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Act 1, Scene 2 — Troy. A street.
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The argument Cressida and Pandarus watch the Trojan heroes return from battle; Pandarus pitches Troilus relentlessly; Cressida deflects with wit, then reveals in soliloquy that she's already smitten but plans to stay out of reach.
Enter Cressida and her man Alexander.
First appearance
CRESSIDA

Cressida speaks in rapid-fire wordplay and deflection — every sentence seems to dodge while actually probing. Watch for how she turns Pandarus's enthusiasm back on him, and how her soliloquies reveal a much colder, clearer intelligence than her public persona.

CRESSIDA dialogue

Who were those went by?

Who were those went by?

who were those went by?

who were those went by?

First appearance
ALEXANDER

Alexander speaks in formal descriptive prose — the servant who has studied his betters and can reproduce their rhetorical style. He's essentially a walking news report.

ALEXANDER dialogue

Queen Hecuba and Helen.

Queen Hecuba and Helen.

queen hecuba and helen.

queen hecuba and helen.

CRESSIDA dialogue

And whither go they?

And whither go they?

and whither go they?

and whither go they?

ALEXANDER ≋ verse dialogue

Up to the eastern tower,

Whose height commands as subject all the vale,

To see the battle. Hector, whose patience

Is as a virtue fix’d, today was mov’d.

He chid Andromache, and struck his armourer;

And, like as there were husbandry in war,

Before the sun rose he was harness’d light,

And to the field goes he; where every flower

Did as a prophet weep what it foresaw

In Hector’s wrath.

Up to the eastern tower, Whose height commands as subject all the vale, To see the battle. Hector, whose patience Is as a virtue fix’d, today was mov’d. He chid Andromache, and struck his armourer; And, like as there were husbandry in war, Before the sun rose he was harness’d light, And to the field goes he; where every flower Did as a prophet weep what it foresaw In Hector’s wrath.

up to the eastern tower, whose height commands as subject all the vale, to see the battle. hector, whose patience is as a virtue fix’d, today was mov’d. he chid andromache, and struck his armourer; and, like as there were husbandry in war, before the sun rose he was harness’d light, and to the field goes he; where every flower did as a prophet weep what it foresaw in hector’s wrath.

up to the eastern tower, whose height commands as subject

CRESSIDA dialogue

What was his cause of anger?

What was his cause of anger?

what was his cause of anger?

what was his cause of anger?

ALEXANDER ≋ verse dialogue

The noise goes, this: there is among the Greeks

A lord of Trojan blood, nephew to Hector;

They call him Ajax.

The noise goes, this: there is among the Greeks A lord of Trojan blood, nephew to Hector; They call him Ajax.

the noise goes, this: there is among the greeks a lord of trojan blood, nephew to hector; they call him ajax.

the noise goes, this: there is among the greeks a lord of

CRESSIDA dialogue

Good; and what of him?

Good; and what of him?

good; and what of him?

good; and what of him?

ALEXANDER ≋ verse dialogue

They say he is a very man _per se_

And stands alone.

They say he is a very man _per se_ And stands alone.

they say he is a very man _per se_ and stands alone.

they say he is a very man _per se_ and stands alone.

CRESSIDA dialogue

So do all men, unless they are drunk, sick, or have no legs.

So do all men, unless they are drunk, sick, or have no legs.

so do all men, unless they are drunk, sick, or have no legs.

so do all men, unless they are drunk, sick, or have no legs.

Why it matters Cressida's first line in the play — and it's a joke that deflates epic praise with a single swipe. She's been here about thirty seconds and already she's doing it.
ALEXANDER dialogue

This man, lady, hath robb’d many beasts of their particular additions:

he is as valiant as the lion, churlish as the bear, slow as the

elephant—a man into whom nature hath so crowded humours that his valour

is crush’d into folly, his folly sauced with discretion. There is no

man hath a virtue that he hath not a glimpse of, nor any man an attaint

but he carries some stain of it; he is melancholy without cause and

merry against the hair; he hath the joints of everything; but

everything so out of joint that he is a gouty Briareus, many hands and

no use, or purblind Argus, all eyes and no sight.

This man, lady, has robb’d many beasts of their particular additions: he is as valiant as the lion, churlish as the bear, slow as the elephant—a man into whom nature has so crowded humours that his valour is crush’d into folly, his folly sauced with discretion. There is no man has a virtue that he has not a glimpse of, nor any man an attaint but he carries some stain of it; he is melancholy without cause and merry against the hair; he has the joints of everything; but everything so out of joint that he is a gouty Briareus, many hands and no use, or purblind Argus, all eyes and no sight.

this man, lady, has robb’d many beasts of their particular additions: he is as valiant as the lion, churlish as the bear, slow as the elephant—a man into whom nature has so crowded humours that his valour is crush’d into folly, his folly sauced with discretion. there is no man has a virtue that he has not a glimpse of, nor any man an attaint but he carries some stain of it; he is melancholy without cause and merry against the hair; he has the joints of everything; but everything so out of joint that he is a gouty briareus, many hands and no use, or purblind argus, all eyes and no sight.

this man, lady, has robb’d many beasts of their particular

"a gouty Briareus, many hands and no use, or purblind Argus, all eyes and no sight" Two mythological giants used as comic deflation: Briareus had fifty heads and a hundred hands (impressive but arthritic?), Argus had a hundred eyes (all-seeing but blind?). Alexander is lampooning Ajax's contradictions with learned references.
CRESSIDA dialogue

But how should this man, that makes me smile, make Hector angry?

But how should this man, that makes me smile, make Hector angry?

but how should this man, that makes me smile, make hector angry?

but how should this man, that makes me smile, make hector

ALEXANDER dialogue

They say he yesterday cop’d Hector in the battle and struck him down,

the disdain and shame whereof hath ever since kept Hector fasting and

waking.

