! wherefore? O me! what news, my love!

282

Am not I Hermia? are not you Lysander?

283

I am as fair now as I was erewhile.

erewhile is an archaic version of formerly

284

Since night you loved me, yet since night you left

285

me:

286

Why, then you left me--O, the gods forbid!--

In Shakespeare’s time, audiences were well acquainted with Greek mythology. Authors often used these references as a shortcut to instill ideas about character or theme. Here Hermia makes reference to the idea that the gods control their fates and couldn’t have possibly approved this sudden change of heart in Lysander.

287

In earnest, shall I say?

LYSANDER:

288

Ay, by my life,

289

And never did desire to see thee more.

290

Therefore be out of hope, of question, of doubt,

291

Be certain, nothing truer, 'tis no jest

292

That I do hate thee and love Helena.

HERMIA:

293

O me! you juggler! you canker-blossom!

Canker-blossom is a word most likely created by Shakespeare as this is its earliest documented use. This term means “one who destroys things”. Canker meaning cancer or to infect, and blossom in reference to the blooms of a flower.

294

You thief of love! what, have you come by night

295

And stolen my love's heart from him?

HELENA:

296

Fine, i'faith!

297

Have you no modesty, no maiden shame,

298

No touch of bashfulness? What, will you tear

299

Impatient answers from my gentle tongue?

300

Fie, fie! you counterfeit, you puppet, you!

HERMIA:

301

Puppet? why so? ay, that way goes the game.

302

Now I perceive that she hath made compare

303

Between our statures, she hath urged her height,

304

And with her personage, her tall personage,

Personage refers to a person of distinction. Here she is noted for being tall.

305

Her height, forsooth, she hath prevail'd with him.

306

And are you grown so high in his esteem,

307

Because I am so dwarfish and so low?

308

How low am I, thou painted maypole? speak,

A [maypole] is a tall wooden pole erected as a part of various European folk festivals (often occuring mid-summer), around which a maypole dance often takes place. (https://en.wikipedia.org/wiki/Maypole)

309

How low am I? I am not yet so low

310

But that my nails can reach unto thine eyes.

HELENA:

311

I pray you, though you mock me, gentlemen,

312

Let her not hurt me: I was never curst,

313

I have no gift at all in shrewishness,

shrewishness - ill-naturedness

314

I am a right maid for my cowardice:

315

Let her not strike me. You perhaps may think,

316

Because she is something lower than myself,

317

That I can match her.

HERMIA:

318

Lower! hark, again.

HELENA:

319

Good Hermia, do not be so bitter with me.

320

I evermore did love you, Hermia,

321

Did ever keep your counsels, never wrong'd you,

322

Save that, in love unto Demetrius,

323

I told him of your stealth unto this wood.

324

He follow'd you, for love I follow'd him,

325

But he hath chid me hence and threaten'd me

chid - scold

326

To strike me, spurn me, nay, to kill me too:

327

And now, so you will let me quiet go,

328

To Athens will I bear my folly back

329

And follow you no further: let me go:

330

You see how simple and how fond I am.

HERMIA:

331

Why, get you gone: who is't that hinders you?

HELENA:

332

A foolish heart, that I leave here behind.

HERMIA:

333

What, with Lysander?

HELENA:

334

With Demetrius.

LYSANDER:

335

Be not afraid, she shall not harm thee, Helena.

DEMETRIUS:

336

No, sir, she shall not, though you take her part.

HELENA:

337

O, when she's angry, she is keen and shrewd!

338

She was a vixen when she went to school,

339

And though she be but little, she is fierce.

One of Shakespeare’s most famous lines, it can be interepreted as an ode to Hermia’s strength and often finds welcome in [feminist circles]. Coming from Helena, Hermia interprets it as yet another insult to her height. (https://shakespearecomesalivesdsu2017.wordpress.com/group-one-cultural-topic/)

HERMIA:

340

Little' again! nothing but 'low' and 'little'!

341

Why will you suffer her to flout me thus?

342

Let me come to her.

LYSANDER:

343

Get you gone, you dwarf,

344

You minimus, of hindering knot-grass made,

Here, minimus in an obsolete form of the smallest size while hindering knot-grass refers to a common weed formerly thought to stunt growth.

345

You bead, you acorn.

DEMETRIUS:

346

You are too officious

The archaic form of officious refers to being too kind or obliging. Here he suggests that Lysander is too kind on the behalf of one who rejects his services.

347

In her behalf that scorns your services.

348

Let her alone: speak not of Helena,

349

Take not her part, for, if thou dost intend

350

Never so little show of love to her,

351

Thou shalt aby it.

aby - suffer a penalty

LYSANDER:

352

Now she holds me not,

353

Now follow, if thou darest, to try whose right,

354

Of thine or mine, is most in Helena.

