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If in his death the gods have us befriended, Great Troy is ours, and our sharp wars are ended. [Exeunt, marching.
Another Part of the Field.
Enter ENEAS and Trojans.
Ene. Stand, ho! yet are we masters of the field: Never go home; here starve we out the night.
Tro. Hector is slain. All. Hector?-The gods forbid! Tro. He's dead; and at the murderer's horse's tail, In beastly sort, dragg'd 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 destructions on!
Ene. 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 call'd, Go in to 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,
I'll through and through you!—And thou, greatsiz'd coward!
No space of earth shall sunder our two hates;
AS TROILUS is going out, enter, from the other side, PANDARUS.
Pan. But hear you, hear you!
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
5-pight-] i. e. pitched, fixed. The obsolete preterite and participle passive of to pitch.
with comfort go:
Hope of revenge shall hide our inward woe.] This couplet affords a full and natural close of the play; and though I once thought differently, I must now declare my firm belief that Shakspeare designed it should end here, and that what follows is either a subsequent and injudicious restoration from the elder drama, mentioned in p. 269, or the nonsense of some wretched buffoon, who represented Pandarus. When the hero of the scene was not only alive, but on the stage, our author would scarce have trusted the conclusion of his piece to a subordinate character, whom he had uniformly held up to detestation. It is still less probable that he should have wound up his story with a stupid outrage to decency, and a deliberate insult on his audience. But in several other parts of this drama I cannot persuade myself that I have been reading Shakspeare. STEEVENS.
loathed? what verse for it? what instance for it?— Let me see:
Full merrily the humble-bee doth sing,
As many as be here of pander's hall,
7 This play is more correctly written than most of Shakspeare's compositions, but it is not one of those in which either the extent of his views or elevation of his fancy is fully displayed. As the story abounded with materials, he has exerted little invention; but he has diversified his characters with great variety, and preserved them with great exactness. His vicious characters disgust, but cannot corrupt, for both Cressida and Pandarus are detested and contemned. The comick 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 powerfully impressed. Shakspeare has in his story followed, for the greater part, the old book of Caxton, which was then very popular; but the character of Thersites, of which it makes no mention, is a proof that this play was written after Chapman had published his version of Homer. JOHNSON.
END OF VOLUME SEVENTH.
C. and R. Baldwin, Printers,