Original: O Pandarus! I tell thee, Pandarus,—
Modern: Oh Pandarus! I’m telling you, Pandarus,—

Original: When I do tell thee, there my hopes lie drown’d,
Modern: When I tell you that my hopes are completely destroyed,

Original: Reply not in how many fathoms deep
Modern: Don’t tell me how deep down

Original: They lie indrench’d. I tell thee I am mad
Modern: They’re buried. I’m telling you I’m crazy

Original: In Cressid’s love: thou answer’st ‘she is fair;’
Modern: With love for Cressida: and you just say ‘she’s beautiful;’

Original: Pour’st in the open ulcer of my heart
Modern: You pour into the open wound of my heart

Original: Her eyes, her hair, her cheek, her gait, her voice,
Modern: Talk about her eyes, her hair, her face, the way she walks, her voice,

Original: Handlest in thy discourse, O, that her hand,
Modern: You go on and on about her hand,

Original: In whose comparison all whites are ink,
Modern: Compared to which all white things look like black ink,

Original: Writing their own reproach, to whose soft seizure
Modern: Making themselves look bad, and to whose gentle touch

Original: The cygnet’s down is harsh and spirit of sense
Modern: Even baby swan feathers feel rough and our senses feel

Original: Hard as the palm of ploughman: this thou tell’st me,
Modern: As hard as a farmer’s calloused hands: this is what you tell me,

Original: As true thou tell’st me, when I say I love her;
Modern: And you tell me it’s all true, when I say I love her;

Original: But, saying thus, instead of oil and balm,
Modern: But when you say these things, instead of soothing medicine,

Original: Thou lay’st in every gash that love hath given me
Modern: You’re putting into every wound that love has given me

Original: The knife that made it.
Modern: The very knife that cut me in the first place.

In Act I, scene i of “Troilus and Cressida,” Troilus appears in Troy, lamenting his unrequited love for Cressida to his friend Pandarus, who happens to be Cressida’s uncle. Troilus expresses his frustration at being unable to fight effectively in the ongoing war against the Greeks because he is so consumed by his passion for Cressida. He describes himself as being wounded by love more severely than any warrior could be wounded in battle.

Pandarus attempts to play matchmaker, speaking favorably of Troilus to promote his nephew’s romantic cause, while also praising Cressida’s beauty and virtues. The conversation reveals that Pandarus has been actively working to bring the two young people together. As sounds of battle are heard offstage, Pandarus and Troilus observe various Trojan warriors returning from combat, with Pandarus pointing out and commenting on different heroes as they pass by. Throughout the scene, Troilus remains fixated on his desire for Cressida rather than showing interest in the military affairs that surround them.

Troilus and Cressida is set during the Trojan War and follows two interconnected storylines. The first centers on the tragic love affair between Troilus, a young Trojan prince, and Cressida, daughter of the Trojan priest Calchas who has defected to the Greeks. With the help of Cressida’s uncle Pandarus, the lovers are brought together and consummate their relationship, pledging eternal fidelity to one another.

Meanwhile, the Greek camp is plagued by dissension and a breakdown in military hierarchy. The war has dragged on for seven years with little progress. Agamemnon and Nestor struggle to maintain order while Achilles sulks in his tent, refusing to fight. The Greeks attempt to provoke Achilles by having Ajax challenge the Trojan hero Hector to single combat, but this strategy fails to rouse Achilles to action.

The two plots converge when the Greeks and Trojans arrange a prisoner exchange: Cressida is to be traded to the Greek camp in return for the Trojan commander Antenor. Despite their vows of love, Cressida is forced to leave Troy. Once in the Greek camp, she quickly becomes involved with the Greek warrior Diomedes. Troilus witnesses her apparent betrayal during a nighttime encounter and is devastated by her inconstancy.

The play concludes with renewed fighting between the two armies. Hector, despite ominous warnings, enters battle and is treacherously killed by Achilles and his Myrmidons. Troilus, consumed with grief and rage over both Cressida’s betrayal and Hector’s death, vows revenge against the Greeks. The play ends without resolution, as the war continues with both sides having suffered significant losses.