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Act 3, Scene 3 — The Greek camp.
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The argument Calchas, the Trojan defector, petitions Agamemnon for reward. He offers to trade the Trojan prisoner Antenor for his daughter Cressida, held in Troy. Agamemnon agrees, and Diomedes is sent to conduct the exchange. Meanwhile, Ulysses orchestrates a plan to ignore Achilles to shame him into fighting again. The Greek generals deliberately snub Achilles, who is hurt and confused.
Flourish. Enter Agamemnon, Ulysses, Diomedes, Nestor, Ajax, Menelaus
and Calchas.
First appearance
CALCHAS

Calchas is businesslike and transactional. He itemizes his losses ('What time, acquaintance, custom, and condition / Made tame and most familiar to my nature') like a ledger. He speaks in the language of debt and repayment. His plea for his daughter is framed as a business negotiation.

CALCHAS ≋ verse dialogue

Now, Princes, for the service I have done,

Th’advantage of the time prompts me aloud

To call for recompense. Appear it to your mind

That, through the sight I bear in things to come,

I have abandon’d Troy, left my possession,

Incurr’d a traitor’s name, expos’d myself

From certain and possess’d conveniences

To doubtful fortunes, sequest’ring from me all

That time, acquaintance, custom, and condition,

Made tame and most familiar to my nature;

And here, to do you service, am become

As new into the world, strange, unacquainted—

I do beseech you, as in way of taste,

To give me now a little benefit

Out of those many regist’red in promise,

Which you say live to come in my behalf.

Now, Princes, for the service I have done, Th’advantage of the time prompts me aloud To call for recompense. Appear it to your mind That, through the sight I bear in things to come, I have abandon’d Troy, left my possession, Incurr’d a traitor’s name, expos’d myself From certain and possess’d conveniences To doubtful fortunes, sequest’ring from me all That time, acquaintance, custom, and condition, Made tame and most familiar to my nature; And here, to do you service, am become As new into the world, strange, unacquainted— I do beseech you, as in way of taste, To give me now a little benefit Out of those many regist’red in promise, Which you say live to come in my behalf.

now, princes, for the service i've done, th’advantage of the time prompts me aloud to call for recompense. appear it to your mind that, through the sight i bear in things to come, i've abandon’d troy, left my possession, incurr’d a traitor’s name, expos’d myself from certain and possess’d conveniences to doubtful fortunes, sequest’ring from me all that time, acquaintance, custom, and condition, made tame and most familiar to my nature; and here, to do you service, am become as new into the world, strange, unacquainted— i do beseech you, as in way of taste, to give me now a little benefit out of those many regist’red in promise, which you say live to come in my behalf.

now, princes, for the service i've done, th’advantage of

Why it matters Calchas speaks in the language of transaction and loss. He is not asking for mercy; he is presenting a bill for services rendered.
First appearance
AGAMEMNON

Agamemnon is efficient and diplomatic. He speaks in the language of command and request. He grants Calchas's petition without hesitation — not from kindness but from calculation. Antenor is strategic, and Cressida is the price.

AGAMEMNON dialogue

What wouldst thou of us, Trojan? Make demand.

What wouldst you of us, Trojan? Make demand.

what wouldst you of us, trojan? make demand.

what wouldst you of us, trojan? make demand.

CALCHAS ≋ verse dialogue

You have a Trojan prisoner call’d Antenor,

Yesterday took; Troy holds him very dear.

Oft have you—often have you thanks therefore—

Desir’d my Cressid in right great exchange,

Whom Troy hath still denied; but this Antenor,

I know, is such a wrest in their affairs

That their negotiations all must slack

Wanting his manage; and they will almost

Give us a prince of blood, a son of Priam,

In change of him. Let him be sent, great Princes,

And he shall buy my daughter; and her presence

Shall quite strike off all service I have done

In most accepted pain.

You have a Trojan prisoner call’d Antenor, Yesterday took; Troy holds him very dear. Oft have you—often have you thanks therefore— Desir’d my Cressid in right great exchange, Whom Troy has still denied; but this Antenor, I know, is such a wrest in their affairs That their negotiations all must slack Wanting his manage; and they will almost Give us a prince of blood, a son of Priam, In change of him. Let him be sent, great Princes, And he shall buy my daughter; and her presence Shall quite strike off all service I have done In most accepted pain.

you've a trojan prisoner call’d antenor, yesterday took; troy holds him very dear. oft have you—often have you thanks therefore— desir’d my cressid in right great exchange, whom troy has still denied; but this antenor, i know, is such a wrest in their affairs that their negotiations all must slack wanting his manage; and they will almost give us a prince of blood, a son of priam, in change of him. let him be sent, great princes, and he shall buy my daughter; and her presence shall quite strike off all service i've done in most accepted pain.

you've a trojan prisoner call’d antenor, yesterday took;

"Let him be sent, great Princes, / And he shall buy my daughter" Calchas reduces his daughter to a commodity with a price. The verb 'buy' is calculating and commercial. He is literally selling her back for a Trojan prisoner.
Why it matters This is the moment Cressida's fate is sealed. She becomes the price of strategic leverage. The audience knows this is coming — Diomedes was already sent for her in 1-3 — but hearing her father negotiate her sale crystallizes the tragedy.
🎭 Dramatic irony Calchas calculates the trade-off: Antenor for Cressida. He has no idea that Cressida's departure will set in motion the tragedy of act 5 — and that Antenor will survive while Hector dies.
AGAMEMNON ≋ verse dialogue

Let Diomedes bear him,

And bring us Cressid hither. Calchas shall have

What he requests of us. Good Diomed,

Furnish you fairly for this interchange;

Withal, bring word if Hector will tomorrow

Be answer’d in his challenge. Ajax is ready.

