Pandarus is the scene's narrator and fixer. He cannot stop talking, cannot stop directing. He fills every silence with crude jokes, managing the moment like a stage director or a pimp. He leaves when the moment becomes too intimate — not from delicacy, but because his work is done.
How now! Where’s thy master? At my cousin Cressida’s?
How now! Where’s your master? At my cousin Cressida’s?
how now! where’s your master? at my cousin cressida’s?
how now! where’s your master? at my cousin cressida’s?
No, sir; he stays for you to conduct him thither.
No, sir; he stays for you to conduct him thither.
no, sir; he stays for you to conduct him thither.
no, sir; he stays for you to conduct him thither.
O, here he comes. How now, how now?
O, here he comes. How now, how now?
o, here he comes. how now, how now?
o, here he comes. how now, how now?
Troilus is almost inarticulate with desire and anxiety. His language is metaphorical, extravagant — the Stygian banks, the lily beds, death by joy. He cannot speak plainly because the weight of expectation has collapsed language. When Cressida arrives, he says 'You have bereft me of all words' — and means it literally.
Sirrah, walk off.
Sirrah, walk off.
sirrah, walk off.
sirrah, walk off.
Have you seen my cousin?
Have you seen my cousin?
have you seen my cousin?
have you seen my cousin?
No, Pandarus. I stalk about her door
Like a strange soul upon the Stygian banks
Staying for waftage. O, be thou my Charon,
And give me swift transportance to these fields
Where I may wallow in the lily beds
Propos’d for the deserver! O gentle Pandar,
from Cupid’s shoulder pluck his painted wings,
and fly with me to Cressid!
No, Pandarus. I stalk about her door Like a strange soul upon the Stygian banks Staying for waftage. O, be you my Charon, And give me swift transportance to these fields Where I may wallow in the lily beds Propos’d for the deserver! O gentle Pandar, from Cupid’s shoulder pluck his painted wings, and fly with me to Cressid!
no, pandarus. i stalk about her door like a strange soul upon the stygian banks staying for waftage. o, be you my charon, and give me swift transportance to these fields where i may wallow in the lily beds propos’d for the deserver! o gentle pandar, from cupid’s shoulder pluck his painted wings, and fly with me to cressid!
no, pandarus. i stalk about her door like a strange soul
Walk here i’ th’ orchard, I’ll bring her straight.
Walk here i’ th’ orchard, I’ll bring her straight.
walk here i’ th’ orchard, i’ll bring her straight.
walk here i’ th’ orchard, i’ll bring her straight.
I am giddy; expectation whirls me round.
Th’imaginary relish is so sweet
That it enchants my sense; what will it be
When that the wat’ry palate tastes indeed
Love’s thrice-repured nectar? Death, I fear me;
I am giddy; expectation whirls me round. Th’imaginary relish is so sweet That it enchants my sense; what will it be When that the wat’ry palate tastes indeed Love’s thrice-repured nectar? Death, I fear me;
i'm giddy; expectation whirls me round. th’imaginary relish is so sweet that it enchants my sense; what will it be when that the wat’ry palate tastes indeed love’s thrice-repured nectar? death, i fear me;
i'm giddy; expectation whirls me round. th’imaginary relish
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.
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.
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.
she’s making her ready, she’ll come straight; you must be
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 encount’ring
The eye of majesty.
Even such a passion does embrace my bosom. My heart beats thicker than a feverous pulse, And all my powers do their bestowing lose, Like vassalage at unawares encount’ring The eye of majesty.
even such a passion does embrace my bosom. my heart beats thicker than a feverous pulse, and all my powers do their bestowing lose, like vassalage at unawares encount’ring the eye of majesty.
even such a passion does embrace my bosom. my heart beats
Troilus has spent three acts building a fantasy of Cressida. Now that she finally arrives, the reality cannot match the fantasy. He cannot stop speaking in hyperbole and metaphor — the Stygian banks, the lily beds, death by joy. When she appears, he says 'You have bereft me of all words,' which is both true and ironic: he has lost the ability to speak plainly because she is real now, and reality cannot be narrated in the same baroque way as fantasy. The scene's brilliant tragedy is that the moment Troilus has been waiting for is the moment when fantasy dies. From this point forward, Cressida ceases to be a woman and becomes either a defense of the fantasy (which she must never betray) or a betrayal of it (if she shows herself to be human, changeable, mortal).
