stances, innocence may be supposed to be an insufficient shield. But the very helplessness of Imogen is her protection. In the exquisite second Scene of the second Act, the perfect purity of Imogen, as interpreted by Shakspere, has converted what would have been a most dangerous situation in the hands of another poet, into one of the most refined delicacy.—The immediate danger is passed; but there is a new danger approaching. The will of her unhappy husband, deceived into madness, is to be added to the evils which she has already received from violence and selfishness. Posthumus, intending to destroy her, writes "Take notice that I am in Cambria at MilfordHaven; what your own love will out of this advise you, follow." She does follow her own love ;-she has no other guide but the strength of her affections; that strength makes her hardy and fearless of consequences. It is the one duty, as well as the one pleasure, of her existence. How is that affection requited? Pisanio places in her hand, when they have reached the deepest solitude of the mountains, that letter by which he is commanded to take away her life. One passing thought of herself-one faint reproach of her husband,-and she submits to the fate which is prepared for her. But her truth and innocence have already subdued the will of the sworn servant of her husband. He comforts her, but he necessarily leaves her in the wilderness. The spells of evil wills are still around her :

"My noble mistress,

Here is a box, I had it from the queen."

Perhaps there is nothing in Shakspere more beautifully managed,- -more touching in its romance,-more essentially true to nature, than the scenes between Imogen and her unknown brothers. The gentleness, the grace, the "grief and patience" of the helpless Fidele, producing at once the deepest reverence and affection in the bold and daring mountaineers, still carry forward the character of Imogen under the same aspects. "The bird is dead ;” she was sick, and we almost fear that the words of the dirge are true.-But she awakes, and she has still to endure the last and the worst evil-her husband, in her apprehension, lies dead before her. She has no wrongs to think of "O my lord, my lord," is all, in connection with Posthumus, that escapes amidst her tears. The beauty and innocence which saved her from Iachimo,-which conquered Pisanio,— which won the wild hunters,-commend her to the Roman general-she is at once protected. But she has holy duties still to perform.-It is the unconquerable affection of Imogen

which makes us pity Posthumus even while we blame him for the rash exercise of his revengeful will. But in his deep repentance we more than pity him. We see only another victim of worldly craft and selfishness. In the prison scene his spirit is again united with hers.-The contest we now feel is over between the selfish and the unselfish, the crafty and the simple, the proud and the meek, the violent and the gentle.

AJAX, a Grecian commander.

Appears, Act II. sc. 1; sc. 3. Act III. sc. 3.
Act V. sc. 1; sc. 5; sc. 6; sc. 10.

ULYSSES, a Grecian commander.

Appears, Act I. sc. 3.
Act IV. sc. 5.

Appears, Act I. sc. 3.

Act IV. sc. 5.

Act II. sc. 3. Act III. sc. 3.
Act V. sc. 1; sc. 2; sc. 5.

NESTOR, a Grecian commander.

Act II. sc. 3. Act III. sc. 3. Act IV. sc. 5. Act V. sc. 1; sc. 5; sc. 10.

DIOMEDES, a Grecian commander.

Appears, Act II. sc. 3. Act III. sc. 3. Act IV. sc. 1; sc. 3; sc. 4; sc. 5 Act V. sc. 1; sc. 2; sc. 4; sc. 5; sc. 6; sc. 10.

PATROCLUS, a Grecian commander.

Appears, Act II. sc. 1; sc. 3. Act III. se. 3. Act IV.
Act V. sc. 1.

THERSITES, a deformed and scurrilous Grecian.
Appears, Act II. sc. 1; sc. 3. Act III. sc. 3.
Act V. sc. 1; sc. 4; sc. 8.

ALEXANDER, servant to Cressida.
Appears, Act I. sc. 2.

Servant to Troilus.

Appears, Act I. sc. 2. Act III. sc. 2.

Servant to Paris.

Appears, Act III. sc. 1.

Servant to Diomedes.

Appears, Act V. sc. 5.

HELEN, wife to Menelaus.

Appears, Act III. sc. 1.

ANDROMACHE, wife to Hector.

Appears, Act V. sc. 3.

CASSANDRA, daughter to Priam; a prophetess.
Appears, Act II. sc. 2. Act V. sc. 3.

CRESSIDA, daughter to Calchas.

Appears, Act I. sc. 2.

sc. 5.

Act III. sc. 2. Act IV. sc. 2; sc. 4; sc. 5.
Act V. sc. 2.

Trojan and Greek Soldiers, and Attendants.

SCENE, TROY, AND THE GRECIAN CAMP BEFORE IT.

The original quarto edition of Troilus and Cressida' was printed in 16% No other edition of the play was published until it appeared in the f collection of 1623.

TROILUS AND CRESSIDA.

PROLOGUE.

From isles of Greece

n Troy there lies the scene.
The princes orgulous, their high blood chaf'd,
Have to the port of Athens sent their ships,
raught with the ministers and instruments
Of cruel war: Sixty and nine that wore

Their crownets regal, from the Athenian bay
Put forth toward Phrygia: and their vow is made
To ransack Troy, within whose strong immures
The ravish'd Helen, Menelaus' queen,

With wanton Paris sleeps,-and that's the quarrel.
To Tenedos they come;

And the deep-drawing barks do there disgorge
Their warlike fraughtage: Now on Dardan plains
The fresh and yet unbruised Greeks do pitch
Their brave pavilions: Priam's six-gated city,
Dardan, and Tymbria, Ilias, Chetas, Trojan,
And Antenorides, with massy staples,
And corresponsive and fulfilling bolts,
Sperr up the sons of Troy.

Now expectation, tickling skittish spirits,
On one and other side, Trojan and Greek,
Sets all on hazard:-And hither am I come
A prologue arm'd,—but not in confidence
Of author's pen, or actor's voice; but suited
In like conditions as our argument,-
To tell you, fair beholders, that our play

Leaps o'er the vaunt and firstlings of those broils,