I follow him to serve my turn upon him.
This reveals his real intentions: people think he is nice and trustworthy while he is just planning his revenge — and he says it out loud to Roderigo, who's too dumb to use it.
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Forsooth, a great arithmetician, 0021 One Michael Cassio, a Florentine, 0022 A fellow almost damned in a fair wife, p. 9 0023 That never set a squadron in the field, 0024 Nor the division of a battle knows 0025 25 More than a spinster—unless the bookish theoric, 0026 Wherein the ⟨togèd⟩ consuls can propose 0027 As masterly as he. Mere prattle without practice 0028 Is all his soldiership
Iago thinks he deserves it more because he actually fought at Rhodes and Cyprus, while Cassio only knows war from books.
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Three great ones of the city, 0010 10 In personal suit to make me his lieutenant, 0011 Off-capped to him; and, by the faith of man, 0012 I know my price, I am worth no worse a place. 0013 But he, as loving his own pride and purposes, 0014 Evades them with a bombast circumstance, 0015 15 Horribly stuffed with epithets of war,
Iago is jealous of Othello: he says Othello just dodged the three men with big empty war words instead of giving a real answer.
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Tush,⟩ never tell me! I take it much unkindly 0002 That thou, Iago, who hast had my purse 0003 As if the strings were thine, shouldst know of this.
This first sentence is basically just Roderigo talking angrily about Iago and how he uses his money.
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Give me that boy and I will go with thee.
In the BBC version, this was changed into "Give me your hand". No kid is mentioned, but still Titania gets mad, refuses. This adaptation changes a lot of things: we go from a dispute about an exterior factor that they disagree on, to a couple fighting. Oberon is a humiliated husband in this scene, which makes it way more personal.
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Not for thy fairy kingdom. Fairies, away.
Two different version, the same sentence. This one survives because the structure of the refusal does not depend on the object
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Do you amend it, then. It lies in you. 0486 Why should Titania cross her Oberon?
In Davies version, Oberon, speechless, cannot speak. Pucks intervenes and take these lines, which shows his importance to his master
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At a fair vestal thronèd by ⌜the⌝ west, 0529 165 And loosed his love-shaft smartly from his bow 0530 As it should pierce a hundred thousand hearts. 0531 But I might see young Cupid’s fiery shaft 0532 Quenched in the chaste beams of the wat’ry moon, 0533 And the imperial vot’ress passèd on
Elizabeth I. The compliment is that Cupid's arrow missed her and she stayed unmarried by choice. The arrow lands on a flower instead and causes everything that goes wrong for the next three acts.
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How long within this wood inte
Beginning of my passage
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Well, go thy way. Thou shalt not from this grove 0516 Till I torment thee for this injury.—
The BBC version stands out for many changs, and this one is one too: Oberon threatens Titania even though she is still here, compared to after she leaves in the original version
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If you will patiently dance in our round 0510 And see our moonlight revels, go with us. 0511 If not, shun me, and I will spare your haunts.
In Bennett's version, Titania keeps the invitational, but in the BBC one, same thing: it is cut. Its now Oberon's turn to try and make the move
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Set your heart at rest: 0490 The Fairyland buys not the child of me. 0491 His mother was a vot’ress of my order, 0492 And in the spicèd Indian air by night 0493 Full often hath she gossiped by my side 0494 130 And sat with me on Neptune’s yellow sands, 0495 Marking th’ embarkèd traders on the flood, 0496 When we have laughed to see the sails conceive 0497 And grow big-bellied with the wanton wind; 0498 Which she, with pretty and with swimming gait, 0499 135 Following (her womb then rich with my young 0500 squire), 0501 Would imitate and sail upon the land 0502 To fetch me trifles and return again, 0503 As from a voyage, rich with merchandise. 0504 140 But she, being mortal, of that boy did die, 0505 And for her sake do I rear up her boy, 0506 And for her sake I will not part with him
This passage is completely cut in the BBC version, because the kid is not mentioned. This is the main reason why the fight in this version is more personal: no exterior element is included
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Not for thy fairy kingdom. Fairies, away.
