Ene. Good, good, my lord; the secrets of nature

Have not more gift in taciturnity. 15

[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 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.

16

Pr'ythee, get thee in. 'Would thou hadst ne'er been born! I knew, thou wouldst be his death. O poor gentleman!

-

Cres. Good uncle, I beseech you, on my knees

I beseech you, what 's the matter?

A plague upon Antenor!

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: 't will be his death; 't will 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 consanguinity; 17

No kin, no love, no blood, no soul so near me,
As the sweet Troilus. O you gods divine!
Make Cressid's name the very crown of falsehood, 18
If ever she leave Troilus! Time, force, and death,
Do to this body what extremity 19 you can,

But the strong base and building of my love

Is as the very centre 20 of the earth,

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

Pan. Do, do.

15) Aeneas verspricht dem Troilus die Bewahrung des Geheimnisses, indem er betheuert, dass die Geheimnisse der Natur sich nicht besser auf Schweigsamkeit verständen, als

er.

Theo

secrets ist vielleicht dreisylbig zu lesen. Vgl. A. 1, Sc. 3, Anm. 10. bald las dafür secret'st things, und Malone secretest of nature. Doch scheint secrets auch durch die abweichende Lesart der Qs. the secrets of neighbour Pandar geschützt

zu sein.

16) So interpungiren die Qs. und Fol. Viele Hgg. setzen dafür where's my lord gone? 17) keine Regung von Blutsverwandtschaft.

18) crown = Gipfel, Höhepunkt, kommt auch sonst bei Sh. vor; so Cymbeline (A. 1,

Sc. 7.) my supreme crown of grief.

19) So die Fol. Die Qs. extremes.

äusserste Noth.

20) Vgl. A. 3, Sc. 2, Anm. 44.

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.

SCENE III.

The Same. Before PANDARUS' House.

[Exeunt.

Enter PARIS, TROILUS, ENEAS, DEIPHOBUS, ANTENOR, and DIOMEDES. Par. It is great morning, and the hour prefix'd

1

Of her delivery to this valiant Greek

Comes fast upon.

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;
And to his hand when I deliver her,
Think it an altar, 3 and thy brother Troilus
A priest, there offering to it his own heart.
Par. I know what 't is to love.

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

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,

And violenteth in a sense as strong

As that which causeth it: 1 How can I moderate it?

If I could temporize with my affection,

Or brew it to a weak and colder palate, 2

The like allayment could I give my grief:

1) great morning

[Exit.

[Exeunt.

hoher Morgen, weit vorgerückte Tageszeit, hat Sh. auch A. 4, Sc. 2. 2) So die Fol. Die Qs. haben For.

1) So die Qs.

3) it bezieht sich auf his hand. Die Hand des Diomedes, der die Cressida übergeben wird, ist gleichsam der Altar, an welchem Troilus als Priester sein eignes Herz opfert. Die Fol. liest dafür: And no less in a sense as strong as that | Which to violent toben, wüthen, kommt als neutrales Verbum sonst nicht vor, wohl aber als transitives bei einigen ältern Schriftstellern; so bei Fuller: His former adversaries violented any thing against him, und Latimer: Mister Poole violents the text for the maintenance of the bishop of Rome.

2) affection ist hier der Affekt der Liebe, die Liebesleidenschaft, palate der Geschmack, die Wirkung auf den Gaumen.

My love admits no qualifying dross, 3

No more my grief, in such a precious loss.

Enter TROILUS.

Pan. Here, here, here he comes.

Ah, sweet ducks! 4

Cres. O Troilus! Troilus!

[Embracing him.

Pan. What a pair of spectacles 5 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,

By friendship nor by speaking.

How now, lambs?

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.
Tro. Cressid, I love thee in so strain'd 6 a purity,
That the bless'd gods as angry with my fancy,
More bright in zeal than the devotion which

Cold lips blow to their deities,

Cres. Have the gods envy?

take thee from me.

Pan. Ay, ay, ay, ay: 't is too plain a case.
Cres. And is it true, that I must go from Troy?
Tro. A hateful truth.

Die Fol. duck, weshalb manche Hgg. A sweet duck! lesen.
Brille, und = Schauspiel. Um das Wortspiel deutlicher zu machen,

=

ist a pair hinzugefügt.

6) So die Qs. Die Fol. hat strange.

7) Troylus, in Qs. und Fol., und zweisylbig, erinnert schon durch den Klang an Troy,

als das Wort, von dem es abgeleitet ist.

8) rejoindure = Wiedervereinigung.

9) Der Hauch oder das Wort wird wie eine Gebärerin gedacht, welche die Liebesschwüre nur zur Welt bringt, damit die Ungunst des Geschickes dieselben in ihrer Geburt

schon erwürge.

