SCENE II. The same. Court of PANDARUS' house. Enter TROILUS and CRESSIDA. Tro. Dear, trouble not yourself: the morn is cold. Cres. Then, sweet my lord, I'll call mine uncle down; He shall unbolt the gates. Tro. Trouble him not; To bed, to bed: sleep kill (114) those pretty eyes, And give as soft attachment to thy senses As infants' empty of all thought! Cres. Tro. I prithee now, to bed. Good morrow, then. Are you a-weary of me? Tro. O Cressida! but that the busy day, Wak'd by the lark, hath rous'd the ribald crows, And dreaming night will hide our joys no longer, I would not from thee. Cres. Night hath been too brief. Tro. Beshrew the witch with venomous wights she stays As tediously as hell; (115) but flies the grasps of love With wings more momentary-swift than thought. Cres. You men will never tarry. - Prithee, tarry ; O foolish Cressid!—I might have still held off, "Weele not commend," &c.-I adopt the conjecture of Zachary Jackson; which is perhaps the best method of amending a line in which there is manifestly some corruption.-Warburton and Mr. Collier's Ms. Corrector read "We'll not commend what we intend not sell;" an alteration which Walker (Crit. Exam., &c., vol. iii. p. 197) "fears would be far too harsh for Shakespeare." (114) kill "A strong expression this 'kill,' and not digested by moderns, for the four latter make seal of it; but of its genuineness the word 'attachment' is evidence, which continues the metaphor." Capell's Notes, &c., vol. ii. P. iv. p. 131.-"Read 'lull;' at any rate, 'kill' is nonsense." W. N. LETTSOM. (115) As tediously as hell,] Pope gave "Tedious as hell.” Tro. It is your uncle. Cres. A pestilence on him! now will he be mocking: I shall have such a life! Enter PANDARUS. Pan. How now, how now! how go maidenheads?-Here, you maid where's my cousin Cressid? Cres. Go hang yourself, you naughty mocking uncle! You bring me to do-and then you flout me too. Pan. To do what? to do what?-let her say what :what have I brought you to do? Cres. Come, come, beshrew your heart! you'll ne'er be good, Nor suffer others. Pan. Ha, ha! Alas, poor wretch! ah, poor capocchio !(116) hast not slept to-night? would he not-a naughty manlet it sleep? a bugbear take him! Cres. Did not I tell you?—would he were knock'd i' th' head! (117) [Knocking within. Who's that at door? good uncle, go and see. My lord, come you again into my chamber: You smile and mock me, as if I meant naughtily. Tro. Ha, ha! Cres. Come, you're deceiv'd, I think of no such thing.— [Knocking within. How earnestly they knock!-Pray you, come in: (116) ah, poor capocchio!] The old eds. have "a poore chipochia,""a" being put, as it frequently is, for "ah." So in Peele's Arraignment of Paris; "A Colin thou art all deceiued," &c. Sig. C ii. ed. 1584. "A Venus, but for reuerence," &c. Id. ibid. "A well is she hath Colin wonne," &c. Id. Sig. C iii. (Several editors print "capocchia ;" but wrongly, if the term is to be considered as Italian, and as meaning simpleton; though an ed. of Baretti's Ital. Dict. is now before me, in which "capocchio" is given as an adjective. The word "capocchia" signifies the knob of a stick, and— something else.) (117) knock'd th' head!—] This (the reading both of the quarto and the folio) has been altered to "knock'd o' the head" by editors who forgot that formerly in was often used for on. VOL. VI. F I would not for half Troy have you seen here. [Exeunt Troilus and Cressida. Pan. [going to the door] Who's there? what's the matter? you beat down the door? How now! what's the matter? will Enter ENEAS. Ene. Good morrow, lord, good morrow. Pan. Who's there? my Lord Æneas! By my troth, I knew you not: what news with you so early? Ene. Is not Prince Troilus here? Pan. Here! what should he do here? Ene. Come, he is here, my lord; do not deny him: It doth import him much to speak with me. Pan. Is he here, say you? 'tis more than I know, I'll be sworn: for my own part, I came in late. What should he do here? Ene. Who (118)—nay, then :—come, come, you'll do him wrong ere you're ware: you'll be so true to him to be false to him: do not you know of him, but yet go fetch him hither; go. As PANDARUS is going out, re-enter TROILUS. Tro. How now! what's the matter? Ene. My lord, I scarce have leisure to salute you, My matter is so rash: there is at hand Paris your brother, and Deiphobus, The Grecian Diomed, and our Antenor Ene. By Priam and the general state of Troy: Tro. How my achievements mock me!— (118) Who!] Theobald prints "Pho." Ene. Good, good, my lord; the secrets of nature Have not more gift in taciturnity.(119) [Exeunt Troilus and Eneas. 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's the matter? who was here? 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. Prithee, get thee in: would thou had'st ne'er been born! I knew thou wouldst be his death:-O, 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; (119) Good, good, my lord; the secrets of nature Have not more gift in taciturnity.] So the folio.-The quarto has "Good, good, my lord, the secrets of neighbor Pandar Have not," &c. The reading of the folio (though Mr. Collier's Ms. Corrector and others have tampered with it) is doubtless right, -"secrets" being used here as a trisyllable: see Shakespeare's Versification, &c., p. 10, by Walker, who cites the following among other passages; "Whether thou wilt be secret in this." Marlowe's Edward II.,— Works, p. 221, ed. Dyce, 1858. "Tush, that's a secret; we cast all waters." Middleton's Fair Quarrel,—Works, vol. iii. p. 499, ed. Dyce. "But you must swear to keep it secret." Jonson's Sejanus,— Works, vol. iii. p. 134, ed. Gifford. 1865. To the above examples may be added; "Bid him be merry still, but secret." Kyd's Spanish Tragedy, Sig. F, ed. 1618. 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've forgot my father; I know no touch of consanguinity; No kin, no love, no blood, no soul so near me As the sweet Troilus. O you gods divine, But the strong base and building of my love Is as the very centre of the earth, Drawing all things to't.—I'll go in and weep, Pan. Do, do. Cres. Tear my bright hair, and scratch my praisèd cheeks; Crack my clear voice with sobs, and break my heart With sounding "Troilus." I will not go from Troy. [Exeunt. SCENE III. The same. Street before PANDARUS' house. Enter PARIS, TROILUS, ENEAS, DEIPHOBUS, ANTENOR, and Par. It is great morning; and the hour prefix'd Of her delivery to this valiant Greek Comes fast upon :-good my brother Troilus, (120) Tell you the lady what she is to do, And haste her to the purpose. Walk into her house; Tro. (120) Comes fast upon :-good my brother Troilus,] Capell printed "Comes fast upon: now, good my brother Troilus:" and in his Notes, dc., he oddly but truly speaks of " comes fast upon" as an "antiquary expression," and adds that "the verse's supplement hitherto has been 'fast upon us.'" Vol. ii. P. iv. p. 132. |
