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HECT.

I trouble

you. AJAX. No, not a whit. ULYSS. Here comes himself to guide you.

Enter ACHILLES.

ACHIL. Welcome, brave Hector; welcome,

princes all. AGAM. So now, fair prince of Troy, I bid good

night. Ajax commands the guard to tend on you. HECT. Thanks, and good night, to the Greeks'

general. Men. Good night, my lord. НЕСТ.

Good night, sweet Menelaus.” Ther. Sweet draught :: Sweet, quoth ’a! sweet sink, sweet sewer.

ACHIL. Good night,
And welcome, both to those that go, or tarry.
AGAM. Good night.

[Exeunt AGAMEMNON and MENELAUS. ACHIL. Old Nestor tarries; and you too, Diomed, Keep Hector company an hour or two.

Dio. I cannot, lord ; I have important business, The tide whereof is now.-Good night, great

Hector.
HECT: Give me your hand.

- sweet Menelaus.] Old copy, redundantly, sweet lord Menelaus. STEEVENS.

3 Sweet draught:] Draught is the old word for forica. It is used in the vulgar translation of the Bible. MALONE.

So, in Holinshed, and a thousand other places. STEEVENS.

ULYSS.
Follow his torch, he

goes To Calchas' tent; I'll keep you company.

[ Aside to Troilus. Tro. Sweet sir, you honour me. НЕСТ.

And so good night. [Exit DIOMED; Ulysses and TROILUS

following: Achil. Come, come, enter my tent. [Exeunt ACHILLES, HECTOR, AJAX, and

NESTOR. THER. That same Diomed's a false-hearted rogue, a most unjust knave; I will no more trust him when he leers, than I will a serpent when he hisses : he will spend his mouth, and promise, like Brabler the hound;+ but when he performs, astronomers foretell it; it is prodigious, there will come some change; the sun borrows of the moon, when Diomed keeps his word. I will rather leave to see Hector, than not to dog him : they say, he keeps a Trojan drab, and uses the traitor Calchas' tent: I'll after.—Nothing but lechery! all incontinent varlets!

[Exit.

5

he will spend his mouth, and promise, like Brabler the hound ;] If a hound gives his mouth, and is not upon the scent of the game, he is by sportsmen called a babler or brabler. The proverb says—“ Brabling curs never want sore ears.”'

ANONYMOUS. prodigious,] i. e. portentous, ominous. So, in King Richard fu: Prodigious, and untimely brought to light.”

STEEVENS. they say, he keeps a Trojan drab,] This character of Diómed is likewise taken from Lydgate. STEEVENS.

6

SCENE II.

The same. Before Calchas' Tent.

Enter DIOMEDES.

Dro. What are you up here, ho ? speak.
Cal. [Within.] Who calls ?

Dio. Diomed.Calchas, I think. Where's your daughter

CAL. [Within.] She comes to you.

Enter TROILUS and ULYSSES, at a distance; after

them THERSITES.

Ulyss. Stand wherethe torch may not discover us.

Enter CRESSIDA.

with you.

TRO. Cressid come forth to him!
Dro.

How now, my charge? CREs. Now, my sweet guardian !-Hark! a word

[Whispers. TRO. Yea, so familiar! Ulyss. She will sing any man at first sight.?

THER. And any man may sing her, if he can take her cliff;8 she's noted.

. She will sing any man at first sight.] We now say-sing at sight. The meaning is the same. MALONE. her cliff;] That is, her key. Clef, French.

JOHNSON, VOL. XV.

2 F

8

Dio. Will you remember?
CRES.

Remember? yes. Dio.

Nay, but do then;" And let your mind be coupled with your words.

TRO. What should she remember?
Ulyss. List!
Cres. Sweet honey Greek, tempt me no more

to folly.
Ther. Roguery!
Dio. Nay, then,-
CRES.

I'll tell

tell you what: Dio. Pho! pho! come, tell a pin : You are for

sworn. CREs. In faith, I cannot: What would

you

have

me do?

THER A juggling trick, to be-secretly open. Dio. What did you swear you would bestow on

me ?

Cres. I pr’ythee, do not hold me to mine oath; Bid me do any thing but that, sweet Greek.

Cliff, i. e. a mark in musick at the beginning of the lines of a song , and is the indication of the pitch, and bespeaks what kind of voice-as base, tenour, or treble, it is proper for.

SIR J. HAWKINS. So, in The Chances, by Beaumont and Fletcher, where Antonio, employing musical terms, says:

Will none but my C. cliff serve your turn?” Again, in The Lover's Melancholy, 1629 :

that's a bird “ Whom art had never taught cliffs, moods, or notes."

STEEVENS 9 Nay, but do then ;] I suppose, for the sake of metre, the word— Nay, should be omitted. Yet such is the irregularity or mutilation of this dialogue, that it is not always easy to determine how much of it was meant for prose or verse.

STEEVENS.

fool no

Dio. Good night.
TRO.

Hold, patience!
ULYSS.

How now, Trojan?
CRES.

Diomed, Dio. No, no, good night : I'll be your

more. Tro. Thy better must. CRESS.

Hark! one word in your ear,
Tro. O plague and madness!
Ulyss. You are mov'd, prince; let us depart, I

pray you,
Lest your displeasure should enlarge itself
To wrathful terms: this place is dangerous ;
The time right deadly; I beseech you, go.

Tro. Behold, I pray you!
ULYSS.

Now, good my lord, go off: You flow to great destruction ;' come, my lord.

Tro. I pr’ythee, stay.
ULYSS.

You have not patience; come.

'You flow to great destruction ; Means, I think, your impetuosity is such as must necessarily expose you to imminent danger. MALONE. The folio has :

You flow to great distraction ;The quarto:

You

flow to great destruction ;- JOHNSON. I would adhere to the old reading: You flow to great destruction, or distraction, means the tide of your imagination will hurry you either to noble death from the hand of Diomedes, or to the height of madness from the predominance of your own passions. Steevens.

Possibly we ought to read destruction, as Ulysses has told Troilus just before:

this place is dangerous ;
The time right deadly.” M. MASON.

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