"Call here my varlet, I'll unarm again.”—Act I., Scene 1. The word "varlet" anciently signified an attendant on a knight. Holinshed, speaking of the battle of Agincourt, says:-"Divers were relieved by their varlets, and conveyed out of the field."

"Handlest in thy discourse, 'Oh, that her hand."

Act I., Scene 1. "Handlest" is here used metaphorically, with an allusion at the same time to its literal meaning. Shakspere has, on various occasions, adverted to the beauty of the female hand: as, in "ROMEO AND JULIET:"

"She's a fool to stay behind her father."-Act I., Scene 1. According to Shakspere's authority, "THE DESTRUCTION OF TROY," Calchas was "a great learned bishop of Troy," who was sent by Priam to consult the oracle of Delphi concerning the event of the war which was threatened by Agamemnon. As soon as he had made "his oblations and demands for them of Troy, Apollo answered unto him, saying, 'Calchas, Calchas, beware that thou return not back again to Troy; but go thou with Achilles unto the Greeks, and depart never from them; for the Greeks shall have victory of the Trojans, by the agreement of the gods.'" Calchas discreetly took the hint, and immediately joined the enemies of his country.

"Between our Ilium and where she resides."-Act I., Scene 1.

"Ilium," or "Ilion" (it is spelled both ways), was the name of Priam's palace. According to " THE DESTRUCTION OF TROY," it was "one of the richest and the strongest that ever was in all the world. And it was of height five hundred paces, besides the height of the towers, whereof there was great plenty, and so high as that it seemed to them that saw them from far, they raught up into the heaven." There is a more particular allusion to these towers in Act IV., Scene 5. Steevens observes, that Ilium, properly speaking, is the name of the city; Troy, that of the country.

"How now, prince Troilus? wherefore not afield?" Act I., Scene 1. It appears from various lines in this play, that Shakspere So also in his as a dissyllable. pronounced "Troilus "RAPE OF LUCRECE:"

"Here manly Hector faints, here Troilus swounds." Pope, in his translation of Homer, has made the same classical lapse (b. xxiv.):

"Mestor the brave, renowned in ranks of war;
And Troilus, dreadful on his rushing car."

"To be baked with no date in the pie,-for then the man's date is out."-Act I., Scene 2.

To account for this quibble, it should be remembered that dates were a common ingredient in ancient pastry: as, in "ROMEO AND JULIET:"

"They call for dates and quinces in the pastry."

Bounding between the two moist elements,
Like Perseus' horse."-Act I., Scene 3.

Of the allegorical horse alluded to in the text, "THE DESTRUCTION OF TROY" gives the following account:-" Of the blood that issued out [from Medusa's head], there engendered Pegasus, or the flying horse. By the flying horse that was engendered of the blood issued from her head, is understood that, of her riches issuing of that realm, he [Perseus] founded and made a ship named Pegase; and this ship was likened unto an horse flying," &c. The only flying horse of antiquity was Pegasus, who was the property not of Perseus, but Bellerophon. If the poet intended to speak literally, he has fallen into an error.

"Venerable Nestor, hatched in silver."-Act I., Scene 3. "Hatched in silver" is an allusion to Nestor's white hair and beard. To hatch is a term for a particular method of engraving. The phrase is not unfrequent in writings of the same period: as, in "LOVE IN A MAZE," 1632:

"Thy hair is fine as gold, thy chin is hatched
With silver."

To hatch in silver, was to inlay a design with lines of silver; a process often used for the hilts of swords, handles of daggers, and stocks of pistols.

-"But when the planets,

In evil mixture, to disorder wander."-Act I., Scene 3.

Meaning, in astrological phrase, when the planets form malignant configurations; when their aspects are evil towards one another. A short extract from Spenser's "FAERY QUEEN" (b. v.) will, perhaps, more accurately, as well as more pleasingly, illustrate the passage in the text :

"For who so list into the heavens look,

And search the courses of the rolling spheres, Shall find that from the point where they first took Their setting forth, in these few thousand years They all are wandered much; that plain appears. For that same golden fleecy Ram, which bore Phrixus and Helle, from their stepdames' fears, Hath now forgot where he was placed of yore, And shouldered hath the Bull which fair Europa bore."

"Thou mongrel beef-witted lord!"-Act II., Scene 1. So in "TWELFTH NIGHT," Sir Andrew Aguecheek says, "I am a great eater of beef, and I believe that does harm to my wit." Thersites calls Ajax mongrel on account of his father being a Grecian, and his mother a Trojan.

"Thou stool for a witch!"-Act II., Scene 1.

In one way of trying a witch, they used to place her on a chair or stool, with her legs tied across, that all the weight of her body might rest upon her seat; and by that means, after some time, the circulation of the blood would be much stopped, and her sitting would be as painful as on the wooden horse.

"And, for an old aunt, whom the Greeks held captive." Act II., Scene 2. The aunt alluded to was Hesione, Priam's sister, whom Hercules, being enraged at Priam's breach of faith, gave to Telamon, who by her had Ajax.

