one, quoth he; pluck 't out, and give it him." But there was such laughing, and Helen so blushed, and Paris so chafed, and all the rest so laughed, that it passed. 32

Cres. So let it now, for it has been a great while going by.

Pan. Well, cousin, I told you a thing yesterday, think on 't.

Cres. So I do.

Pan. I'll be sworn, 't is true: he will weep you, an 't were a man born in April. 33

Cres. And I'll spring up in his tears, an 't were a nettle against May. [A retreat sounded.

Pan. Hark! they are coming from the field. Shall we stand up here, 34 and see them, as they pass toward Ilium? good niece, do; sweet niece Cressida. Cres. At your pleasure.

Pan. Here, here; here 's an excellent place: here we may see most bravely. I'll tell you them all by their names, as they pass by, but mark Troilus above the rest.

Cres. Speak not so loud.

ENEAS passes over the stage.

Pan. That's Æneas. Is not that a brave man? he 's one of the flowers of Troy, I can tell 35 you: but mark Troilus; you shall see anon.

Cres. Who 's that?

ANTENOR passes over.

Pan. That's Antenor; he has a shrewd wit, I can tell you; and he's a man good enough: he 's one o' the soundest judgments 36 in Troy, whosoever, and a proper man of person. When comes Troilus? - I'll show you Troilus anon: if he see me, you shall see him nod at me.

Cres. Will he give you the nod? 37

Pan. You shall see.

Cres. If he do, the rich shall have more.

-

32) to pass versteht Pandarus = weitgehen, Alles übertreffen, Cressida aber vorübergehen, hingehen.

33) als ob er in dem Regenmonat April geboren wäre, also Ueberfluss an Wasser hätte. In seinen Thränen will Cressida dann so rasch aufkommen, wie eine Nessel, wenn der Mai kommt.

34) Pandarus und Cressida steigen auf einen erhöhten Punkt, auf dem Sh.'schen Theater auf den Balkon im Hintergrunde der Bühne, und sehen von dort aus die aus der Schlacht nach Priam's Burg heimziehenden Trojaner über die Bühne gehen, ohne diesen selbst sichtbar zu sein.

35) tell ist in der Fol. zufällig ausgelassen.

36) So die Qs., entsprechend dem vorhergehenden one of the flowers of Troy: er ist einer von den besten Köpfen in Troja. Die Fol. liest matter judgment für judgments. 37) Wenn er Euch nichts weiter giebt, als ein Kopfnicken, so besitzen die Reichen mehr, als Ihr. Steevens vermuthet, dass to give the nod ein Ausdruck in dem alten, Noddy genannten Kartenspiel gewesen sei.

HECTOR passes over.

-

Pan. That's Hector, that, that, look you, that; there's a fellow! Go thy way, Hector. There's a brave man, niece. O brave Hector! Look how he looks; there's a countenance. Is 't not a brave man?

Cres. O a brave man.

Look you what hacks

Pan. Is 'a not? It does a man's heart good are on his helmet! look you yonder, do you see? look you there. There's no jesting: there's laying on; take 't off who will, as they say: there be hacks! Cres. Be those with swords? 38

PARIS passes over.

Pan. Swords? any thing, he cares not; an the devil come to him, it's all one: By god's lid, 39 it does one's heart good. Yonder comes Paris; yonder comes Paris: look ye yonder, niece: is 't not a gallant man too, is 't not? Why, this is brave now. Who said he came hurt home to-day? he's not hurt: why, this will do Helen's heart good now. Ha! 'would I could see Troilus now. You shall see Troilus anon.

Cres. Who 's that?

Pan. That's Helenus.

I think he went not forth to-day.
Cres. Can Helenus fight, uncle?

40

Pan. Helenus? no; yes, he'll fight indifferent well. I marvel,
Hark! do you not hear the people cry, Troilus?

where Troilus is.

Helenus is a priest.

Cres. What sneaking fellow comes yonder?

TROILUS passes over.

Pan. Where? yonder? that 's Deiphobus.

man, niece!

Hem! Brave Troilus, the prince of chivalry!

Cres. Peace! for shame; peace!

Pan. Mark him; note him. O brave Troilus! look well upon him, niece: look you, how his sword is bloodied, and his helm more hack'd than Hector's; and how he looks, and how he goes! O admirable youth! he ne'er saw three and twenty. Go thy way, Troilus, go thy way: had I a sister were a grace, or a daughter a goddess, he should take his choice. O admirable man! Paris? Paris is dirt to him; and, I warrant, Helen, to change, would give an eye 42 to boot.

