Crack my clear voice with sobs, and break my heart With sounding Troilus. I will not go from Troy. [Exeunt. SCENE III. The same. Before Pandarus' House. Enter PARIS, TROILUS, ENEAS, DEIPHOBUS, Par. It is great morning; and the hour prefix'd Comes fast upon:-Good my brother Troilus, And haste her to the purpose. Tro. Walk in to her house;" I'll bring her to the Grecian presently: And 'would, as I shall pity, I could help!- [Exit. [Exeunt. 6 -I will not go from Troy.] I believe the verb-go (which roughens this line) should be left out, in conformity to the ancient elliptical mode of writing, which, in like instances, omits it as unnecessary to sense. Thus, in p. 129, we find "I would not from thee;" i. e. I would not go from thee. Steevens. 71 ·great morning;] Grand jour; a Gallicism. Steevens. 8 Comes fust upon:] Though fast upon, only signifies-fast on, I must suppose, with Sir T. Hanmer, we ought to read: Comes fast upon us: The metre, as it stands at present, is obviously defective. Steevens. 9 Walk in to her house;] Here, I believe, we have an interpolation similar to those in p. 131 and in the preceding page. In elliptical language the word-walk (which in the present instance destroys the measure) is frequently omitted. So, in King Henry IV, Part I: "I'll in and haste the writer." i. e. I'll walk, or go in. Again, in The Merry Wives of Windsor "I'll in, I'll in: follow your friend's advice; I'll in." In, therefore, in the speech of Troilus, will signify walk or go in, the omitted verb being understood. Steevens. SCENE IV. The same. A Room in Pandarus' House. Enter PANDARUS and CRESSIDA. Pan. Be moderate, be moderate. Cres. Why tell you me of moderation? The grief is fine, full, perfect, that I taste, As that which causeth it: How can I moderate it? No more my grief, in such a precious loss. Enter TROILUS. Pan. Here, here, here he comes.-Ah sweet ducks! Cres. O Troilus! Troilus! [Embracing him. Pan. What a pair of spectacles is here! Let me emheart,-as the goodly saying is, brace too: o heart, o heavy heart,2 1 The grief &c.] The folio reads: The grief is fine, full, perfect, that I taste, As that which causeth it. The quarto otherwise: The grief is fine, full, perfect, that I taste, As that which causeth it. Violenteth is a word with which I am not acquainted, yet perhaps it may be right. The reading of the text is without authority. Johnson. I have followed the quarto. Violenceth is used by Ben Jonson, in The Devil is an Ass: "Nor nature violenceth in both these." And Mr. Tollet has since furnished me with this verb as spelt in the play of Shakspeare: "His former adversaries violented any thing against him." Fuller's Worthies in Anglesea. Dr. Farmer likewise adds the following instance from Latimer, p. 71: "Maister Pole violentes the text for the maintenance of the bishop of Rome." The modern and unauthorised reading was: And in its sense is no less strong, than that Which causeth it. Steevens. 2 ―o heavy heart,] O, which is not in the old copy, was added, for the sake of metre, by Mr. Pope. Malone. where he answers again, Because thou canst not ease thy smart, By friendship, nor by speaking. There never was a truer rhyme. Let us cast away nothing, for we may live to have need of such a verse; we see it, we see it.-How now, lambs? Tro. Cressid, I love thee in so strain'd3 a purity, Pan. Ay, ay, ay, ay; 'tis too plain a case. Cres. And is it true, that I must go from Troy? Cres. What, and from Troilus too? Tro. From Troy, and Troilus. Is it possible? Tro. And suddenly; where injury of chance Our lock'd embrasures, strangles our dear vows With distinct breath and consign'd kisses to them,5 3 strain'd-] So the quarto. The folio and all the moderns have strange. Johnson. 4 Did buy each other,] So, in our author's Venus and Adonis: "A thousand kisses buys my heart from me, "And pay them at thy leisure, one by one." Malone. 