Let Diomedes bear him, And bring us Cressid hither. Calchas shall have What he requests of us. Good Diomed, Furnish you fairly for this interchange; Withal, bring word if Hector will tomorrow Be answer’d in his challenge. Ajax is ready.

let diomedes bear him, and bring us cressid hither. calchas shall have what he requests of us. good diomed, furnish you fairly for this interchange; withal, bring word if hector will tomorrow be answer’d in his challenge. ajax is ready.

let diomedes bear him, and bring us cressid hither. calchas

DIOMEDES ≋ verse dialogue

This shall I undertake; and ’tis a burden

Which I am proud to bear.

This shall I undertake; and ’tis a burden Which I am proud to bear.

this shall i undertake; and ’tis a burden which i'm proud to bear.

this shall i undertake; and ’tis a burden which i'm proud

[_Exeunt Diomedes and Calchas_.]
[_Achilles and Patroclus stand in their tent_.]
First appearance
ULYSSES

Ulysses is the play's true Machiavellian. He manipulates through rhetoric and psychology. His plan is explicit: 'Pride hath no other glass / To show itself but pride.' He uses Achilles' own psychology against him.

ULYSSES ≋ verse dialogue

Achilles stands i’ th’entrance of his tent.

Please it our general pass strangely by him,

As if he were forgot; and, Princes all,

Lay negligent and loose regard upon him.

I will come last. ’Tis like he’ll question me

Why such unplausive eyes are bent, why turn’d on him.

If so, I have derision med’cinable

To use between your strangeness and his pride,

Which his own will shall have desire to drink.

It may do good. Pride hath no other glass

To show itself but pride; for supple knees

Feed arrogance and are the proud man’s fees.

Achilles stands i’ th’entrance of his tent. Please it our general pass strangely by him, As if he were forgot; and, Princes all, Lay negligent and loose regard upon him. I will come last. ’Tis like he’ll question me Why such unplausive eyes are bent, why turn’d on him. If so, I have derision med’cinable To use between your strangeness and his pride, Which his own will shall have desire to drink. It may do good. Pride has no other glass To show itself but pride; for supple knees Feed arrogance and are the proud man’s fees.

achilles stands i’ th’entrance of his tent. please it our general pass strangely by him, as if he were forgot; and, princes all, lay negligent and loose regard upon him. i will come last. ’tis like he’ll question me why such unplausive eyes are bent, why turn’d on him. if so, i've derision med’cinable to use between your strangeness and his pride, which his own will shall have desire to drink. it may do good. pride has no other glass to show itself but pride; for supple knees feed arrogance and are the proud man’s fees.

achilles stands i’ th’entrance of his tent. please it our

"Pride hath no other glass / To show itself but pride" Ulysses' principle: pride only recognizes itself when confronted with pride. To cure Achilles' arrogance, they must show him the same arrogance — ignoring him, disdaining him — and he will recognize his own fault reflected back.
Why it matters Ulysses articulates a psychological strategy that is almost disturbingly effective. He understands that shame can be weaponized, that pride can be turned against itself. This is social engineering before the term existed.
AGAMEMNON ≋ verse dialogue

We’ll execute your purpose, and put on

A form of strangeness as we pass along.

So do each lord; and either greet him not,

Or else disdainfully, which shall shake him more

Than if not look’d on. I will lead the way.

We’ll execute your purpose, and put on A form of strangeness as we pass along. So do each lord; and either greet him not, Or else disdainfully, which shall shake him more Than if not look’d on. I will lead the way.

we’ll execute your purpose, and put on a form of strangeness as we pass along. so do each lord; and either greet him not, or else disdainfully, which shall shake him more than if not look’d on. i will lead the way.

we’ll execute your purpose, and put on a form of

ACHILLES ≋ verse dialogue

What comes the general to speak with me?

You know my mind. I’ll fight no more ’gainst Troy.

What comes the general to speak with me? You know my mind. I’ll fight no more ’gainst Troy.

what comes the general to speak with me? you know my mind. i’ll fight no more ’gainst troy.

what comes the general to speak with me? you know my mind.

Why it matters Achilles speaks before being spoken to — a sign of his anxiety. He is already on the defensive, already trying to control the narrative.
AGAMEMNON dialogue

What says Achilles? Would he aught with us?

What says Achilles? Would he aught with us?

what says achilles? would he aught with us?

what says achilles? would he aught with us?

Why it matters Agamemnon speaks about Achilles to someone else, not to Achilles. This is the cruelty of the plan — he is treated as if not present.
NESTOR dialogue

Would you, my lord, aught with the general?

Would you, my lord, aught with the general?

would you, my lord, aught with the general?

would you, my lord, aught with the general?

ACHILLES dialogue

No.

No.

no.

no.

NESTOR dialogue

Nothing, my lord.

Nothing, my lord.

nothing, my lord.

nothing, my lord.

AGAMEMNON dialogue

The better.

The better.

the better.

the better.

Why it matters A devastating single word. Agamemnon approves of Achilles having nothing to say — as if Achilles' silence proves his irrelevance.
[_Exeunt Agamemnon and Nestor_.]
ACHILLES dialogue

Good day, good day.

Good day, good day.

good day, good day.

good day, good day.

