Enter Helena: [to Hermia] so you’re the pretty one, basically (1.1.179-185) #MoonMad #SlowShakespeare

LYSANDER     Keep promise, love. Look, here comes Helena.

Enter HELENA.

HERMIA         God speed, fair Helena. Whither away?

HELENA         Call you me fair? That fair again unsay.

Demetrius loves your fair: O happy fair!

Your eyes are lodestars, and your tongue’s sweet air

More tunable than lark to shepherd’s ear

When wheat is green, when hawthorn buds appear.        (1.1.179-185)

Keep promise, love, a hasty confirmation from Lysander, perhaps because he’s already spotted Helena and needs to wrap this up: look, here comes Helena. So we need not to be having this conversation, for lots of reasons, secrecy among them. Hermia’s polite, even friendly: God speed, fair Helena. Whither away? Hel-LO, how ARE you, where are you off to then? But Helena—who has been introduced into the play already, in a manner which might predispose an audience to sympathy (as a woman jilted by Demetrius)—seizes on the most trivial thing in Hermia’s innocuous greeting, and all too quickly suggests that she is a sad, pathetic bore, going on and ON about Demetrius: call you me fair? Oh, that’s nice of you, but it’s not true, is it? that fair again unsay. Demetrius loves your fair: O happy fair! You’re the one that Demetrius fancies now, I’m not his type at all. Apparently. And you’re PRETTY. Your eyes are lodestars: men—Demetrius—are drawn to them, two polestars!—and your tongue’s sweet air more tunable than lark to shepherd’s ear when wheat is green, when hawthorn buds appear. You’ve got a nice voice; Demetrius can listen to YOU for hours, apparently. You smell nice too. Basically, you bring the spring; why do birds suddenly appear, stars fall down from the sky. Etc.

Helena makes Hermia sound like a Disney princess. She’s being unfair, and yes, trying the patience of her—former?—friend. But what matters in this moment is that Helena—for whom I have a very soft spot—is feeling utterly defeated and humiliated; the self-loathing is partly a performance, but it’s also deeply sad; she loves a man who apparently loved her once, and is now trying to marry her best friend. Poor Helena.

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