Original: What, am I poor of late?
Modern: What, have I become poor recently?

Original: ‘Tis certain, greatness, once fall’n out with fortune,
Modern: It’s true that greatness, once it falls out of favor with luck,

Original: Must fall out with men too: what the declined is
Modern: Must also lose favor with people: what a fallen person has become

Original: He shall as soon read in the eyes of others
Modern: He can see just as quickly in other people’s eyes

Original: As feel in his own fall; for men, like butterflies,
Modern: As he can feel in his own downfall; because men, like butterflies,

Original: Show not their mealy wings but to the summer,
Modern: Only show their powdery wings during good times,

Original: And not a man, for being simply man,
Modern: And no man gets honor just for being human,

Original: Hath any honour, but honour for those honours
Modern: But only gets honor from those external honors

Original: That are without him, as place, riches, favour,
Modern: That exist outside of him, like position, wealth, popularity,

Original: Prizes of accident as oft as merit:
Modern: Rewards that come from luck as often as from what we deserve:

Original: Which when they fall, as being slippery standers,
Modern: And when these things fall away, since they’re unreliable foundations,

Original: The love that lean’d on them as slippery too,
Modern: The love that depended on them is just as unreliable,

Original: Do one pluck down another and together
Modern: So one pulls down another and together

Original: Die in the fall. But ‘tis not so with me:
Modern: They all die in the collapse. But that’s not my situation:

Original: Fortune and I are friends: I do enjoy
Modern: Fortune and I are still friends: I still have

Original: At ample point all that I did possess,
Modern: In full measure everything I used to own,

Original: Save these men’s looks; who do, methinks, find out
Modern: Except for how these men look at me; they seem to discover

Original: Something not worth in me such rich beholding
Modern: Something in me that doesn’t deserve such respectful attention

Original: As they have often given. Here is Ulysses;
Modern: As they used to give me. Here comes Ulysses;

Original: I’ll interrupt his reading.
Modern: I’ll interrupt his reading.

Original: How now Ulysses!
Modern: What’s up, Ulysses!

In Act III, Scene 3 of “Troilus and Cressida,” Achilles remains in his tent with Patroclus while the Greek leaders pass by him without acknowledgment, which troubles him greatly. Ulysses explains to Achilles that fame and honor are fleeting, suggesting that a man’s deeds are quickly forgotten unless he continually proves himself through new achievements. Ulysses pointedly tells Achilles that Ajax is now being praised as the greater warrior, and that Achilles’ reputation suffers while he remains idle in his tent. The conversation reveals that the Greeks know about Achilles’ secret love affair with Polyxena, daughter of Priam, which compromises his commitment to the Greek cause.

Patroclus and the visiting Greek leaders urge Achilles to return to battle and restore his honor, warning him that his current inaction makes him appear proud and ineffectual. Thersites enters and delivers messages, including news that Ajax has been chosen to fight Hector in single combat, further emphasizing how Achilles has been displaced in the Greeks’ esteem. By the scene’s end, Achilles begins to feel the sting of his diminished reputation and contemplates returning to the fight, though he struggles with his conflicting feelings about Polyxena. The scene concludes with various characters departing and Achilles left to wrestle with his damaged pride and uncertain loyalties.

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.