With the rude brevity and discharge of one. 10
Injurious time, now, with a robber's haste,
Crams his rich thievery up, he knows not how:
As many farewells as be stars in heaven,

With distinct breath and consign'd kisses to them, 11
He fumbles up into a loose adieu;

And scants us with a single famish'd kiss,

Distasting with the salt of broken tears. 12

Ene. [Within.] My lord! is the lady ready?

Tro. Hark! you are call'd: some say, the Genius so

Cries, Come!" to him 13 that instantly must die.

Bid them have patience; she shall come anon.

Pan. Where are my tears? rain, 14 to lay this wind, or my heart will

be blown up by the root! 15

Cres. I must then to the Grecians?

Tro.

No remedy.

Cres. A woeful Cressid 'mongst the merry Greeks! 16
When shall we see again?

Tro. Hear me, my love. Be thou but true of heart,
Cres. I true! how now? what wicked deem 17 is this?
Tro. Nay, we must use expostulation kindly,

For it is parting from us:

I speak not, be thou true," as fearing thee; 18
For I will throw my glove 19 to death himself,
That there's no maculation in thy heart;
But, be thou true," say I, to fashion in
My sequent protestation; 20 be thou true,
And I will see thee.

Cres. O you shall be expos'd, my lord, to dangers
As infinite as imminent! but I'll be true.

[Exit PANDARUS.

Tro. And I'll grow friend with danger. Wear this sleeve.

hinzugefügt werden.

=

Küsse, die zur Besiegelung der Abschiedsworte

12) Die Zeit findet uns kümmerlich ab mit einem abgedarbten Kusse, den das Salz ver

haltener Thränen unschmackhaft macht.

Für distasting der Fol. lesen die Qs. distasted.

13) So die Fol. Die Qs. some say, the Genius || Cries so to him etc.

14) rain ist Imperativ, an die Thränen gerichtet.

15) So die Fol.

Die Qs. haben by my throat.

16) Vgl. A. 1, Sc. 2, Anm. 22. Den folgenden Vers ertheilt die Fol. irrthümlich dem

Troilus zu.

17) deem

Meinung, Urtheil, ein veraltetes, sonst bei Sh. nirgendwo vorkommendes Wort. 18) to fear mit dem Accusativum Jemanden besorgt sein.

19) glove ist der Fehdehandschuh, den er dem Tode als Ausforderung zum Kampfe hin

werfen will.

2) um meine nachfolgende Betheuerung darin einzukleiden.

Cres. And you this glove. 21 When shall I see you?
Tro. I will corrupt the Grecian sentinels,

O heavens! be true, again? 22

To give thee nightly visitation.

But yet, be true.
Cres.

Tro. Hear why I speak it, love.

The Grecian youths are full of quality;

23

Their loving well compos'd with gift of nature,
Flowing and swelling o'er with arts and exercise:
How novelties may move, and parts with person, 24
Alas, a kind of godly jealousy

(Which, I beseech you, call a virtuous sin)
Makes me afraid.

In this I do not call your faith in question,

So mainly as my merit: I cannot sing,

Nor heel the high lavolt, 25 nor sweeten talk,

Nor play at subtle games; fair virtues all,

To which the Grecians are most prompt and pregnant:

But I can tell, that in each grace of these

There lurks a still and dumb-discoursive 27 devil,

That tempts most cunningly. But be not tempted.
Cres. Do you think I will?

Tro. No.

But something may be done that we will not:

And sometimes we are devils to ourselves, 28

26

21) Das Tragen eines Damenhandschuhs an der Mütze oder am Helm des Liebhabers kommt auch sonst bei Sh. vor. So K. Richard II. (A. 5, Sc. 3.) and from the common'st creature pluck a glove and wear it as a favour.

22) d. h. wiederholst Du wieder die Mahnung: sei treu?

23) Diese Zeile fehlt in den Qs., welche die folgende Zeile so lesen: And swelling o'er Die meisten Hgg. emendiren den Vers der Fol.: They're

with arts and exercise.

loving, well compos'd, with gifts of nature flowing etc.

24) parts with person sind Eigenschaften gepaart mit oder gehoben durch die PersönlichSo die Fol. Die Qs. haben portion für person und vorher novelty, so wie zu Ende dieser Rede afeard für afraid.

keit.

25) lavolt = ein rascher Tanz, bei dem hoch gesprungen wurde. Sh. giebt ihm deshalb dasselbe Epitheton wie hier in K. Henry V. (A. 3, Sc. 5.) and teach lavoltas high and

swift corantoes. Douce beschreibt ihn so:

The man turns the woman round several times, and then assists her in making a high spring or cabriole.

26) pregnant leicht auffassend, empfänglich. So K. Lear (A. 4, Sc. 6.) am pregnant

to good pity.

27) still gehört wie dumb zu discoursive

ohne Worte deutlich genug spricht.

26) wir spielen bisweilen gegen uns selbst die Rolle des verführerischen Teufels, wir ver

führen uns selbst.