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Ulysses — “I do not strain at the position” — Troilus and Cressida, Act 3, Scene 3, line 121
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Troilus and Cressida
·III iii 121 ·
Verse
Ulysses Ulysses. I do not strain at the position,— It is familiar,—but at the author's drift; Who, in his circumstance, expressly proves That no man is the lord of any thing, Though in and of him there be much consisting, Till he communicate his parts to others: Nor doth he of himself know them for aught Till he behold them form'd in the applause Where they're extended; who, like an arch, reverberates The voice again, or, like a gate of steel Fronting the sun, receives and renders back His figure and his heat. I was much wrapt in this; And apprehended here immediately The unknown Ajax. Heavens, what a man is there! a very horse, That has he knows not what. Nature, what things there are Most abject in regard and dear in use! What things again most dear in the esteem And poor in worth! Now shall we see to-morrow— An act that very chance doth throw upon him— Ajax renown'd. O heavens, what some men do, While some men leave to do! How some men creep in skittish fortune's hall, Whiles others play the idiots in her eyes! How one man eats into another's pride, While pride is fasting in his wantonness! To see these Grecian lords!—why, even already They clap the lubber Ajax on the shoulder, As if his foot were on brave Hector's breast And great Troy shrieking. As misers do by beggars, neither gave to me Good word nor look: what, are my deeds forgot? Ulysses. Time hath, my lord, a wallet at his back, Wherein he puts alms for oblivion, A great-sized monster of ingratitudes: Those scraps are good deeds past; which are devour'd As fast as they are made, forgot as soon As done: perseverance, dear my lord, Keeps honour bright: to have done is to hang Quite out of fashion, like a rusty mail In monumental mockery. Take the instant way; For honour travels in a strait so narrow, Where one but goes abreast: keep then the path; For emulation hath a thousand sons That one by one pursue: if you give way, Or hedge aside from the direct forthright, Like to an enter'd tide, they all rush by And leave you hindmost; Or like a gallant horse fall'n in first rank, Lie there for pavement to the abject rear, O'er-run and trampled on: then what they do in present, Though less than yours in past, must o'ertop yours; For time is like a fashionable host That slightly shakes his parting guest by the hand, And with his arms outstretch'd, as he would fly, Grasps in the comer: welcome ever smiles, And farewell goes out sighing. O, let not virtue seek Remuneration for the thing it was; For beauty, wit, High birth, vigour of bone, desert in service, Love, friendship, charity, are subjects all To envious and calumniating time. One touch of nature makes the whole world kin, That all with one consent praise new-born gawds, Though they are made and moulded of things past, And give to dust that is a little gilt More laud than gilt o'er-dusted. The present eye praises the present object. Then marvel not, thou great and complete man, That all the Greeks begin to worship Ajax; Since things in motion sooner catch the eye Than what not stirs. The cry went once on thee, And still it might, and yet it may again, If thou wouldst not entomb thyself alive And case thy reputation in thy tent; Whose glorious deeds, but in these fields of late, Made emulous missions 'mongst the gods themselves And drave great Mars to faction. 
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In Act III, Scene 3 of “Troilus and Cressida,” Achilles remains in his tent while Calchas, a Trojan priest who has defected to the Greeks, approaches Agamemnon with a request. Calchas reminds the Greek leaders that he abandoned Troy to serve their cause and asks for compensation for his loyalty. His request is specific: he wants his daughter Cressida, currently in Troy, to be exchanged for the Trojan prisoner Antenor. Agamemnon agrees to this exchange, and Diomedes is tasked with carrying out the prisoner swap. The Greek commanders then pass by Achilles’ tent, deliberately ignoring him to wound his pride, which Ajax notices and comments upon.
After the commanders depart, Achilles emerges from his tent, bewildered by their cold treatment. Ulysses engages him in conversation, explaining that reputation and honor are fleeting—a man’s past achievements mean nothing if he ceases to act in the present. Ulysses argues that honor must be continually earned through current deeds, as Time destroys past glories. He suggests that Achilles’ reputation is fading because he remains idle while Ajax rises in favor. Patroclus reinforces this message, and Thersites arrives with letters for Achilles. The scene concludes with Achilles troubled by the realization that his honor is slipping away due to his continued refusal to fight, while the Greeks prepare to elevate Ajax as their new champion.
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.
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