Why it matters Achilles calls to them as they leave, but they don't respond. He is talking to emptiness.
MENELAUS dialogue

How do you? How do you?

How do you? How do you?

how do you? how do you?

how do you? how do you?

[_Exit_.]
ACHILLES dialogue

What, does the cuckold scorn me?

What, does the cuckold scorn me?

what, does the cuckold scorn me?

what, does the cuckold scorn me?

"cuckold" Menelaus, whose wife Helen was stolen by Paris. Achilles is so hurt at the slight that he lashes out at Menelaus with this epithet, combining his pain with a cruel jab.
Why it matters Achilles immediately reacts with aggression. The plan is already working — he's being pushed toward anger.
AJAX dialogue

How now, Patroclus?

How now, Patroclus?

how now, patroclus?

how now, patroclus?

ACHILLES dialogue

Good morrow, Ajax.

Good morrow, Ajax.

good morrow, ajax.

good morrow, ajax.

Why it matters Achilles tries to reset, to be civil. But Ajax ignores him.
AJAX dialogue

Ha?

Ha?

ha?

ha?

ACHILLES dialogue

Good morrow.

Good morrow.

good morrow.

good morrow.

AJAX dialogue

Ay, and good next day too.

Ay, and good next day too.

ay, and good next day too.

ay, and good next day too.

Why it matters Ajax is being deliberately obtuse and dismissive. He extends the greeting only to mock it — 'good next day' suggests Achilles is already a thing of the past.
[_Exit_.]
ACHILLES dialogue

What mean these fellows? Know they not Achilles?

What mean these fellows? Know they not Achilles?

what mean these fellows? know they not achilles?

what mean these fellows? know they not achilles?

Why it matters Achilles is now genuinely confused. The plan has fractured his sense of identity — his worth is based on their recognition, and they have withdrawn it.
PATROCLUS ≋ verse dialogue

They pass by strangely. They were us’d to bend,

To send their smiles before them to Achilles,

To come as humbly as they us’d to creep

To holy altars.

They pass by strangely. They were us’d to bend, To send their smiles before them to Achilles, To come as humbly as they us’d to creep To holy altars.

they pass by strangely. they were us’d to bend, to send their smiles before them to achilles, to come as humbly as they us’d to creep to holy altars.

they pass by strangely. they were us’d to bend, to send

Why it matters Patroclus outlines the before-and-after. Achilles is being shown, through contrast with the past, exactly how far he has fallen in their estimation.
ACHILLES ≋ verse dialogue

What, am I poor of late?

’Tis certain, greatness, once fall’n out with fortune,

Must fall out with men too. What the declin’d is,

He shall as soon read in the eyes of others

As feel in his own fall; for men, like butterflies,

Show not their mealy wings but to the summer;

And not a man for being simply man

Hath any honour, but honour for those honours

That are without him, as place, riches, and favour,

Prizes of accident, as oft as merit;

Which when they fall, as being slippery standers,

The love that lean’d on them as slippery too,

Doth one pluck down another, and together

Die in the fall. But ’tis not so with me:

Fortune and I are friends; I do enjoy

At ample point all that I did possess

Save these men’s looks; who do, methinks, find out

Something not worth in me such rich beholding

As they have often given. Here is Ulysses.

I’ll interrupt his reading.

How now, Ulysses!

What, am I poor of late? ’Tis certain, greatness, once fall’n out with fortune, Must fall out with men too. What the declin’d is, He shall as soon read in the eyes of others As feel in his own fall; for men, like butterflies, Show not their mealy wings but to the summer; And not a man for being simply man has any honour, but honour for those honours That are without him, as place, riches, and favour, Prizes of accident, as oft as merit; Which when they fall, as being slippery standers, The love that lean’d on them as slippery too, does one pluck down another, and together Die in the fall. But ’tis not so with me: Fortune and I are friends; I do enjoy At ample point all that I did possess Save these men’s looks; who do, methinks, find out Something not worth in me such rich beholding As they have often given. Here is Ulysses. I’ll interrupt his reading. How now, Ulysses!

what, am i poor of late? ’tis certain, greatness, once fall’n out with fortune, must fall out with men too. what the declin’d is, he shall as soon read in the eyes of others as feel in his own fall; for men, like butterflies, show not their mealy wings but to the summer; and not a man for being simply man has any honour, but honour for those honours that are without him, as place, riches, and favour, prizes of accident, as oft as merit; which when they fall, as being slippery standers, the love that lean’d on them as slippery too, does one pluck down another, and together die in the fall. but ’tis not so with me: fortune and i are friends; i do enjoy at ample point all that i did possess save these men’s looks; who do, methinks, find out something not worth in me such rich beholding as they have often given. here is ulysses. i’ll interrupt his reading. how now, ulysses!

what, am i poor of late? ’tis certain, greatness, once

ULYSSES dialogue

Now, great Thetis’ son!

Now, great Thetis’ son!

now, great thetis’ son!

now, great thetis’ son!

ACHILLES dialogue

What are you reading?

What are you reading?

what are you reading?

what are you reading?

ULYSSES ≋ verse dialogue

A strange fellow here

Writes me that man—how dearly ever parted,

How much in having, or without or in—

Cannot make boast to have that which he hath,

Nor feels not what he owes, but by reflection;

As when his virtues shining upon others

Heat them, and they retort that heat again

To the first giver.

