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da, compelled to go to her father, Calchas, in the Greek camp, in exchange for Antenor, professes her loyalty in love. But the Homeric and the alien later elements,--the story of false love,--cannot be successfully combined. The poet, whoever he was, appears to weary and to break down. He ends, indeed, as the Iliad ends, with the death of Hector, but Hector, in the play, is murdered, while resting unarmed, without shield and helmet, after stripping a suit of sumptuous mail from a nameless runaway. In the play he has slain Patroclus, but has not stripped him of the armour of Achilles, which, in Homer, he is wearing. Achilles then meets Hector, but far from rushing to avenge on him Patroclus, he retires like a coward, musters his men, and makes them surround and slay the defenceless Hector.
Cressida, who is sent to her father Calchas, in the Greek camp, in a day becomes "the sluttish spoil of opportunity," and of Diomede, and the comedy praised by the preface-writer of a quarto of 1609, is a squalid tragedy reeking of Thersites and Pandarus, of a light o' love, and the base victory of cruel cowardice over knightly Hector. Yet there seemed to be muffled notes from the music, and broken lights from the splendour of Homer. When Achilles eyes Hector all over, during a truce, and insultingly says that he is thinking in what part of his body he shall drive the spear, we are reminded of Iliad, XXII, 320-326, where Achilles searches his own armour, worn by Patroclus, stripped by Hector from him, and worn by Hector, for a chink in the mail. Yet, after all, these points are taken, not from the Iliad, but from Caxton's popular Troy Book.
Once more, when Hector is dead, and Achilles bids his men to
"cry amain, Achilles hath the mighty Hector slain,"
we think of Iliad, XXII, 390-393, where Achilles commands the Myrmidons to go singing the paean
"Glory have we won, we have slain great Hector!"
The sumptuous armour stripped by Hector from a nameless man, recalls his winning of the arms of