That we have stolen what we do fear to keep! Pri. What noise? what shriek is this? Tro. "Tis our mad sister, I do know her voice, Cas. [Within.] Cry, Trojans! Hect. It is Cassandra. Enter CASSANDRA, raving. Cas. Cry, Trojans, cry! lend me ten thousand eyes, And I will fill them with prophetic tears. Hect. Peace, sister, peace. Cas. Virgins and boys, mid-age and wrinkled elders,1 Soft infancy, that nothing canst but cry, strains Of divination in our sister, work Tro. [Exit. high Why, brother Hector, Par. Else might the world convinces of levity All fears attending on so dire a project. For what, alas! can these my single arms? Pri. Par. Sir, I propose not merely to myself 1 The quarto thus. The folio reads wrinkled old," which Ritson thinks should be wrinkled eld. Shak. speare has idle-headed eld,' and 'palsied eld,' in other places. 2 See p. 157, note 5. This line brings to mind one in the second book of the Eneid : 'Trojaque nunc stares, Priamique arx alta maneres.' The pleasures such a beauty brings with it; On terms of base compulsion? Can it be, Should once set footing in your generous bosoms? Hect. Paris, and Troilus, you have both said well: The reasons you allege, do more conduce Twixt right and wrong; For pleasure, and revenge, For 'tis a cause that hath no mean dependance Tro. Why, there you touch'd the life of our Were it not glory that we more affected A spur to valiant and magnanimous deeds: I am yours, 10 We may be amused at Hector's mention of Aristotle, but Let it be remembered (says Steevens) as often as Shakspeare's anachronisms occur, that errors in computing time were very frequent in those ancient romances which seem to have formed the greater part of his library. These old writers perhaps did not think an attention to chronology any part of the duty of a wri 3 Hecuba, when pregnant with Paris, dreamed sheter of works of fiction. Indeed one of the most fertile should be delivered of a burning torch.-Eneid, x. 705. 4 Corrupt, change to a worse state. 5 i. e. to make it graceful, to grace it, to set it off. 6 To convince and to convict were synonymous with our ancestors. The word was also used for to overcome, and will generally be found in Shakspeare with that signification. See Baret's Alvearie, C. 1244. 7 Consent is agreement, accord, approbation. 8 Rape and ravishment anciently signified only seizing or carrying away. Indeed the Rape of Helen is merely Raptus Helena, without any idea of personal violence. 9 Gloz'd here means commented. See King Henry V. Act i. Sc. 2. and distinguished writers of the present age, in his ad. mirable historical novels, blends circumstances of varitogether who were not contemporaries; yet his lan ous periods, and exhibits persons on the stage of action guage, manners, and costume are in admirable keeping 11 Through. 12 Incline to, as a question of honour. 13 The hope of being registered as a saint is rather out of its place at so early a period as this of the Trojan war,' says Steevens. It is not so meant, the expression must not be taken literay; it merely means be inminibus' is rendered by old translators, 'to be cano scribed among the heroes or demigods.' 'Ascribi nunized, or made a saint.' SCENE III. The Grecian Camp. Before Achilles' Tent. Enter THERSITES. Ther. How now, Thersites? what, lost in the labyrinth of thy fury? Shall the elephant Ajax carry it thus? he beats me, and I rail at him: O worthy satisfaction! 'would, it were otherwise; that I could beat him, whilst he railed at me: 'Sfoot, I'll learn to conjure and raise devils, but I'll see some issue of my spiteful execrations. Then there's Achilles, -a rare engineer. If Troy be not taken till these two undermine it, the walls will stand till they fall of themselves. O thou great thunder-darter of Olympus, forget that thou art Jove the king of gods; and, Mercury, lose all the serpentine craft othy Caduceus ;3 if ye take not that little little less-than-little wit from them that they have! which short-armed ignorance itself knows is so abundant scarce, it will not in circumvention