They say he yesterday cop’d Hector in the battle and struck him down, the disdain and shame whereof has ever since kept Hector fasting and waking.

they say he yesterday cop’d hector in the battle and struck him down, the disdain and shame whereof has ever since kept hector fasting and waking.

they say he yesterday cop’d hector in the battle and struck

Enter Pandarus.
CRESSIDA Alert; noticing arrival

Who comes here?

Who is that?

Who's that?

who is it?

ALEXANDER Answering directly

Madam, your uncle Pandarus.

Madam, it is your uncle Pandarus.

That's your uncle Pandarus, ma'am.

your uncle pandarus

CRESSIDA Abrupt shift; praising Hector

Hector’s a gallant man.

Hector is a gallant man.

Hector's amazing.

hector's gallant

ALEXANDER Confirming; diplomatic

As may be in the world, lady.

Indeed, madam, he is as good as any in the world.

Yeah, as good as anyone you'll find.

best in the world

PANDARUS Startled; curious about the name

What’s that? What’s that?

What? What is it?

What? What'd you say?

what? what is it?

CRESSIDA Formal greeting

Good morrow, uncle Pandarus.

Good morning, uncle Pandarus.

Hi, uncle Pandarus.

hey uncle pandarus

PANDARUS dialogue

Good morrow, cousin Cressid. What do you talk of?—Good morrow,

Alexander.—How do you, cousin? When were you at Ilium?

Good morrow, cousin Cressid. What do you talk of?—Good morrow, Alexander.—How do you, cousin? When were you at Ilium?

good morrow, cousin cressid. what do you talk of?—good morrow, alexander.—how do you, cousin? when were you at ilium?

good morrow, cousin cressid. what do you talk of?—

CRESSIDA dialogue

This morning, uncle.

This morning, uncle.

this morning, uncle.

this morning, uncle.

PANDARUS dialogue

What were you talking of when I came? Was Hector arm’d and gone ere you

came to Ilium? Helen was not up, was she?

What were you talking of when I came? Was Hector arm’d and gone ere you came to Ilium? Helen was not up, was she?

what were you talking of when i came? was hector arm’d and gone ere you came to ilium? helen was not up, was she?

what were you talking of when i came? was hector a

CRESSIDA dialogue

Hector was gone; but Helen was not up.

Hector was gone; but Helen was not up.

hector was gone; but helen was not up.

hector was gone; but helen was not up.

PANDARUS dialogue

E’en so. Hector was stirring early.

E’en so. Hector was stirring early.

e’en so. hector was stirring early.

e’en so. hector was stirring early.

CRESSIDA dialogue

That were we talking of, and of his anger.

That were we talking of, and of his anger.

that were we talking of, and of his anger.

that were we talking of, and of his anger.

PANDARUS dialogue

Was he angry?

Was he angry?

was he angry?

was he angry?

CRESSIDA dialogue

So he says here.

So he says here.

so he says here.

so he says here.

PANDARUS dialogue

True, he was so; I know the cause too; he’ll lay about him today, I can

tell them that. And there’s Troilus will not come far behind him; let

them take heed of Troilus, I can tell them that too.

True, he was so; I know the cause too; he’ll lay about him today, I can tell them that. And there’s Troilus will not come far behind him; let them take heed of Troilus, I can tell them that too.

true, he was so; i know the cause too; he’ll lay about him today, i can tell them that. and there’s troilus will not come far behind him; let them take heed of troilus, i can tell them that too.

true, he was so; i know the cause too; he’ll lay a

CRESSIDA dialogue

What, is he angry too?

What, is he angry too?

what, is he angry too?

what, is he angry too?

PANDARUS dialogue

Who, Troilus? Troilus is the better man of the two.

Who, Troilus? Troilus is the better man of the two.

who, troilus? troilus is the better man of the two.

who, troilus? troilus is the better man of the two

CRESSIDA dialogue

O Jupiter! there’s no comparison.

O Jupiter! there’s no comparison.

o jupiter! there’s no comparison.

o jupiter! there’s no comparison.

PANDARUS dialogue

What, not between Troilus and Hector? Do you know a man if you see him?

What, not between Troilus and Hector? Do you know a man if you see him?

what, not between troilus and hector? do you know a man if you see him?

what, not between troilus and hector? do you know

CRESSIDA dialogue

Ay, if I ever saw him before and knew him.

Ay, if I ever saw him before and knew him.

ay, if i ever saw him before and knew him.

ay, if i ever saw him before and knew him.

PANDARUS dialogue

Well, I say Troilus is Troilus.

Well, I say Troilus is Troilus.

well, i say troilus is troilus.

well, i say troilus is troilus.

CRESSIDA dialogue

Then you say as I say, for I am sure he is not Hector.

Then you say as I say, for I am sure he is not Hector.

then you say as i say, for i am sure he is not hector.

then you say as i say, for i am sure he is not hec

PANDARUS dialogue

No, nor Hector is not Troilus in some degrees.

No, nor Hector is not Troilus in some degrees.

no, nor hector is not troilus in some degrees.

no, nor hector is not troilus in some degrees.

CRESSIDA dialogue

’Tis just to each of them: he is himself.

’Tis just to each of them: he is himself.

’tis just to each of them: he is himself.

’tis just to each of them: he is himself.

PANDARUS dialogue

Himself! Alas, poor Troilus! I would he were!

Himself! Alas, poor Troilus! I would he were!

himself! alas, poor troilus! i would he were!

himself! alas, poor troilus! i would he were!

CRESSIDA dialogue

So he is.

So he is.

so he is.

so he is.

PANDARUS dialogue

Condition I had gone barefoot to India.

