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Enter one in sumptuous armour.
Scene VI.- Another part of the Field.
Scene VII.—The same.
Dio. Hal art thou there?
[Exeunt, fighting. Enter Hector. Hect. Yea, Troilus? O, well fought, my youngest
Scene VIII.—The same.
[Exeunt Paris and MENELAUS.
Enter MargareLON. Achil. Now do I see thee:-Ha! have at thee, Mar. Turn, slave, and fight! Hector.
Ther. What art thou? Hect. Pause, if thou wilt.
Mar. A bastard son of Priam's. Achil. I do disdain thy courtesy, proud Trojan. Ther. I am a bastard too; I love bastards : I Be happy that my arms are out of use :
am a bastard begot, bastard instructed, bastard My rest and negligence befriend thee now, in mind, bastard in valour; in everything illegitiBut thou anon shalt hear of me again;
mate. One bear will not bite another, and whereTill when, go seek thy fortune. [Exit. fore should one bastard? Take heed; the quarrel's Hect. Fare thee well :
most ominous to us: if the son of a whore fight for I would have been much more a fresher man, a whore, he tempts judgment. Farewell, bastard. Had I expected thee.—How now, my brother? | Mar. The devil take thee, coward! [Exeunt.
To pray Achilles see us at our tent.-
Scene XI.- Another part of the Field.
Scene IX.- Another part of the Field.
Enter Hector. Hect. Most putrified core, so fair without, Thy goodly armour thus hath cost thy life. Now is my day's work done; I'll take good
breath : Rest, sword; thou hast thy fill of blood and death!
[Puts off his helmet, and hangs his shield
behind him. Enter Achilles and Myrmidons. Achil. Look, Hector, how the sun begins to
set; How ugly night comes breathing at his heels : Even with the vail and darkening of the sun, To close the day up, Hector's life is done. Hect. I am unarmed; forego this 'vantage,
Greek. Achil. Strike, fellows, strike; this is the man I seek.
(Hector falls. So, Ilion, fall thou! Now, Troy, sink down; Here lies thy heart, thy sinews, and thy bone.On, Myrmidons; and cry you all amain, " Achilles hath the mighty Hector slain.”
[A retreat sounded. Hark! a retreat upon our Grecian part. Myr. The Trojan trumpets sound the like, my
lord. Achil. The dragon wing of nighto'erspreads the
earth, And, stickler-like, the armies separates. My half-supped sword, that frankly would have
fed, Pleased with this dainty bit, thus goes to bed.
Sheathes his sword. Come, tie his body to my horse's tail; Along the field I will the Trojan trail. [Exeunt.
Enter Æneas and Trojans.
tail, In beastly sort, dragged through the shameful
field.Frown on, you heavens, effect your rage with
speed! Sit, gods, upon your thrones, and smile at Troy! I say, at once let your brief plagues be mercy, And linger not our sure destruction on!
Æne. My lord, you do discomfort all the host.
Tro. You understand me not, that tell me so: I do not speak of flight, of fear, of death ; But dare all imminence that gods and men Address their dangers in. Hector is gone! Who shall tell Priam so, or Hecuba ? Let him that will a screech-owl aye be called, Go into Troy, and say there—“Hector's dead :" There is a word will Priam turn to stone; Make wells and Niobes of the maids and wives; Cold statues of the youth ; and, in a word, Scare Troy out of itself. But march, away: Hector is dead; there is no more to say. Stay yet :-You vile abominable tents, Thus proudly pight upon our Phrygian plains, Let Titan rise as early as he dare, I 'll through and through you !-And thou, great
sized coward! No space of earth shall sunder our two hates ; I'll haunt thee like a wicked conscience still, That mouldeth goblins swift as frenzy thoughts.Strike a free march to Troy! with comfort go: Hope of revenge shall hide our inward woe.
[Exeunt Æneas and Trojans.
Scene X.-The same.
Agam. March patiently along: let one be sent
As Troilus is going out, enter, from the other side,
Tro. Hence, broker lackey! ignomy and shame Pursue thy life, and live aye with thy name.
Pan. A goodly med'cine for my aching
bones ! O world! world! world! thus is the poor agent despised ! O traitors and bawds, how earnestly are you set a'work, and how ill requited! Why should our endeavour be so loved, and the performance so loathed? what verse for it? what instance for it?Let me see :
Good traders in the flesh, set this in your painted
cloths. As many as be here of pander's hall, Your eyes, half out, weep out at Pandar's fall: Or, if you cannot weep, yet give some groans, Though not for me, yet for your aching bones. Brethren and sisters of the hold-door trade, Some two months hence my will shall here be made: It should be now, but that my fear is this,Some galléd goose of Winchester would hiss : Till then I 'll sweat, and seek about for eases; And, at that time, bequeath you my diseases.