deliver a fly from a spider, without drawing their massy irons, and cutting the web. After this, the vengeance on the whole camp! or, rather, the bone-ache! for that, methinks, is the curse dependant on those that war for a placket. I have said my prayers; and devil, envy, say Amen. What, ho! my lord Achilles ! Enter PATROCLUS. Patr. Who's there? Thersites? Good Thersites, come in and rail. Ther. If I could have remembered a gilt counterfeit, thou wouldst not have slipped out of my contemplation: but it is no matter; Thyself upon thyself! The common curse of mankind, folly and ignorance, be thine in great revenue! heaven bless thee from a tutor, and discipline come not near thee! Let thy blood be thy direction till thy death! then if she, that lays thee out, says-thou art a fair corse, I'll be sworn and sworn upon't, she never shrouded any but lazars. Amen.-Where's Achilles? Patr. What, art thou devout? wast thou in prayer? Ther. Ay; The heavens hear me ! Achil. Who's there? Patr. Thersites, my lord. Achil. Where, where ?-Art thou come? Why, my cheese, my digestion, why hast thou not served thyself in to my table so many meals? Come; what's Agamemnon? Ther. Thy commander, Achilles :-Then tell me, Patroclus, what's Achilles? Patr. Thy lord, Thersites; Then tell me, I pray thee, what's thyself? Ther. Thy knower, Patroclus; Then tell me, Patroclus, what art thou? Patr. Thou mayest tell, that knowest, 1 Blustering. Ther. Agamemnon is a fool; Achilles is a fool: Thersites is a fool; and, as aforesaid, Patroclus is a fool. Achil. Derive this; come. Ther. Agamemnon is a fool to offer to command Achilles; Achilles is a fool to be commanded of Agamemnon; Thersites is a fool to serve such a fool; and Patroclus is a fool positive. Patr. Why am I a fool? Ther. Make that demand of the prover.-It sut fices me, thou art. Look you, who comes here! Enter AGAMEMNON, ULYSSES, NESTOR, DIO MEDES, and AJAX. Achil. Patroclus, I'll speak with nobody :-Come in with me, Thersites. [Exit. Ther. Here is such patchery, such juggling, and such knavery! all the argument is, a cuckold and a whore; a good quarrel, to draw emulous" factions, and bleed to death upon! Now the dry serpigo1o on the subject! and war, and lechery, confound all! Agam. Where is Achilles? [Exit. Patr. Within his tent: but ill dispos'd, my lord. Agam. Let it be known to him, that we are here. He shent11 our messengers; and we lay by Our appertainments, visiting of him: Let him be told so; lest, perchance, he think, We dare not move the question of our place, Or know not what we are. Patr. I shall say so to him. [Exit. Ulyss. We saw him at the opening of his tent; He is not sick. Ajaz. Yes, lion-sick, sick of proud heart: you may call it melancholy, if you will favour the man; but, by my head, 'tis pride: But why, why? let him show us a cause.-A word, my lord. [Takes AGAMEMNON aside. Nest. What moves Ajax thus to bay at him? Nest. Then will Ajax lack matter, if he have lost his argument. Ulyss. No; you see he is his argument, that has his argument; Achilles. Nest. All the better; their fraction is more our wish, than their faction: But it was a strong com posure,12 a fool could disunite. Ulyss. The amity that wisdom knits not, folly may easily untie. Here comes Patroclus. Re-enter PATROCLUS. Nest. No Achilles with him. Ulyss. The elephant hath joints, but none for courtesy: his legs are legs for necessity, not for flexure.13 Greene's Thieves falling out, true Men come by their Goods. 