"And do a deed that Fortune never did."-Act II., Scene 2.

-"Not much

Unlike young men, whom Aristotle thought Unfit to hear moral philosophy."-Act II., Scene 2. On this passage Steevens observes, "Let it be remembered, as often as Shakspere's anachronisms occur, that errors in computing time were very frequent in those an cient romances which seem to have formed the greater part of his library. Even classic authors are not exempt from such mistakes. In the fifth book of Statius's 'THEBIAD,' Amphiarus talks of the fates of Nestor and Priam, neither of whom died till long after him."

"So, so; rub on, and kiss the mistress."-Act III., Scene 2. The allusion is to bowling. What is now termed the "jack," seems in Shakspere's time to have been called the A bowl that kisses the "jack," or "mistress," is in the most advantageous situation. "Rub on" is a term used in the same game; as, in "NO WIT LIKE A WOMAN'S," a comedy by Middleton (1657):

"So, a fair riddance: There's three rubs gone; I've a clear way to the mistress." And in Decker's "SATIROMASTIX" (1602):-" Since he hath hit the mistress so often in the fore-game, we'll even play out the rubbers."

"That my integrity and truth to you,

Might be affronted with the match and weight

Of such a winnowed purity in love.”—Act III., Scene 2.

The word "affronted" was formerly used in the sense of "confronted." Dr. Johnson thus explains the passage:"I wish that my integrity might be met and matched with such equality and force of pure unmingled love."

"I am as true as truth's simplicity,

And simpler than the infancy of truth."-Act III., Scene 2.

This (says Warburton) is fine, and means, "Ere truth, to defend itself against deceit in the commerce of the world, had, out of necessity, learned worldly policy."

"As true as steel, as plantage to the moon."-Act III., Scene 2. "As true as steel" is an ancient proverbial simile. "As plantage to the moon" alludes to the old superstitious notion of the influence of the moon over whatever was planted, sown. or grafted. An extract from Scott's "DISCOVERIE OF WITCHCRAFT" will illustrate the point :-"The poor husbandman perceiveth that the increase of the moon maketh plants fruitful; so as in the full moon they are in the best strength; decaying in the wane; and in the conjunction do utterly wither and vade."

-"A strange fellow here

Writes me, that man-how dearly ever parted."

Act III., Scene 3.

That is, however excellently endowed; with however dear or precious parts enriched or adorned. Ben Jonson has used the word "parted" in the same manner, in the Dramatis Personæ of "EVERY MAN OUT OF HIS HUMOUR:"-" Macilente, a man well parted, a sufficient scholar," &c.

"And apprehended here immediately

The unknown Ajax."-Act III, Scene 3.

That is, Ajax who has abilities which were never brought into view or use.

“Made emulous missions 'mongst the gods themselves, And drave great Mars to faction."-Act III., Scene 3. This alludes to the descent of deities to combat on either side before Troy. In the fifth book of "THE ILIAD," Diomed wounds Mars, who, on his return to heaven, is rated by Jupiter for having interfered in the battle.

"Tis known, Achilles, that you are in love

With one of Priam's daughters."-Act III., Scene 3. This was Polyxena; in the act of marrying whom Achilles was afterwards killed by Paris.

"There is a mystery (with whom relation

Durst never meddle) in the soul of state."-Act III., Scene 3. Meaning, probably, there is a secret administration of affairs which no history was ever able to discover.

"Omission to do what is necessary,

Seals a commission to a blank of danger."-Act III., Scene 3. That is, by neglecting our duty, we commission or enable that danger of dishonour to lay hold upon us, which could not reach us before.

"Enter PANDARUS.

"CRES. A pestilence on him! now will he be mocking." Act IV., Scene 2. The hint for this short conversation between Pandarus and Cressida appears to have been taken from Chaucer's tale on the subject (b. iii.):

"For I will throw my glove to death himself,

That there's no maculation in thy heart."-Act IV., Scene 4. That is, "I will challenge Death himself in defence of thy fidelity."

"Valour and pride excel themselves in Hector;
The one almost as infinite as all,

The other blank as nothing."-Act IV., Scene 5. The meaning of this passage is thus explained by Dr. Johnson: Valour (says Æneas) is in Hector greater than valour in other men, and pride in Hector is less than pride in other men. So that Hector is distinguished by the excellence of having pride less than other pride, and valour more than other valour.

"Not Neoptolemus so mirable."-Act IV., Scene 5. The allusion here is supposed to be to Achilles himself; it could not possibly be to his son Pyrrhus Neoptolemus, who, in a former passage, is spoken of as " Young Pyrrhus, now at home." Shakspere probably thought that Neoptolemus was a family name.

"I have, thou gallant Trojan, seen thee oft Labouring for destiny."-Act IV., Scene 5. That is, as the minister or vicegerent of destiny; so, in "CORIOLANUS:"

"His sword, death's stamp, Where it did mark, it took."