Come, come, what need you blush? Shame’s a baby. 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, must you? Come your
ways, come your ways; and you draw backward, we’ll put you i’ th’
fills. Why do you not speak to her? Come, draw this curtain and let’s
see your picture. Alas the day, how loath you are to offend daylight!
And ’twere dark, you’d close sooner. So, so; rub on, and kiss the
mistress. How now, a kiss in fee-farm! Build there, carpenter; the air
is sweet. Nay, you shall fight your hearts out ere I part you. The
falcon as the tercel, for all the ducks i’ th’ river. Go to, go to.
Come, come, what need you blush? Shame’s a baby. 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, must you? Come your ways, come your ways; and you draw backward, we’ll put you i’ th’ fills. Why do you not speak to her? Come, draw this curtain and let’s see your picture. Alas the day, how loath you are to offend daylight! And ’twere dark, you’d close sooner. So, so; rub on, and kiss the mistress. How now, a kiss in fee-farm! Build there, carpenter; the air is sweet. Nay, you shall fight your hearts out ere I part you. The falcon as the tercel, for all the ducks i’ th’ river. Go to, go to.
come, come, what need you blush? shame’s a baby. here she is now; swear the oaths now to her that you've sworn to me.—what, are you gone again? you must be watch’d ere you be made tame, must you? come your ways, come your ways; and you draw backward, we’ll put you i’ th’ fills. why do you not speak to her? come, draw this curtain and let’s see your picture. alas the day, how loath you're to offend daylight! and ’twere dark, you’d close sooner. so, so; rub on, and kiss the mistress. how now, a kiss in fee-farm! build there, carpenter; the air is sweet. nay, you shall fight your hearts out ere i part you. the falcon as the tercel, for all the ducks i’ th’ river. go to, go to.
come, come, what need you blush? shame’s a baby. here she
You have bereft me of all words, lady.
You have bereft me of all words, lady.
you've bereft me of all words, lady.
you've bereft me of all words, lady.
Words pay no debts, give her deeds; but she’ll bereave you o’ th’ deeds
too, if she call your activity in question. What, billing again? Here’s
‘In witness whereof the parties interchangeably.’ Come in, come in;
I’ll go get a fire.
Words pay no debts, give her deeds; but she’ll bereave you o’ th’ deeds too, if she call your activity in question. What, billing again? Here’s ‘In witness whereof the parties interchangeably.’ Come in, come in; I’ll go get a fire.
words pay no debts, give her deeds; but she’ll bereave you o’ th’ deeds too, if she call your activity in question. what, billing again? here’s ‘in witness whereof the parties interchangeably.’ come in, come in; i’ll go get a fire.
words pay no debts, give her deeds; but she’ll bereave you
Cressida says almost nothing in this scene. She blushes, she breathes short, she yields. Her silence is not timidity but a kind of knowledge — she knows Pandarus is watching, that this is being performed. Her few lines are practical: 'Will you walk in, my lord?'
Will you walk in, my lord?
Will you walk in, my lord?
will you walk in, my lord?
will you walk in, my lord?
O Cressid, how often have I wish’d me thus!
O Cressid, how often have I wish’d me thus!
o cressid, how often have i wish’d me thus!
o cressid, how often have i wish’d me thus!
Wish’d, my lord! The gods grant—O my lord!
Wish’d, my lord! The gods grant—O my lord!
wish’d, my lord! the gods grant—o my lord!
wish’d, my lord! the gods grant—o my lord!
