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Updated: June 1, 2025
"But perhaps that depression works out in the same way." Cressida laughed. "Julia is rather more depressing than Georgie, isn't she? But it was Julia's turn. I can't come alone, and they've grown to expect it. They haven't, either of them, much else to expect." At this point the deck steward approached us with a blue envelope. "A wireless for you, Madame Garnet."
If "SHAKES his furious SPEARE" in Histriomastix refers to Shakespeare in connection with Cressida, while, in 1599, Dekker and Chettle were doing a Troilus and Cressida for a company not Shakespeare's, then there were TWO Troilus and Cressida in the field.
Why? The whole affair is a puzzle. In an age so lax about copyright, if their play was of their own original making, are we to suppose that there was copyright in the names of the leading persons of the piece, Troilus and Cressida? Perhaps not: but meanwhile Mr.
Her liberality with Poppas was one of the weapons that Horace and the Garnets used against Cressida, and it was a point in the argument by which they justified to themselves their rapacity. Whatever they didn't get, they told themselves, Poppas would. What they got, therefore, they were only saving from Poppas.
The curious thing was that he managed to impress his idea upon Cressida herself. She began to see herself as he saw her, to try to be like the notion of her that he carried somewhere in that pointed head of his. She was exalted quite beyond herself. Things that had been chilled under the grind came to life in her that winter, with the breath of Bouchalka's adoration.
Poppas was in front, with Horace. He was gnawing the finger of his chamois glove as it rested on the top of his cane. His head was sunk, his shoulders drawn together; he looked as old as Jewry. I watched them, wondering whether Cressida would come back to them if she could.
Miss Julia, as I could have foretold, was not pleased. All the Garnets had an awkward manner with me. Whether it was that I reminded them of things they wished to forget, or whether they thought I esteemed Cressida too highly and the rest of them too lightly, I do not know; but my appearance upon their scene always put them greatly on their dignity.
The easy-going persons who reluct at the idea of a pessimistic Shakespeare should turn the pages of Troilus and Cressida, Measure for Measure, and Timon of Athens. What we guessed as we read Hamlet and Lear grows a certainty as we read these plays. Here the "gentle Shakespeare" does the three things that are most unpardonable. He unmasks virtue; he betrays Woman; and he curses the gods.
This play was originally Shakespear's, and revised, and altered by Mr. Dryden, who added several new scenes. The plot taken from Chaucer's Troilus and Cressida, which that poet translated from the original story written in Latin verse, by Lollius, a Lombard. Secret Love; or the Maiden Queen, a Tragi-Comedy, acted at the theatre-royal, and printed in 4to, 1697.
This being joyously accomplished, ere they did otherwhat, they sang divers goodly and pleasant canzonets, after which some went to sleep, whilst some sat down to play at chess and other some at tables and Dioneo fell to singing, in concert with Lauretta, of Troilus and Cressida.
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