No price will make her actually accept this offer. In the orginal version. it shows that she values the life of the kid as more than just something to buy, but in the BBC version, she basically says that no price could make her take his hand, which makes it really personnal
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I am your spaniel, and, Demetrius, 0575 The more you beat me I will fawn on you.
She offers this. He didn't ask for it. Compare her soliloquy at the end of I.1, where she was the one explaining how love has no judgment — she knew, and it made no difference.
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The human mortals want their winter here.
want = lack. Titania's whole speech makes the weather a symptom of a marital argument. The scale is out of proportion — they're fighting over one child and the crops are failing.
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Set your heart at rest:
My first choice
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Never mole, harelip, nor scar, 2207 var _____WB$wombat$assign$function_____ = function(name) {return (self._wb_wombat && self._wb_wombat.local_init && self._wb_wombat.local_init(name)) || self[name]; }; if (!self.__WB_pmw) { self.__WB_pmw = function(obj) { this.__WB_source = obj; return this; } } { let window = _____WB$wombat$assign$function_____("window"); let self = _____WB$wombat$assign$function_____("self"); let document = _____WB$wombat$assign$function_____("document"); let location = _____WB$wombat$assign$function_____("location"); let top = _____WB$wombat$assign$function_____("top"); let parent = _____WB$wombat$assign$function_____("parent"); let frames = _____WB$wombat$assign$function_____("frames"); let opener = _____WB$wombat$assign$function_____("opener"); let arguments; {window.addEventListener('load', alignSegs.bind(null,'segftln-2207','segftln-2186','')); }}Nor mark prodigious
The blessing is specific about what could go wrong with the children — this was a real fear at a real wedding, possibly the one the play was written for. It's the only moment the fairies do something purely kind, and it's about babies not being born deformed.
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2002 The best in this kind are but shadows, and p. 159 2003 225 the worst are no worse, if imagination amend 2004 them.
Theseus defending bad theatre after spending the whole first speech saying imagination is what madmen have. Hippolyta calls it: then it's your imagination, not theirs. That's a real hit, and he doesn't answer it.
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I see a voice! Now will I to the chink
Senses swapped. Same construction as Bottom's waking speech in IV.1 — eye hath not heard, ear hath not seen. He does it when he's lying and when he's acting, so it might just be how he talks.
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I love not to see wretchedness o’ercharged, 1870 And duty in his service perishing.
She doesn't want to watch. Theseus's reply is basically that his own graciousness will make it fine. She's the only one in the room who thinks about the mechanicals as people, and she's the one who "won" nothing in this play.
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The lunatic, the lover, and the poet 1786 Are of imagination all compact.
The most quoted speech in the play and it's a character being wrong. He's explaining that fairies don't exist, in a house that gets blessed by fairies ninety lines later. Hippolyta's answer is better and shorter: all four of them came back with the same story.
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if I tell you, I am not true 1764 Athenian. I will tell you everything right as it fell 1765 out.
Two sentences, opposite promises. Then he tells them nothing except that the Duke has eaten. Compare the end of IV.1, where he couldn't say it. Here he won't. Not sure those are the same thing.
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1746 You must say “paragon.” A “paramour” is (God 1747 bless us) a thing of naught.
Flute correcting somebody's vocabulary is new. He's the one who couldn't play a woman four scenes ago.
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He cannot be heard of. Out of doubt he 1737 is transported.
Starveling means carried off by fairies. That's also the word for translated, changed in shape — which is what Quince yells in III.1 when he sees the ass head. He's right twice without knowing it once.
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Bottom's waking speech is the only place in the play where the night in the wood is treated as something that cannot be told, and it comes from the character least equipped to tell it. The lovers, waking twenty lines earlier, immediately begin domesticating their experience into simile — far-off mountains turned into clouds, a jewel mine own and not mine own — and then agree to recount their dreams to each other on the walk home. Bottom refuses the same move: the dream has no bottom, and any man who expounds it is an ass. The play gives its most accurate account of the supernatural to the one character who was genuinely transformed by it, and he can only render it as broken scripture.