What should they grant? What makes this pretty abruption? What too
curious dreg espies my sweet lady in the fountain of our love?
What should they grant? What makes this pretty abruption? What too curious dreg espies my sweet lady in the fountain of our love?
what should they grant? what makes this pretty abruption? what too curious dreg espies my sweet lady in the fountain of our love?
what should they grant? what makes this pretty abruption?
More dregs than water, if my fears have eyes.
More dregs than water, if my fears have eyes.
more dregs than water, if my fears have eyes.
more dregs than water, if my fears have eyes.
Fears make devils of cherubins; they never see truly.
Fears make devils of cherubins; they never see truly.
fears make devils of cherubins; they never see truly.
fears make devils of cherubins; they never see truly.
Blind fear, that seeing reason leads, finds safer footing than blind
reason stumbling without fear. To fear the worst oft cures the worse.
Blind fear, that seeing reason leads, finds safer footing than blind reason stumbling without fear. To fear the worst oft cures the worse.
blind fear, that seeing reason leads, finds safer footing than blind reason stumbling without fear. to fear the worst oft cures the worse.
blind fear, that seeing reason leads, finds safer footing
O, let my lady apprehend no fear! In all Cupid’s pageant there is
presented no monster.
O, let my lady apprehend no fear! In all Cupid’s pageant there is presented no monster.
o, let my lady apprehend no fear! in all cupid’s pageant there is presented no monster.
o, let my lady apprehend no fear! in all cupid’s pageant
Nor nothing monstrous neither?
Nor nothing monstrous neither?
nor nothing monstrous neither?
nor nothing monstrous neither?
Nothing, but our undertakings when we vow to weep seas, live in fire,
eat rocks, tame tigers; thinking it harder for our mistress to devise
imposition enough than for us to undergo any difficulty imposed. This
is the monstruosity in love, lady, that the will is infinite, and the
execution confin’d; that the desire is boundless, and the act a slave
to limit.
Nothing, but our undertakings when we vow to weep seas, live in fire, eat rocks, tame tigers; thinking it harder for our mistress to devise imposition enough than for us to undergo any difficulty imposed. This is the monstruosity in love, lady, that the will is infinite, and the execution confin’d; that the desire is boundless, and the act a slave to limit.
nothing, but our undertakings when we vow to weep seas, live in fire, eat rocks, tame tigers; thinking it harder for our mistress to devise imposition enough than for us to undergo any difficulty imposed. this is the monstruosity in love, lady, that the will is infinite, and the execution confin’d; that the desire is boundless, and the act a slave to limit.
nothing, but our undertakings when we vow to weep seas,
They say all lovers swear more performance than they are able, and yet
reserve an ability that they never perform; vowing more than the
perfection of ten, and discharging less than the tenth part of one.
They that have the voice of lions and the act of hares, are they not
monsters?
They say all lovers swear more performance than they are able, and yet reserve an ability that they never perform; vowing more than the perfection of ten, and discharging less than the tenth part of one. They that have the voice of lions and the act of hares, are they not monsters?
they say all lovers swear more performance than they are able, and yet reserve an ability that they never perform; vowing more than the perfection of ten, and discharging less than the tenth part of one. they that have the voice of lions and the act of hares, are they not monsters?
they say all lovers swear more performance than they are
Are there such? Such are not we. Praise us as we are tasted, allow us
as we prove; our head shall go bare till merit crown it. No perfection
in reversion shall have a praise in present. We will not name desert
before his birth; and, being born, his addition shall be humble. Few
words to fair faith: Troilus shall be such to Cressid as what envy can
say worst shall be a mock for his truth; and what truth can speak
truest not truer than Troilus.