DEMETRIUS:

355

Follow! nay, I'll go with thee, cheek by jole.

Often translated as “cheek by jowl”, this phrase refers to being side by side or in close proximity. It refers to one’s cheek being next to another’s jowl. Here Demetrius says he will not follow but will go equally, side by side.

Exeunt LYSANDER and DEMETRIUS

HERMIA:

356

You, mistress, all this coil is 'long of you:

The use of the word coil in the 16th century is exemplified in the famous quotation from Hamlet’s soliloquoy - “shuffle off this mortal coil” meaning to leave behind this mortal trouble or to die. Here the use of coil also refers to trouble. Hermia says that all of this trouble belongs to Hermia and is therefore her fault.

357

Nay, go not back.

HELENA:

358

I will not trust you, I,

359

Nor longer stay in your curst company.

360

Your hands than mine are quicker for a fray,

361

My legs are longer though, to run away.

Exit

HERMIA:

362

I am amazed, and know not what to say.

Exit

OBERON:

363

This is thy negligence: still thou mistakest,

364

Or else committ'st thy knaveries wilfully.

knaveries: mischief

PUCK:

365

Believe me, king of shadows, I mistook.

366

Did not you tell me I should know the man

Didn’t you tell me that I would know my target by his Athenian clothing?

367

By the Athenian garment be had on?

368

And so far blameless proves my enterprise,

I did exactly what you told me to do. I annointed and Athenian’s eyes.*

369

That I have 'nointed an Athenian's eyes,

370

And so far am I glad it so did sort

And I’m glad I did it! Their fighting is entertaining.

371

As this their jangling I esteem a sport.

OBERON:

372

Thou see'st these lovers seek a place to fight:

373

Hie therefore, Robin, overcast the night,

374

The starry welkin cover thou anon

welkin: the sky; anon: quickly or soon

375

With drooping fog as black as Acheron,

**Acharon:** one of the rivers of the underworld.

376

And lead these testy rivals so astray

377

As one come not within another's way.

378

Like to Lysander sometime frame thy tongue,

Imitate Lysander’s voice to egg on Demetrius

379

Then stir Demetrius up with bitter wrong,

380

And sometime rail thou like Demetrius,

Imitate Demetrius to egg on Lysander

381

And from each other look thou lead them thus,

Lead them away from each other until they’re so tired that they fall asleep.

382

Till o'er their brows death-counterfeiting sleep

383

With leaden legs and batty wings doth creep:

384

Then crush this herb into Lysander's eye,

385

Whose liquor hath this virtuous property,

liquor: juice; virtuous property: power

386

To take from thence all error with his might,

387

And make his eyeballs roll with wonted sight.

*wonted sight:** normal vision

388

When they next wake, all this derision

389

Shall seem a dream and fruitless vision,

390

And back to Athens shall the lovers wend,

391

With league whose date till death shall never end.

United in an oath (marriage) until death do they part

392

Whiles I in this affair do thee employ,

While you’re doing that, I’ll go to Titania and ask her again for thr Indian boy.

393

I'll to my queen and beg her Indian boy,

394

And then I will her charmed eye release

And then I’ll break the spell that I cast on her so she won’t be in love with the monter. Then everything will be peaceful again.

395

From monster's view, and all things shall be peace.

PUCK:

396

My fairy lord, this must be done with haste,

397

For night's swift dragons cut the clouds full fast,

Night’s swift dragons is an allusion to Helios (god of the sun) and his dragon-drawn chariot.

398

And yonder shines Aurora's harbinger,

Aurora’s harbinger: the morning star (Venus)

399

At whose approach, ghosts, wandering here and there,

Ghosts have to return to their graves when the sun rises.

400

Troop home to churchyards: damned spirits all,

401

That in crossways and floods have burial,

The ghosts of people who killed themselves and therefor not given burial in sacred ground are already back in their graves so that they don’t have to see their shame in daylight

402

Already to their wormy beds are gone,

403

For fear lest day should look their shames upon,

404

They willfully themselves exile from light

405

And must for aye consort with black-brow'd night.

OBERON:

406

But we are spirits of another sort:

We’re not the same kind of spirits

407

I with the morning's love have oft made sport,

408

And, like a forester, the groves may tread,

409

Even till the eastern gate, all fiery-red,

eastern gate: place where the sun rises

410

Opening on Neptune with fair blessed beams,

Neptune is the god of the sea. In this case, the word means the ocean.

411

Turns into yellow gold his salt green streams.

412

But, notwithstanding, haste, make no delay:

Even so, hurry up! We might be able to do this before dawn

413

We may effect this business yet ere day.