A strange fellow here Writes me that man—how dearly ever parted, How much in having, or without or in— Cannot make boast to have that which he has, Nor feels not what he owes, but by reflection; As when his virtues shining upon others Heat them, and they retort that heat again To the first giver.

a strange fellow here writes me that man—how dearly ever parted, how much in having, or without or in— cannot make boast to have that which he has, nor feels not what he owes, but by reflection; as when his virtues shining upon others heat them, and they retort that heat again to the first giver.

a strange fellow here writes me that man—how dearly ever

ACHILLES ≋ verse dialogue

This is not strange, Ulysses.

The beauty that is borne here in the face

The bearer knows not, but commends itself

To others’ eyes; nor doth the eye itself—

That most pure spirit of sense—behold itself,

Not going from itself; but eye to eye opposed

Salutes each other with each other’s form;

For speculation turns not to itself

Till it hath travell’d, and is mirror’d there

Where it may see itself. This is not strange at all.

This is not strange, Ulysses. The beauty that is borne here in the face The bearer knows not, but commends itself To others’ eyes; nor does the eye itself— That most pure spirit of sense—behold itself, Not going from itself; but eye to eye opposed Salutes each other with each other’s form; For speculation turns not to itself Till it has travell’d, and is mirror’d there Where it may see itself. This is not strange at all.

this is not strange, ulysses. the beauty that is borne here in the face the bearer knows not, but commends itself to others’ eyes; nor does the eye itself— that most pure spirit of sense—behold itself, not going from itself; but eye to eye opposed salutes each other with each other’s form; for speculation turns not to itself till it has travell’d, and is mirror’d there where it may see itself. this is not strange at all.

this is not strange, ulysses. the beauty that is borne here

ULYSSES ≋ verse dialogue

I do not strain at the position—

It is familiar—but at the author’s drift;

Who, in his circumstance, expressly proves

That no man is the lord of anything,

Though in and of him there be much consisting,

Till he communicate his parts to others;

Nor doth he of himself know them for aught

Till he behold them formed in the applause

Where th’are extended; who, like an arch, reverb’rate

The voice again; or, like a gate of steel

Fronting the sun, receives and renders back

His figure and his heat. I was much rapt in this;

And apprehended here immediately

Th’unknown Ajax. Heavens, what a man is there!

A very horse that has he knows not what!

Nature, what things there are

Most abject in regard and dear in use!

What things again most dear in the esteem

And poor in worth! Now shall we see tomorrow—

An act that very chance doth throw upon him—

Ajax renown’d. O heavens, what some men do,

While some men leave to do!

How some men creep in skittish Fortune’s hall,

Whiles others play the idiots in her eyes!

How one man eats into another’s pride,

While pride is fasting in his wantonness!

To see these Grecian lords!—why, even already

They clap the lubber Ajax on the shoulder,

As if his foot were on brave Hector’s breast,

And great Troy shrieking.

I do not strain at the position— It is familiar—but at the author’s drift; Who, in his circumstance, expressly proves That no man is the lord of anything, Though in and of him there be much consisting, Till he communicate his parts to others; Nor does he of himself know them for aught Till he behold them formed in the applause Where th’are extended; who, like an arch, reverb’rate The voice again; or, like a gate of steel Fronting the sun, receives and renders back His figure and his heat. I was much rapt in this; And apprehended here immediately Th’unknown Ajax. Heavens, what a man is there! A very horse that has he knows not what! Nature, what things there are Most abject in regard and dear in use! What things again most dear in the esteem And poor in worth! Now shall we see tomorrow— An act that very chance does throw upon him— Ajax renown’d. O heavens, what some men do, While some men leave to do! How some men creep in skittish Fortune’s hall, Whiles others play the idiots in her eyes! How one man eats into another’s pride, While pride is fasting in his wantonness! To see these Grecian lords!—why, even already They clap the lubber Ajax on the shoulder, As if his foot were on brave Hector’s breast, And great Troy shrieking.

i do not strain at the position— it is familiar—but at the author’s drift; who, in his circumstance, expressly proves that no man is the lord of anything, though in and of him there be much consisting, till he communicate his parts to others; nor does he of himself know them for aught till he behold them formed in the applause where th’are extended; who, like an arch, reverb’rate the voice again; or, like a gate of steel fronting the sun, receives and renders back his figure and his heat. i was much rapt in this; and apprehended here immediately th’unknown ajax. heavens, what a man is there! a very horse that has he knows not what! nature, what things there are most abject in regard and dear in use! what things again most dear in the esteem and poor in worth! now shall we see tomorrow— an act that very chance does throw upon him— ajax renown’d. o heavens, what some men do, while some men leave to do! how some men creep in skittish fortune’s hall, whiles others play the idiots in her eyes! how one man eats into another’s pride, while pride is fasting in his wantonness! to see these grecian lords!—why, even already they clap the lubber ajax on the shoulder, as if his foot were on brave hector’s breast, and great troy shrieking.

i do not strain at the position— it is familiar—but at the

ACHILLES ≋ verse dialogue

I do believe it; for they pass’d by me

As misers do by beggars, neither gave to me

Good word nor look. What, are my deeds forgot?

I do believe it; for they pass’d by me As misers do by beggars, neither gave to me Good word nor look. What, are my deeds forgot?

i do believe it; for they pass’d by me as misers do by beggars, neither gave to me good word nor look. what, are my deeds forgot?

i do believe it; for they pass’d by me as misers do by

ULYSSES ≋ verse dialogue

Time hath, my lord, a wallet at his back,

Wherein he puts alms for oblivion,

A great-siz’d monster of ingratitudes.

