Hermia: How low am I, thou painted maypole? Speak: How low am I? I am not yet so low But that my nails can reach unto thine eyes. Helena: I pray you, though you mock me, gentlemen, Let her not hurt me. I was never curst; I have no gift at all in shrewishness; I am a right maid for my cowardice; Let her not strike me. You perhaps may think, Because she is something lower than myself, That I can match her. Hermia: 'Lower'? Hark, again! Helena: Good Hermia, do not be so bitter with me. I evermore did love you, Hermia, Did ever keep your counsels, never wrong'd you. Save that, in love unto Demetrius, I told him of your stealth unto this wood. (3.2.296-310)

35. Hermia berserk "The course of true love never did run smooth". Much of the serious fun in the play comes from the intensity of the teenage lovers' sudden reversals of affection - the Dodgem Cars Arcade of Love syndrome - and the distancing of the audience from this familiar experience which allows calmer reflection on its dizzying absurdities. When Hermia goes berserk, the quality of her fury is projected as childish (thrashing arms and legs, hysterical screaming) rather than seriously threatening. She is contained in the circle by the clumsily brutal boys while Helena runs from one side to the other in false modesty, seemingly frightened and yet taunting too. All are caught up in playing confused games with their equally confused stage-audience partners. The contradictions seem to crystallise in one important image; when Helena catches her breath after 'running away', her masculine action of sitting casually cross-legged belies her fearful entreaties to the boys (lines 3.2.303-5).