Full merrily the humble-bee doth sing,
- "They may seize On the white wonder of dear Juliet's hand." In the “ WINTER'S TALE,” Florizel descants with equal warmth and fancy on the hand of Perdita :
"I take thy hand; this hand
“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.
"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.
--" The thing of courage,
Act I., Scene 3. The "thing of courage" here alluded to is supposed to be the tiger.
“Venerable Nestor, hatched in silver."-Act I., Scene 3.
"Between our Ilium and where she resides."—Act I., Scene 1.
"Ilium,” or “llion" (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.
"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.
“When that the general is not like the hive."-Act I., Scene 3.
The meaning is, says Johnson, "When the general is not to the army like the bive to the bees-the repository of the stock of every individual; that to which each particular resorts with whatever he has collected for the good of the whole—what honey is expected ? what hope of advantage ?"
" How now, prince Troilus? wherefore not afield ?"
Act I., Scene 1. It appears from various lines in this play, that Shakspere pronounced “Troilus” as a dissyllable. So also in his “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;
“ The heavens themselves, the planels, and this centre."
Act I., Scene 3. By “this centre," Ulysses means the earth, which, according to the system of Ptolemy, is the centre round which | the planets move.
“He is so plaguy proud, that the death tokens of it
Cry, No recovery!'"-Act II., Scene 3. Alluding to the decisive spots appearing on those infected by the plague. So in Beaumont and Fletcher's “ VALEXTINIAN:"
“Now, like the fearful tokens of the plague,
Are mere forerunners of their ends.'
_“But when the planels, 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,
Hath now forgot where he was placed of yore,
_" For thy vigour, Bull-bearing Milo his addition yield."-Act II., Scene 3.
That is, yield his title, his celebrity for strength. "Addition," in legal language, is the title given to each party, shewing his degree, occupation, &c.; as, esquire, gentleman, yeoman, merchant, &c.
" 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.
"Shall I call you father ?"-Act II., Scene 3. This alludes to a prevalent custom of the time. Ben Jonson had many who called themselves his sons. Cotton dedicated his treatise on fishing to his father" Walton; and Ashmole, in his “DIARY,” observes: "AP. 3. Mr. Wm. Backhouse, of Swallowfield, in com. Berks, caused me to call him father henceforward."
“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.
“I hope I shall know your honour betler."- Act III., Scene 1.
The servant means to quibble: he hopes that Pandarus will become a better man than he is at present. In his next speech, he chooses to understand Pandarus as if he had said he wished to grow better; and hence affirms that he is in the state of grace.
"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.
“ You must be watched ere you be made tame, must you ?”
Act III., Scene 2. Alluding to the manner of taming hawks. So, in the “TAMING OF THE SUREW:"-"To watch her as we watch these kites." Hawks were tamed by being kept from sleep.
“And do a deed that Fortune never did."-Act II., Scene 2.
This obscure passage is thus explained by Malone: “Fortune was never so unjust and mutable as to rate a thing on one day above all price, and on the next to set no estimation whatsoever upon it. You are now going to do what Fortune never did."
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 "mistress.” 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 Womax'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."
" The falcon as the tercel, for all the ducks i' the river."
Act III., Scene 2. Pandarus probably means that he will match his niece against her lover. The “tercel" is the male hawk; by the “falcon," is generally understood the female.
“The elephant hath joints, but none for courtesy."
Act II., Scene 3. That the elephant was incapable of bending the leg, was formerly a very prevalent error; as, in “All's Lost BY LUST" (1633): –
- “Is she pliant?" “Stubborn as an elephant's leg; no bending in her.”
"" "In witness whereof the parties interchangeably "
Act III., Scene 2. _"Have set their hands and seals," would complete the sentence. So, afterwards "Go to, a bargain made : seal it, seal it." Shakspere appears to have had here an idea in his thoughts that he has several times expressed; as, in “MEASURE FOR MEASURE:"-
“'Twixt his active and his mental parts, Kingdomed Achilles in commotion rages."-Act II., Scene 3.
This passage will be best explained by a similar one in "JULIUS CÆSAR:"
“The genius and the mortal instruments
Are then in council; and the state of man,
"But my kisses bring again;
Seals of love, but sealed in vain.” And in his “VENUS AND ADONIS :"
“Pure lips, sweet seals in my soft lips imprinted, What bargains may I make, still to be sealing !"