Hermia: remember the primroses? that’s exactly where we’re going! byeee! (1.1.214-223) #MoonMad #SlowShakespeare

HERMIA         And in the wood, where often you and I

Upon faint primrose beds were wont to lie

Emptying our bosoms of their counsel sweet,

There my Lysander and myself shall meet,

And thence from Athens turn away our eyes,

To seek new friends and strange companies.

Farewell, sweet playfellow. Pray thou for us,

And good luck grant thee thy Demetrius.

Keep word, Lysander. We must starve our sight

From lovers’ food till morrow deep midnight. (Exit.)        (1.1.214-223)

Hermia joins in, catching Lysander’s rhapsodic, romantic tone; she’s keeping Helena onside, perhaps, but also giving more precise details of their plans: and in the woods, where often you and I upon faint primrose beds were wont to lie emptying our bosoms of their counsel sweet—you remember the place? we went there a LOT—and we told each other EVERYTHING (it’s important to underline that Hermia and Helena have been close friends, even if their friendship has become strained)—there Lysander and myself shall meet (yes, in our special place, is one reading; Lysander really has supplanted Helena in her friend’s affections) and thence from Athens turn away our eyes, to seek new friends and strange companies. We’re really doing it, really going. (This might hit home to Hermia too, in the moment, that she is perhaps never going to see Athens and her friends and family again.) So, farewell, sweet playfellow—again emphasising their long, close friendship. Pray thou for us, and good luck grant thee thy Demetrius. Wish us luck, and, you know, good luck to you too, with Demetrius? (Even though he’s a total loser. At least Hermia does address her old friend with the intimate thou, in this moment of parting.) But really—and this can register with Helena—she’s mostly thinking about Lysander and their plan, Helena’s just a distraction: keep word, Lysander. Keep faith with me, we’re doing this. And we must starve our sight from lovers’ food till morrow deep midnight. We’d better not see each other again until tomorrow night, not attract attention, keep our heads down. It’ll be hard—I’ll miss you!—but, not long now, beloved!

View 2 comments on “Hermia: remember the primroses? that’s exactly where we’re going! byeee! (1.1.214-223) #MoonMad #SlowShakespeare

  1. Would you say that Midsummer Night’s Dream and Romeo and Juliet are counterparts that Shakespeare made as a pair where often one play is comedy and the other, tragedy? Is it like Othello with Much Ado about Nothing and Twelfth Night with Hamlet or have I got the wrong end of the stick?

    1. Yes, in lots of ways. They’re written at the same time – in parallel, I think – and in fact R&J’s structure is much more of a comic structure. Pyramus and Thisbe is v close to R&J (as is Hermia’s situation) and there are other parallels – the emphasis on time and night, and especially Mercutio’s Queen Mab speech, which has so much in common with MND’s fairies and seems like an off-cut from that play. Othello’s also got a comic structure, and yes, it’s very close to Much Ado (although not in date). Hamlet and 12N *are* close in date; less structurally similar but both deeply interested in grief and mourning… (I’m writing about the overlaps between MND, R&J, and RII at the moment; they’re like overlapping poetic and dramaturgical experiments, I think.)

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