Are there such? Such are not we. Praise us as we are tasted, allow us as we prove; our head shall go bare till merit crown it. No perfection in reversion shall have a praise in present. We will not name desert before his birth; and, being born, his addition shall be humble. Few words to fair faith: Troilus shall be such to Cressid as what envy can say worst shall be a mock for his truth; and what truth can speak truest not truer than Troilus.
are there such? such are not we. praise us as we are tasted, allow us as we prove; our head shall go bare till merit crown it. no perfection in reversion shall have a praise in present. we will not name desert before his birth; and, being born, his addition shall be humble. few words to fair faith: troilus shall be such to cressid as what envy can say worst shall be a mock for his truth; and what truth can speak truest not truer than troilus.
are there such? such are not we. praise us as we are
Will you walk in, my lord?
Will you walk in, my lord?
will you walk in, my lord?
will you walk in, my lord?
What, blushing still? Have you not done talking yet?
What, blushing still? Have you not done talking yet?
what, blushing still? have you not done talking yet?
what, blushing still? have you not done talking yet?
Well, uncle, what folly I commit, I dedicate to you.
Well, uncle, what folly I commit, I dedicate to you.
well, uncle, what folly i commit, i dedicate to you.
well, uncle, what folly i commit, i dedicate to you.
I thank you for that; if my lord get a boy of you, you’ll give him me.
Be true to my lord; if he flinch, chide me for it.
I thank you for that; if my lord get a boy of you, you’ll give him me. Be true to my lord; if he flinch, chide me for it.
i thank you for that; if my lord get a boy of you, you’ll give him me. be true to my lord; if he flinch, chide me for it.
i thank you for that; if my lord get a boy of you, you’ll
You know now your hostages: your uncle’s word and my firm faith.
You know now your hostages: your uncle’s word and my firm faith.
you know now your hostages: your uncle’s word and my firm faith.
you know now your hostages: your uncle’s word and my firm
Nay, I’ll give my word for her too: our kindred, though they be long
ere they are wooed, they are constant being won; they are burs, I can
tell you; they’ll stick where they are thrown.
Nay, I’ll give my word for her too: our kindred, though they be long ere they are wooed, they are constant being won; they are burs, I can tell you; they’ll stick where they are thrown.
nay, i’ll give my word for her too: our kindred, though they be long ere they are wooed, they are constant being won; they are burs, i can tell you; they’ll stick where they are thrown.
nay, i’ll give my word for her too: our kindred, though
Boldness comes to me now and brings me heart.
Prince Troilus, I have lov’d you night and day
For many weary months.
Boldness comes to me now and brings me heart. Prince Troilus, I have lov’d you night and day For many weary months.
boldness comes to me now and brings me heart. prince troilus, i've lov’d you night and day for many weary months.
boldness comes to me now and brings me heart. prince
Pandarus narrates every moment of the lovers' meeting in terms of debt, payment, legal contract, and property. A kiss is 'in fee-farm' (property rental). Troilus must pay with deeds, not words. Everything is transactional. This matters profoundly because it means the play cannot allow us to see the lovers' meeting as transcendent or sacred — it's always being narrated as a commercial transaction. Pandarus is the pimp, and his language is the language of the pimp: physical, crude, transactional. By the end of the scene, Cressida and Troilus have been metaphorically sold into the meeting by his commentary. The audience never gets to experience their meeting as they do — we only ever see it through Pandarus's reduction of it.
Why was my Cressid then so hard to win?
Why was my Cressid then so hard to win?
why was my cressid then so hard to win?
why was my cressid then so hard to win?
Hard to seem won; but I was won, my lord,
With the first glance that ever—pardon me.
If I confess much, you will play the tyrant.
I love you now; but till now not so much
But I might master it. In faith, I lie;
My thoughts were like unbridled children, grown
Too headstrong for their mother. See, we fools!
Why have I blabb’d? Who shall be true to us,
When we are so unsecret to ourselves?
