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Ther. Ha!
Patr. What say you to'r?
Ther. God be wi' you, with all my heart.
Patr. Your answer, Sir.

Ther. If to-morrow be a fair day, by eleven o'clock it will go one way or other; howsoever he shall pay for me ere he has me.

Patr. Your answer, Sir.
Ther. Fare ye well with all my heart.
Achil. Why, but he is not in this tune, is he?

Ther. No, but he's out oʻtune thus : what imusic will be in him, when Hector has knock'd out his brains, I know not. But, I am sure, none ; unless the fiddler Apollo get his finews to make catlings on.

Achil. Come, thou shalt bear a letter to him strait.

Ther. Let me carry another to his horse; for that's the more capable creature.

Achil. My mind is troubled like a fountain stirr'd, And I myself fee not the bottom of it.

Ther. 'Would the fountain of your mind were clear again, that I might water an ass at it! I had rather be a tick in a sheep than such a valiant ignorance.


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Troil. (6) O Cressida! but that the busy day, Wak’d by the lark, has rous'd the ribald crows, And dreaming night will hide our joys no longer, I would not from thee.

Crel Night hath been too brief. Troil. 'Beshrew the witch! with venomous wight she stays,


(6) Troil. &c.] Sce Romeo and Juliet, p. 260.

Tedious as hell; but flies the grasps of love,
With wings more momentary swift than thought,

Lover's Farewel.

Injurious time, now with a robber's haste,
Crams his rich thiev'ry up, he knows not how.
As many farewels as be stars in heav'n,
With distinct breath and confign'd kisses to them,
He fumbles up all in one loose adieu ;
And scants us with a single familh'd kiss ;
Distafted with the falt of broken tears.

Troilus's Character of the Grecian Youths,
The Grecian youths are full of subtle qualities,
They're loving, well compos’d, with gifts of nature
Flowing and swelling o'er with arts and exercise ;
How novelties may move, and parts with perfon
Alas! a kind of godly jealousy
(Which, I beseech you, call a virtuous fin)
Makes me afraid.


SCENE VIJI. A Trumpeter.
Now crack thy lungs, and fplit thy brazen pipe; ·
Blow, villain, till thy sphered-bias cheek
Out-fwell the cholic of puft Aquilon:
Come, stretch thy chest, and let thy eyes pour blood ; )
Thou blow'ft for Heilor.

Diomedes's Manner of walkinge

"Tis he, I ken the manner of his gait:
He rises on his toe: that spirit of his
In aspiration lifts him from the earth.

Description Description of Cressida. (7) There's language in her eye, her cheek, her lip, Nay her foot speaks ; her wanton spirits look out At every joint, and motive of her body: Oh, these encounterers ! so glib of tongue, They give a coasting welcome ere it comes ; And wide unclasp the tables of their thoughts To every ticklish reader; set them down For fluttish spoils of opportunity, And daughters of the game.

The Character of Troilus.
The youngest son of Priam, a true knight;
Not yet mature, yet matchless; firm of word ;
Speaking in deeds, and deedless in his tongue;
Not soon provok'd, nor being provok’d, foon calm'a.
His heart and hand both open, and both free;
For what he has, he gives; what thinks, he shews :
Yet gives he not 'till judgment guide his bounty;
Nor dignifies an impair thought with breath :
Manly as Hector, but more dangerous ;
For He&tor in his blaze of wrath subscribes
To tender objects: but he in heat of action
Is more vindicative than jealous love.


zanton woman.

(7) There's, &c.] Nothing can exceed this description of a

Richard (in the beginning of Richard the third) speaking of Jane Shore, says,

We say that Shore's wife hath a pretty foot,

A cherry lip, a passing pleasant tongue. But in Isaiah there is a description of the wanton daughters of Zion, which is peculiarly beautiful. " Because the daughters of Zion are haughty, and walk with stretch'd-forth necks, and wanton eyes walking, and mincing as they go, and making a tinkling. with their feet," 85c. See chap. iii. ver. 16.

SCENE IX. Hector in Battle.
I have, thou gallant Trojan, seen thee oft,
Labouring for destiny, make cruel

Thro' ranks of Greekish youth; and I have seen thee
As hot as Perfeus, fpur thy Phrygian steed,
Bravely despising forfeits and subduements,
When thou has hung thy advanced sword in th' air,
Not letting it decline on the declin’d:
That I have said unto my standers by,
Lo, Jupiter is yonder, dealing life!
And I have seen thee pause and take thy breath,
When that a ring of Greeks hath hem'd thee in,
Like an Olympian wrestling.

Achilles surveying Hector.
Tell me, ye heav'ns, in which part of his body
Shall I destroy him ? whether there, or there ;
That I may give the local wound a name,
And make diitinct the very breach, where out
Hector's great fpirit flew. Answer me, heavens !


Honour more dear than Life.
(3) Mine honour keeps the weather of my
Life every man holds dear, but the brave man
Holds honour far more precious dear than life.

fare ;


Pity to be discarded in War.
For love of all the gods,
Let's leave the hermit pity with our mothers ;
And when we have our armour buckled on,
The venom'd vengeance ride upon our swords !


(8) Mine honour, &c.] See the first passage in Julius Ceesar, and the note.

Rash Vows.
The gods are deaf to hot and peevish vows;
They are polluted offerings, more abhorr'd
Than spotted livers in the facrifice.

General Observation.

[ THIS play (says Johnson) is more correctly written than moft
of Shakespear's compofitions, but it is not one of thofe in which
either the extent of his views, or elevation of his fancy is fully
displayed. As the foory abounded with materials, he has exerta
ed little invention; but he has diversified his characters with
great variety, and preserved them with great exactness. His
vicious characters sometimes disgust, but cannot corrupt, for
both Cresida and Pandarus are detested and contemned. The
comic characters seem to have been the favourites of the
writer ; they are of the superficial kind, and exhibit more of
manners than nature ; but they are copiously filled and power-
fully impressed. Shakespear has in his story followed, for the
greater part, the old book of Caxson, which was then very popu-
lar; but the character of Therfites, of which it makes no men-
tion, is a proof that this play was written after Chapia4 had
published his verfion of Homer.

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