Condition I had gone barefoot to India.

condition i had gone barefoot to india.

condition i had gone barefoot to india.

CRESSIDA dialogue

He is not Hector.

He is not Hector.

he is not hector.

he is not hector.

PANDARUS dialogue

Himself! no, he’s not himself. Would a’ were himself! Well, the gods

are above; time must friend or end. Well, Troilus, well! I would my

heart were in her body! No, Hector is not a better man than Troilus.

Himself! no, he’s not himself. Would a’ were himself! Well, the gods are above; time must friend or end. Well, Troilus, well! I would my heart were in her body! No, Hector is not a better man than Troilus.

himself! no, he’s not himself. would a’ were himself! well, the gods are above; time must friend or end. well, troilus, well! i would my heart were in her body! no, hector is not a better man than troilus.

himself! no, he’s not himself. would a’ were himself! well,

CRESSIDA dialogue

Excuse me.

Excuse me.

excuse me.

excuse me.

PANDARUS dialogue

He is elder.

He is elder.

he is elder.

he is elder.

CRESSIDA dialogue

Pardon me, pardon me.

Pardon me, pardon me.

pardon me, pardon me.

pardon me, pardon me.

PANDARUS dialogue

Th’other’s not come to’t; you shall tell me another tale when

th’other’s come to’t. Hector shall not have his wit this year.

Th’other’s not come to’t; you shall tell me another tale when th’other’s come to’t. Hector shall not have his wit this year.

th’other’s not come to’t; you shall tell me another tale when th’other’s come to’t. hector shall not have his wit this year.

th’other’s not come to’t; you shall tell me another tale

CRESSIDA dialogue

He shall not need it if he have his own.

He shall not need it if he have his own.

he shall not need it if he have his own.

he shall not need it if he have his own.

ANDARUS dialogue

Nor his qualities.

Nor his qualities.

nor his qualities.

nor his qualities.

CRESSIDA dialogue

No matter.

No matter.

no matter.

no matter.

PANDARUS dialogue

Nor his beauty.

Nor his beauty.

nor his beauty.

nor his beauty.

CRESSIDA dialogue

’Twould not become him: his own’s better.

’Twould not become him: his own’s better.

’twould not become him: his own’s better.

’twould not become him: his own’s better.

PANDARUS dialogue

You have no judgement, niece. Helen herself swore th’other day that

Troilus, for a brown favour, for so ’tis, I must confess—not brown

neither—

You have no judgement, niece. Helen herself swore th’other day that Troilus, for a brown favour, for so ’tis, I must confess—not brown neither—

you've no judgement, niece. helen herself swore th’other day that troilus, for a brown favour, for so ’tis, i must confess—not brown neither—

you've no judgement, niece. helen herself swore th’other

CRESSIDA dialogue

No, but brown.

No, but brown.

no, but brown.

no, but brown.

PANDARUS dialogue

Faith, to say truth, brown and not brown.

Faith, to say truth, brown and not brown.

faith, to say truth, brown and not brown.

faith, to say truth, brown and not brown.

CRESSIDA dialogue

To say the truth, true and not true.

To say the truth, true and not true.

to say the truth, true and not true.

to say the truth, true and not true.

PANDARUS dialogue

She prais’d his complexion above Paris.

She prais’d his complexion above Paris.

she prais’d his complexion above paris.

she prais’d his complexion above paris.

CRESSIDA dialogue

Why, Paris hath colour enough.

Why, Paris has colour enough.

why, paris has colour enough.

why, paris has colour enough.

PANDARUS dialogue

So he has.

So he has.

so he has.

so he has.

CRESSIDA dialogue

Then Troilus should have too much. If she prais’d him above, his

complexion is higher than his; he having colour enough, and the other

higher, is too flaming a praise for a good complexion. I had as lief

Helen’s golden tongue had commended Troilus for a copper nose.

Then Troilus should have too much. If she prais’d him above, his complexion is higher than his; he having colour enough, and the other higher, is too flaming a praise for a good complexion. I had as lief Helen’s golden tongue had commended Troilus for a copper nose.

then troilus should have too much. if she prais’d him above, his complexion is higher than his; he having colour enough, and the other higher, is too flaming a praise for a good complexion. i had as lief helen’s golden tongue had commended troilus for a copper nose.

then troilus should have too much. if she prais’d him

PANDARUS dialogue

I swear to you I think Helen loves him better than Paris.

I swear to you I think Helen loves him better than Paris.

i swear to you i think helen loves him better than paris.

i swear to you i think helen loves him better than paris.

CRESSIDA dialogue

Then she’s a merry Greek indeed.

Then she’s a merry Greek indeed.

then she’s a merry greek indeed.

then she’s a merry greek indeed.

"she's a merry Greek indeed" 'Merry Greek' was Elizabethan slang for a loose, riotous person. Cressida implies Helen is cheating on Paris (who stole her from Menelaus) — making the joke three layers deep.
PANDARUS dialogue

Nay, I am sure she does. She came to him th’other day into the

compass’d window—and you know he has not past three or four hairs on

his chin—

Nay, I am sure she does. She came to him th’other day into the compass’d window—and you know he has not past three or four hairs on his chin—

nay, i'm sure she does. she came to him th’other day into the compass’d window—and you know he has not past three or four hairs on his chin—

nay, i'm sure she does. she came to him th’other day into

CRESSIDA dialogue

Indeed a tapster’s arithmetic may soon bring his particulars therein to

a total.

Indeed a tapster’s arithmetic may soon bring his particulars therein to a total.

indeed a tapster’s arithmetic may soon bring his particulars therein to a total.

indeed a tapster’s arithmetic may soon bring his

PANDARUS dialogue

Why, he is very young, and yet will he within three pound lift as much

as his brother Hector.

