Helena: who’s THIS? Lysander: *wakes instantly* HELLO BEAUTIFUL! (2.2.104-111) #MoonMad #SlowShakespeare

HELENA         But who is here? Lysander, on the ground?

Dead, or asleep? I see no blood, no wound.

Lysander, if you live, good sir, awake.

LYSANDER     [Wakes.] 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? O, how fit a word

Is that vile name to perish on my sword!   (2.2.104-111)

As Helena pauses for breath in her self-pitying lament, she notices something (although not everything, because it’s DARK; the crucial thing is that she doesn’t see Hermia): but who is here? Lysander, on the ground? What’s going on, is something wrong? Dead, or asleep? I see no blood, no wound. (Proper Miss Marple stuff; perhaps part of her would like this to turn into a murder mystery at this point, as a distraction.) Worth trying to wake him, then: Lysander, if you live, good sir, awake. Wake up and show me you’re OK, and tell me what’s going on? (I like to think she gives him just a little bit of a kick?) Then one of the play’s BEST couplets, given even more impact because Helena’s previous lines have included quite a lot of half rhymes, but this one is slap-bang-stichomythic, completing the couplet and answering Helena’s simple request for information with a passionate protestation: and run through fire I will for thy sweet sake. Oh, BABY. I’ll do ANYTHING for you! (Instantly, on waking, no questions, no notes, that’s what makes it so perfect.) Then he just keeps going: transparent Helena (what? virtuous, radiant; the silliness, vague preposterousness is most of the point), nature shows art, that through thy bosom makes me see thy heart. You’re absolutely perfect, the most beautiful girl in the world, the most skilful creation of nature—and I see you, I see your loveliness! It’s word-salad, all the right noises, only some of the right words, but the impression is of passionate devotion, and Helena is allowed to crumple just a bit, because these are the sorts of things she’s longed to hear from Demetrius… Where is Demetrius, though? Now Lysander is having another thought in that tiny, tiny brain: o, how fit a word is that vile name to perish on my sword! Demetrius is my RIVAL, and he’s been being so cruel to you! I will STAB him!

View 2 comments on “Helena: who’s THIS? Lysander: *wakes instantly* HELLO BEAUTIFUL! (2.2.104-111) #MoonMad #SlowShakespeare

  1. Helena is identified with rhymes in this play- not only does she use rhymes quite a bit in her own, she causes others to rhyme in her presence and this is such a beautiful example of that. In fact, her first entrance in the play is presaged by Hermia using rhymes (1.1.171-178) suddenly after employing free verse with Lysander before that. Later when Helena loses her rhymes and employs free verse (the gorgeous double cherry passage), it becomes more heartbreaking.
    I wonder if Shakespeare is linking Helena with the fairies who usually speak simpler rhymes. Helena and Bottom are the only two characters who do not change their essential natures in this endlessly metamorphic play (well, Bottom changes on the outside, but not his interior).

    1. I think it’s difficult to say that Helena causes others to rhyme? but you’re right, all the lovers speak in rhyme a lot. Partly that’s because it’s much easier to remember (the lovers’ passages also tend to be highly rhythmic, and very highly patterned) – and these are two boy actors and probably two of the younger or less experienced men in the company. The boys were known for speaking fast, too, and rhyme and very rhythmic verse makes that easier. But yes, there’s blank verse too, especially from Hermia. The fairies tend to have their own verse style – a different metre, as well as lots of rhyme – and in fact apart from the first fairy and Puck, they say very little… thanks for commenting!

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