Crack my clear voice with fobs, and break my heart With founding Troilus. I will not go from Troy.' [Exeunt.

SCENE III.

The fame. Before Pandarus' Houfe.

Enter PARTS, TROILUS, ENEAS, DEI PHOBUS, ANTENOR, and DIOMEDES.

PAR. It is great morning; and the hour prefix'd

Of her delivery to this valiant Greek

Comes faft upon: --Good my brother Troilus,
Tell you the lady what fhe is to do,

And hafte her to the purpofe.

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) fhould be left out, in conformity to the ancient elliptical mode of writing, which, in like inftances, omits it as unneceffary to fenfe. 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 Gallicifm. STEEVENS. 5 Comes faft upon:] Though faft upon, only fignifies—fast on, I muft fuppofe, with Sir Thomas Hanmer, we ought to read:

Comes faft upon us:

The metre, as it ftands at prefent, is obviously defective.

STEEVENS.

6 Walk in to her houfe;] Here, I believe, we have an interpolation fimilar to thofe in p. 362 and at the top of this page. In elliptical language the word-walk (which in the prefent inftance deftroys 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 prieft, there offering to it his own heart. [Exit.
PAR. I know what 'tis to love;

And 'would, as I fhall pity, I could help!—

Please you, walk in, my lords.

[Exeunt.

SCENE IV. .

The fame. A Room in Pandarus' Houfe.

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 fenfe as ftrong

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

"I'll in, I'll in: follow your friend's advice; I'll in."-In, therefore, in the fpeech 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 tafte,

And no lefs in a jenfe as ftrong

As that which caufeth it.

The quarto otherwise:

The grief is fine, full, perfect, that I tafte,
And violenteth in a fenfe as ftrong

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 Jonfon in The Devil is an Afs:

"Nor nature violenceth in both thefe." and Mr. Tollet has fince furnished me with this verb as fpelt in the play of Shakspeare: "His former adverfaries violented any thing against him," Fuller's Worthies in Anglefea.

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 lofs.

Enter TROILUS.

PAN. Here, here, here he comes.-Ah fweet ducks!

CRES. O Troilus! Troilus!

[Embracing him.

PAN. What a pair of spectacles is here! Let me embrace too: O heart,-as the goodly faying

is,

o heart, o heavy heart,

Why figh'st thou without breaking?

where he answers again,

Because thou canst not ease thy fmart,
By friendship, nor by Speaking.

There never was a truer rhyme. Let us caft away nothing, for we may live to have need of fuch a verfe; we see it, we fee it.-How now, lambs?

TRO. Creffid, I love thee in fo ftrain'd' a purity, That the bleft 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 likewife adds the following inftance from Latimer, P. 71: "Maifter Pole violentes the text for the maintenance of the bishop of Rome."

The modern and unauthorized reading was:

o heavy heart,] O, which is not in the old copy, was added for the fake of the metre, by Mr. Pope. MALONE.

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

CRES. Have the gods envy?

PAN. Ay, ay, ay, ay; 'tis too plain a cafe.
CRES. And is it true, that I must from Troy?

TRO. A hateful truth.

CRES.

go

What, and from Troilus too?

TRO. From Troy, and Troilus.

CRES.

Is it poffible?

TRO And fuddenly; where injury of chance
Puts back leave-taking, juftles roughly by
All time of paufe, rudely beguiles our lips
Of all rejoindure, forcibly prevents

Our lock'd embrafures, ftrangles our dear vows
Even in the birth of our own labouring breath:
We two, that with fo many thousand fighs
Did buy each other, must poorly fell ourselves
With the rude brevity and difcharge of one.
Injurious time now, with a robber's hafte,
Crams his rich thievery up, he knows not how:
As many farewells as be ftars in heaven,

With diftinct breath and confign'd kiffes to them,*
He fumbles up into a loose adieu;

And fcants us with a fingle famish'd kiss,
Diftafted with the falt of broken tears."

↑ Did buy each other,] So, in our author's l'enus and Adonis: "A thoufand kifles buys my heart from me,

"And pay them at thy leifure, one by one." MALONE. With diftinct breath and confign'd kiffes to them,] Configu'd means fealed; from configno, Lat. So, in King Henry V: "It were, my lord, a hard condition for a maid to confign to." Our author has the fame image in many other places. So, in Measure for Measure:

But my kies bring again,

"Seals of love, but feal'd in vain."

Again, in his Venus and Adonis:

"Pure lips, sweet seals in my soft lips imprinted.”

MALONE,

• Diftafted with the falt of broken tears.] i, e, of tears to which

ENE. [Within] My lord! is the lady ready? TRO. Hark! you are call'd: Some fay, the Ge

nius fo

Cries, Come! to him that instantly muft die.'Bid them have patience; fhe fhall come anon.

PAN. Where are my tears? rain, to lay this wind,' or my heart will be blown up by the root! + [Exit PANDARUS.

CRES. I must then to the Grecians?

we are not permitted to give full vent, being interrupted and fuddenly torn from each other. The poet was probably thinking of broken fobs, or broken flumbers.-This is the reading of the quarto. The folio has diftafting. MALONE.

Broken tears is fufficiently explained by-interrupted tears. So, in King Henry VIII: "You have now a broken banquet;" i. e. an interrupted one. STEEVENS.

2 Hark! you are call'd: Some fay, the Genius fo

Cries, Come! to him that inftantly muft die.] An obfcure poet (Flatman) has borrowed this thought:

"My foul juft now about to take her flight,

"Into the regions of eternal night,

"Methinks I hear fome gentle spirit say,
"Be not fearful, come away!
!"

After whom, Pope:

Hark! they whifper; angels fay "Sifter fpirit, come away.'

Again, in Eloifa to Abelard:

MALONE.

"Come, fifter, come! (it faid, or feem'd to fay,)

Thy place is here, fad fifter, come away!" 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 faid-O for tears &c.! and fo I have pointed it. STEEVENS. So, in The Rape of Lucrece:

"This windy tempeft, till it blow up rain,

"Holds back his forrow's tide, to make it more;

"At last it rains, and bufy winds give o'er." MALONE. 4by the root!] So the folio. Quarto-by my throat.

MALONE.