Enter OBERON at one door with his train, and TITANIA at another with hers.
OBERON Ill met by moonlight, proud Titania.
TITANIA What, jealous Oberon? Fairies, skip hence.
I have forsworn his bed and company.
OBERON Tarry, rash wanton. Am not I thy lord?
TITANIA Then I must be thy lady; but I know
When thou hast stolen away from fairy land
And in the shape of Corin, sat all day
Playing on pipes of corn, and versing love
To amorous Phillida. (2.1.60-68)
It’s one of the great grand entrances, times two, two processions (or at least gaggles), one from each side of the stage, converging in the middle: ill met by moonlight, proud Titania, not so much, fancy seeing you here! as, urgh, this is exactlywho I didn’t want to be seeing at this time of night. Moonlight gets a lingering mid-line emphasis, and Titania’s named for the first time, and called proud. She is, of course, magnificent in her disdain and unconcern, even amusement; urgh, you again? what, jealous Oberon? really? Fairies, skip hence. We’re not staying, don’t get comfortable, we’re out of here. I have forsworn his bed and company. I don’t want anything to do with him, I don’t want to see him, let alone SLEEP with him. We’re OVER. Tarry, rash wanton. Not so fast, you hussy. (Or some similar charming slur.) Am not I thy lord? I’m your HUSBAND, you need to stop and listen to me. Two can play at that game: then I must be thy lady, well, if you’re my husband and I’m your wife, you can at least start acting like it! I know what you’ve been up to, playing away, I know when thou hast stolen away from fairy land and in the shape of Corin—‘Corin’, feel the scare-quotes—sat all day playing on pipes of corn, and versing love to amorous Phillida! You’ve been sneaking off and playing at shepherds and shepherdesses, haven’t you? tootling away on your tiny pipe, making up little verses to some random slutty sheep wench? Oh, I know ALL about it. (It’s magnificent, but also pure Eastenders.)
