She is as far high-soaring o'er thy praises', I charge thee, use her well, even for my charge; DIO. "I charge thee, use her well, even for my charge.” MALONE. She is as far high-soaring o'er thy praises,] So, in The Tempest: 66 she will outstrip all praise-.' STEEVENS. my LUST :] List, I think, is right, though both the old copies read lust. JOHNSON. Lust is inclination, will. HENLEY. So, in Exodus, xv. 9: “I will divide the spoil; my lust shall be satisfied upon them." In many of our ancient writers, lust and list are synonymously employed. So, in Chapman's version of the seventeenth Iliad: Sarpedon, guest and friend 66 "To thee, (and most deservedly) thou flew'st from in his end, "And left'st to all the lust of Greece." "I'll answer to my lust," means—I'll follow my inclination. STEEVENS. Lust was used formerly as synonymous to pleasure. So, in The Rape of Lucrece: 66 66 the eyes of men through loopholes thrust, Gazing upon the Greeks with little lust." MALONE. 3 I tell thee,] Old copies, I'll tell thee; for this emendation I am answerable. The same words occur in the preceding speech of Troilus. MALONE. 66 I'll tell thee." This phraseology (instead of-“ I tell thee") occurs almost too frequently in our author to need exemplification. One instance of it, however, shall be given from King John, Act V. Sc. VI. : This brave shall oft make thee to hide thy head.- [Exeunt TROILUS, CRESSIDA, and DIOMED. PAR. Hark! Hector's trumpet. How have we spent this morning! The prince must think me tardy and remiss, That swore to ride before him to the field. PAR. "Tis Troilus' fault: Come, come, to field with him. DEI. Let us make ready straight *. "I'll tell thee, Hubert, half my power this night 66 Passing these flats are taken by the tide." Again, in the first line of King Henry V.: 66 My lord, I'll tell you, that self bill is urg'd —." Mr. Malone, conceiving this mode of speech to be merely a printer's error, reads, in the former instance. ." I tell thee," though, in the two passages just cited, he retains the ancient, and perhaps the true reading. STEEVENS. 4 Dei. Let us make ready straight, &c.] These five lines are not in the quarto, being probably added at the revision. JOHNSON. To the first of these lines, "Let us make ready straight," is prefixed in the folio, where alone the passage is found, Dio. I suspect these five lines were an injudicious addition by the actors, for the sake of concluding the scene with a couplet; to which (if there be no corruption) they were more attentive than to the country of Diomed, or the particular commission he was entrusted with by the Greeks. The line in question, however, as has been suggested, may belong to Deiphobus. From Æneas's second speech, in p. 366, and the stage-direction in the quarto and folio prefixed to the third scene of this Act, Deiphobus appears to be now on the stage; and Dio. and Dei. might have been easily confounded. As this slight change removes the absurdity, I have adopted it. It was undoubtedly intended by Shakspeare that Diomed should make his exit with Troilus and Cressida. MALONE. But why should Diomed say-Let us make ready straight? Was HE to tend with them on Hector's heels? Certainly not. Dio. has therefore crept in by mistake; the line either is part of Paris's speech, or belongs to Deiphobus, who is in company. As to Diomed, he neither goes along with them, nor has any thing ENE. Yea, with a bridegroom's fresh alacrity, Let us address to tend on Hector's heels: The glory of our Troy doth this day lie SCENE V. [Exeunt. The Grecian Camp. Lists set out. Enter AJAX, armed; AGAMEMNon, Achilles, PATROCLUS, MENELAUS, ULYSSES, NESTOR, and others. AGAM. Here art thou in appointment fresh and Anticipating time with starting courage. AJAX. 6 to get ready:—he is now walking with Troilus and Cressida, towards the gate, on his way to the Grecian camp. RITSON. This last speech cannot possibly belong to Diomede, who was a Grecian, and could not have addressed Paris and Æneas, as if they were going on the same party. This is, in truth, a continuation of the speech of Paris, and the preceding stage direction should run thus: "Exeunt Troilus, Cressida, and Diomed who had the charge of Cressida." M. MASON. 5 - in APPOINTMENT fresh and fair,] Appointment is preparation. So, in Measure for Measure: 66 Therefore your best appointment make with speed." Again, in King Henry V. Part I.: "What well-appointed leader fronts us here?" i. e. what leader well prepared with arms and accoutrements? On the other hand, in Hamlet : STEEVENS. "Unhousell'd, disappointed, unanel'd." MALONE. Out-swell the colick of puff'd Aquilon: Come, stretch thy chest, and let thy eyes spout blood; Thou blow'st for Hector. ULYSS. No trumpet answers. ACHIL. [Trumpet sounds. 'Tis but early days. AGAM. Is not yon Diomed, with Calchas' daughter ? ULYSS. 'Tis he, I ken the manner of his gait; He rises on the toe: that spirit of his In aspiration lifts him from the earth. Enter DIOMED, with CRESSIDA. AGAM. Is this the lady Cressid? Even she. AGAM. Most dearly welcome to the Greeks, sweet lady. NEST. Our general doth salute you with a kiss. ULYSS. Yet is the kindness but particular; "Twere better, she were kiss'd in general. NEST. And very courtly counsel: I'll begin.So much for Nestor. ACHIL. I'll take that winter from your lips, fair lady: Achilles bids you welcome. MEN. I had good argument for kissing once. For thus popp'd Paris in his hardiment; ULYSS. O deadly gall, and theme of all our scorns! For which we lose our heads, to gild his horns. bias cheek] Swelling out like the bias of a bowl. JOHNSON. So, in Vittoria Corombona, or The White Devil, 1612: "Has a most excellent bias —.” The idea is taken from the puffy cheeks of the winds, as repre sented in ancient prints, maps, &c. STEEVENS. PATR. The first was Menelaus' kiss;-this, mine: Patroclus kisses you. MEN. O, this is trim ! PATR. Paris, and I, kiss evermore for him. MEN. I'll have my kiss, sir :-Lady, by your leave. CRES. In kissing, do you render or receive'? PATR. Both take and give 3. CRES. 8 I'll make my match to live 9. The kiss you take is better than you give; Therefore no kiss. MEN. I'll give you boot, I'll give you three for one. CRES. You're an odd man; give even, or give none. MEN. An odd man, lady? every man is odd. CRES. No, Paris is not; for, you know, 'tis true, That you are odd, and he is even with you. MEN. You fillip me o'the head. CRES. No, I'll be sworn. ULYSS. It were no match, your nail against his horn. May I, sweet lady, beg a kiss of you? ČRES. You may. ULYSS. I do desire it. CRES. Why, beg then'. 7 In kissing, do you RENDER, or RECEIVE?] Thus, Bassanio, in The Merchant of Venice, when he kisses Portia : 66 Fair lady, by your leave, "I come by note, to give, and to receive." STEEVENS. 8 Patr. Both take and give.] This speech should rather be given to Menelaus. TYRWHITT. 9 I'll make my match to live,] I will make such bargains as I may live by, such as may bring me profit, therefore will not take a worse kiss than I give. JOHNSON. If I believe this only means-I'll lay my life. TYRWHITT. 1 Why, beg THEN.] For the sake of rhyme we should read: you think kisses worth begging, beg more than one. JOHNSON. |