Why, he is very young, and yet will he within three pound lift as much as his brother Hector.

why, he is very young, and yet will he within three pound lift as much as his brother hector.

why, he is very young, and yet will he within three pound

CRESSIDA dialogue

Is he so young a man and so old a lifter?

Is he so young a man and so old a lifter?

is he so young a man and so old a lifter?

is he so young a man and so old a lifter?

"Is he so young a man and so old a lifter?" 'Lifter' meant both a weightlifter and a thief (one who 'lifts' things). Cressida also likely intends a sexual joke — 'lifting' as a physical act. She's playing on Pandarus's innocuous praise.
PANDARUS dialogue

But to prove to you that Helen loves him: she came and puts me her

white hand to his cloven chin—

But to prove to you that Helen loves him: she came and puts me her white hand to his cloven chin—

but to prove to you that helen loves him: she came and puts me her white hand to his cloven chin—

but to prove to you that helen loves him: she came and puts

CRESSIDA dialogue

Juno have mercy! How came it cloven?

Juno have mercy! How came it cloven?

juno have mercy! how came it cloven?

juno have mercy! how came it cloven?

PANDARUS dialogue

Why, you know, ’tis dimpled. I think his smiling becomes him better

than any man in all Phrygia.

Why, you know, ’tis dimpled. I think his smiling becomes him better than any man in all Phrygia.

why, you know, ’tis dimpled. i think his smiling becomes him better than any man in all phrygia.

why, you know, ’tis dimpled. i think his smiling becomes

CRESSIDA dialogue

O, he smiles valiantly!

O, he smiles valiantly!

o, he smiles valiantly!

o, he smiles valiantly!

PANDARUS dialogue

Does he not?

Does he not?

does he not?

does he not?

CRESSIDA dialogue

O yes, an ’twere a cloud in autumn!

O yes, an ’twere a cloud in autumn!

o yes, an ’twere a cloud in autumn!

o yes, an ’twere a cloud in autumn!

PANDARUS dialogue

Why, go to, then! But to prove to you that Helen loves Troilus—

Why, go to, then! But to prove to you that Helen loves Troilus—

why, go to, then! but to prove to you that helen loves troilus—

why, go to, then! but to prove to you that helen loves

CRESSIDA dialogue

Troilus will stand to the proof, if you’ll prove it so.

Troilus will stand to the proof, if you’ll prove it so.

troilus will stand to the proof, if you’ll prove it so.

troilus will stand to the proof, if you’ll prove it so.

"Troilus will stand to the proof" Legal/metallurgical meaning: tested metal 'stands to the proof.' But 'stand' has obvious sexual overtones that Cressida is deliberately invoking. Pandarus misses it completely.
PANDARUS dialogue

Troilus! Why, he esteems her no more than I esteem an addle egg.

Troilus! Why, he esteems her no more than I esteem an addle egg.

troilus! why, he esteems her no more than i esteem an addle egg.

troilus! why, he esteems her no more than i esteem an addle

CRESSIDA dialogue

If you love an addle egg as well as you love an idle head, you would

eat chickens i’ th’ shell.

If you love an addle egg as well as you love an idle head, you would eat chickens i’ th’ shell.

if you love an addle egg as well as you love an idle head, you would eat chickens i’ th’ shell.

if you love an addle egg as well as you love an idle head,

PANDARUS dialogue

I cannot choose but laugh to think how she tickled his chin. Indeed,

she has a marvell’s white hand, I must needs confess.

I cannot choose but laugh to think how she tickled his chin. Indeed, she has a marvell’s white hand, I must needs confess.

i cannot choose but laugh to think how she tickled his chin. indeed, she has a marvell’s white hand, i must needs confess.

i cannot choose but laugh to think how she tickled his

CRESSIDA dialogue

Without the rack.

Without the rack.

without the rack.

without the rack.

PANDARUS dialogue

And she takes upon her to spy a white hair on his chin.

And she takes upon her to spy a white hair on his chin.

and she takes upon her to spy a white hair on his chin.

and she takes upon her to spy a white hair on his chin.

CRESSIDA dialogue

Alas, poor chin! Many a wart is richer.

Alas, poor chin! Many a wart is richer.

alas, poor chin! many a wart is richer.

alas, poor chin! many a wart is richer.

PANDARUS dialogue

But there was such laughing! Queen Hecuba laugh’d that her eyes ran

o’er.

But there was such laughing! Queen Hecuba laugh’d that her eyes ran o’er.

but there was such laughing! queen hecuba laugh’d that her eyes ran o’er.

but there was such laughing! queen hecuba laugh’d that her

CRESSIDA dialogue

With millstones.

With millstones.

with millstones.

with millstones.

"With millstones" Proverbially, people who cannot weep have eyes like millstones — hard, heavy, incapable of tears. Cressida implies Hecuba is too grand (or too grieved) to weep over a chin joke.
PANDARUS dialogue

And Cassandra laugh’d.

And Cassandra laugh’d.

and cassandra laugh’d.

and cassandra laugh’d.

CRESSIDA dialogue

But there was a more temperate fire under the pot of her eyes. Did her

eyes run o’er too?

But there was a more temperate fire under the pot of her eyes. Did her eyes run o’er too?

but there was a more temperate fire under the pot of her eyes. did her eyes run o’er too?

but there was a more temperate fire under the pot of her

PANDARUS dialogue

And Hector laugh’d.

And Hector laugh’d.

and hector laugh’d.

and hector laugh’d.

CRESSIDA dialogue

At what was all this laughing?

At what was all this laughing?

at what was all this laughing?

at what was all this laughing?

PANDARUS dialogue

Marry, at the white hair that Helen spied on Troilus’ chin.

Marry, at the white hair that Helen spied on Troilus’ chin.

marry, at the white hair that helen spied on troilus’ chin.

marry, at the white hair that helen spied on troilus’ chin.

