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TROILUS AND CRESSIDA. Tro. And I'll grow friend with danger. Wear this
Tro. I will corrupt the Grecian sentinels,
O heavens !-be true, again?
flowing, And swelling o'er with arts and exercise; How novelty may move, and parts with person,3 Alas, a kind of godly jealousy (Which, I beseech you, call a virtuous sin,) Makes me afeard.
() heavens! you love me not. Tro. Die I a villain then! In this I do not call your faith in question, So mainly as my merit: I cannot sing, Nor heel the high lavolt, nor sweeten talk, Nor play at subtle gaines; fair virtues all, To which the Grecians are most prompt and pregnant:
2 They're loving, &c.] This line is not in the quarto. The folio reads Their loving. This slight correction I proposed some time ago, and I have lately perceived it was made by Mr. Pope. It also has gift of nature. That emendation is Sir T. Hanmer's. In the preceding line “ full of quality," means, I think, absolute, perfect, in their dispositions. So, in Pericles, Prince of Tyre:
“ So buxom, blithe, and full of face,
“ As heaven had lent her all his grace.” Malone. The irregularity of metre in this speech, (unless the epithetloving be considered as an interpolation,) together with the ob. scure pbrase-full of quality, induce me to suspect the loss of some words which are now irretrievable. Full of quality howe. ver, may mean highly accomplished. So, in Chapman's version of the fourteenth Iliad:
"_ Besides all this, he was well qualitied." The construction, indeed, may be of full quality. Thus, in the same translator's version of the third Iliad, « full of size” is apparently used for- of full size. Steevens.
3 with person] Thus the folio. The quarto reads-with portion. Steevens.
4 --- the high lavolt,] The lavolto was a dance. See Vol. IX, p. 284, n. 5. Steevens.
But I can tell, that in each grace of these
Cres. Do you think, I will ?
Æne. [within] Nay, good my lord, –
Come, kiss; and let us part. Par. [within] Brother Troilus!
... Good brother, come you hither; And bring Æneas, and the Grecian, with you.
Cres. My lord, will you be true?
Tro. Who I ? alas, it is my vice, my fault:
5 There lurks a still and dumb-discoursive devil,
Tnat tempts inost cunningly:) This passage may chance to remind the reader of another in Othelio:
“ For here's a young and sweating devil here,
“ That commonly rebels." Steevens. 6 — catch mere simplicity;] The meaning, I think, is, while others, by their art, gain high estimation, I, by honesty, obtain a plain simple approbation. Fohnson. 1- the moral of my wit
Is-plain, and true,] Moral, in this instance, has the same meaning as in Much Alo about Nothing, Act III, sc. iv:
“Benedictus! why Benedictus? you have some moral in this
Again, in The Taming of the Shrew, Act IV, sc. iv:
" he has left me here behind to expound the meaning or moral of his signs and tokens.” Tollet.
And, by the way, possess thee what she is. 9
Fair lady Cressid,
Tro. Grecian, thou dost not use me courteously,
8 At the port,] The port is the gate. So, in King Henry IV, Part II:
“That keeps the ports of slumber open wide.” Steevens. 9 possess thee what she is.] I will make thee fully understand. This sense of the word possess is frequent in our author.
Fohnson. So, in The Merchant of Venice:
• Is he yet possessod
“How much you would?” Steevens. 1 To shame the zeal of my petition to thee,
In praising her:] [old copies—the seal ] To shame the seal of a petition is nonsense. Shakspeare wrote:
To shame the zeal and the sense is this: Grecian, you use me discourteously; you see I am a passionate lover by my petition to you; and therefore you should not shame the zeal of it, by promising to do what I require of you, for the sake of her beauty: when, if you had good manners, or a sense of a lover's delicacy, you would have promised to do it in compassion to his pangs and sufferings
Warburton. Troilus, I suppose, means to say, that Diomede does not use him courteousli by addressing himself to Cressida, and assuring her that she shall be well treated for her own sake, and on account of her singular beauty, instead of making a direct answer to that warın request which Troilus had just made to him to o entreat her fair.” The subsequent words fully support this interpretation: “I charge thee, use her well, even for my charge.”
Malone. 2 She is as far high-soaring o'er thy praises,] So, in The Tempest:
" she will outstrip all praise - Steevens.
I charge thee, use her well, even for my charge;
O, be not mov’d, prince Troilus :
Tro. Come, to the port.-I'll tell thee,4 Diomed,
[Exeunt Tro. CRES. and Dio. Trumpet heard. Par. Hark! Hector's trumpet.
3 — 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
Steevens. Lust was used formerly as synonymous to pleasure. So, in The Rape of Lucrece:
" the eyes of men through loopholes thrust,
“Gazing upon the Greeks with little lust." Malone. 4- 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:
“I'll tell thee, Hubert, half my power this night
“Passing these fiats are taken by the tide.” Again, in the first line of King Henry V :
“My lord, I'll tell you, that self bill is urg'd ." Mr. Malone, conceiving this moile 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.
How have we spent this morning!
Æne. Yea, with a bridegroom's fresh alacrity,
SCENE V. The Grecian Camp. Lista set out. Enter AJAX, armed; AGAMEMNON, ACHILLES, PATRO
CLUS, MENELAUS, ULYSSES, NESTOR, and Others.
Agam. Here art thou in appointment fresh and fair, Anticipating time with starting courage.
5 Dei. Let us make ready straight. &c. 7 These five lines are not in the quarto, being probably added at the revision. Johnson.
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.
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 first speech, in p. 132, 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 ea. sily 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.
6 in appointment fresh and fair,] Appointment is prepara. tion. So, in Measure for Measure:
“Therefore your best appointment make with speed." Again, in King Henry IV, Part 1:
" What well-appointed leader fronts us here ?"