-

38) d. h. sind diese Kerben an Hector's Helm mit Schwertern gemacht?

39) Gewöhnlicher als diese Betheuerung ist die abgekürzte 's lid. So in Twelfth Night (A. 3, Sc. 4.)

40) Aeneas hatte (A. 1, Sc. 1.) gesagt: That Paris is returned home, and hurt.

41) Troilus ist noch nicht drei und zwanzig Jahre alt.

42) So die Qs. Die mattere Lesart der Fol. money to boot ist wohl aus einem Druckfehler entstanden.

Soldiers pass over the stage.

Cres. Here come more.

Pan. Asses, fools, dolts, chaff and bran, chaff and bran: porridge after meat. I could live and die i' the eyes of Troilus. Ne'er look, ne'er look: the eagles are gone; crows and daws, crows and daws. I had rather be such a man as Troilus, than Agamemnon and all Greece.

Cres. There is among the Greeks Achilles, a better man than Troilus.
Pan. Achilles? a drayman, a porter, a very camel.

Cres. Well, well.

Pan. Well, well?

Why, have you any discretion? have you any eyes? Do you know what a man is? Is not birth, beauty, good shape, discourse, manhood, learning, gentleness, virtue, youth, liberality, and so forth, 43 the spice and salt that season a man.

pye,

Cres. Ay, a minced man: and then to be baked with no date 44 in the for then the man's date 's out.

Pan. You are such another woman! one knows not at what ward 45

wiles;

you lie.

Cres. Upon my back, to defend my belly; upon my wit, to defend my 46 upon my secrecy, to defend mine honesty; my mask, to defend my beauty; and you, to defend all these: and at all these wards I lie, at a thousand watches. 47

Pan. Say one of your watches.

Cres. Nay, I'll watch you for that; and that 's one of the chiefest of them too: if I cannot ward what I would not have hit, I can watch you for telling how I took the blow, unless it swell past hiding, and then it's past watching.

Pan. You are such another! 48

Enter TROILUS' Boy.

Boy. Sir, my lord would instantly speak with you.

Pan. Where?

43) So die Fol. Die Qs. haben and such like. Die von Pandarus gebrauchte Metapher spice and salt fasst Cressida im Wortverstand.

*) Dasselbe Wortspiel zwischen date

Dattel und

Lebensfrist, Lebensalter, hat Sh.

auch in All's well that ends well (A. 1, Sc. 1.) your date is better in your pye and porridge than in your cheek. Datteln als gewöhnlicher Bestandtheil von Pasteten werden öfter erwähnt; so in Romeo and Juliet (A. 4, Sc. 4.) they call for dates and quinces in the pastry.

45) ward Quartier, Stadttheil, und

Wehr, Parade beim Fechten. such another woman, wie die Fol. liest, steht im Gegensatze zu dem vorhergehenden a man.

Die Qs. lesen such a woman.

46) wiles Listen, Ränke. Da will häufig dem wit gegenübergestellt wird, wollte Johnson auch hier will für wiles lesen.

*") watch = Wacht, Wachtposten, Lauer, wird hier zum Wortspiel mit to watch manden bewachen, sich vor Jemandem hüten, benutzt.

= Je

48) Vielleicht wird der Satz durch das rasche Hereintreten des Pagen unterbrochen, und Pandarus wollte sagen, wie vorher: you are such another woman! In dem Falle wäre statt des Ausrufungszeichens ein Gedankenstrich zu setzen.

1

Boy. At your own house, there he unarms him. 49

Pan. Good boy, tell him I come.

I doubt he be hurt. Fare ye well, good niece.
Cres. Adieu, uncle.

Pan. I'll be with you, niece, by and by.
Cres. To bring, uncle. 50

Pan. Ay, a token from Troilus.

Cres. By the same token, you are a bawd.

Words, vows, gifts, tears, and love's full sacrifice,
He offers in another's enterprize;

But more in Troilus thousand-fold I see,

Than in the glass of Pandar's praise may be.
Yet hold I off. Women are angels, wooing: 51

Things won are done, joy's soul lies in the doing:

That she 52 belov'd knows nought, that knows not this,
Men prize the thing ungain'd more than it is:
That she was never yet, that ever knew
Love got so sweet as when desire did sue.
Therefore, this maxim out of love I teach,
Achievement is command; ungain'd, beseech: 53
Then though my heart's content 54 firm love doth bear,
Nothing of that shall from mine eyes appear.

