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Know them from eyes of other mortals ?
AGAM.

How?
ÆNE. Ay;
I ask, that I might waken reverence,
And bid the cheeks be ready with a blush
Modest as morning when she coldly eyes
The youthful Phæbus :
Which is that god in office, guiding men ?
Which is the high and mighty Agamemnon?
AGAM. This Trojan scorns us; or the men of

Troy
Are ceremonious courtiers.

ÆNE. Courtiers as free, as debonair, unarm'd, As bending angels; that's their fame in peace: But when they would seem soldiers, they havegalls, Good arms, strong joints, true swords; and, Jove's

accord, Nothing so full of heart.' But peace, Æneas,

books in the British Museum of the age of King Henry VI; and in these the heroes of ancient Greece are represented in the very dresses worn at the time when the books received their decorations. STEEVENS.

In The Destruction of Troy Shakspeare found all the chieftains of each army termed knights, mounted on stately horses, defended with modern helmets, &c. &c. MALONE. In what edition did these representations occur to Shakspeare?

STEEVENS. -bid the cheek-] So the quarto. The folio has :

on the cheek, Johnson.

they have galls, Good arms, strong joints, true swords; and, Jove's accord,

Nothing so full of heart.) I have not the smallest doubt that the poet wrote-(as I suggested in my Second APPENDIX, 8vo. 1783):

they have galls, Good arms, strong joints, true swords; and, Jove's a god Nothing so full of heart.

Peace, Trojan; lay thy finger on thy lips !

So, in Macbeth :

“ Sleek o'er your rugged looks; be bright and jovial

“ Among your guests to-night.” Again, in Antony and Cleopatra:

“ Cæsar, why he's the Jupiter of men." Again, ibidem:

“ Thou art, if thou dar'st be, the earthly Jove." The text, in my apprehension, is unintelligible, though I have not ventured, on my own opinion, to disturb it. In the old copy there is no point after the word accord, which adds some support to my conjecture. It also may be observed, that in peace the Trojans have just been compared to angels; and here Æneas, in a similar strain of panegyrick, compares them in war to that God who was proverbially distinguished for high spirits.

The present punctuation of the text was introduced by Mr. Theobald. The words being pointed thus, he thinks it clear that the meaning is—They have galls, good arms, &c. and, Jove annuente, nothing is so full of heart as they. Had Shakspeare written, “ —with Jove's accord,” and “ Nothing's so full,"' &c, such an interpretation might be received; but, as the words stand, it is inadmissible. The quarto reads:

-and great Jove's accord—&c. MALONE. Perhaps we should read:

-and Love's a lord

Nothing so full of heart. The words Jove and Love, in a future scene of this play, are substituted for each other, by the old blundering printers. In Love's Labour's Lost, Cupid is styled “ Lord of ay-mees ;” and Romeo speaks of his “ bosom’s Lord.In Othello, Love is commanded to “ yield up his hearted throne.” And yet more appositely, Valentine, in The Two Gentlemen of Verona, says,

-love's a mighty lord" The meaning of Æneas will then be obvious. The most confident of all passions is not so daring as we are in the field. So, in Romeo and Juliet :

“ And what Love can do, that dares Love attempt.” Mr. M. Mason would read_6 and Jove's own bird."

Perhaps, however, the old reading may be the true one, the speaker meaning to say, that, when they have the accord of Jove on their side, nothing is so courageous as the Trojans. Thus, in Coriolanus:

The worthiness of praise distains his worth,
If that the prais’d himself bring the praise forth :'
But what the repining enemy commends,
That breath fame follows; that praise, sole pure,

transcends. AGAM. Sir, you of Troy, call you yourself Æneas? ÆNE. Ay, Greek, that is my name.

. AGAM. What's your affair, I pray you?' Æne. Sir, pardon; ʼtis for Agamemnon's ears. AGAM. He hears nought privately, that comes

from Troy. ÆNE. Nor I from Troy come not to whisper him; I bring a trumpet to awake his ear; To set his sense on the attentive bent, And then to speak.