Those scraps are good deeds past, which are devour’d

As fast as they are made, forgot as soon

As done. Perseverance, dear my lord,

Keeps honour bright. To have done is to hang

Quite out of fashion, like a rusty mail

In monumental mock’ry. Take the instant way;

For honour travels in a strait so narrow—

Where one but goes abreast. Keep then the path,

For emulation hath a thousand sons

That one by one pursue; if you give way,

Or hedge aside from the direct forthright,

Like to an ent’red tide they all rush by

And leave you hindmost;

Or, like a gallant horse fall’n in first rank,

Lie there for pavement to the abject rear,

O’er-run and trampled on. Then what they do in present,

Though less than yours in past, must o’ertop yours;

For Time is like a fashionable host,

That slightly shakes his parting guest by th’hand;

And with his arms out-stretch’d, as he would fly,

Grasps in the comer. The welcome ever smiles,

And farewell goes out sighing. O, let not virtue seek

Remuneration for the thing it was;

For beauty, wit,

High birth, vigour of bone, desert in service,

Love, friendship, charity, are subjects all

To envious and calumniating Time.

One touch of nature makes the whole world kin—

That all with one consent praise new-born gauds,

Though they are made and moulded of things past,

And give to dust that is a little gilt

More laud than gilt o’er-dusted.

The present eye praises the present object.

Then marvel not, thou great and complete man,

That all the Greeks begin to worship Ajax,

Since things in motion sooner catch the eye

Than what stirs not. The cry went once on thee,

And still it might, and yet it may again,

If thou wouldst not entomb thyself alive

And case thy reputation in thy tent,

Whose glorious deeds but in these fields of late

Made emulous missions ’mongst the gods themselves,

And drave great Mars to faction.

Time has, my lord, a wallet at his back, Wherein he puts alms for oblivion, A great-siz’d monster of ingratitudes. Those scraps are good deeds past, which are devour’d As fast as they are made, forgot as soon As done. Perseverance, dear my lord, Keeps honour bright. To have done is to hang Quite out of fashion, like a rusty mail In monumental mock’ry. Take the instant way; For honour travels in a strait so narrow— Where one but goes abreast. Keep then the path, For emulation has a thousand sons That one by one pursue; if you give way, Or hedge aside from the direct forthright, Like to an ent’red tide they all rush by And leave you hindmost; Or, like a gallant horse fall’n in first rank, Lie there for pavement to the abject rear, O’er-run and trampled on. Then what they do in present, Though less than yours in past, must o’ertop yours; For Time is like a fashionable host, That slightly shakes his parting guest by th’hand; And with his arms out-stretch’d, as he would fly, Grasps in the comer. The welcome ever smiles, And farewell goes out sighing. O, let not virtue seek Remuneration for the thing it was; For beauty, wit, High birth, vigour of bone, desert in service, Love, friendship, charity, are subjects all To envious and calumniating Time. One touch of nature makes the whole world kin— That all with one consent praise new-born gauds, Though they are made and moulded of things past, And give to dust that is a little gilt More laud than gilt o’er-dusted. The present eye praises the present object. Then marvel not, you great and complete man, That all the Greeks begin to worship Ajax, Since things in motion sooner catch the eye Than what stirs not. The cry went once on you, And still it might, and yet it may again, If you wouldst not entomb thyself alive And case your reputation in your tent, Whose glorious deeds but in these fields of late Made emulous missions ’mongst the gods themselves, And drave great Mars to faction.

time has, my lord, a wallet at his back, wherein he puts alms for oblivion, a great-siz’d monster of ingratitudes. those scraps are good deeds past, which are devour’d as fast as they are made, forgot as soon as done. perseverance, dear my lord, keeps honour bright. to have done is to hang quite out of fashion, like a rusty mail in monumental mock’ry. take the instant way; for honour travels in a strait so narrow— where one but goes abreast. keep then the path, for emulation has a thousand sons that one by one pursue; if you give way, or hedge aside from the direct forthright, like to an ent’red tide they all rush by and leave you hindmost; or, like a gallant horse fall’n in first rank, lie there for pavement to the abject rear, o’er-run and trampled on. then what they do in present, though less than yours in past, must o’ertop yours; for time is like a fashionable host, that slightly shakes his parting guest by th’hand; and with his arms out-stretch’d, as he would fly, grasps in the comer. the welcome ever smiles, and farewell goes out sighing. o, let not virtue seek remuneration for the thing it was; for beauty, wit, high birth, vigour of bone, desert in service, love, friendship, charity, are subjects all to envious and calumniating time. one touch of nature makes the whole world kin— that all with one consent praise new-born gauds, though they are made and moulded of things past, and give to dust that is a little gilt more laud than gilt o’er-dusted. the present eye praises the present object. then marvel not, you great and complete man, that all the greeks begin to worship ajax, since things in motion sooner catch the eye than what stirs not. the cry went once on you, and still it might, and yet it may again, if you wouldst not entomb thyself alive and case your reputation in your tent, whose glorious deeds but in these fields of late made emulous missions ’mongst the gods themselves, and drave great mars to faction.

time has, my lord, a wallet at his back, wherein he puts

ACHILLES ≋ verse dialogue

Of this my privacy

I have strong reasons.

Of this my privacy I have strong reasons.

of this my privacy i've strong reasons.

of this my privacy i've strong reasons.

ULYSSES ≋ verse dialogue

But ’gainst your privacy

The reasons are more potent and heroical.

’Tis known, Achilles, that you are in love

With one of Priam’s daughters.

