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! a poor capocchio!-hast not slept to-night? would he not, a naughty man, let it sleep? a bugbear take him! [Knocking. Cres. Did not I tell you?-'would he were knock'd o' the head! Who's that at door? good uncle, go and see.- You smile, and mock me, as if I meant naughtily. Cres. Come, you are deceiv'd; I think of no such thing. [Knocking. How earnestly they knock.-Pray you, come in: 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? will you beat down the door? How now! what's the matter? 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. 7 a poor CAPOCCHIO !] "In Florio's Italian Dictionary, 1598," says Malone, we find, Capocchio, a doult, a loggerhead, a foolish pate, a shallow skonce."" In all the old copies it is spelt chipochia. 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-nay, then :-come, come, you'll do him wrong ere y'are '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. Enter TROILUS. Tro. How now! what's the matter? Ene. My lord, I scarce have leisure to salute you, The Grecian Diomed, and our Antenor Tro. Is it so concluded? Ene. By Priam, and the general state of Troy : They are at hand, and ready to effect it. Tro. How my achievements mock me! I will go meet them:-and, my lord Æneas, [Exeunt TROILUS and NEAS. 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! 8 Deliver❜d to us ;] So the folio: the quarto, erroneously, "Deliver❜d to him." "Deliver❜d by him," meaning Diomed, might be right. 9 the secrets of nature] The quarto corruptly reads, "the secrets of neighbour Pandar.” Enter CRESSIDA. Cres. How now! What is the matter? here? Pan. Ah! ah! Who was 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 hadst 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 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; No kin, no love, no blood, no soul so near me, But the strong base and building of my love Drawing all things to it. I'll go in, and weep.- 1 Do to this body what EXTREMES you can,] Shakespeare not unfrequently uses "extremes" in this way, see "Romeo and Juliet," Act iv. sc. 1, &c.: the folio substitutes extremity, which injures the verse. Cres. Tear my bright hair, and scratch my praised 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. Before PANDARUS' House. Enter PARIS, TROILUS, ÆNEAS, DEIPHOBUS, ANTENOR, and DIOMEDES. Par. It is great morning, and the hour prefix'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 haste her to the purpose. Tro. Walk into her house; I'll bring her to the Grecian presently; A priest, there offering to it his own heart?. [Exit. [Exeunt. And would, as I shall pity, I could help !— 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, 2 A priest, there offering to it his own heart.] The folio omits "own," pos sibly considering "offering," as it is strictly, a trisyllable. And violenteth3 in a sense as strong As that which causeth it: how can I moderate it? Or brew it to a weak and colder palate, Enter TROILUS. Pan. Here, here, here he comes.-A sweet duck! 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, heavy heart, Why sigh'st thou without breaking? where he answers again, Because thou canst not ease thy smart, There was never 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'd a purity", Pan. Ay, ay, ay, ay: 'tis too plain a case. Cres. And is it true, that I must go from Troy? 3 And VIOLENTETH-] So the quartos: the folio omits the word altogether, and reads, "And no less in a sense as strong." Steevens showed violenceth to be a verb used by Ben Jonson; and to violent is a verb in Latimer's Sermons, and in Fuller's "Worthies." The sense is left imperfect in the folio, by the omission of "violenteth." The later folios reprint the first, excepting that, to amend the measure, the third folio regulates the passage differently. 4 - no qualifying DROSS,] The folio has cross for "dross," probably an oversight by the compositor. 5 in so STRAIN'D a purity,] "strain'd," the reading of the quartos. The folio poorly substitutes strange for |