But, though I lov’d you well, I woo’d you not;
And yet, good faith, I wish’d myself a man,
Or that we women had men’s privilege
Of speaking first. Sweet, bid me hold my tongue,
For in this rapture I shall surely speak
The thing I shall repent. See, see, your silence,
Cunning in dumbness, from my weakness draws
My very soul of counsel. Stop my mouth.
Hard to seem won; but I was won, my lord, With the first glance that ever—pardon me. If I confess much, you will play the tyrant. I love you now; but till now not so much But I might master it. In faith, I lie; My thoughts were like unbridled children, grown Too headstrong for their mother. See, we fools! Why have I blabb’d? Who shall be true to us, When we are so unsecret to ourselves? But, though I lov’d you well, I woo’d you not; And yet, good faith, I wish’d myself a man, Or that we women had men’s privilege Of speaking first. Sweet, bid me hold my tongue, For in this rapture I shall surely speak The thing I shall repent. See, see, your silence, Cunning in dumbness, from my weakness draws My very soul of counsel. Stop my mouth.
hard to seem won; but i was won, my lord, with the first glance that ever—pardon me. if i confess much, you will play the tyrant. i love you now; but till now not so much but i might master it. in faith, i lie; my thoughts were like unbridled children, grown too headstrong for their mother. see, we fools! why have i blabb’d? who shall be true to us, when we are so unsecret to ourselves? but, though i lov’d you well, i woo’d you not; and yet, good faith, i wish’d myself a man, or that we women had men’s privilege of speaking first. sweet, bid me hold my tongue, for in this rapture i shall surely speak the thing i shall repent. see, see, your silence, cunning in dumbness, from my weakness draws my very soul of counsel. stop my mouth.
hard to seem won; but i was won, my lord, with the first
And shall, albeit sweet music issues thence.
And shall, albeit sweet music issues thence.
and shall, albeit sweet music issues thence.
and shall, albeit sweet music issues thence.
Pretty, i’ faith.
Pretty, i’ faith.
pretty, i’ faith.
pretty, i’ faith.
My lord, I do beseech you, pardon me;
’Twas not my purpose thus to beg a kiss.
I am asham’d. O heavens! what have I done?
For this time will I take my leave, my lord.
My lord, I do beseech you, pardon me; ’Twas not my purpose thus to beg a kiss. I am asham’d. O heavens! what have I done? For this time will I take my leave, my lord.
my lord, i do beseech you, pardon me; ’twas not my purpose thus to beg a kiss. i'm asham’d. o heavens! what have i done? for this time will i take my leave, my lord.
my lord, i do beseech you, pardon me; ’twas not my purpose
Your leave, sweet Cressid!
Your leave, sweet Cressid!
your leave, sweet cressid!
your leave, sweet cressid!
Leave! And you take leave till tomorrow morning—
Leave! And you take leave till tomorrow morning—
leave! and you take leave till tomorrow morning—
leave! and you take leave till tomorrow morning—
Pray you, content you.
Pray you, content you.
pray you, content you.
pray you, content you.
What offends you, lady?
What offends you, lady?
what offends you, lady?
what offends you, lady?
Sir, mine own company.
Sir, mine own company.
sir, mine own company.
sir, mine own company.
You cannot shun yourself.
You cannot shun yourself.
you cannot shun yourself.
you cannot shun yourself.
Let me go and try.
I have a kind of self resides with you;
But an unkind self, that itself will leave
To be another’s fool. I would be gone.
Where is my wit? I know not what I speak.
Let me go and try. I have a kind of self resides with you; But an unkind self, that itself will leave To be another’s fool. I would be gone. Where is my wit? I know not what I speak.
let me go and try. i've a kind of self resides with you; but an unkind self, that itself will leave to be another’s fool. i would be gone. where is my wit? i know not what i speak.
let me go and try. i've a kind of self resides with you;
Well know they what they speak that speak so wisely.
Well know they what they speak that speak so wisely.
well know they what they speak that speak so wisely.
well know they what they speak that speak so wisely.