“ The god of soldiers
(With the consent of supreme Jove) inform

“ Thy thoughts with nobleness.” Jove's accord, in the present instance, like the Jove probante of Horace, may be an ablative absolute, as in Pope's version of the 19th Iliad, 190: “ And, Jove attesting, the firm compact made.”

STEEVENS, 'The worthiness of praise distains his worth,

If that the prais'd himself bring the praise forth:] So, in Coriolanus :

-power unto itself most commendable, “ Hath not a tomb so evident as a chair

“ To extol what it hath done.” MALONE. : What's your affair, I pray you?] The words I pray you, are an apparent interpolation, and consequently destroy the mea

sure.

Æn. Ay, Greek, that is my name,

What's

your

affair?_" These hemistichs, joined together, form a complete verse.

STEEVENS.

Agam.

AGAM.

Speak frankly as the wind;s
It is not Agamemnon's

sleeping hour :
That thou shalt know, Trojan, he is awake,
He tells thee so himself.
ÆNE.

Trumpet, blow loud,
Send thy brass voice through all these lazy tents;-
And every Greek of mettle, let him know,
What Troy means fairly, shall be spoke aloud.

[Trumpet sounds.
We have, great Agamemnon, here in Troy
A prince call’d Hector, (Priam is his father,)
Who in this dull and long-continued truce*
Is rustys grown; he bade me take a trumpet,
And to this purpose speak. Kings, princes, lords!
If there be one, among the fair’st of Greece,
That holds his honour higher than his ease;
That seeks his praise more than he fears his peril ;
That knows his valour, and knows not his fear;
That loves his mistress more than in confession,

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Speak frankly as the wind ;] So, Jaques, in As you like it :

I must have liberty
“ Withal, as large a charter as the wind
ço To blow on whom I please; .." STEEVENS.

long-continued truce-] Of this long truce there has been no notice taken; in this very Act it is said that Ajax coped Hector yesterday in the battle. Johnson.

Here we have another proof of Shakspeare's falling into inconsistencies, by sometimes adhering to, and sometimes deserting, his original: a point, on which some ress has been laid in the Dissertation printed at the end of The Third Part of King Henry VI. See Vol. XIV. p. 255—6.

Of this dull and long-continued truce (which was agreed upon at the desire of the Trojans, for six months,) Shakspeare found an account in the seventh chapter of the third Book of The Destruction of Troy. In the fifteenth chapter of the same book the beautiful daughter of Calchas is first introduced. MALONE.

rusty-) Quarto,-resty. Johnson.
more than in confession,] Confession for profession.

WARBURTON.

5

6

The worthiness of praise distains his worth,
If that the prais’d himself bring the praise forth :'
But what the repining enemy commends,
That breath fame follows; that praise, sole pure,

transcends.
AGAM. Sir, you of Troy, call you yourself Æneas?
ÆNE. Ay, Greek, that is my name.
AGAM. What's your affair, I pray you?
ÆNE. Sir, pardon; ʼtis for Agamemnon's ears.
AGAM. He hears nought privately, that comes

from Troy. Æne. Nor I from Troy come not to whisper him; I bring a trumpet to awake his ear; To set his sense on the attentive bent, And then to speak.

“ The god of soldiers
(With the consent of supreme Jove) inform

“ Thy thoughts with nobleness." Jove's accord, in the present instance, like the Jove probante of Horace, may be an ablative absolute, as in Pope's version of the 19th Iliad, 190: “ And, Jove attesting, the firm compact made.”

STEEVENS, 'The worthiness of praise distains his worth,

If that the prais'd himself bring the praise forth:) So, in Coriolanus :

-power unto itself most commendable, “ Hath not a tomb so evident as a chair

“ To extol what it hath done.” MALONE. * What's your affair, I pray you?] The words I pray you, are an apparent interpolation, and consequently destroy the mea

Æn. Ay, Greek, that is my name,
Agam.

What's

your

affair? -" These hemistichs, joined together, form a complete verse.

STEEVENS.

sure.

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