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Act 2 Scene 1 (Lines 202-244): Unrequited Love
Act 2 Scene 1 (Lines 202-244): Unrequited Love
In this scene, Helena chases Demetrius into the forest and profusely professes her love for him. She reveals her persistence and determination, as she unceasingly pursues Demetrius, even as he continually pushes her away. This scene stood out to me because of its intense, and somewhat unconventional dynamic (stories in which the woman pursues the man were considered unusual in Shakespeare's time). I was drawn towards Helena's desire and ambition in the "love chase" and wanted to portray that strength through a movement piece on the ice.
Helena. And even for that I love you the more. I am your spaniel; and, Demetrius, The more you beat me, I will fawn on you.Use me but as your spaniel, spurn me, strike me,Neglect me, lose me; only give me leave,Unworthy as I am, to follow you.What worser place can I beg your love—And yet a place of high respect with me—Than to be used as you use your dog?
Demetrius. Tempt not too much the hatred of my spirit,For I am sick when I do look on thee.
Helena. And I am sick when I look not on you.
Demetrius. You do impeach your modesty too much, To leave the city, and commit yourself Into the hands of one that loves you not,To trust the opportunity of night And the ill counsel of a desert placeWith the rich worth of your virginity.
Helena. Your virtue is my privilege. For thatIt is not night when I do see your face,Therefore I think I am not in the night;Nor doth this wood lack worlds of company,For you in my respect are all the world.Then how can it be said I am alone,When all the world is here to look on me?
Demetrius. Tempt not too much the hatred of my spirit,For I am sick when I do look on thee.
Helena. And I am sick when I look not on you.
Demetrius. You do impeach your modesty too much, To leave the city, and commit yourself Into the hands of one that loves you not,To trust the opportunity of night And the ill counsel of a desert placeWith the rich worth of your virginity.
Helena. Your virtue is my privilege. For thatIt is not night when I do see your face,Therefore I think I am not in the night;Nor doth this wood lack worlds of company,For you in my respect are all the world.Then how can it be said I am alone,When all the world is here to look on me?
Demetrius. I’ll run from thee and hide me in the brakes,And leave thee to the mercy of wild beasts.
Helena. The wildest hath not such a heart as you.Run when you will, the story shall be changed:Apollo flies, and Daphne holds the chase;The dove pursues the griffin, the mild hindMakes speed to catch the tiger, bootless speed,When cowardice pursues, and valor flies.
Demetrius. I will not stay thy questions. Let me go!Or, if thou follow me, do not believeBut I shall do thee mischief in the wood.
Helena. Ay, in the temple, in the town, the field,You do me mischief. Fie, Demetrius!Your wrongs do set a scandal on my sex.We cannot fight for love, as men may do;We should be wooed, and were not made to woo.I’ll follow thee, and make a heaven of hell,To die upon the hand I love so well.
Helena. The wildest hath not such a heart as you.Run when you will, the story shall be changed:Apollo flies, and Daphne holds the chase;The dove pursues the griffin, the mild hindMakes speed to catch the tiger, bootless speed,When cowardice pursues, and valor flies.
Demetrius. I will not stay thy questions. Let me go!Or, if thou follow me, do not believeBut I shall do thee mischief in the wood.
Helena. Ay, in the temple, in the town, the field,You do me mischief. Fie, Demetrius!Your wrongs do set a scandal on my sex.We cannot fight for love, as men may do;We should be wooed, and were not made to woo.I’ll follow thee, and make a heaven of hell,To die upon the hand I love so well.
For this movement piece, I specifically chose a tango style of music, for its sharp and sensual characteristics, which I thought would be well suited to the setting of unrequited love and the "love chase." I really wanted to express Helena's passion and power as a woman pursuing a man who is not only flatly rejecting her, but also threatening her with rape. Though some may interpret Helena's words and actions as irrational or plainly submissive, I wanted to focus on the courage and strength she holds in taking charge in an unlikely situation.
I begin this piece on the ground, expressing Helena's initial deference, begging Demetrius to "use me but as your spaniel," or in other words, treat her as his dog (2.1.205). The first spin in particular highlights her vulnerability through my leaned back position and my hands moving towards my heart (0:23). Throughout the piece, I utilize contrasting levels of space, emphasizing the highs and the lows of movement, in order to portray the almost back-and-forth dynamic of Helena and Demetrius (she chases him, and he pushes her back repetitively). As the piece moves on and the music intensifies, I accordingly speed up and create more dramatic movements. Ending with a series of split jumps and a flying spin, I attempt to depict Helena's ultimate strength in taking on the role of the male pursuer and also her bravery in assuming the dominance of Apollo, while in the shoes of Daphne* (2.1.231). My ending position (upright and forward-facing) contrasts my beginning position (kneeling and backwards-facing), which attempts to express Helena's progression from imploring Demetrius to love her to asserting her dominance over him.
*Daphne was a nymph who was pursued by Apollo and eventually submitted to him through her transformation into a laurel tree
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