CRESSIDA dialogue

And’t had been a green hair I should have laugh’d too.

And’t had been a green hair I should have laugh’d too.

and’t had been a green hair i should have laugh’d too.

and’t had been a green hair i should have laugh’d too.

PANDARUS dialogue

They laugh’d not so much at the hair as at his pretty answer.

They laugh’d not so much at the hair as at his pretty answer.

they laugh’d not so much at the hair as at his pretty answer.

they laugh’d not so much at the hair as at his pretty

CRESSIDA dialogue

What was his answer?

What was his answer?

what was his answer?

what was his answer?

PANDARUS dialogue

Quoth she ‘Here’s but two and fifty hairs on your chin, and one of them

is white.’

Quoth she ‘Here’s but two and fifty hairs on your chin, and one of them is white.’

quoth she ‘here’s but two and fifty hairs on your chin, and one of them is white.’

quoth she ‘here’s but two and fifty hairs on your chin, and

CRESSIDA dialogue

This is her question.

This is her question.

this is her question.

this is her question.

PANDARUS dialogue

That’s true; make no question of that. ‘Two and fifty hairs,’ quoth he

‘and one white. That white hair is my father, and all the rest are his

sons.’ ‘Jupiter!’ quoth she ‘which of these hairs is Paris my husband?’

‘The forked one,’ quoth he, ’pluck’t out and give it him.’ But there

was such laughing! and Helen so blush’d, and Paris so chaf’d; and all

the rest so laugh’d that it pass’d.

That’s true; make no question of that. ‘Two and fifty hairs,’ quoth he ‘and one white. That white hair is my father, and all the rest are his sons.’ ‘Jupiter!’ quoth she ‘which of these hairs is Paris my husband?’ ‘The forked one,’ quoth he, ’pluck’t out and give it him.’ But there was such laughing! and Helen so blush’d, and Paris so chaf’d; and all the rest so laugh’d that it pass’d.

that’s true; make no question of that. ‘two and fifty hairs,’ quoth he ‘and one white. that white hair is my father, and all the rest are his sons.’ ‘jupiter!’ quoth she ‘which of these hairs is paris my husband?’ ‘the forked one,’ quoth he, ’pluck’t out and give it him.’ but there was such laughing! and helen so blush’d, and paris so chaf’d; and all the rest so laugh’d that it pass’d.

that’s true; make no question of that. ‘two and fifty

"The forked one" A cuckold's horns — the forked hair represents Paris, who was cuckolded by his own theft (Menelaus). The joke works on multiple levels: Troilus is young enough to barely have a beard, yet smart enough to embarrass both Paris and Helen simultaneously.
CRESSIDA dialogue

So let it now; for it has been a great while going by.

So let it now; for it has been a great while going by.

so let it now; for it has been a great while going by.

so let it now; for it has been a great while going by.

PANDARUS dialogue

Well, cousin, I told you a thing yesterday; think on’t.

Well, cousin, I told you a thing yesterday; think on’t.

well, cousin, i told you a thing yesterday; think on’t.

well, cousin, i told you a thing yesterday; think on’t.

CRESSIDA dialogue

So I do.

So I do.

so i do.

so i do.

PANDARUS dialogue

I’ll be sworn ’tis true; he will weep you, and ’twere a man born in

April.

I’ll be sworn ’tis true; he will weep you, and ’twere a man born in April.

i’ll be sworn ’tis true; he will weep you, and ’twere a man born in april.

i’ll be sworn ’tis true; he will weep you, and ’twere a man

CRESSIDA dialogue

And I’ll spring up in his tears, an ’twere a nettle against May.

And I’ll spring up in his tears, an ’twere a nettle against May.

and i’ll spring up in his tears, an ’twere a nettle against may.

and i’ll spring up in his tears, an ’twere a nettle against

[_Sound a retreat._]
PANDARUS dialogue

Hark! they are coming from the field. Shall we stand up here and see

them as they pass toward Ilium? Good niece, do, sweet niece Cressida.

Hark! they are coming from the field. Shall we stand up here and see them as they pass toward Ilium? Good niece, do, sweet niece Cressida.

hark! they are coming from the field. shall we stand up here and see them as they pass toward ilium? good niece, do, sweet niece cressida.

hark! they are coming from the field. shall we stand up

CRESSIDA dialogue

At your pleasure.

At your pleasure.

at your pleasure.

at your pleasure.

PANDARUS dialogue

Here, here, here’s an excellent place; here we may see most bravely.

I’ll tell you them all by their names as they pass by; but mark Troilus

above the rest.

Here, here, here’s an excellent place; here we may see most bravely. I’ll tell you them all by their names as they pass by; but mark Troilus above the rest.

here, here, here’s an excellent place; here we may see most bravely. i’ll tell you them all by their names as they pass by; but mark troilus above the rest.

here, here, here’s an excellent place; here we may see most

[Aeneas _passes_.]
CRESSIDA dialogue

Speak not so loud.

Speak not so loud.

speak not so loud.

speak not so loud.

PANDARUS dialogue

That’s Aeneas. Is not that a brave man? He’s one of the flowers of

Troy, I can tell you. But mark Troilus; you shall see anon.

That’s Aeneas. Is not that a brave man? He’s one of the flowers of Troy, I can tell you. But mark Troilus; you shall see anon.

that’s aeneas. is not that a brave man? he’s one of the flowers of troy, i can tell you. but mark troilus; you shall see anon.

that’s aeneas. is not that a brave man? he’s one of the

[Antenor _passes_.]
CRESSIDA dialogue

Who’s that?

Who’s that?

who’s that?

who’s that?