6 Thy blood means thy passions, thy natural propen 2 Emulation is here put for enrious rivalry, factious contention. It is generally used by Shakspeare in this sense the reason will appear from the following defi-sities. nition :-To have envie to some man, to be angry with 7 The four next speeches are not in the quarto. another man which hath that which we covet to have, 8 The grammatical allusion is still pursued, the first to envy at that which another man hath, to studie, in-degree of comparison is here alluded to. devour, and travaile to do as well as another: emulatio is such kinde of envy.' 3 The ward of Mercury is wreathed with serpents. So Martial, lib. vii. epig. lxxiv. : Cyllenes cœlique decus! facunde minister 4 In the quarto the Neapolitan bone-ache!' 5 To understand this joke it should be known that counterfeit and slip were synonymous:- And therefore he went out and got him certain slips, which are counterfeit pieces of money, being brasse, and covered over with silver, which the common people call slips.' Patr. Achilles bids me say-he is much sorry, If any thing more than your sport and pleasure Did move your greatness, and this noble state' To call upon him; he hopes, it is no other, But, for your health and your digestion sake, An after-dinner's breath.2 Agam. Here tend the savage strangeness he puts on; Patr. I shall; and bring his answer presently. [Exit. Agam. In second voice we'll not be satisfied, We come to speak with him.-Ulysses, enter. [Exit ULYSSES. Ajax. What is he more than another? thinks himself a better man than I am? Agam. No question. Ajax. Will you subscribe his thought, and say --he is? Agam. No, noble Ajax; you are as strong, as valiant, as wise, no less noble, much more gentle, and altogether more tractable. Ajar. Why should a man be proud? How doth pride grow? I know not what pride is. Agam. Your mind's the clearer, Ajax, and your virtues the fairer. He that is proud, eats up himself: pride is his own glass, his own trumpet, his own chronicle: and whatever praises itself but in the deed, devours the deed in the praise.? 1 This stately train of attending nobles. 2 Breath for breathing; i. e. exercise, relaxation. 'It is the breathing time of the day with me.' 3 i. e. attend upon the brutish distant arrogance or rude haughtiness he assumes. Thus in Proverbs, xxi. 8: The way of man is froward and strange.' 4 To underwrite is synonymous with to subscribe, which is used by Shakspeare in several places for to yield, to submit. 5 Fitful lunacies. The quarto reads: His course and time, his ebbs and flows, and if The passage and whole stream of his commencement Rode on his tide.' 6 Allowance is approbation. 7 We have this sentiment before in Act i. Sc. 3:The worthiness of praise disdains his worth, If that the prais'd himself the praise bring forth.' Malone has cited a passage from Coriolanus in both instances, which has nothing in it of similar sentiment, and which he could neither comprehend nor explain. See Coriolanus, Act iv. Sc. 7. 8 See Goldsmith's History of the Earth and Animated Nature. ness; And speaks not to himself, but with a pride Agam. Ulyss. O Agamemnon, let it not be so! Of that we hold an idol more than he? That were to enlard his fat-already pride; Aside. Ajax. If I go to him, with my arm'd fist I'll Over the face. pash him Agam. O, no, you shall not go. Ajar. An he be proud with me, I'll pheeze1 his pride: Let me go to him. Ulyss. Not for the worth that hangs upon our 13 Scyphus ei impactus est. Thomson. Baret. 'He was pashed over the pate with a pot.' The word is used twice by Massinger in his Virgin Martyr; and Mr. Gifford has adduced an instance from Dryden; he justly observes, it is to be regretted that the word is now obsolete, as we have none that can ade quately supply its place. To dash signifying to throw one thing with violence against another; to pash is to strike a thing with such force as to crush it to pieces. 11 See note on the Induction to the Taming of the Shrew. 15 Not for the value of that for which we are fighting [Aside. I Ajax. I'll knead him, I will make him supple:Nest. He's not yet thorough warm: force him with praises: Pour in, pour in; his ambition is dry. [Aside. Here is a man-But 'tis before his face; Nest. Wherefore should you so? He is not emulous, as Achilles is. Ulyss. Know the whole world, he is as valiant. Ajax. A whoreson dog, that shall palter thus with us! Ulyss. What a vice If he were proud? Dio. Or covetous of praise? Ay, or surly borne ? Praise him that got thee, she that gave thee suck: But he that disciplin'd thy arms to fight, To sinewy Ajax. I will not praise thy wisdom, He