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Pan. Is 't possible? no sooner got, but lost? The devil take Antenor! the young prince will go mad. A plague upon Antenor! I would, they had broke 's neck!
Enter CRESSIDA. Cres. How now? What is the matter? Who was here? Pan. Ah, ah! Cres. Why sigh you so profoundly? where's my lord
gone? Tell me, sweet uncle, what's the matter?
Pan. 'Would I were as deep under the earth, as I am above!
Cres. O the gods :-what's the matter?
Pan. Pr’ythee, get thee in; 'Would thou had'st ne'er been born! I knew, thou would'st be his death :-( poor gentleman!--A plague upon Antenor!
Cres. Good uncle, I beseech you on my knees, I beseech you, what's the matter?
Pan. Thou must be gone, wench, thou must be gone; thou art changed for Antenor: thou must to thy father, and be gone from Troilus; 'twill be his death; 'twill be his bane; he cannot bear it.
Cres. O you immortal gods! - I will not go.
Cres. I will not, uncle: I have forgot my father;
Pan. Do, do.
I am astonished that Mr. Theobald, who appears by his note to bave some acquaintance with secrets, could not have found a place for this little natural secret, among the secrets of nature.
Am. Ed. 5 I know no touch of consanguinity;] So, in Macbeth:
“ He wants the natural touch." Touch of consanguinity is sense or feeling of relationship. Malone. YOL. XII.
heart With sounding Troilus. I will not go from Troy.
[Exeunt. SCENE III.
The same. Before Pandarus' House.
ANTENOR, and DIOMEDES.
Walk in to her house ;
Par. I know what 'tis to love;
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.
great morning;] Grand jour; a Gallicism. Steevens. 8 Gomes fast upon:] Though fast upon, only signifies-fast on, I must suppose, with Sir T. Hanmer, we ought to read:
Comes fast upon us: -
Steevens. 9 Walk in to her house; ] Here, I believe, we have an interpola, tion similar to those in p. 131 and in the preceding page. In ellip. tical language the word-walk (which in the present instance destroys the measure) is frequently omitted. So, in King Henry IV, Part I:
"I 'l in and haste the writer." 1. 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, there. fore, in the speech of Troilus, will signify walk or go in, the omit. fed verb being understood. Steevens.
Enter PANDARUS and CRESSIDA.
Cres. Why tell you me of moderation ?
[Embracing him. Pan. What a pair of spectacles is here! Let me embrace too: O heart—as the goodly saying is,
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 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.
Fohnson. 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,] 0, 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, silence
By"friendship, nor by speaking.
Tro. Cressid, I love thee in so strain'd3 a purity,
Cres. Have the gods envy?
What, and from Troilus too?
Is it possible?
straind-] So the quarto. The folio and all the moderns have-strange. Johnson. 4 Did buy each other,] So, in our author's Venus and Adonie :
“ 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 anthor has the same image in many other places. So, in Measure for Measure:
« But my kissés bring again,
“ Seals of love, but seald in vain." Again, in bis Venus and Adonis :
“ Pure lips, sweet seals in my soft lips imprinted.” Malone.
He fumbles up into a loose adieu ;
Æne. [within) My lord! is the lady ready?
Tro. Hark! you are callid: 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 !8 [Exit Pan.
Cres. I must then to the Greeks?
Tro. Hear me, my love: Be thou but true of heart,
Tro. Nay, we must use expostulation kindly,
Cres. O, you shall be expos’d, my lord, to dangers
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. 7 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. by the root!] So the folío. Quarto-by my throat.
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.