Is all the counsel that we two have shared—
The sisters' vows, the hours that we have spent
When we have chid the hasty-footed time
For parting us—O, is all forgot?
All schooldays' friendship, childhood innocence?
We, Hermia, like two artificial gods
Have with our needles created both one flower,
Both on one sampler, sitting on one cushion,
Both warbling of one song, both in one key,
As if our hands, our sides, voices, and minds
Had been incorporate. So we grew together,
Like to a double cherry: seeming parted,
But yet an union in partitïon,
Two lovely berries moulded on one stem.
So, with two seeming bodies but one heart,
Two of the first—like coats in heraldry,
Due but to one and crownèd with one crest.
And will you rend our ancient love asunder,
To join with men in scorning your poor friend?
It is not friendly, 'tis not maidenly.
Our sex as well as I may chide you for it,
Though I alone do feel the injury. (3.2.199-220)
A Midsummer’s Night Dream by William Shakespeare tells the comedic story of two pairs of young lovers, a fairy queen and her subjects, and other parental and royal figures. Throughout the play, dreams and magic cross paths and blur the lines between fantasy and reality. But these characters also use their situation to speak on issues rooted in reality, like female roles in society. Conflict caused by this magic and dreamlike haze allows characters, like Helena, to explore complex bonds such as sisterhood through monologues. Often, she uses natural imagery and language to describe her connection to Hermia, her friend. Helena’s references to botanical imagery and doublespeak analyze the importance of female friendships in the play and how the social expectations to marry and devote themselves to men negatively affect them.
In this monologue by Helena, she is lamenting on what she believes is a plotted event by Hermia, Lysander, and Demetrius to mock her. What she takes the most personally though, is the thought of Hermia betraying her. She speaks of this through images of nature, signifying their pure and natural bond. Beginning by calling Hermia her sister and reminiscing on their childhood days together, Helena goes on to say, “So we grew together,/Like to a double cherry” (Shakespeare 3.2.209-210). She is using this figure of speech to address their upbringing together where both mended into one close figure with two functioning parts. The figure of the double cherry is a rare one, perhaps signaling the rarity of a bond such as theirs which is both natural like this growth, as well as wondrous. Helena also speaks through botanical imagery when referring to mending or sewing, “Have with our needles created both one flower,/Both on one sampler, sitting on one cushion” (Shakespeare 3.2.205-206). As Helena is speaking these lines, she is recognizing that this bond of sisterhood between her and Hermia is also ingrained in society, as sewing was a womanly activity, one that it seems they participated in together both literally and as a metaphor for their joint upbringing. They are a consort to one another, as shown at the beginning of the monologue, “the counsel that we two have shared—/The sisters' vows, the hours that we have spent” (Shakespeare 3.2.199-200), this further emphasizes how close the two women are, as alike in both time in each other’s counsel and familiarity as sisters. She brings this up to divulge why their bond is so meaningful to her and why the company of women is so important in the play.
Along with natural imagery to represent their relationship, Helena refers to several almost marriage-like sentiments and doublespeak to show their closeness before pivoting to how the men in the play have interfered with this. Helena says, “As if our hands, our sides, voices, and minds/Had been incorporate” (Shakespeare 3.2.208-209), speaking as if she were delivering vows to Hermia to say that they are both connected physically and mentally. She continues with this marriage-like speech, “two seeming bodies but one heart,/Two of the first—like coats in heraldry” (Shakespeare 3.2.213-214). Here she even places them under one coat of arms, or one line of heritage which could allude to their sister-like upbringing or a joining of the two as one family. This expression of the coat of arms is repeated, “crownèd with one crest” (Shakespeare 3.2.215), she is emphasizing that they are one unit, and could be recognized in the context of her monologue that they are separate from the men in the play because of this, or that their union is more meaningful.
These references to marriage, nature, and familial relationships show the importance of female companionship in the play. Towards the end of her speech, Helena gives the audience more information about how this dynamic is affected by the societal expectation and desire of some women to marry men. It seems that Helena possesses the knowledge that it is an expectation for women to give up their female friendships as they become married, their friends essentially holding that spot until a man claims it. Helena says, “will you rend our ancient love asunder” (Shakespeare 3.2.216) this referencing of the phrase “ancient love” is also a part of speech that would be heard in a marriage ceremony, once again showing how the friendship between women acts as a placeholder for men. After this, Helena references the men she believes Hermia is plotting with, “To join with men in scorning your poor friend?/It is not friendly, 'tis not maidenly” (Shakespeare 3.2.217-218), by saying this she creates a clear difference between men and women in the play. By referring to this act as “not maidenly”, it is the opposite of what their friendship seems to be, which is friendly and close. By the men doing what Helena believes is interfering, a shift already begins to take place in their relationship, even before marriage. The end of this monologue reveals a lot about this specific dynamic and the lived experience of other women who lose out on this companionship because of coupling, “Our sex as well as I may chide you for it,/Though I alone do feel the injury” (Shakespeare 3.2.219-220). Helena reveals that other women would not respect her for the decision to seemingly betray her best friend, but this specific instance is painful to her personally.
This speech by a key female figure in the play shows the meaningful alliance that many women in the play hold and the consequences of the societal expectation of marriage. Though marriage is a desire of Hermia and Helena, the resulting dissolution of their friendship is a story others can sympathize with. Her language and allusions in her speech as well as through other instances, show how women in this play are expected to give up their friends and replace them with the men who come into their lives.