5 With distinct breath and consign'd kisses to them,] Consign'd means sealed; from consigno, Lat. So, in King Henry V: "It were, my lord, a hard condition for a maid to consign to." Our author has the same image in many other places. So, in Measure for Measure: "But my kisses bring again, "Seals of love, but seal'd in vain." Again, in his Venus and Adonis: "Pure lips, sweet seals in my soft lips imprinted.” Malone. He fumbles up into a loose adieu; And scants us with a single famish'd kiss, Ene. [within] My lord! is the lady ready? Tro. Hark! you are call'd: Some say, the Genius so Cries, Come! to him that instantly must die.-Bid them have patience; she shall come anon. Pan. Where are my tears? rain, to lay this wind," or my heart will be blown up by the root! Cres. I must then to the Greeks? Tro. [Exit PAN. No remedy. Cres. A woful Cressid 'mongst the merry Greeks! When shall we see again? Tro. Hear me, my love: Be thou but true of heart, Cres. I true! how now? what wicked deem is this? Tro. Nay, we must use expostulation kindly, For it is parting from us: I speak not, be thou true, as fearing thee; Cres. O, you shall be expos'd, my lord, to dangers As infinite as imminent! but, I'll be true. 6 Distasted with the salt of broken tears.] i. e. of tears to which we are not permitted to give full vent, being interrupted and suddenly torn from each other. The poet was probably thinking of broken sobs, or broken slumbers. This is the reading of the quarto. The folio has-distasting. Malone. Broken tears is sufficiently explained by—interrupted tears. So, in King Henry VIII: "You have now a broken banquet;" i. e. an interrupted one. Steevens. Where are my tears? rain, to lay this wind,] So, in Macbeth: "That tears will drown the wind." Perhaps, rain, to lay this wind! is an optative, and as if he had said-O for tears &c.! and so I have pointed it. Steevens. 8 by the root!] So the folio. Quarto-by my throat. 9 Malone: ·what wicked deem is this?] Deem (a word now obsolete) signifies, opinion, surmise. Steevens. 1 For I will throw my glove to death-] That is, I will challenge death himself in defence of thy fidelity. Johnson. Tro. And I'll grow friend with danger. Wear this sleeve. Cres. And you this glove. When shall I see you? To give thee nightly visitation. But yet, be true. Cres. O heavens!-be true, again? Tro. Hear why I speak it, love; The Grecian youths are full of quality; They're loving, well compos'd, with gifts of nature. flowing,2 And swelling o'er with arts and exercise; How novelty may move, and parts with person,3 Alas, a kind of godly jealousy (Which, I beseech you, call a virtuous sin,) Makes me afeard. Cres. O heavens! you love me not. Tro. Die I a villain then! In this I do not call your faith in question, To which the Grecians are most prompt and pregnant: 2 They're loving, &c.] This line is not in the quarto. The folio reads-Their loving. This slight correction I proposed some time ago, and I have lately perceived it was made by Mr. Pope. It also has gift of nature. That emendation is Sir T. Hanmer's. In the preceding line "full of quality," means, I think, absolute, perfect, in their dispositions. So, in Pericles, Prince of Tyre: "So buxom, blithe, and full of face, "As heaven had lent her all his grace." Malone. The irregularity of metre in this speech, (unless the epithetloving be considered as an interpolation,) together with the obscure phrase-full of quality, induce me to suspect the loss of some words which are now irretrievable. Full of quality however, may mean highly accomplished. So, in Chapman's version of the fourteenth Iliad: 66 Besides all this, he was well qualitied." The construction, indeed, may be-of full quality. Thus, in the same translator's version of the third Iliad, "full of size" is apparently used for-of full size. Steevens. 3 with person,] Thus the folio. The quarto reads — with portion. Steevens. -the high lavolt,] The lavolto was a dance. See Vol. IX, p. 234, n. 5. Steevens. |