Perchance, my lord, I show more craft than love;
And fell so roundly to a large confession
To angle for your thoughts; but you are wise—
Or else you love not; for to be wise and love
Exceeds man’s might; that dwells with gods above.
Perchance, my lord, I show more craft than love; And fell so roundly to a large confession To angle for your thoughts; but you are wise— Or else you love not; for to be wise and love Exceeds man’s might; that dwells with gods above.
perchance, my lord, i show more craft than love; and fell so roundly to a large confession to angle for your thoughts; but you're wise— or else you love not; for to be wise and love exceeds man’s might; that dwells with gods above.
perchance, my lord, i show more craft than love; and fell
O that I thought it could be in a woman—
As, if it can, I will presume in you—
To feed for aye her lamp and flames of love;
To keep her constancy in plight and youth,
Outliving beauty’s outward, with a mind
That doth renew swifter than blood decays!
Or that persuasion could but thus convince me
That my integrity and truth to you
Might be affronted with the match and weight
Of such a winnowed purity in love.
How were I then uplifted! But, alas,
I am as true as truth’s simplicity,
And simpler than the infancy of truth.
O that I thought it could be in a woman— As, if it can, I will presume in you— To feed for aye her lamp and flames of love; To keep her constancy in plight and youth, Outliving beauty’s outward, with a mind That does renew swifter than blood decays! Or that persuasion could but thus convince me That my integrity and truth to you Might be affronted with the match and weight Of such a winnowed purity in love. How were I then uplifted! But, alas, I am as true as truth’s simplicity, And simpler than the infancy of truth.
o that i thought it could be in a woman— as, if it can, i will presume in you— to feed for aye her lamp and flames of love; to keep her constancy in plight and youth, outliving beauty’s outward, with a mind that does renew swifter than blood decays! or that persuasion could but thus convince me that my integrity and truth to you might be affronted with the match and weight of such a winnowed purity in love. how were i then uplifted! but, alas, i'm as true as truth’s simplicity, and simpler than the infancy of truth.
o that i thought it could be in a woman— as, if it can, i
In that I’ll war with you.
In that I’ll war with you.
in that i’ll war with you.
in that i’ll war with you.
O virtuous fight,
When right with right wars who shall be most right!
True swains in love shall in the world to come
Approve their truth by Troilus, when their rhymes,
Full of protest, of oath, and big compare,
Want similes, truth tir’d with iteration—
As true as steel, as plantage to the moon,
As sun to day, as turtle to her mate,
As iron to adamant, as earth to th’ centre—
Yet, after all comparisons of truth,
As truth’s authentic author to be cited,
‘As true as Troilus’ shall crown up the verse
And sanctify the numbers.
O virtuous fight, When right with right wars who shall be most right! True swains in love shall in the world to come Approve their truth by Troilus, when their rhymes, Full of protest, of oath, and big compare, Want similes, truth tir’d with iteration— As true as steel, as plantage to the moon, As sun to day, as turtle to her mate, As iron to adamant, as earth to th’ centre— Yet, after all comparisons of truth, As truth’s authentic author to be cited, ‘As true as Troilus’ shall crown up the verse And sanctify the numbers.
o virtuous fight, when right with right wars who shall be most right! true swains in love shall in the world to come approve their truth by troilus, when their rhymes, full of protest, of oath, and big compare, want similes, truth tir’d with iteration— as true as steel, as plantage to the moon, as sun to day, as turtle to her mate, as iron to adamant, as earth to th’ centre— yet, after all comparisons of truth, as truth’s authentic author to be cited, ‘as true as troilus’ shall crown up the verse and sanctify the numbers.
o virtuous fight, when right with right wars who shall be
Prophet may you be!