Exit

PUCK:

414

Up and down, up and down,

415

I will lead them up and down:

416

I am fear'd in field and town:

417

Goblin, lead them up and down.

Goblin: in this case, it means hobgoblin. That is the kind of fairy that Puck is.

418

Here comes one.

Re-enter LYSANDER

LYSANDER:

419

Where art thou, proud Demetrius? speak thou now.

PUCK:

420

Here, villain, drawn and ready. Where art thou?

drawn: his sword is unsheathed

PERFORMANCE TIP: Puck is imitating Demetrius

LYSANDER:

421

I will be with thee straight.

*strait: straightaway, right away

PUCK:

422

Follow me, then,

423

To plainer ground.

plainer ground: flatter ground

Exit LYSANDER, as following the voice

Re-enter DEMETRIUS

DEMETRIUS:

424

Lysander! speak again:

425

Thou runaway, thou coward, art thou fled?

426

Speak! In some bush? Where dost thou hide thy head?

PUCK:

427

Thou coward, art thou bragging to the stars,

PERFORMANCE TIP: Puck is imitating Lysander

428

Telling the bushes that thou look'st for wars,

429

And wilt not come? Come, recreant, come, thou child,

recreant: coward

430

I'll whip thee with a rod: he is defiled

I’ll whip you with a rod like a child. You’re such a coward that it would be shameful for anyone to fight you like a man

431

That draws a sword on thee.

DEMETRIUS:

432

Yea, art thou there?

PUCK:

433

Follow my voice: we'll try no manhood here.

try no manhood: we won’t test our mannhoods (courage) here

Exeunt

Re-enter LYSANDER

LYSANDER:

434

He goes before me and still dares me on:

435

When I come where he calls, then he is gone.

436

The villain is much lighter-heel'd than I:

437

I follow'd fast, but faster he did fly,

438

That fallen am I in dark uneven way,

439

And here will rest me.

Lies down

LYSANDER:

440

Come, thou gentle day!

441

For if but once thou show me thy grey light,

442

I'll find Demetrius and revenge this spite.

Sleeps

Re-enter PUCK and DEMETRIUS

PUCK:

443

Ho, ho, ho! Coward, why comest thou not?

DEMETRIUS:

444

Abide me, if thou darest, for well I wot

wot - know

445

Thou runn'st before me, shifting every place,

446

And darest not stand, nor look me in the face.

447

Where art thou now?

PUCK:

448

Come hither: I am here.

Come hither: come here

DEMETRIUS:

449

Nay, then, thou mock'st me. Thou shalt buy this dear,

450

If ever I thy face by daylight see:

451

Now, go thy way. Faintness constraineth me

452

To measure out my length on this cold bed.

453

By day's approach look to be visited.

Lies down and sleeps

Re-enter HELENA

HELENA:

454

O weary night, O long and tedious night,

455

Abate thy hour! Shine comforts from the east,

abate - decrease

456

That I may back to Athens by daylight,

457

From these that my poor company detest:

458

And sleep, that sometimes shuts up sorrow's eye,

459

Steal me awhile from mine own company.

Lies down and sleeps

PUCK:

460

Yet but three? Come one more,

461

Two of both kinds make up four.

462

Here she comes, curst and sad:

curst: cross or angry

463

Cupid is a knavish lad,

[Cupid](https://en.wikipedia.org/wiki/Cupid#:~:text=In%20classical%20mythology%2C%20Cupid%20(Latin,His%20Greek%20counterpart%20is%20Eros.) is a jerk for making women crazy (with love).

464

Thus to make poor females mad.

Re-enter HERMIA

HERMIA:

465

Never so weary, never so in woe,

466

Bedabbled with the dew and torn with briers,

bedabbled - made wet by splashing

467

I can no further crawl, no further go,

468

My legs can keep no pace with my desires.

469

Here will I rest me till the break of day.

470

Heavens shield Lysander, if they mean a fray!

fray - scare

Lies down and sleeps

PUCK:

471

On the ground

472

Sleep sound:

473

I'll apply

474

To your eye,

475

Gentle lover, remedy.

Squeezing the juice on LYSANDER's eyes

PUCK:

476

When thou wakest,

477

Thou takest

478

True delight

479

In the sight

480

Of thy former lady's eye:

481

And the country proverb known,

482

That every man should take his own,

483

In your waking shall be shown:

484

Jack shall have Jill,

idiom: Every Jack has his Jill. It means that everyone will find a romantic partner

485

Nought shall go ill,

Everything will be fine

486

The man shall have his mare again, and all shall be well.

This is problematic. Man is humanized, while his female romantic partner is referred to as a mare or female horse, implying ownership.

Exit