PANDARUS dialogue

That’s Antenor. He has a shrewd wit, I can tell you; and he’s a man

good enough; he’s one o’ th’ soundest judgements in Troy, whosoever,

and a proper man of person. When comes Troilus? I’ll show you Troilus

anon. If he see me, you shall see him nod at me.

That’s Antenor. He has a shrewd wit, I can tell you; and he’s a man good enough; he’s one o’ th’ soundest judgements in Troy, whosoever, and a proper man of person. When comes Troilus? I’ll show you Troilus anon. If he see me, you shall see him nod at me.

that’s antenor. he has a shrewd wit, i can tell you; and he’s a man good enough; he’s one o’ th’ soundest judgements in troy, whosoever, and a proper man of person. when comes troilus? i’ll show you troilus anon. if he see me, you shall see him nod at me.

that’s antenor. he has a shrewd wit, i can tell you; and

CRESSIDA dialogue

Will he give you the nod?

Will he give you the nod?

will he give you the nod?

will he give you the nod?

PANDARUS dialogue

You shall see.

You shall see.

you shall see.

you shall see.

CRESSIDA dialogue

If he do, the rich shall have more.

If he do, the rich shall have more.

if he do, the rich shall have more.

if he do, the rich shall have more.

"If he do, the rich shall have more" A pun on 'nod' and 'odd' (the old pronunciation made them similar) — and a proverb: 'to him that hath shall be given.' Cressida may also be glancing at Pandarus's role as broker, profiting from others' desire.
[Hector _passes_.]
PANDARUS dialogue

That’s Hector, that, that, look you, that; there’s a fellow! Go thy

way, Hector! There’s a brave man, niece. O brave Hector! Look how he

looks. There’s a countenance! Is’t not a brave man?

That’s Hector, that, that, look you, that; there’s a fellow! Go your way, Hector! There’s a brave man, niece. O brave Hector! Look how he looks. There’s a countenance! Is’t not a brave man?

that’s hector, that, that, look you, that; there’s a fellow! go your way, hector! there’s a brave man, niece. o brave hector! look how he looks. there’s a countenance! is’t not a brave man?

that’s hector, that, that, look you, that; there’s a

CRESSIDA dialogue

O, a brave man!

O, a brave man!

o, a brave man!

o, a brave man!

PANDARUS dialogue

Is a’ not? It does a man’s heart good. Look you what hacks are on his

helmet! Look you yonder, do you see? Look you there. There’s no

jesting; there’s laying on; take’t off who will, as they say. There be

hacks.

Is a’ not? It does a man’s heart good. Look you what hacks are on his helmet! Look you yonder, do you see? Look you there. There’s no jesting; there’s laying on; take’t off who will, as they say. There be hacks.

is a’ not? it does a man’s heart good. look you what hacks are on his helmet! look you yonder, do you see? look you there. there’s no jesting; there’s laying on; take’t off who will, as they say. there be hacks.

is a’ not? it does a man’s heart good. look you what hacks

CRESSIDA dialogue

Be those with swords?

Be those with swords?

be those with swords?

be those with swords?

PANDARUS dialogue

Swords! anything, he cares not; and the devil come to him, it’s all

one. By God’s lid, it does one’s heart good. Yonder comes Paris, yonder

comes Paris.

Swords! anything, he cares not; and the devil come to him, it’s all one. By God’s lid, it does one’s heart good. Yonder comes Paris, yonder comes Paris.

swords! anything, he cares not; and the devil come to him, it’s all one. by god’s lid, it does one’s heart good. yonder comes paris, yonder comes paris.

swords! anything, he cares not; and the devil come to him,

[Paris _passes_.]
Look ye yonder, niece; is’t not a gallant man too, is’t not? Why, this
is brave now. Who said he came hurt home today? He’s not hurt. Why,
this will do Helen’s heart good now, ha! Would I could see Troilus now!
You shall see Troilus anon.
[Helenus _passes_.]
CRESSIDA dialogue

Who’s that?

Who’s that?

who’s that?

who’s that?

PANDARUS ≋ verse dialogue

That’s Helenus. I marvel where Troilus is. That’s

Helenus. I think he went not forth today. That’s Helenus.

That’s Helenus. I marvel where Troilus is. That’s Helenus. I think he went not forth today. That’s Helenus.

that’s helenus. i marvel where troilus is. that’s helenus. i think he went not forth today. that’s helenus.

that’s helenus. i marvel where troilus is. that’s helenus.

CRESSIDA dialogue

Can Helenus fight, uncle?

Can Helenus fight, uncle?

can helenus fight, uncle?

can helenus fight, uncle?

PANDARUS dialogue

Helenus! no. Yes, he’ll fight indifferent well. I marvel where Troilus

is. Hark! do you not hear the people cry ‘Troilus’?—Helenus is a

priest.

Helenus! no. Yes, he’ll fight indifferent well. I marvel where Troilus is. Hark! do you not hear the people cry ‘Troilus’?—Helenus is a priest.

helenus! no. yes, he’ll fight indifferent well. i marvel where troilus is. hark! do you not hear the people cry ‘troilus’?—helenus is a priest.

helenus! no. yes, he’ll fight indifferent well. i marvel

CRESSIDA dialogue

What sneaking fellow comes yonder?

What sneaking fellow comes yonder?

what sneaking fellow comes yonder?

what sneaking fellow comes yonder?

[Troilus _passes_.]
PANDARUS dialogue

Where? yonder? That’s Deiphobus. ’Tis Troilus. There’s a man, niece.

Hem! Brave Troilus, the prince of chivalry!

Where? yonder? That’s Deiphobus. ’Tis Troilus. There’s a man, niece. Hem! Brave Troilus, the prince of chivalry!

where? yonder? that’s deiphobus. ’tis troilus. there’s a man, niece. hem! brave troilus, the prince of chivalry!

where? yonder? that’s deiphobus. ’tis troilus. there’s a

CRESSIDA dialogue

Peace, for shame, peace!

