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Cres. I true! how now? what wicked deem 6 is this?
Tro. Nay, we must use expostulation kindly,
Cres. O, you shall be expos’d, my lord, to dangers
this sleeve. Cres. And you this glove. When shall I see you?
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,
6 Deem (a word now obsolete) signifies opinion, surmise. ? That is, I will challenge death himself in defence of thy fidelity.
8 In Histriomastix, or the Player Whipt, a Comedy, 1610, a circumstance of a similar kind is ridiculed, in a mock interlude wherein Troilus and Cressida are the speakers. I cannot but think that it is the elder drama by Decker and Chettle, that is the object of this satirical allusion, and not Shakspeare's play, which was probably not written when Histriomastix appeared, for Queen Elizabeth is complimented under the character of Astrea in the last act of that piece, and is spoken of as then living.
i. e. highly accomplished: quality, like condition, is applied to manners as well as dispositions. Thus Chapman in his version of the fourteenth Iliad :
• Besides all this, he was well-qualitied.
Alas, a kind of godly jealousy (Which I beseech
call a virtuous sin) Makes me afeard. Cres.
O 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 10, nor sweeten talk, Nor play at subtle games; fair virtues all, To which the Grecians are most prompt and pregnant: But I can tell, that in each grace of these There lurks a still and dumb-discoursive devil, That tempts most cunningly: but be not tempted. Cres. Do
think I will ?
Æne. [Within.] Nay, good my lord,-
Come, kiss; and let us part.
Good brother, come you hither ;
be true? Tro. Who I ? alas, it is
fault: While others fish with craft for great opinion, I with great truth catch mere simplicity; Whilst some with cunning gild their copper crowns, With truth and plainness I do wear mine bare. Fear not my truth ; the moral of
wit 11 Is-plain, and true,—there's all the reach of it.
10 The lavolta was a dance. See King Henry V. Act iii. Sc. 5,note 4, p. 452.
11. The moral of my wit’ is the meaning of it. Thus in The Taming of the Shrew, Act iv. Sc. 4:- he has left me behind to expound the meaning or moral of his signs and tokens.' See vol. ii. p. 176, note 9.
Enter Æneas, PARIS, ANTENOR, DeiPHOBUS,
and DIOMEDES. Welcome, Sir Diomed! here is the lady, Which for Antenor we deliver
of my sword,
Fair lady Cressid,
your cheek, Pleads
usage; and to Diomed You shall be mistress, and command him wholly.
Tro. Grecian, thou dost not use me courteously, To shame the zeal of my petition to thee, In praising her 14 : I tell thee, lord of Greece, She is as far high-soaring o'er thy praises, As thou unworthy to be call’d her servant. I charge thee, use her well, even for my charge; For, by the dreadful Pluto, if thou dost not, Though the great bulk Achilles be thy guard, I'll cut thy throat. Dio.
0, be not mov’d, Prince Troilus; Let me be privileg’d by my place, and message, To be a speaker free; when I am hence,
12 i. e. the gate.
14 Troilus apparently means to say, that Diomed does not use him courteously 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 warm request which Troilus had just made to him to “ entreat her fair. The subsequent words justify this interpretation :
I charge thee, use her well, even for my charge.'
I'll answer to my lust 15: And know you, lord,
Tro. Come, to the port.—I tell thee, Diomed,
[Trumpet heard. Par. Hark! Hector's trumpet.
Æne. 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.
Æne. 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, On his fair worth and single chivalry.
SCENE V. The Grecian Camp. Lists set out. Enter AJAX, armed; AGAMEMNON, ACHILLES,
PATROCLUS, MENELAUS, ULYSSES, NESTOR, and Others. Agam. Here art thou in appointment1 fresh and
fair, Anticipating time with starting courage. Give with thy trumpet a loud note to Troy,
15 i. e. I'll answer to my will or pleasure, according to my inclination. ' i. e. preparation. So in Measure for Measure:
• Therefore your best appointment make with speed.'
Thou dreadful Ajax ; that the appalled air
Ajax. Thou, trumpet, there's my purse.
Ulyss. No trumpet answers.
"Tis but early days. Agam. Is not yon Diomed, with Calchas' daughter!
Ulyss. 'Tis he, I ken the manner of his gait;
Enter DIOMED, with CRESSIDA.
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.-
lady: Achilles bids
welcome. Men. I had good argument for kissing once.
2.i. e. swelling out like the bias of a bowl. So in Vittoria Corombona, 1612:-
Faith, his cheek Has a most excellent bias.' The idea is taken from the puffy cheeks of the winds as represented in old prints and maps.