Claude AI
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The eye of 1725 man hath not heard, the ear of man hath not seen,
He's mangling St Paul, 1 Corinthians — the original is about what no eye has seen and no ear heard of God's kingdom. Bottom swaps the organs around. It's a joke, but the passage he's scrambling is the one about things too great to be reported.
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But like a sickness did I loathe this food.
Demetrius is the only one still enchanted — nobody ever took the flower off him. So the happy ending has a drugged man in it. He's also the one who sounds most certain, "will forevermore be true to it," which is worse.
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Egeus, I will overbear your will, 1691 For in the temple by and by, with us,
In I.1 the Athenian law "by no means we may extenuate." Here it's gone in half a line, because Demetrius changed his mind. The law was never the obstacle.
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I was with Hercules and Cadmus once, 1621 When in a wood of Crete they bayed the bear
First time she talks about her own life. Hunting with Hercules, before Athens. Theseus answers by describing his dogs' ears for eight lines.
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Her dotage now I do begin to pity.
He pities her now, four lines before explaining that she already handed over the boy. The order matters. He also says he taunted her at his pleasure while she begged in mild terms, and reports it like it's neutral information.
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I have an exposition of sleep come upon me.
disposition. He gets it wrong even with a queen's arms around him.
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The entire scene turns on the mechanicals' fear that their play will be taken for real — that Snug's lion will genuinely terrify the Duchess, that the audience won't know where the fiction stops. It's an anxiety about theatre performed inside a theatre, and Shakespeare sets it directly against the court scene before it, where Theseus and Egeus treat a legal fiction about ownership as if it were natural law. The tradesmen worry too much about illusion; the aristocrats don't worry at all.
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0302 45Nay, faith, let not me play a woman. I have a 0303 beard coming.
Flute is embarrassed about a boy's part in a play — performed by a boy actor in Shakespeare's company, who would also have had a beard coming. The joke goes off in two directions at once.
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“The most lamentable 0269 comedy and most cruel death of Pyramus and 0270 Thisbe.”
The title contradicts itself before the play starts. Also: Pyramus and Thisbe are two lovers who run away from their parents and die for it, which is what Hermia and Lysander just decided to do one scene ago.
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The course of true love never did run smooth. 0137 But either it was different in blood— HERMIA 0138 O cross! Too high to be enthralled to ⌜low.⌝ LYSANDER 0139 Or else misgraffèd in respect of years— p. 17 HERMIA 0140 140 O spite! Too old to be engaged to young. LYSANDER 0141 Or else it stood upon the choice of friends— HERMIA 0142 O hell, to choose love by another’s eyes! LYSANDER 0143 Or, if there were a sympathy in choice, 0144 War, death, or sickness did lay siege to it, 0145 145 Making it momentany as a sound, 0146 Swift as a shadow, short as any dream, 0147 Brief as the lightning in the collied night, 0148 That, in a spleen, unfolds both heaven and Earth, 0149 And, ere a man hath power to say “Behold!” 0150 150 The jaws of darkness do devour it up. 0151 So quick bright things come to confusion.
They trade half-lines back and forth here, he names a category of obstacle and she supplies the exclamation. It sounds rehearsed, like a game they've played before. Then Lysander's lightning speech runs way past the pattern and Hermia answers it with "let us teach our trial patience," which is much calmer than what he just said. Not sure if she's steadying him or not listening.
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With bracelets of thy hair, rings, gauds, conceits, 0035 35 Knacks, trifles, nosegays, sweetmeats
gauds = flashy trinkets. knacks = knick-knacks. nosegays = little flower bouquets. Egeus piles them up to make them sound cheap, but the list is longer than his actual legal argument.
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Hippolyta, I wooed thee with my sword
He says this to her face, at their engagement. She was a prisoner of war. Then he says he'll wed her "in another key" — different tune, same arrangement? She has four lines in this whole scene and nothing after Egeus walks in. I keep wanting to know how she's standing while all this happens.