Peace, for shame, peace!

peace, for shame, peace!

peace, for shame, peace!

PANDARUS dialogue

Mark him; note him. O brave Troilus! Look well upon him, niece; look

you how his sword is bloodied, and his helm more hack’d than Hector’s;

and how he looks, and how he goes! O admirable youth! he never saw

three and twenty. Go thy way, Troilus, go thy way. Had I a sister were

a grace or a daughter a goddess, he should take his choice. O admirable

man! Paris? Paris is dirt to him; and, I warrant, Helen, to change,

would give an eye to boot.

Mark him; note him. O brave Troilus! Look well upon him, niece; look you how his sword is bloodied, and his helm more hack’d than Hector’s; and how he looks, and how he goes! O admirable youth! he never saw three and twenty. Go your way, Troilus, go your way. Had I a sister were a grace or a daughter a goddess, he should take his choice. O admirable man! Paris? Paris is dirt to him; and, I warrant, Helen, to change, would give an eye to boot.

mark him; note him. o brave troilus! look well upon him, niece; look you how his sword is bloodied, and his helm more hack’d than hector’s; and how he looks, and how he goes! o admirable youth! he never saw three and twenty. go your way, troilus, go your way. had i a sister were a grace or a daughter a goddess, he should take his choice. o admirable man! paris? paris is dirt to him; and, i warrant, helen, to change, would give an eye to boot.

mark him; note him. o brave troilus! look well upon him,

CRESSIDA dialogue

Here comes more.

Here comes more.

here comes more.

here comes more.

[_Common soldiers pass_.]
PANDARUS dialogue

Asses, fools, dolts! chaff and bran, chaff and bran! porridge after

meat! I could live and die in the eyes of Troilus. Ne’er look, ne’er

look; the eagles are gone. Crows and daws, crows and daws! I had rather

be such a man as Troilus than Agamemnon and all Greece.

Asses, fools, dolts! chaff and bran, chaff and bran! porridge after meat! I could live and die in the eyes of Troilus. Ne’er look, ne’er look; the eagles are gone. Crows and daws, crows and daws! I had rather be such a man as Troilus than Agamemnon and all Greece.

asses, fools, dolts! chaff and bran, chaff and bran! porridge after meat! i could live and die in the eyes of troilus. ne’er look, ne’er look; the eagles are gone. crows and daws, crows and daws! i had rather be such a man as troilus than agamemnon and all greece.

asses, fools, dolts! chaff and bran, chaff and bran!

CRESSIDA dialogue

There is amongst the Greeks Achilles, a better man than Troilus.

There is amongst the Greeks Achilles, a better man than Troilus.

there is amongst the greeks achilles, a better man than troilus.

there is amongst the greeks achilles, a better man than

PANDARUS dialogue

Achilles? A drayman, a porter, a very camel!

Achilles? A drayman, a porter, a very camel!

achilles? a drayman, a porter, a very camel!

achilles? a drayman, a porter, a very camel!

CRESSIDA dialogue

Well, well.

Well, well.

well, well.

well, well.

PANDARUS dialogue

Well, well! Why, have you any discretion? Have you any eyes? Do you

know what a man is? Is not birth, beauty, good shape, discourse,

manhood, learning, gentleness, virtue, youth, liberality, and such

like, the spice and salt that season a man?

Well, well! Why, have you any discretion? Have you any eyes? Do you know what a man is? Is not birth, beauty, good shape, discourse, manhood, learning, gentleness, virtue, youth, liberality, and such like, the spice and salt that season a man?

well, well! why, have you any discretion? have you any eyes? do you know what a man is? is not birth, beauty, good shape, discourse, manhood, learning, gentleness, virtue, youth, liberality, and such like, the spice and salt that season a man?

well, well! why, have you any discretion? have you any

CRESSIDA dialogue

Ay, a minc’d man; and then to be bak’d with no date in the pie, for

then the man’s date is out.

Ay, a minc’d man; and then to be bak’d with no date in the pie, for then the man’s date is out.

ay, a minc’d man; and then to be bak’d with no date in the pie, for then the man’s date is out.

ay, a minc’d man; and then to be bak’d with no date in the

PANDARUS dialogue

You are such a woman! A man knows not at what ward you lie.

You are such a woman! A man knows not at what ward you lie.

you're such a woman! a man knows not at what ward you lie.

you're such a woman! a man knows not at what ward you lie.

CRESSIDA dialogue

Upon my back, to defend my belly; upon my wit, to defend my wiles; upon

my secrecy, to defend mine honesty; my mask, to defend my beauty; and

you, to defend all these; and at all these wards I lie, at a thousand

watches.

Upon my back, to defend my belly; upon my wit, to defend my wiles; upon my secrecy, to defend mine honesty; my mask, to defend my beauty; and you, to defend all these; and at all these wards I lie, at a thousand watches.

upon my back, to defend my belly; upon my wit, to defend my wiles; upon my secrecy, to defend mine honesty; my mask, to defend my beauty; and you, to defend all these; and at all these wards i lie, at a thousand watches.

upon my back, to defend my belly; upon my wit, to defend my

"Upon my back, to defend my belly" This speech is elaborately sexual — 'lying on her back' is an obvious double meaning, and 'defending her belly' refers to both stomach and womb. Cressida is simultaneously describing a tactical defense and confessing her vulnerability. She is utterly in control of the language and utterly frank about the game she's playing.
Why it matters This is Cressida's most explicit statement of her defensive strategy — she knows the stakes of being desired, and she has organized her entire presentation accordingly. It's the most self-aware speech in the scene.
PANDARUS dialogue

Say one of your watches.