SCENE III.

[Exit Boy.

[Exit PANDARUS.

The Grecian Camp. Before AGAMEMNON'S Tent.

[Exit.

Sennet. Enter AGAMEMNON, NESTOR, ULYSSES, MENELAUS, and others.

Agam. Princes,

What grief hath set the jaundice 1 on your cheeks?

49) there he unarms him fehlt in der Fol.

50) Die Hgg. setzen hinter bring einen Gedankenstrich, als ob der Satz unvollendet wäre. Indess weist Dyce aus Citaten gleichzeitiger Dramen nach, dass to be with a person to bring sich mit Jemandem abfinden, mit einem frivolen Nebensinne, bedeutete. 51) Die Weiber gelten für Engel, so lange man um sie wirbt; sobald sie aber gewonnen, erlangt sind, sind sie abgethan, da der eigentliche, wahre Genuss nur in der Gegenwart besteht.

52) she ist hier substantivisch: die junge Frau, die geliebt wird, weiss nichts, wenn sie nicht Folgendes weiss. Ebenso zwei Zeilen weiter: Es gab noch nie eine solche Frau, die jemals wusste, dass die erlangte, genossene Liebe so süss sei, als da das Verlangen noch um sie warb.

53) Die elliptische Fassung macht den Satz dunkel, dessen Sinn sich jedoch so umschreiben lässt: Wenn wir erlangt sind, gilt nur Befehl, wenn wir noch nicht gewonnen sind, gilt die Bitte. Collier theilt als Conjectur mit: Atchiev'd, men us command. 54) my heart's content ist durch das Folgende erklärt: Die Zufriedenheit des Herzens besteht darin, mein Herz ist damit zufrieden, dass es treue Liebe hegt. liest contents, und That für Then.

Die Fol

The ample proposition, that hope makes

In all designs begun on earth below,

Fails in the promis'd largeness: checks and disasters
Grow in the veins of actions highest rear'd;

As knots, by the conflux of meeting sap,
Infect the sound pine, and divert his grain
Tortive and errant 2 from his course of growth.
Nor, princes, is it matter new to us,

That we come short of our suppose so far,

That, after seven years' siege, yet Troy walls stand;
Sith every action that hath gone before,
Whereof we have record, trial did draw
Bias and thwart, 3 not answering the aim,
And that unbodied figure of the thought

That gave 't surmised shape. Why then, you princes,
Do you with cheeks abash'd behold our works,

4

And think them shames, which are, indeed, nought else
But the protractive trials of great Jove,

5

To find persistive constancy in men?

The fineness of which metal is not found

In fortune's love; for then, the bold and coward,

The wise and fool, the artist and unread,

8

The hard and soft, seem all affin'd and kin:
But, in the wind and tempest of her frown,
Distinction, with a broad and powerful fan,
Puffing at all, winnows the light away;
And what hath mass, or matter, by itself
Lies rich in virtue, and unmigled. 10

2) errant abirrend, abweichend.

3) trial ist Subject, every action Objekt.

Jedes in der Geschichte verzeichnete Unter

nehmen hat in der Prüfung oder Ausführung eine andre Richtung genommen, als die beabsichtigte gerade Richtung.

*) So die Fol., nur dass sie shame im Singular liest. Die Qs. haben call them shames. 5) Dem protactive ist das persistive begrifflich wie lautlich gegenüber gestellt.

6) So lang das Glück uns wohl will, bewährt sich nicht die Aechtheit des Metalles

menschlicher Standhaftigkeit.

1) affined

= durch verwandtschaftliche Bande verknüpft.

In demselben uneigentlichen

und übertragenen Sinne wie hier gebraucht Sh. das Wort Othello (A. 2, Sc. 3.) if partially affin'd or leagu'd in office.

in the wind and tempest of her frown bildet den Gegensatz zu dem vorhergehenden

in fortune's love.

9) So die Qs.

Die Fol. hat loud.

10) Der Vers ist vollständig, sobald, wie Sh. ohne Zweifel wollte, unmingled viersylbig

=

unmingeled gelesen wird. So ist in Two Gentlemen of Verona (A. 1, Sc. 3.) O how this spring of love resembleth auch resembeleth zu lesen.