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Like to a stepdame or a dowager 0006 Long withering out a young man’s revenue.
dowager = a widow living off her dead husband's estate, so the heir doesn't get the money until she dies. Theseus is comparing the moon to a woman who is taking too long to die. Claude
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var _____WB$wombat$assign$function_____ = function(name) {return (self._wb_wombat && self._wb_wombat.local_init && self._wb_wombat.local_init(name)) || self[name]; }; if (!self.__WB_pmw) { self.__WB_pmw = function(obj) { this.__WB_source = obj; return this; } } { let window = _____WB$wombat$assign$function_____("window"); let self = _____WB$wombat$assign$function_____("self"); let document = _____WB$wombat$assign$function_____("document"); let location = _____WB$wombat$assign$function_____("location"); let top = _____WB$wombat$assign$function_____("top"); let parent = _____WB$wombat$assign$function_____("parent"); let frames = _____WB$wombat$assign$function_____("frames"); let opener = _____WB$wombat$assign$function_____("opener"); let arguments; {window.addEventListener('load', alignSegs.bind(null,'segftln-0717','segftln-0712','seg-0712')); }}Weeds of Athens he doth wear.
clothes. Robin picks the wrong man off an outfit. Oberon said find an Athenian but never said exactly who. Because of his poor request, the wrong person received the spell. So basically, it is his fault
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Jack shall have Jill; 1502 var _____WB$wombat$assign$function_____ = function(name) {return (self._wb_wombat && self._wb_wombat.local_init && self._wb_wombat.local_init(name)) || self[name]; }; if (!self.__WB_pmw) { self.__WB_pmw = function(obj) { this.__WB_source = obj; return this; } } { let window = _____WB$wombat$assign$function_____("window"); let self = _____WB$wombat$assign$function_____("self"); let document = _____WB$wombat$assign$function_____("document"); let location = _____WB$wombat$assign$function_____("location"); let top = _____WB$wombat$assign$function_____("top"); let parent = _____WB$wombat$assign$function_____("parent"); let frames = _____WB$wombat$assign$function_____("frames"); let opener = _____WB$wombat$assign$function_____("opener"); let arguments; {window.addEventListener('load', alignSegs.bind(null,'segftln-1502','segftln-1488','seg-1488')); }} Naught shall go ill;
Robin ends with a little rhyme that sounds like a nursery rhyme or a proverb. After all the chaos, everything gets reset like nothing happened. I wonder if the lovers would be so easy to fix in real life, but the play doesn't seem worried about that.
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1429 var _____WB$wombat$assign$function_____ = function(name) {return (self._wb_wombat && self._wb_wombat.local_init && self._wb_wombat.local_init(name)) || self[name]; }; if (!self.__WB_pmw) { self.__WB_pmw = function(obj) { this.__WB_source = obj; return this; } } { let window = _____WB$wombat$assign$function_____("window"); let self = _____WB$wombat$assign$function_____("self"); let document = _____WB$wombat$assign$function_____("document"); let location = _____WB$wombat$assign$function_____("location"); let top = _____WB$wombat$assign$function_____("top"); let parent = _____WB$wombat$assign$function_____("parent"); let frames = _____WB$wombat$assign$function_____("frames"); let opener = _____WB$wombat$assign$function_____("opener"); let arguments; {window.addEventListener('load', alignSegs.bind(null,'segftln-1429','segftln-1429','seg-1429')); }}Up and down, up and down, 1430 var _____WB$wombat$assign$function_____ = function(name) {return (self._wb_wombat && self._wb_wombat.local_init && self._wb_wombat.local_init(name)) || self[name]; }; if (!self.__WB_pmw) { self.__WB_pmw = function(obj) { this.