"Thou crusty batch of nature, what's the news?”

Act V., Scene 1. A "batch" signifies all that is baked at one time, without heating the oven afresh. In Ben Jonson's "CATILINE," we have,

"Except he were of the same meal and batch."

"One that loves quails."—Act V., Scene 1.

In old French, "caille" was synonymous to "fille de joie."

"Here, Diomed, keep this sleeve."-Act V., Scene 2. This sleeve, which had been previously given by Troilus to Cressida, appears (says Malone) to have been an ornamented cuff, such as was worn by some of our young nobility at a tilt in Shakspere's age. See Spenser's "VIEW OF IRELAND" (p. 43, edit. 1633):-" Also the deep smock sleive, which the Irish women use, they say was old Spanish, and is used yet in Barbary: and yet that should seem to be rather an old English fashion; for in armoury, the fashion of the manche which is given in arms by many, being indeed nothing else but a sleive, is fashioned much like to that sleive."

"Troilus, farewell! one eye yet looks on thee;

But with my heart the other eye doth see."—Act V., Scene 2. "One eye," says Cressida, "looks on Troilus; but the other follows Diomed, where my heart is fixed." Steevens observes that the characters of Cressida and Pandarus are more immediately formed from Chaucer than from Lydgate; for though the latter mentions them both characteristically, he does not sufficiently dwell on either to have furnished Shakspere with many circumstances to be found in this tragedy. Lydgate, speaking of Cressida, says only:"She gave her heart and love to Diomed, To shew what trust there is in womankind; For she of her new love no sooner sped,

But Troilus was clean out of her mind

As if she never had him known or seen;
Wherein I cannot guess what she did mean.'

"

And with another knot, five-finger tied."—Act V., Scene 2. That is, a knot tied by giving her hand to Diomed. So, in Massinger's "FATAL DOWRY" (1632):

64

Your fingers tie my heartstrings with this touch,

In true knots, which nought but death shall loose." "Stand fast, and wear a castle on thy head.”—Act V., Scene 2. A particular kind of close helmet was called a "castle." In the "HISTORY OF PRINCE ARTHUR" (1634, ch. 158), we find, "Do thou thy best,' said Sir Gawaine; therefore hie thee fast that thou wert gone, and wit thou well we shall soon come after, and break the strongest castle that thou hast upon thy head.''

"Brother, you have a vice of mercy in you,

Which better fits a lion than'a man."-Act V., Scene 3. In Philemon Holland's translation of "PLINY'S NATURAL HISTORY" (c. 16), we find, "The lion alone, of all wild beasts, is gentle to them that humble themselves before him, and will not touch any such upon their submission, but spareth what creature soever lieth prostrate before him." "The traditions and stories of the darker ages," says Johnson, "abounded with examples of the lion's generosity. Upon the supposition that these acts of clemency were true, Troilus reasons, that to spare against reason, by mere instinct of pity, became rather a generous beast than a wise man."

-"The dreadful Sagittary

Appals our numbers."-Act V., Scene 5.

In the "THREE DESTRUCTIONS OF TROY" we are told, that "Beyond the royalme of Amasonne came an auncyent Kynge, wyse and dyscreete, named Epystrophus, and brought a M. [thousand] Knyghtes, and a mervayllouse beste that was called Sagittayre, that behynde the myddes was an horse, and tofore a man. This beste was heery like an horse, and had his eyen red as a cole, and shotte well with a bowe. This beste made the Grekes sore aferde, and slewe many of them with his bowe."

"Now, here he fights on Galathe, his horse."-Act V., Scene 5. The name of Hector's horse is taken from Lydgate or Caxton. In Lydgate (p. 175), we find,

"And sought, by all the means he could, to take
Galathé, Hector's horse."

And there they fly, or die, like scaled sculls
Before the belching whale."—Act V., Scene 5.

The term "scull" signifies what is now called a shoal of fish. In Knox's "HISTORY OF FISH" (1787), we find this passage: "The cod from the banks of Newfoundland (says a late writer) pursues the whiting, which flies before it even to the southern shores of Spain. The 'cachalot, a species of whale, is said in the same manner to pursue a shoal of herrings, and to swallow hundreds in a mouthful."

"He is my prize; I will not look upon "—Act V., Scene 6. Equivalent to saying, "I will not be a looker-on;" as, in "HENRY VI.," Part 3:

"Why stand we hereWailing our losses

And look upon, as if the tragedy

Were played in jest by counterfeited actors?"

"The dragon wing of night o'erspreads the earth,

And, stickler like, the armies separales."—Act V., Scene 9. The business of a "stickler" was to part the combatants when victory could be determined without bloodshed. They are said to have been called "sticklers" from carrying sticks or staves in their hands, with which they interposed between the duellists. Minshew gives this explanation in his "DICTIONARY" (1617):-" A stickler between two; so called as putting a stick or staff between two fencing or fighting together."