But ’gainst your privacy The reasons are more potent and heroical. ’Tis known, Achilles, that you are in love With one of Priam’s daughters.

but ’gainst your privacy the reasons are more potent and heroical. ’tis known, achilles, that you're in love with one of priam’s daughters.

but ’gainst your privacy the reasons are more potent and

ACHILLES dialogue

Ha! known!

Ha! known!

ha! known!

ha! known!

ULYSSES ≋ verse dialogue

Is that a wonder?

The providence that’s in a watchful state

Knows almost every grain of Plutus’ gold;

Finds bottom in th’uncomprehensive deeps;

Keeps place with thought, and almost, like the gods,

Do thoughts unveil in their dumb cradles.

There is a mystery—with whom relation

Durst never meddle—in the soul of state,

Which hath an operation more divine

Than breath or pen can give expressure to.

All the commerce that you have had with Troy

As perfectly is ours as yours, my lord;

And better would it fit Achilles much

To throw down Hector than Polyxena.

But it must grieve young Pyrrhus now at home,

When fame shall in our island sound her trump,

And all the Greekish girls shall tripping sing

‘Great Hector’s sister did Achilles win;

But our great Ajax bravely beat down him.’

Farewell, my lord. I as your lover speak.

The fool slides o’er the ice that you should break.

Is that a wonder? The providence that’s in a watchful state Knows almost every grain of Plutus’ gold; Finds bottom in th’uncomprehensive deeps; Keeps place with thought, and almost, like the gods, Do thoughts unveil in their dumb cradles. There is a mystery—with whom relation Durst never meddle—in the soul of state, Which has an operation more divine Than breath or pen can give expressure to. All the commerce that you have had with Troy As perfectly is ours as yours, my lord; And better would it fit Achilles much To throw down Hector than Polyxena. But it must grieve young Pyrrhus now at home, When fame shall in our island sound her trump, And all the Greekish girls shall tripping sing ‘Great Hector’s sister did Achilles win; But our great Ajax bravely beat down him.’ Farewell, my lord. I as your lover speak. The fool slides o’er the ice that you should break.

is that a wonder? the providence that’s in a watchful state knows almost every grain of plutus’ gold; finds bottom in th’uncomprehensive deeps; keeps place with thought, and almost, like the gods, do thoughts unveil in their dumb cradles. there is a mystery—with whom relation durst never meddle—in the soul of state, which has an operation more divine than breath or pen can give expressure to. all the commerce that you've had with troy as perfectly is ours as yours, my lord; and better would it fit achilles much to throw down hector than polyxena. but it must grieve young pyrrhus now at home, when fame shall in our island sound her trump, and all the greekish girls shall tripping sing ‘great hector’s sister did achilles win; but our great ajax bravely beat down him.’ farewell, my lord. i as your lover speak. the fool slides o’er the ice that you should break.

is that a wonder? the providence that’s in a watchful state

[_Exit_.]
PATROCLUS ≋ verse dialogue

To this effect, Achilles, have I mov’d you.

A woman impudent and mannish grown

Is not more loath’d than an effeminate man

In time of action. I stand condemn’d for this;

They think my little stomach to the war

And your great love to me restrains you thus.

Sweet, rouse yourself; and the weak wanton Cupid

Shall from your neck unloose his amorous fold,

And, like a dew-drop from the lion’s mane,

Be shook to air.

To this effect, Achilles, have I mov’d you. A woman impudent and mannish grown Is not more loath’d than an effeminate man In time of action. I stand condemn’d for this; They think my little stomach to the war And your great love to me restrains you thus. Sweet, rouse yourself; and the weak wanton Cupid Shall from your neck unloose his amorous fold, And, like a dew-drop from the lion’s mane, Be shook to air.

to this effect, achilles, have i mov’d you. a woman impudent and mannish grown is not more loath’d than an effeminate man in time of action. i stand condemn’d for this; they think my little stomach to the war and your great love to me restrains you thus. sweet, rouse yourself; and the weak wanton cupid shall from your neck unloose his amorous fold, and, like a dew-drop from the lion’s mane, be shook to air.

to this effect, achilles, have i mov’d you. a woman

ACHILLES dialogue

Shall Ajax fight with Hector?

Shall Ajax fight with Hector?

shall ajax fight with hector?

shall ajax fight with hector?

PATROCLUS dialogue

Ay, and perhaps receive much honour by him.

Ay, and perhaps receive much honour by him.

ay, and perhaps receive much honour by him.

ay, and perhaps receive much honour by him.

ACHILLES ≋ verse dialogue

I see my reputation is at stake;

My fame is shrewdly gor’d.

I see my reputation is at stake; My fame is shrewdly gor’d.

i see my reputation is at stake; my fame is shrewdly gor’d.

i see my reputation is at stake; my fame is shrewdly gor’d.

PATROCLUS ≋ verse dialogue

O, then, beware:

Those wounds heal ill that men do give themselves;

Omission to do what is necessary

Seals a commission to a blank of danger;

And danger, like an ague, subtly taints

Even then when they sit idly in the sun.

O, then, beware: Those wounds heal ill that men do give themselves; Omission to do what is necessary Seals a commission to a blank of danger; And danger, like an ague, subtly taints Even then when they sit idly in the sun.

o, then, beware: those wounds heal ill that men do give themselves; omission to do what is necessary seals a commission to a blank of danger; and danger, like an ague, subtly taints even then when they sit idly in the sun.

o, then, beware: those wounds heal ill that men do give

ACHILLES ≋ verse dialogue

Go call Thersites hither, sweet Patroclus.