__WB_source = obj; return this; } } { let window = _____WB$wombat$assign$function_____("window"); let self = _____WB$wombat$assign$function_____("self"); let document = _____WB$wombat$assign$function_____("document"); let location = _____WB$wombat$assign$function_____("location"); let top = _____WB$wombat$assign$function_____("top"); let parent = _____WB$wombat$assign$function_____("parent"); let frames = _____WB$wombat$assign$function_____("frames"); let opener = _____WB$wombat$assign$function_____("opener"); let arguments; {window.addEventListener('load', alignSegs.bind(null,'segftln-1430','segftln-1429','seg-1429')); }}I will lead them up and down. 1431 420 var _____WB$wombat$assign$function_____ = function(name) {return (self._wb_wombat && self._wb_wombat.local_init && self._wb_wombat.local_init(name)) || self[name]; }; if (!self.__WB_pmw) { self.__WB_pmw = function(obj) { this.__WB_source = obj; return this; } } { let window = _____WB$wombat$assign$function_____("window"); let self = _____WB$wombat$assign$function_____("self"); let document = _____WB$wombat$assign$function_____("document"); let location = _____WB$wombat$assign$function_____("location"); let top = _____WB$wombat$assign$function_____("top"); let parent = _____WB$wombat$assign$function_____("parent"); let frames = _____WB$wombat$assign$function_____("frames"); let opener = _____WB$wombat$assign$function_____("opener"); let arguments; {window.addEventListener('load', alignSegs.bind(null,'segftln-1431','segftln-1429','seg-1429')); }}I am feared in field and town. 1432 var _____WB$wombat$assign$function_____ = function(name) {return (self._wb_wombat && self._wb_wombat.local_init && self._wb_wombat.local_init(name)) || self[name]; }; if (!self.__WB_pmw) { self.__WB_pmw = function(obj) { this.__WB_source = obj; return this; } } { let window = _____WB$wombat$assign$function_____("window"); let self = _____WB$wombat$assign$function_____("self"); let document = _____WB$wombat$assign$function_____("document"); let location = _____WB$wombat$assign$function_____("location"); let top = _____WB$wombat$assign$function_____("top"); let parent = _____WB$wombat$assign$function_____("parent"); let frames = _____WB$wombat$assign$function_____("frames"); let opener = _____WB$wombat$assign$function_____("opener"); let arguments; {window.addEventListener('load', alignSegs.bind(null,'segftln-1432','segftln-1429','seg-1429')); }}Goblin, lead them up and down. 1433 Here comes one. Enter Lysander. LYSANDER 1434 Where art thou, proud Demetrius? Speak thou now. ROBIN, ⌜in Demetrius’ voice⌝ 1435 Here, villain, drawn and ready. Where art thou? LYSANDER 1436 425I will be with thee straight. ROBIN, ⌜in Demetrius’ voice⌝ 1437 Follow me, then, to 1438 plainer ground.⌜Lysander exits.⌝ Enter Demetrius. DEMETRIUS 1439 Lysander, speak again. 1440 Thou runaway, thou coward, art thou fled? 1441 430 Speak! In some bush? Where dost thou hide thy 1442 head? p. 113 ROBIN, ⌜in Lysander’s voice⌝ 1443 Thou coward, art thou bragging to the stars, 1444 Telling the bushes that thou look’st for wars, 1445 And wilt not come? Come, recreant! Come, thou 1446 435 child! 1447 I’ll whip thee with a rod. He is defiled 1448 That draws a sword on thee. DEMETRIUS 1449 var _____WB$wombat$assign$function_____ = function(name) {return (self._wb_wombat && self._wb_wombat.local_init && self._wb_wombat.local_init(name)) || self[name]; }; if (!self.__WB_pmw) { self.__WB_pmw = function(obj) { this.__WB_source = obj; return this; } } { let window = _____WB$wombat$assign$function_____("window"); let self = _____WB$wombat$assign$function_____("self"); let document = _____WB$wombat$assign$function_____("document"); let location = _____WB$wombat$assign$function_____("location"); let top = _____WB$wombat$assign$function_____("top"); let parent = _____WB$wombat$assign$function_____("parent"); let frames = _____WB$wombat$assign$function_____("frames"); let opener = _____WB$wombat$assign$function_____("opener"); let arguments; {window.addEventListener('load', alignSplitLines.bind(null,'sftln-1449','ftln-1448','E')); }}Yea, art thou there? ROBIN, ⌜in Lysander’s voice⌝ 1450 Follow my voice. We’ll try no manhood here. ⌜They exit.