must, he is, he cannot but be wise ;- As green as Ajax', and your brain so temper'd, Ajax. Shall I call you father? Nest. Ay, my good son. Dio. Be rul'd by him, lord Ajax. Ulyss. There is no tarrying here; the hart Achilles Keeps thicket. Please it our great general To call together all his state of war; Fresh kings are come to Troy: To-morrow, We must with all our main of power stand fast: 1 There is a curious collection of Epigrams, Satires, &c. printed in 1600, with this quaint title :- The Let ting of Humours Blood in the Head Vaine. A small reimpression was made at Edinburgh in 1815, with a preface and notes by Sir Walter Scott. 2 Force him, that is stuff him: farcir, Fr. In another place of this play we have malice forced with wit. 3 See the preceding scene. 4 To palter is to shuffle, equivocate. 5 The quarto reads :-- 'Thrice fam'd beyond all thy erudition." 6 i. e. yield his titles, his celebrity for strength. See Act i. Sc. 2. 7 A bourn is a boundary, and sometimes a rivulet, W SCENE I. Troy. A Room in Priam's Palace. Enter PANDARUS and a Servant. Pan. Friend! you! pray you, a word: Do not you follow the young lord Paris? Serv. Ay, sir, when he goes before me. Pan. You do depend upon a noble gentleman; must needs praise him. Serv. The lord be praised! Pan. You know me, do you not? Serv. 'Faith, sir, superficially. Pan. Friend, know me better; I am the Lord Pandarus. Serv. I hope, I shall know your honour better." Pan. I do desire it. Serv. You are in the state of grace. [Music within. Pan. Grace! not so, friend! honour and lordship are my titles:-What music is this? Serv. I do but partly know, sir; it is music in parts. Pan. Know you the musicians? Serv. Wholly, sir. Pan. Who play they to? Serv. To the hearers, sir. Pan. At whose pleasure, friend? Serv. At mine, sir, and theirs that love music. Pan. Command, I mean, friend. Serv. Who shall I command, sir? Pan. Friend, we understand not one another; I am too courtly, and thou art too cunning: At whose request do these men play? Serv. That's to't, indeed, sir: Marry, sir, at the request of Paris, my lord, who is there in person; with him, the mortal Venus, the heart-blood of beauty, love's invisible soul, Pan. Who, my cousin Cressida? Serv. No, sir, Helen: Could you not find out that by her attributes? Pan. It should seem, fellow, that thou hast not seen the lady Cressida. I come to speak with Paris from the Prince Troilus: I will make a complimental assault upon him, for my business seeths. Serv. Sodden business! there's a stewed phrase, indeed! Enter PARIS and HELEN, attended. Pan. Fair be to you, my lord, and to all this fair company! fair desires, in all fair measure, fairly guide them! especially to you, fair queen! fair thoughts be your fair pillow! Helen. Dear lord, you are full of fair words. Pan. You speak your fair pleasure, sweet queen.Fair prince, here is good broken music. Par. You have broke it, cousin: and, by my life, you shall make it whole again; you shall piece it out with a piece of your performance :-Nell, he is full of harmony. Pan. Truly, lady, no. dividing one place from another. As in the line of the old ballad Edgar sings in Lear, Act iii. Sc. 6: Come o'er the bourn, Bessy, to me.' 8 Shakspeare probably had a custom prevalent about his own time in his thoughts. Ben Jonson had many who called themselves his sons. Cotton dedicates his book on Angling to his father Walton; and Ashmole, in his Diary observes, April 3, Mr. William Backhouse of Swallowfield, in com. Berks, caused me to call him father thenceforward.' 9 The servant means to quibble. He hopes Pandarus will become a better man than he is at present. In his next speech he chooses to understand Pandarus as if he had said he wished to grow better; and hence the servant affirms that he is in the state of grace. Helen. O, sir, Pan. Rude, in sooth; in good sooth, very rude. Par. Well said, my lord! well, you say so in fits.1 Pan. I have business to my lord, dear queen:- Pan. Well, sweet queen, you are pleasant with me. But (marry) thus, my lord,-My dear lord, and most esteemed friend, your brother TroilusHelen. My Lord Pandarus; honey-sweet lord,Pan. Go to, sweet queen, go to:-commends himself most affectionately to you. Helen. You shall not bob us out of our melody; Helen. And to make a sweet lady sad, is a sour offence. Pan. Nay, that shall not serve your turn; that shall it not, in truth, la. Nay, I care not for such words; no, no.