Original: Yes, ‘tis most meet: whom may you else oppose,
Modern: Yes, this is completely fitting: who else could you send against him,

Original: That can from Hector bring his honour off,
Modern: Who can come away from fighting Hector with his honor intact,

Original: If not Achilles? Though’t be a sportful combat,
Modern: If not Achilles? Even though this is supposed to be a friendly contest,

Original: Yet in the trial much opinion dwells;
Modern: Still, a lot of reputation is at stake in this test;

Original: For here the Trojans taste our dear’st repute
Modern: Because here the Trojans are sampling our most precious reputation

Original: With their finest palate: and trust to me, Ulysses,
Modern: With their most discriminating judgment: and believe me, Ulysses,

Original: Our imputation shall be oddly poised
Modern: Our reputation will be strangely balanced

Original: In this wild action; for the success,
Modern: In this risky undertaking; because the outcome,

Original: Although particular, shall give a scantling
Modern: Even though it’s just one individual fight, will give a small sample

Original: Of good or bad unto the general;
Modern: Of good or bad to our entire army;

Original: And in such indexes, although small pricks
Modern: And in such previews, though they’re just tiny marks

Original: To their subsequent volumes, there is seen
Modern: Compared to the full books that follow, you can see

Original: The baby figure of the giant mass
Modern: The miniature version of the huge bulk

Original: Of things to come at large. It is supposed
Modern: Of things that will happen on a larger scale. Everyone assumes

Original: He that meets Hector issues from our choice
Modern: That whoever faces Hector comes from our deliberate selection

Original: And choice, being mutual act of all our souls,
Modern: And this choice, being a collective decision by all of us,

Original: Makes merit her election, and doth boil,
Modern: Makes worth the basis for selection, and distills,

Original: As ‘twere from us all, a man distill’d
Modern: As if from all of us, one man extracted

Original: Out of our virtues; who miscarrying,
Modern: From all our best qualities; if he fails,

Original: What heart receives from hence the conquering part,
Modern: What courage would the winning side gain from this,

Original: To steel a strong opinion to themselves?
Modern: To strengthen their own confidence?

Original: Which entertain’d, limbs are his instruments,
Modern: Once that confidence takes hold, their bodies become its tools,

Original: In no less working than are swords and bows
Modern: Working no less effectively than swords and bows do

Original: Directive by the limbs.
Modern: When directed by those same bodies.

In Act I, Scene iii of “Troilus and Cressida,” the Greek commanders gather in council to discuss their prolonged and unsuccessful siege of Troy. Agamemnon, the Greek general, opens the meeting by addressing the lack of progress in their seven-year campaign, acknowledging that their efforts have not achieved the expected results. Nestor, the elderly and wise counselor, supports Agamemnon’s observations and elaborates on how great endeavors naturally face obstacles and setbacks, comparing their situation to how storms test the strength of great trees and structures.

Ulysses then delivers the scene’s central speech, diagnosing the fundamental problem plaguing the Greek forces: the breakdown of degree, order, and hierarchy within their ranks. He argues that when proper authority and social structure collapse, chaos inevitably follows, affecting everything from military discipline to cosmic order. Ulysses specifically criticizes Achilles, their greatest warrior, for remaining in his tent and refusing to fight, while his companion Patroclus mocks the Greek leaders through crude imitations. The scene concludes with Aeneas arriving as a Trojan herald, delivering Hector’s challenge for single combat against any Greek champion, which the commanders discuss as a potential opportunity to restore their honor and momentum in the war.

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.