⌝ ⌜Enter Lysander.⌝ LYSANDER 1451 440 He goes before me and still dares me on. 1452 When I come where he calls, then he is gone. 1453 The villain is much lighter-heeled than I. 1454 I followed fast, but faster he did fly, 1455 That fallen am I in dark uneven way, 1456 445 And here will rest me. Come, thou gentle day, 1457 For if but once thou show me thy gray light, 1458 I’ll find Demetrius and revenge this spite. ⌜He lies down and sleeps.⌝ ⌜Enter⌝ Robin and Demetrius. ROBIN, ⌜in Lysander’s voice⌝ 1459 Ho, ho, ho! Coward, why com’st thou not? DEMETRIUS 1460 Abide me, if thou dar’st, for well I wot 1461 450 Thou runn’st before me, shifting every place, 1462 And dar’st not stand nor look me in the face. 1463 Where art thou now? ROBIN, ⌜in Lysander’s voice⌝ 1464 var _____WB$wombat$assign$function_____ = function(name) {return (self._wb_wombat && self._wb_wombat.local_init && self._wb_wombat.local_init(name)) || self[name]; }; if (!self.__WB_pmw) { self.__WB_pmw = function(obj) { this.__WB_source = obj; return this; } } { let window = _____WB$wombat$assign$function_____("window"); let self = _____WB$wombat$assign$function_____("self"); let document = _____WB$wombat$assign$function_____("document"); let location = _____WB$wombat$assign$function_____("location"); let top = _____WB$wombat$assign$function_____("top"); let parent = _____WB$wombat$assign$function_____("parent"); let frames = _____WB$wombat$assign$function_____("frames"); let opener = _____WB$wombat$assign$function_____("opener"); let arguments; {window.addEventListener('load', alignSplitLines.bind(null,'sftln-1464','ftln-1463','E')); }}Come hither. I am here. DEMETRIUS 1465 Nay, then, thou mock’st me. Thou shalt buy this 1466 455 dear p. 115 1467 If ever I thy face by daylight see. 1468 Now go thy way. Faintness constraineth me 1469 To measure out my length on this cold bed. 1470 By day’s approach look to be visited.
This part is pure physical comedy, like a cartoon. Two guys who want to fight to the death just keep missing each other. It also quietly avoids real violence, which keeps the play a comedy.
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How low am I, thou painted maypole? Speak! 1323 How low am I? I am not yet so low
This is where the fight stops being about love and becomes about height. Hermia is short, Helena is tall, and they both go straight for it. It feels very realistic for a fight between people who know each other well, you always know exactly where to hit.
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O spite! O hell! I see you all are bent 1160 To set against me for your merriment.
Helena's reaction makes total sense. Two guys who ignored her yesterday are suddenly obsessed with her. The sad part is she's so used to being rejected that she can't imagine being loved.
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O Helen, goddess, nymph, perfect, divine! 1152 To what, my love, shall I compare thine eyne? 1153 Crystal is muddy. O, how ripe in show 1154 Thy lips, those kissing cherries, tempting grow! 1155 That pure congealèd white, high Taurus’ snow, 1156 145 Fanned with the eastern wind, turns to a crow 1157 When thou hold’st up thy hand. O, let me kiss 1158 This princess of pure white, this seal of bliss!
Demetrius wakes up and immediately talks like a bad love poem. All the compliments are exaggerated and generic. I think Shakespeare writes the magic love this way on purpose, so it sounds fake compared to real feelings.
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Thou hast mistaken quite 1102 And laid the love juice on some true-love’s sight.
This is the moment the whole plot breaks. Oberon wanted to fix one problem and now there are three. I think it's funny that the magical fairy king can't control his own assistant.
