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Ulys. You shake, my Lord, at something, will you go? Froilus & Cressida.

You will break out.

Engraved in Lorrach to II. Mechel by H. Partout.

Troi. She strokes his checks:
Ulys Come, Come.



The fame. Before Calchas' Tent,


Dio. What are you up here, ho? fpeak.
CAL. [Within.] Who calls?

Dio. Diomed. - Calchas, I think.

your daughter?

CAL. [Within.] She comes to you.


Enter TROILUS and ULYSSES, at a distance; after them THERSITES.

ULYSS. Stand were the torch may not difcover us.

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ULYSS. She will fing any man at firft fight." THER. And any man may fing her, if he can take her cliff; fhe's noted.

9 She will fing any man at first fight.] We now say fight. The meaning is the fame. MALONE.

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8 her cliff; That is, her key. Clef, French. JOHNSON. Cliff, i. e. a mark in mufick at the beginning of the lines of a

Dio. Will you remember?



Remember? yes,

Nay, but do then ;*

And let your mind be coupled with your words. TRO. What fhould fhe remember?

ULYSS. Lift!

CRES. Sweet honey Greek, tempt me no more to folly.

THER. Roguery!

DIO. Nay, then, -


I'll tell you what:

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


CRES. In faith, I cannot: What would you have

me do?


THER. A juggling trick, to be fecretly open. DIO. What did you fwear you would beftow

on me?

GRES. 1 pr'ythee, do not hold me to mine oath; Bid me do any thing but that, fweet Greek.

fong; and is the indication of the pitch, and bespeaks what kind of voice as bafe, tenour or treble, it is proper for.

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

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

that's a bird

"Whom art had never taught cliffs, moods, or notes.


Nay, but do then: ] I fuppofe, for the fake of metre, the word Nay, fhould be omitted. Yet fuch is the irregularity or mutilation of this dialogue, that it is not always eafy to determine how much of it was meant for profe or verfe. STEEVENS.

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


TRO. Thy better must.


Hark, one word in your ear.

TRO. O plague and madness!

ULYSS. You are mov'd, prince; let us depart, I


pray you,

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!


Now, my good lord, go off:


You flow to great deftruction; come, my lord. TRO. I pr'ythee, ftay.


You have not patience; come.

9 You flow to great deftruction;] means, I think, your impetuofity is fuch as muft neceffarily expofe you to imminent danger.

The folio has:

You flow to great diftra&tion:

The quarto:

You flow to great deftru&tion;



I would adhere to the old reading: You flow to great deftrudion, or diftraction, means the tide of your imagination will hurry you either to noble death from the hand of Diomed, or to the height of madness from the predominance of your own paffions.


Poffibly we ought to read deftruction, as Ulyffes has told Troilus juft before:


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

TRO. I pray you, ftay; by hell, and all hell's tor

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I will be patient.


Guardian! why, Greek!

DIO. Pho, pho! adieu; you palter.9

CRES. In faith, I do not; come hither once again. ULYSS. You shake, my lord, at something; will

you go?

You will break out.



She ftrokes his cheek!

Come, come.

TRO. Nay, ftay; by Jove, I will not speak a


There is between my will and all offences

A guard of patience:-ftay a little while.


THER. How the devil luxury, with his fat rump, and potatoe finger, tickles thefe together! Fry, lechery, fry!


DIO. But will you then?

palter.] i. e. shuffle, beliave with duplicity. So, in Antony and Cleopatra:

"And palter in the fhifts of lownefs." STEEVENS.

How the devil luxury, with his fat rump, and potatoe finger, tickles thefe together!] Potatoes were anciently regarded as provocatives. See Mr. Collins's note, which, on account of its length, is given at the end of the play. STEEVENS.

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