If I be false, or swerve a hair from truth,
When time is old and hath forgot itself,
When waterdrops have worn the stones of Troy,
And blind oblivion swallow’d cities up,
And mighty states characterless are grated
To dusty nothing—yet let memory
From false to false, among false maids in love,
Upbraid my falsehood when th’ have said ‘As false
As air, as water, wind, or sandy earth,
As fox to lamb, or wolf to heifer’s calf,
Pard to the hind, or stepdame to her son’—
Yea, let them say, to stick the heart of falsehood,
‘As false as Cressid.’
Prophet may you be! If I be false, or swerve a hair from truth, When time is old and has forgot itself, When waterdrops have worn the stones of Troy, And blind oblivion swallow’d cities up, And mighty states characterless are grated To dusty nothing—yet let memory From false to false, among false maids in love, Upbraid my falsehood when th’ have said ‘As false As air, as water, wind, or sandy earth, As fox to lamb, or wolf to heifer’s calf, Pard to the hind, or stepdame to her son’— Yea, let them say, to stick the heart of falsehood, ‘As false as Cressid.’
prophet may you be! if i be false, or swerve a hair from truth, when time is old and has forgot itself, when waterdrops have worn the stones of troy, and blind oblivion swallow’d cities up, and mighty states characterless are grated to dusty nothing—yet let memory from false to false, among false maids in love, upbraid my falsehood when th’ have said ‘as false as air, as water, wind, or sandy earth, as fox to lamb, or wolf to heifer’s calf, pard to the hind, or stepdame to her son’— yea, let them say, to stick the heart of falsehood, ‘as false as cressid.’
prophet may you be! if i be false, or swerve a hair from
Go to, a bargain made; seal it, seal it; I’ll be the witness. Here I
hold your hand; here my cousin’s. If ever you prove false one to
another, since I have taken such pains to bring you together, let all
pitiful goers-between be call’d to the world’s end after my name—call
them all Pandars; let all constant men be Troiluses, all false women
Cressids, and all brokers between Pandars. Say ‘Amen.’
Go to, a bargain made; seal it, seal it; I’ll be the witness. Here I hold your hand; here my cousin’s. If ever you prove false one to another, since I have taken such pains to bring you together, let all pitiful goers-between be call’d to the world’s end after my name—call them all Pandars; let all constant men be Troiluses, all false women Cressids, and all brokers between Pandars. Say ‘Amen.’
go to, a bargain made; seal it, seal it; i’ll be the witness. here i hold your hand; here my cousin’s. if ever you prove false one to another, since i've taken such pains to bring you together, let all pitiful goers-between be call’d to the world’s end after my name—call them all pandars; let all constant men be troiluses, all false women cressids, and all brokers between pandars. say ‘amen.’
go to, a bargain made; seal it, seal it; i’ll be the
Amen.
Amen.
amen.
amen.
Amen.
Amen.
amen.
amen.
Amen. Whereupon I will show you a chamber and a bed; which bed, because
it shall not speak of your pretty encounters, press it to death. Away!
Amen. Whereupon I will show you a chamber and a bed; which bed, because it shall not speak of your pretty encounters, press it to death. Away!
amen. whereupon i will show you a chamber and a bed; which bed, because it shall not speak of your pretty encounters, press it to death. away!
amen. whereupon i will show you a chamber and a bed; which
The Reckoning
The scene is the lovers' first meeting — the payoff to three acts of Troilus's obsession and Pandarus's scheming. Yet the moment itself feels fragile. Troilus is almost incapacitated by expectation; Cressida arrives blushing; Pandarus cannot stop talking. The meeting that was supposed to be transcendent becomes an awkward, watched thing, with Pandarus narrating every moment in terms of sex and mechanics. The scene raises a haunting question: can real desire survive the moment it's finally satisfied?
If this happened today…
Two people who've been texting for months finally meet in person. One is shaking with nerves, rehearsing the moment obsessively. The other is flushed and hesitant. Their mutual friend, who set them up, won't leave them alone and keeps making sex jokes and pushing them to kiss. The reality lands flat against the fantasy.