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var _____WB$wombat$assign$function_____ = function(name) {return (self._wb_wombat && self._wb_wombat.local_init && self._wb_wombat.local_init(name)) || self[name]; }; if (!self.__WB_pmw) { self.__WB_pmw = function(obj) { this.__WB_source = obj; return this; } } { let window = _____WB$wombat$assign$function_____("window"); let self = _____WB$wombat$assign$function_____("self"); let document = _____WB$wombat$assign$function_____("document"); let location = _____WB$wombat$assign$function_____("location"); let top = _____WB$wombat$assign$function_____("top"); let parent = _____WB$wombat$assign$function_____("parent"); let frames = _____WB$wombat$assign$function_____("frames"); let opener = _____WB$wombat$assign$function_____("opener"); let arguments; {window.addEventListener('load', alignSegs.bind(null,'segftln-1128','segftln-1123','seg-1123')); }}Lord, what fools these mortals be!
It's basically Robin saying humans are idiots. It also kind of tells the audience how to watch the rest of the scene: as a comedy, not a tragedy.
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My mistress with a monster is in love.
Robin says this like he's telling a funny story to a friend. He isn't sorry at all. It shows he sees the humans and even Titania as entertainment.
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Nay, you must name his name, and half his 0840 face must be seen through the lion’s neck, and he 0841 himself must speak through, saying thus, or to the 0842 same defect: “Ladies,” or “Fair ladies, I would 0843 40 wish you,” or “I would request you,” or “I would 0844 entreat you not to fear, not to tremble! My life for 0845 yours. If you think I come hither as a lion, it were 0846 pity of my life. No, I am no such thing. I am a man as 0847 other men are.” And there indeed let him name his 0848 45 name and tell them plainly he is Snug the joiner.
They write a prologue saying Pyramus isn't really dead and Bottom is just Bottom. They're deleting the play so the ladies don't get scared by the play.
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No, make it two more. Let it be written in 0829 eight and eight.
Bottom says make it eight and eight. He has no idea what that changes. He just wants more.
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Wherefore was I to this keen mockery born?
Helena hears a real declaration as mockery. She's the only one confused without a flower.
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For lying so, Hermia, I do not lie.
lie down / tell a lie. He's punning his way closer to her. She says he "riddles very prettily," which means she caught it.
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var _____WB$wombat$assign$function_____ = function(name) {return (self._wb_wombat && self._wb_wombat.local_init && self._wb_wombat.local_init(name)) || self[name]; }; if (!self.__WB_pmw) { self.__WB_pmw = function(obj) { this.__WB_source = obj; return this; } } { let window = _____WB$wombat$assign$function_____("window"); let self = _____WB$wombat$assign$function_____("self"); let document = _____WB$wombat$assign$function_____("document"); let location = _____WB$wombat$assign$function_____("location"); let top = _____WB$wombat$assign$function_____("top"); let parent = _____WB$wombat$assign$function_____("parent"); let frames = _____WB$wombat$assign$function_____("frames"); let opener = _____WB$wombat$assign$function_____("opener"); let arguments; {window.addEventListener('load', alignSegs.bind(null,'segftln-0676','segftln-0673','seg-0673')); }}Be it ounce, or cat, or bear, 0677 var _____WB$wombat$assign$function_____ = function(name) {return (self._wb_wombat && self._wb_wombat.local_init && self._wb_wombat.local_init(name)) || self[name]; }; if (!self.__WB_pmw) { self.__WB_pmw = function(obj) { this.__WB_source = obj; return this; } } { let window = _____WB$wombat$assign$function_____("window"); let self = _____WB$wombat$assign$function_____("self"); let document = _____WB$wombat$assign$function_____("document"); let location = _____WB$wombat$assign$function_____("location"); let top = _____WB$wombat$assign$function_____("top"); let parent = _____WB$wombat$assign$function_____("parent"); let frames = _____WB$wombat$assign$function_____("frames"); let opener = _____WB$wombat$assign$function_____("opener"); let arguments; {window.addEventListener('load', alignSegs.bind(null,'segftln-0677','segftln-0673','seg-0673')); }}Pard, or boar with bristled hair,
"Ounce" = lynx, "pard" = leopard. Oberon is picturing a predator. He gets a weaver with a donkey head.
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Some war with reremice for their leathern wings 0645 5 To make my small elves coats, and some keep back
"Reremice" = bats. Titania's first order is send someone to skin bats for fairy coats. Not as gentle a scene as it looks.
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