I’ll send the fool to Ajax, and desire him

T’invite the Trojan lords, after the combat,

To see us here unarm’d. I have a woman’s longing,

An appetite that I am sick withal,

To see great Hector in his weeds of peace;

To talk with him, and to behold his visage,

Even to my full of view.

Go call Thersites hither, sweet Patroclus. I’ll send the fool to Ajax, and desire him T’invite the Trojan lords, after the combat, To see us here unarm’d. I have a woman’s longing, An appetite that I am sick withal, To see great Hector in his weeds of peace; To talk with him, and to behold his visage, Even to my full of view.

go call thersites hither, sweet patroclus. i’ll send the fool to ajax, and desire him t’invite the trojan lords, after the combat, to see us here unarm’d. i've a woman’s longing, an appetite that i'm sick withal, to see great hector in his weeds of peace; to talk with him, and to behold his visage, even to my full of view.

go call thersites hither, sweet patroclus. i’ll send the

Enter Thersites.
A labour sav’d!
THERSITES dialogue

A wonder!

A wonder!

a wonder!

a wonder!

ACHILLES dialogue

What?

What?

what?

what?

THERSITES dialogue

Ajax goes up and down the field asking for himself.

Ajax goes up and down the field asking for himself.

ajax goes up and down the field asking for himself.

ajax goes up and down the field asking for himself.

ACHILLES dialogue

How so?

How so?

how so?

how so?

THERSITES dialogue

He must fight singly tomorrow with Hector, and is so prophetically

proud of an heroical cudgelling that he raves in saying nothing.

He must fight singly tomorrow with Hector, and is so prophetically proud of an heroical cudgelling that he raves in saying nothing.

he must fight singly tomorrow with hector, and is so prophetically proud of an heroical cudgelling that he raves in saying nothing.

he must fight singly tomorrow with hector, and is so

ACHILLES dialogue

How can that be?

How can that be?

how can that be?

how can that be?

THERSITES dialogue

Why, a’ stalks up and down like a peacock—a stride and a stand;

ruminates like an hostess that hath no arithmetic but her brain to set

down her reckoning, bites his lip with a politic regard, as who should

say ‘There were wit in this head, and ’twould out’; and so there is;

but it lies as coldly in him as fire in a flint, which will not show

without knocking. The man’s undone for ever; for if Hector break not

his neck i’ th’ combat, he’ll break’t himself in vainglory. He knows

not me. I said ‘Good morrow, Ajax’; and he replies ‘Thanks, Agamemnon.’

What think you of this man that takes me for the general? He’s grown a

very land fish, languageless, a monster. A plague of opinion! A man may

wear it on both sides, like leather jerkin.

Why, a’ stalks up and down like a peacock—a stride and a stand; ruminates like an hostess that has no arithmetic but her brain to set down her reckoning, bites his lip with a politic regard, as who should say ‘There were wit in this head, and ’twould out’; and so there is; but it lies as coldly in him as fire in a flint, which will not show without knocking. The man’s undone for ever; for if Hector break not his neck i’ th’ combat, he’ll break’t himself in vainglory. He knows not me. I said ‘Good morrow, Ajax’; and he replies ‘Thanks, Agamemnon.’ What think you of this man that takes me for the general? He’s grown a very land fish, languageless, a monster. A plague of opinion! A man may wear it on both sides, like leather jerkin.

why, a’ stalks up and down like a peacock—a stride and a stand; ruminates like an hostess that has no arithmetic but her brain to set down her reckoning, bites his lip with a politic regard, as who should say ‘there were wit in this head, and ’twould out’; and so there is; but it lies as coldly in him as fire in a flint, which will not show without knocking. the man’s undone for ever; for if hector break not his neck i’ th’ combat, he’ll break’t himself in vainglory. he knows not me. i said ‘good morrow, ajax’; and he replies ‘thanks, agamemnon.’ what think you of this man that takes me for the general? he’s grown a very land fish, languageless, a monster. a plague of opinion! a man may wear it on both sides, like leather jerkin.

why, a’ stalks up and down like a peacock—a stride and a

ACHILLES dialogue

Thou must be my ambassador to him, Thersites.

you must be my ambassador to him, Thersites.

you must be my ambassador to him, thersites.

you must be my ambassador to him, thersites.

THERSITES dialogue

Who, I? Why, he’ll answer nobody; he professes not answering. Speaking

is for beggars: he wears his tongue in’s arms. I will put on his

presence. Let Patroclus make his demands to me, you shall see the

pageant of Ajax.

Who, I? Why, he’ll answer nobody; he professes not answering. Speaking is for beggars: he wears his tongue in’s arms. I will put on his presence. Let Patroclus make his demands to me, you shall see the pageant of Ajax.

who, i? why, he’ll answer nobody; he professes not answering. speaking is for beggars: he wears his tongue in’s arms. i will put on his presence. let patroclus make his demands to me, you shall see the pageant of ajax.

who, i? why, he’ll answer nobody; he professes not

ACHILLES dialogue

To him, Patroclus. Tell him I humbly desire the valiant Ajax to invite

the most valorous Hector to come unarm’d to my tent; and to procure

safe conduct for his person of the magnanimous and most illustrious

six-or-seven-times-honour’d Captain General of the Grecian army,

Agamemnon. Do this.

