PAN. Is't possible? no fooner got, but loft? 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 figh you so profoundly? where's my

lord gone?

Tell me, fweet 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

-the secrets of neighbour Pandar.

If this be a reading ex fide codicum (as he professes all his various readings to be) it is founded on the credit of fuch copies, as it has not been my fortune to meet with. I have ventured to make out the verse thus:

The fecret's things of nature, &c.

i. e. the arcana naturæ, the mysteries of nature, of occult philosophy, or of religious ceremonies. Our poet has allufions of this fort in several other passages. THEOBALD.

Mr. Pope's reading is in the old quarto. So great is the neceffity of collation. JOHNSON.

I suppose the editor of the folio meant the fecreteft of nature, and that fecrets was an error of the press. So, in Macbeth : "The Secret'ft man of blood." MALONE.

There is no need of change. Secrets is here used as a trifyllable. A fimilar thought occurs in Antony and Cleopatra: " In nature's infinite book of fecrecy."

Wherever there is redundant metre, as in the reading of the quarto, corruption may always be suspected. STEEVENS.

death :-O poor gentleman!-A plague upon An

tenor!

CRES. Good uncle, I beseech you on my knees, I befeech 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.
PAN. Thou must.

CRES. I will not, uncle: I have forgot my father;
I know no touch of confanguinity; *
No kin, no love, no blood, no foul so near me,
As the sweet Troilus. - you gods divine!
Make Cressid's name the very crown of falsehood,
If ever she leave Troilus! Time, force, and death,
Do to this body what extremes you can;
But the strong base and building of my love
Is as the very center of the earth,

Drawing all things to it. I'll go in, and weep ;PAN. Do, do.

CRES. Tear my bright hair, and scratch my praifed

cheeks;

& I know no touch of confanguinity;] So, in Macbeth: "He wants the natural touch."

Touch of confanguinity is fenfe or feeling of relationship.

9

- the very crown of falshood,] So, in Cymbeline :
my supreme crown of grief."

Again, in The Winter's Tale:

the crown and comfort of my life." MALONE.

the strong base and building of my love-) So, in our

author's 119th Sonnet:

" And ruin'd love, when it is built anew, ."

Again, in Antony and Cleopatra:

" Let not the piece of virtue, which is set

"Betwixt us as the cement of our love,

"To keep it builded, be the ram to batter

"The fortress of it." MALONE.

Crack my clear voice with sobs, and break my heart With founding Troilus. I will not go from Troy.

3

[Exeunt.

SCENE III.

The fame. Before Pandarus' House.

Enter PARIS, TROILUS, ENEAS, DEIPHOBUS, ANTENOR, and DIOMEDES.

PAR. It is great morning; 4 and the hour pre

fix'd

Of her delivery to this valiant Greek

Comes fast upon: 'Good my brother Troilus,

Tell you the lady what she is to do,

And hafte her to the purpose.

TRO.

Walk in to her house;"

I'll bring her to the Grecian presently:

3 -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. 360, we find

I would not from thee;" i. e. I would not go from thee. STEEVENS.

4-great morning;] Grand jour; a Gallicism. STEEVENS. 5 Comes faft upon:) Though faft upon, only fignifies-faft on, I must suppose, with Sir Thomas Hanmer, we ought to read: Comes faft upon us:

The metre, as it stands at present, is obviously defective.

STEEVENS.

6 Walk in to her house ;) Here, I believe, we have an interpolation fimilar to those in p. 362 and at the top of this 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 hafte the writer."

i. e. I'll walk, or go in. Again, in The Merry Wives of Windfor:

And to this hand when I deliver her,
Think it an altar; and thy brother Troilus
A priest, there offering to it his own heart. [Exit.

PAR. I know what 'tis to love;

And 'would, as I shall pity, I could help!-
Please you, walk in, my lords.

[Exeunt.

SCENE IV.

The fame. 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,
And violenteth in a sense as fstrong

As that which causeth it: How can I moderate it?

“I'll in, I'll in: follow your friend's advice; I'll in."-In, therefore, in the speech of Troilus, will fignify walk or go in, the omitted verb being understood. STEEVENS.

4 The grief &c.] The folio reads:

The grief is fine, full, perfect, that I taste,

And no less in a sense as strong

As that which caufeth it.---

The quarto otherwise:

The grief is fine, full, perfect, that I tafte,

And violenteth in a sense as strong

As that which caufeth 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 Jonfon in The Devil is an Afs:

"Nor nature violenceth in both these."

and Mr. Tollet has fince 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.

If I could temporize with my affection,
Or brew it to a weak and colder palate,
The like allayment could I give my grief:
My love admits no qualifying drofs;
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 embrace too: O heart, as the goodly saying is,

o heart, o heavy heart,
Why figh'st thou without breaking?

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 fuch a verse; we fee it, we fee it.-How now, lambs?

6

TRO. Cressid, I love thee in so strain'd a purity, That the blest gods-as angry with my fancy, More bright in zeal than the devotion which Cold lips blow to their deities, -take thee from me.

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 unauthorized reading was:
And in its fenfe is no less strong, than that

5

Which caufeth it. - STEEVENS.

o heavy heart, O, which is not in the old copy, was

added for the fake of the metre, by Mr. Pope. MALONE.

6-train'd-] So the quarto. The folio and all the moderns have-trange. JOHNSON.