-And, my lord, he desires you, nat, if the king call for him at supper, you will make his excuse. Helen. My Lord Pandarus, Pan. What says my sweet queen, my very very sweet queen? Par. What exploit's in hand? where sups he to-night? Helen. Nay, but my lord, Pan. What says my sweet queen?-My cousin will fall out with you. You must not know where he sups.' Par. I'll lay my life, with my disposer Cressida. Pan. No, no, no such matter, you are wide; come, your disposer is sick. Par. Well, I'll make excuse. Pan. Is this the generation of love? hot blood, hot thoughts, and hot deeds?-Why, they are vipers: Is love a generation of vipers? Sweet lord, who's a-field to-day? all the gallantry of Troy: I would fain have armed Par. Hector, Deiphobus, Helenus, Antenor, and to-night, but my Nell would not have it so. How chance my brother Troilus went not? Helen. He hangs the lip at something;-you know all, Lord Pandarus. how they sped to-day.-You'll remember your broPan. Not I, honey-sweet queen.-I long to hear ther's excuse? Par. To a hair. Pan. Farewell, sweet queen. Helen. Commend me to your niece. [Exit. [A Retreat sounded. Par. They are come from field; let us to Priam's hall, To greet the warriors. Sweet Helen, I must woo you Helen. "Twill make us proud to be his servant, Yea, what he shall receive of us in duty, Pan. Ay, good my lord. Why should you say- Gives us more palm in beauty than we have; Cressida? no, your poor disposer's sick. Par. I spy. Pan. You spy! what do you spy ?-Come, give me an instrument.-Now, sweet queen. Helen. Why, this is kindly done. Pan. My niece is horribly in love with a thing you have, sweet queen. Helen. She shall have it, my lord, if it be not my Lord Paris. Pan. He! no, she'll none of him: they two are twain. Helen. Falling in, after falling out, may make them three. Pan. Come, come, I'll hear no more of this; I'll sing you a song now. Helen. Ay, ay, pr'ythee now. By my troth, sweet lord, thou hast a fine forehead. Pan. Ay, you may, you may. Helen. Let thy song be love; this love will undo us all. O, Cupid, Cupid, Cupid! Pan. Love! ay, that it shall, i' faith. Yea, overshines ourself. Par. Sweet, above thought I love thee. [Exeunt. SCENE II. The same. Pandarus' Orchard. Enter PANDARUS and a Servant, meeting. Pan. How now? where's thy master? at my cousin Cressida's ? Serv. No, sir; he stays for you to conduct him Pan. O, here he comes.-How now, how now? Staying for waftage. O, be thou my Charon, Propos'd for the deserver! O gentle Pandarus, Par. Ay, good now, love, love, nothing but love. And fly with me to Cressid! Love, love, nothing but love, still more! Shoots buck and doe: But tickles still the sore. These lovers cry-Oh! ho! they die! Yet that which seems the wound to kill, Pan. Walk here i' the orchard, I'll bring her That it enchants my sense; What will it be, I fear it much; and I do fear besides, 1 A quibble is intended. A fit was a part or division deposer instead of disposer. Helen, he thinks, may adof a song or tune. The equivoque lies between fits, dress herself to Pandarus; and by her deposer, mean starts, or sudden impulses, and fits in its musical ac-that Cressida had deposed her in the affections of Troiceptation. 2 And, my lord,' &c. Ithink with Johnson, that the speech of Pandarus should begin here; and that the former part should be added to that of Helen. 3 You must not know where he sups.' These words in the old copies are erroneously given to Helen. 4 Steevens would give this speech to Helen, and read lus. Disposer appears to have been an equivalent term anciently for steward, or manager. If the speech is to be attributed to Helen, she may mean to call Cressid her hand-maid. |