To him, Patroclus. Tell him I humbly desire the valiant Ajax to invite the most valorous Hector to come unarm’d to my tent; and to procure safe conduct for his person of the magnanimous and most illustrious six-or-seven-times-honour’d Captain General of the Grecian army, Agamemnon. Do this.

to him, patroclus. tell him i humbly desire the valiant ajax to invite the most valorous hector to come unarm’d to my tent; and to procure safe conduct for his person of the magnanimous and most illustrious six-or-seven-times-honour’d captain general of the grecian army, agamemnon. do this.

to him, patroclus. tell him i humbly desire the valiant

PATROCLUS dialogue

Jove bless great Ajax!

Jove bless great Ajax!

jove bless great ajax!

jove bless great ajax!

THERSITES dialogue

Hum!

Hum!

hum!

hum!

PATROCLUS dialogue

I come from the worthy Achilles—

I come from the worthy Achilles—

i come from the worthy achilles—

i come from the worthy achilles—

THERSITES dialogue

Ha!

Ha!

ha!

ha!

PATROCLUS dialogue

Who most humbly desires you to invite Hector to his tent—

Who most humbly desires you to invite Hector to his tent—

who most humbly desires you to invite hector to his tent—

who most humbly desires you to invite hector to his tent—

THERSITES dialogue

Hum!

Hum!

hum!

hum!

PATROCLUS dialogue

And to procure safe conduct from Agamemnon.

And to procure safe conduct from Agamemnon.

and to procure safe conduct from agamemnon.

and to procure safe conduct from agamemnon.

THERSITES dialogue

Agamemnon?

Agamemnon?

agamemnon?

agamemnon?

PATROCLUS dialogue

Ay, my lord.

Ay, my lord.

ay, my lord.

ay, my lord.

THERSITES dialogue

Ha!

Ha!

ha!

ha!

PATROCLUS dialogue

What you say to’t?

What you say to’t?

what you say to’t?

what you say to’t?

THERSITES dialogue

God buy you, with all my heart.

God buy you, with all my heart.

god buy you, with all my heart.

god buy you, with all my heart.

PATROCLUS dialogue

Your answer, sir.

Your answer, sir.

your answer, sir.

your answer, sir.

THERSITES dialogue

If tomorrow be a fair day, by eleven of the clock it will go one way or

other. Howsoever, he shall pay for me ere he has me.

If tomorrow be a fair day, by eleven of the clock it will go one way or other. Howsoever, he shall pay for me ere he has me.

if tomorrow be a fair day, by eleven of the clock it will go one way or other. howsoever, he shall pay for me ere he has me.

if tomorrow be a fair day, by eleven of the clock it will

PATROCLUS dialogue

Your answer, sir.

Your answer, sir.

your answer, sir.

your answer, sir.

THERSITES dialogue

Fare ye well, with all my heart.

Fare ye well, with all my heart.

fare ye well, with all my heart.

fare ye well, with all my heart.

ACHILLES dialogue

Why, but he is not in this tune, is he?

Why, but he is not in this tune, is he?

why, but he is not in this tune, is he?

why, but he is not in this tune, is he?

THERSITES dialogue

No, but out of tune thus. What music will be in him when Hector has

knock’d out his brains, I know not; but, I am sure, none; unless the

fiddler Apollo get his sinews to make catlings on.

No, but out of tune thus. What music will be in him when Hector has knock’d out his brains, I know not; but, I am sure, none; unless the fiddler Apollo get his sinews to make catlings on.

no, but out of tune thus. what music will be in him when hector has knock’d out his brains, i know not; but, i'm sure, none; unless the fiddler apollo get his sinews to make catlings on.

no, but out of tune thus. what music will be in him when

ACHILLES dialogue

Come, thou shalt bear a letter to him straight.

Come, you shall bear a letter to him straight.

come, you shall bear a letter to him straight.

come, you shall bear a letter to him straight.

THERSITES dialogue

Let me bear another to his horse; for that’s the more capable creature.

Let me bear another to his horse; for that’s the more capable creature.

let me bear another to his horse; for that’s the more capable creature.

let me bear another to his horse; for that’s the more

ACHILLES ≋ verse dialogue

My mind is troubled, like a fountain stirr’d;

And I myself see not the bottom of it.

My mind is troubled, like a fountain stirr’d; And I myself see not the bottom of it.

my mind is troubled, like a fountain stirr’d; and i myself see not the bottom of it.

my mind is troubled, like a fountain stirr’d; and i myself

[_Exeunt Achilles and Patroclus_.]
THERSITES dialogue

Would the fountain of your mind were clear again, that I might water an

ass at it. I had rather be a tick in a sheep than such a valiant

ignorance.

Would the fountain of your mind were clear again, that I might water an ass at it. I had rather be a tick in a sheep than such a valiant ignorance.

would the fountain of your mind were clear again, that i might water an ass at it. i had rather be a tick in a sheep than such a valiant ignorance.

would the fountain of your mind were clear again, that i

[_Exit_.]

The Reckoning

The scene is a masterclass in political and psychological manipulation. Calchas cynically exploits the war to reclaim his daughter. Agamemnon processes transactions like a merchant. And Ulysses engineers Achilles' humiliation with surgical precision — using shame as a weapon. The play shows us the mechanisms of power: currency (prisoners), leverage (Antenor's strategic value), and psychological manipulation (ignoring Achilles to awaken his pride). Everything is calculable except the human cost. Cressida is being traded like a commodity; Achilles is being tortured by an elaborate show of indifference.

If this happened today…

A boardroom meeting where a defector negotiates his reward by offering his estranged daughter as collateral. Meanwhile, in another part of the building, a strategy session plans to destroy a rival through calculated public humiliation. Both transactions are presented as necessary and rational.

Continue to 4.1 →