Original: Hear you, Patroclus:
Modern: Listen to me, Patroclus:

Original: We are too well acquainted with these answers:
Modern: We’ve heard these kinds of excuses too many times before.

Original: But his evasion, wing’d thus swift with scorn,
Modern: But his contemptuous attempts to dodge his duty,

Original: Cannot outfly our apprehensions.
Modern: Can’t escape our understanding of what’s really going on.

Original: Much attribute he hath, and much the reason
Modern: He has many great qualities, and we have good reason

Original: Why we ascribe it to him; yet all his virtues,
Modern: To recognize them in him; but all these virtues,

Original: Not virtuously on his own part beheld,
Modern: When he doesn’t view them with proper humility himself,

Original: Do in our eyes begin to lose their gloss,
Modern: Start to lose their shine in our eyes,

Original: Yea, like fair fruit in an unwholesome dish,
Modern: Yes, like beautiful fruit served in a dirty bowl,

Original: Are like to rot untasted. Go and tell him,
Modern: Will spoil before anyone can enjoy them. Go and tell him

Original: We come to speak with him; and you shall not sin,
Modern: That we’re coming to talk with him; and you won’t be doing anything wrong

Original: If you do say we think him over-proud
Modern: If you tell him we think he’s too arrogant

Original: And under-honest, in self-assumption greater
Modern: And lacking in integrity, with an inflated sense of self-importance

Original: Than in the note of judgment; and worthier than himself
Modern: That exceeds what reason would justify; and that better men than him

Original: Here tend the savage strangeness he puts on,
Modern: Are here catering to this bizarre, hostile attitude he’s putting on,

Original: Disguise the holy strength of their command,
Modern: Hiding the legitimate power of their authority,

Original: And underwrite in an observing kind
Modern: And indulging in a watchful way

Original: His humorous predominance; yea, watch
Modern: His moody dominance; yes, tracking

Original: His pettish lunes, his ebbs, his flows, as if
Modern: His childish mood swings, his ups and downs, as if

Original: The passage and whole carriage of this action
Modern: The entire progress and success of this military campaign

Original: Rode on his tide. Go tell him this, and add,
Modern: Depended on his whims. Go tell him this, and add

Original: That if he overhold his price so much,
Modern: That if he overvalues himself this much,

Original: We’ll none of him; but let him, like an engine
Modern: We’ll have nothing to do with him; instead, let him, like a piece of machinery

Original: Not portable, lie under this report:
Modern: That’s too heavy to move, remain under this description:

Original: ‘Bring action hither, this cannot go to war:
Modern: ‘Bring the battle here, because this one can’t go to the fight:

Original: A stirring dwarf we do allowance give
Modern: We’d rather have an active small man

Original: Before a sleeping giant.’ Tell him so.
Modern: Than a lazy giant.’ Tell him exactly that.

In Act 2, Scene 3 of “Troilus and Cressida,” Thersites engages in bitter, satirical commentary about the Greek commanders before Achilles and Patroclus enter. Thersites rails against Ajax, calling him a fool and heaping scornful insults upon him, characterizing him as stupid and prideful. When Achilles and Patroclus arrive, they banter with Thersites about his caustic nature. Agamemnon, Ulysses, Nestor, and Ajax then arrive at Achilles’ tent to request his presence, but Achilles refuses to emerge, sending Patroclus to deliver excuses about being ill. The Greek leaders attempt various strategies to draw Achilles out, but he remains stubbornly inside his tent.

The commanders grow increasingly frustrated with Achilles’ disrespect and his refusal to fight. They begin to praise Ajax extravagantly in Achilles’ hearing, building up the other warrior as a strategy to provoke Achilles’ competitive nature. Ulysses formally proclaims that Ajax will be chosen to fight Hector in single combat instead of Achilles, and the leaders depart while lavishing elaborate compliments upon Ajax. After they leave, Achilles begins to question why he is being passed over, though he does not immediately change his position. Ajax, meanwhile, becomes inflated with pride at the attention and praise he has received from the Greek commanders.

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.