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Tro. Come, to the port.—I'll tell thee, Diomed, This brave shall oft make thee to hide thy head, Lady, give me your hand; and, as we walk, To our own felves bend we our needful talk. [Exeunt Tronlus, CRESSIDA, and Diomed.

[Trumpet beard. Par. Hark! Hector's trumpet.

ÆNE. How have we spent this morning! The prince must think me tardy and remifs, 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,] This phraseology (instead of_" / tell thee”) occurs almost too frequently in our author, to need exemplification. One instance of it, however, shall be given from King Tobu, Act V. sc. vi:

I'll tell thee, Hubert, half my power this night

Passing these flats 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 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.

3 Dei. Let us make ready straight. &c.] These five lines are not in the quarto, being probably added at the revision. Johnson.

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 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 thould run thus: Exeunt Troilus, Crisida, and Diomed who had the charge of Crellida.M. Mason.

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. [Exeunt.

SCENE V.

The Grecian Camp. Lifts set out.

Enter Ajax, arm’d; AGAMEMNON, Achilles, Pa

TROCLUS, MenelAUS, Ulysses, Nestor, and
Others.

Agam. Here art thou in appointment fresh and

fair, Anticipating time with starting courage.

To the first of these lines, “ Let us make ready straight," is prefixed in the folio, where alone the pasage 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. 364, and the stage-direction in the quarto and folio prefixed to the third scene of this act, Deiphobus appears to be now on the ftage; and Dio. and Dei. might have been easily confounded. As this flight change removes the absurdity, I have adopted it. It was undoubtedly intended by Shakspeare chat Diomed thould make his exit with Troilus and Cressida. MALONE,

4- in appointment fresh and fair,] Appointment is preparation, So, in Measure for Measure :

• Therefore your best appointment make with speed." Again, in King Henry IV. Part I:

What well-appointed leader fronts us here?" i. e. what leader well prepared with arms and accoutrements ?

STEEVENS. On the other hand, in Hamlet :

“ Unhousellid, disappointed, unanneal’d.” MALONE.

Give with thy trumpet a loud note to Troy,
Thou dreadful Ajax; that the appalled air
May pierce the head of the great combatant,
And hale him hither.

Ajax. Thou, trumpet, there's my purse.
Now crack thy lungs, and split thy brazen pipe:
Blow, villain, till thy sphered bias cheeks
Out-swell the cholick of puff'd Aquilon:
Come, stretch thy chest, and let thy eyes spout

blood; Thou blow'st for Hector.

[Trumpet founds. Ulyss. No trumpet answers. Achil.

'Tis but early days. AGAM. Is not yon Diomed, with Calchas' daugh

ter? Ulrss. '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 ?
Dio.

Even she. AGAM. Most dearly welcome to the Greeks, sweet

lady. Nest. Our general doth salute you with a kiss.

Ulrss. Yet is the kindness but particular; "Twere better, she were kiss'd in general.

5

bias cheek-] Swelling out like the bias of a bowl.

JOHNSON So, in Vittoria Corombona, or the White Devil, 1612:

'Faith his cheek " Has a moft excellent bias The idea is taken from the puffy cheeks of the winds, as represented in ancient prints, maps, &c. STEEVENS,

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Nest. And very courtly counsel : I'll begin.-
So much for Neftor.
Achil. I'll take that winter from your lips, fair

lady:
Achilles bids you welcome.

Men. I had good argument for kissing once.

Patr. But that's no argument for kissing now:
For thus popp'd Paris in his hardiment;
And parted thus you

and

your argument.
Ulrss. O deadly gall, and theme of all our scorns !
For which we lose our heads, to gild his horns.

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, fir:-Lady, by your

leave.
Cres. In kissing, do you render, or receive? 6
PATR. Both take and give.?
Cres.

I'll make my match to live,
The kiss you take is better than you give;
Therefore no kiss.

Men. I'll give you boot, I'll give you three for

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one.

6 In kiffing, do you render, or receive?] Thus, Balranio, in The Merchant of Venice, when he kifles Portia:

Fair lady, by your leave,
“ I come by note, to give, and to receive." Steevens.

Patr. Both take and give.] This speech should rather be given to Menelaus. Tyrwhitt.

8 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.

I believe this only means I'll lay my life. TYRWHITT.

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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.
Ulrss. It were no match, your nail against his

horn.
May I, sweet lady, beg a kiss of you?

Cres. You may.
Ulrss.

I do desire it.
Cres.

Why, beg then.
Ulrss. Why then, for Venus' sake, give me a

kiss,
When Helen is a maid again, and his.

Cres. I am your debtor, claim it when 'tis due.
Ulyss. Never's my day, and then a kiss of you,”
Dio. Lady, a word ;-I'll bring you to your fa-

ther. [Diomed leads out Cressida. Nest. A woman of quick sense.

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9 Why, beg then.) For the sake of rhyme we should read:

Why beg two.
If
you think killes worth begging, beg more than one.

JOHNSON. Never's my day, and then a kiss of you.] I once gave both these lines to Cressida. She bids Ulysses beg a kiss; he asks that he may have it,

" When Helen is a maid again,She tells him that then he shall have it,-When Helen is a maid again :

Cres. I am your debtor, claim it when 'tis due ;

Ulyd. Never's my day, and then a kiss for you." But I rather think that Ulysses means to flight her, and that the present reading is right, Johnson.

T.

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