Par. I'll lay my life, with my disposer 5 Cressida. Pan. No, no, no such matter; you are wide: come, your disposer is sick. Par. Well, I'll make excuse. Pan. Ay, good my lord. Why should you say Cressida? no, your poor disposer's sick. Par. I spy. Pan. You spy! what do you spy?— Come, give me an instrument. — Now, sweet Queen. Helen. Why, this is kindly done. Pan. My niece is horribly in love with a thing you have, sweet Queen. Helen. She shall have it, my lord, if it be not my Lord Paris. Pan. He! no, she'll none of him; they two are twain. Helen. Falling in, after falling out, may make them three. Pan. Come, come, I'll hear no more of this; I'll sing you a song now. Helen. Ay, ay, pr'ythee now. By my troth, sweet lord, thou hast a fine forehead. Pan. Ay, you may, you may. Helen. Let thy song be love: this love will undo us all. O Cupid, Cupid, Cupid! Pan. Love! ay, that it shall, i'faith. Par. Ay, good now, love, love, nothing but love. Pan. In good troth, it begins so. [Sings.] Love, love, nothing but love, still more! For, O, love's bow shoots buck and doe: The shaft confounds, not that it wounds, 5 Dyce explains my disposer,“ she who is disposed or inclined to pleasant my merry, free-spoken damsel." See vol. ii. page 33, note 28. talk, 6 Good now was a common phrase, equivalent to well now. Shakespeare has it repeatedly so. See page 13, note 2. These lovers cry, O! O! they die! Yet that which seems the wound to kill O! O! a while, but ha! ha! ha! Heigh-ho! Helen. In love, i'faith, to the very tip of the nose. Par. He eats nothing but doves, love; and that breeds hot blood, and hot blood begets hot thoughts, and hot thoughts beget hot deeds, and hot deeds is love. Helen. Is this the generation of love? hot blood, hot thoughts, and hot deeds? Why, they are vipers is love a generation of vipers? Pan. Sweet lord, who's a-field to-day? Par. Hector, Deiphobus, Helenus, Antenor, and all the gallantry of Troy: I would fain have arm'd to-day, but my Nell would not have it so. How chance my brother Troilus went not? Helen. He hangs the lip at something. You know all, Lord Pandarus. Pan. Not I, honey-sweet Queen. I long to hear how they sped to-day. You'll remember your brother's excuse? Par. To a hair. Pan. Farewell, sweet Queen. Helen. Commend me to your niece. Pan. I will, sweet Queen. [Exit. [A retreat sounded. Par. They're come from field: let us to Priam's hall, Or force of Greekish sinews; you shall do more Helen. 'Twill make us proud to be his servant, Paris; Yea, what he shall receive of us in duty Gives us more palm in beauty than we have, Yea, overshines ourself. Par. Sweet, above thought I love thee. [Exeunt. SCENE II. - The Same. PANDARUS's Orchard. Enter PANDARUS and TROILUS's Boy, meeting. Pan. How now! where's thy master? at my cousin Cressida's? Boy. No, sir; he stays for you to conduct him thither. Pan. O, here he comes. Enter TROILUS. How now, how now ! Tro. Sirrah, walk off. [Exit Boy. Pan. Have you seen my cousin? Tro. No, Pandarus: I stalk about her door, Like a strange soul upon the Stygian banks Pan. Walk here i' the orchard,1 I will bring her straight. Tro. I'm giddy; expectation whirls me round. Th' imaginary relish is so sweet 1 Orchard generally means garden in Shakespeare. [Exit. That it enchants my sense: what will it be, I fear it much; and I do fear, besides, As doth a battle, when they charge on heaps3 Re-enter PANDARUS. Pan. She's making her ready, she'll come straight: you must be witty now. She does so blush, and fetches her wind so short, as if she were fray'd with a sprite. I'll fetch her. It is the prettiest villain: she fetches her breath as short as a new-ta'en sparrow. Tro. Even such a passion doth embrace my bosom : My heart beats thicker than a feverous pulse; And all my powers do their bestowing lose, Like vassalage at unawares encountering Re-enter PANDARUS with CRESSIDA. [Exit. Pan. Come, come, what need you blush? shame's a baby. 2 Repurèd is refined, purified. The word is not met with elsewhere. Beaumont, however, in one of his Sonnets, has "The gold that's tried from dross is pured." Also, in Milton's History of Britain, quoted by Walker: 'What longer suffering could there be, when religion itself grew so void of sincerity, that the greatest show of purity was impured?" — The meaning of "watery palate " is as when we say "the mouth waters for a thing"; that is, strongly craves it. 3 To" charge on heaps" is to charge in masses. note 3. 4 That is, faster. See vol. xi, page 190, note 1. See vol. xii. page 101, Here she is now: swear the oaths now to her that you have sworn to me. - What, are you gone again? you must be watch'd ere you be made tame,5 must you? Come your ways, come your ways; an you draw backward, we'll put you i' the fills. Why do you not speak to her?- Come, draw this curtain, and let's see your picture. Alas the day, how loth you are to offend daylight! an 'twere dark, you'd close sooner. So, so; rub on, and kiss the mistress.7 How now! a kiss in fee-farm !8 build there, carpenter; the air is sweet. Nay, you shall fight your hearts out ere I part you. The falcon at the tercel,9 for all the ducks i' the river go to, go to. Tro. You have bereft me of all words, lady. Pan. Words pay no debts, give her deeds: but she'll bereave you o' the deeds too, if she call your activity in question. What, billing again? Here's In witness whereof the parties interchangeably.10 Come in, come in: I'll go get a fire. Cres. Will you walk in, my lord? [Exit. Tro. O Cressida, how often have I wish'd me thus ! 5 Hawks were tamed to the hand by keeping them awake. 6 Fills or thills is an old name for the shafts of a one-horse carriage. 7 An allusion to bowling. The mistress, also called the jack, was the small bowl aimed at in the play. To kiss the mistress or jack was a state of great advantage. Rub or rub on was also a term in the game, and meant "to incline inwards towards the jack." See Cymbeline, ii. I, note I. 8 "A kiss in fee-farm" is a prolonged kiss; fee-farm being a tenure of lands in fee, that is, in perpetuity. 9 The tercel is the male hawk, the falcon the female. Pandarus means that he will match his niece against her lover for any wager or stake. 10 This refers to the sealing or confirming of lovers' vows with kisses. So in Venus and Adonis: Pure lips sweet seals in my soft lips imprinted; |