Say one of your watches.

say one of your watches.

say one of your watches.

CRESSIDA dialogue

Nay, I’ll watch you for that; and that’s one of the chiefest of them

too. If I cannot ward what I would not have hit, I can watch you for

telling how I took the blow; unless it swell past hiding, and then it’s

past watching.

Nay, I’ll watch you for that; and that’s one of the chiefest of them too. If I cannot ward what I would not have hit, I can watch you for telling how I took the blow; unless it swell past hiding, and then it’s past watching.

nay, i’ll watch you for that; and that’s one of the chiefest of them too. if i cannot ward what i would not have hit, i can watch you for telling how i took the blow; unless it swell past hiding, and then it’s past watching.

nay, i’ll watch you for that; and that’s one of the

PANDARUS dialogue

You are such another!

You are such another!

you're such another!

you're such another!

Enter Troilus' Boy.
BOY dialogue

Sir, my lord would instantly speak with you.

Sir, my lord would instantly speak with you.

sir, my lord would instantly speak with you.

sir, my lord would instantly speak with you.

PANDARUS dialogue

Where?

Where?

where?

where?

BOY dialogue

At your own house; there he unarms him.

At your own house; there he unarms him.

at your own house; there he unarms him.

at your own house; there he unarms him.

PANDARUS dialogue

Good boy, tell him I come. [_Exit_ Boy.] I doubt he be hurt. Fare ye

well, good niece.

Good boy, tell him I come. [_Exit_ Boy.] I doubt he be hurt. Fare ye well, good niece.

good boy, tell him i come. [_exit_ boy.] i doubt he be hurt. fare ye well, good niece.

good boy, tell him i come. [_exit_ boy.] i doubt he be

CRESSIDA dialogue

Adieu, uncle.

Adieu, uncle.

adieu, uncle.

adieu, uncle.

PANDARUS dialogue

I will be with you, niece, by and by.

I will be with you, niece, by and by.

i will be with you, niece, by and by.

i will be with you, niece, by and by.

CRESSIDA dialogue

To bring, uncle.

To bring, uncle.

to bring, uncle.

to bring, uncle.

PANDARUS dialogue

Ay, a token from Troilus.

Ay, a token from Troilus.

ay, a token from troilus.

ay, a token from troilus.

[_Exit_ Pandarus.]
CRESSIDA ≋ verse dialogue

By the same token, you are a bawd.

Words, vows, gifts, tears, and love’s full sacrifice,

He offers in another’s enterprise;

But more in Troilus thousand-fold I see

Than in the glass of Pandar’s praise may be,

Yet hold I off. Women are angels, wooing:

Things won are done; joy’s soul lies in the doing.

That she belov’d knows naught that knows not this:

Men prize the thing ungain’d more than it is.

That she was never yet that ever knew

Love got so sweet as when desire did sue;

Therefore this maxim out of love I teach:

‘Achievement is command; ungain’d, beseech.’

Then though my heart’s content firm love doth bear,

Nothing of that shall from mine eyes appear.

By the same token, you are a bawd. Words, vows, gifts, tears, and love’s full sacrifice, He offers in another’s enterprise; But more in Troilus thousand-fold I see Than in the glass of Pandar’s praise may be, Yet hold I off. Women are angels, wooing: Things won are done; joy’s soul lies in the doing. That she belov’d knows naught that knows not this: Men prize the thing ungain’d more than it is. That she was never yet that ever knew Love got so sweet as when desire did sue; Therefore this maxim out of love I teach: ‘Achievement is command; ungain’d, beseech.’ Then though my heart’s content firm love does bear, Nothing of that shall from mine eyes appear.

by the same token, you're a bawd. words, vows, gifts, tears, and love’s full sacrifice, he offers in another’s enterprise; but more in troilus thousand-fold i see than in the glass of pandar’s praise may be, yet hold i off. women are angels, wooing: things won are done; joy’s soul lies in the doing. that she belov’d knows naught that knows not this: men prize the thing ungain’d more than it is. that she was never yet that ever knew love got so sweet as when desire did sue; therefore this maxim out of love i teach: ‘achievement is command; ungain’d, beseech.’ then though my heart’s content firm love does bear, nothing of that shall from mine eyes appear.

by the same token, you're a bawd. words, vows, gifts,

"By the same token, you are a bawd" Cressida has been thinking this the entire scene. A 'bawd' is a procurer, a pimp — and she's right about Pandarus's function. The word snaps into place the moment he's gone.
Why it matters This soliloquy is the most strategically intelligent speech in the play. Cressida has seen exactly how desire works as a power structure, and she has chosen her position within it deliberately. It also makes her later tragedy more complicated: she is not naive.
🎭 Dramatic irony Cressida's closing maxim — 'Achievement is command' — is perfect game theory from inside the city walls, but she cannot yet know she'll be transferred to the Greek camp as a prisoner-exchange bargaining chip, removing all her strategic leverage at once.
[_Exit_.]

The Reckoning

This is Cressida's introduction — and she's far smarter than anyone around her gives credit for. She runs rings around Pandarus in every exchange, landing puns he doesn't catch and deflecting his matchmaking with elegant mockery. But her closing soliloquy drops the mask: she loves Troilus already. Her strategy isn't innocence — it's game theory. The scene leaves you unsettled: here is a woman who understands exactly how the world works, and what happens to women who show their hand.

If this happened today…

A woman's overbearing uncle keeps texting her about some guy at work who's 'perfect for you,' sending memes about the guy's gym stats and LinkedIn connections. She responds with one-word answers and eye-roll emojis, mocking every talking point. But when she's alone, she opens his Instagram and stares at it. She already knows she likes him. She also knows that once she likes him back officially, she loses the only power she has.

Continue to 1.3 →