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Which is our honour, bitter torture shall
Imo. My boon is, that this gentleman may render
What's that to him? [Aside.
lach. Thou ’lt torture me to leave unspoken that
C'ujin. All that belongs to this. luch.
That paragon, thy daughter,-
Cym. My duughter! what of her? Renew thy strength:
Iach. Upon a time, (unhappy was the clock
- which - ] Mr. Ritson (and I perfectly agree with him) is of opinion that this pronoun should be omitted, as in elliptical language, on similar occasions, is often known to have been the
How injurious this syllable is to the present measure, I think no reader of judgment can fail to perceive. Steevens.
- Wilt thou hear more, my lord ? &c.] The metre will become perfectly regular if we read:
Twixt sky and ground. Wilt more, my lord?
That paragon, thy daughter,
? Quail to remember,] To quail is to sink into dejection. The word is common to many authors. So, in The Three Ladies of London, 1584: “ She cannot quail me if she come in likeness of the great devil.” See Vol. V, p. 38, n. 8; and Vol. VIII, p. 293, n. 1. Steevens.
the forte have se ferente
transla 1596, taken his on painti
That struck the hour!) it was in Rome, (accurs’d
I stand on fire: Come to the matter.
- for feature, laming
Postures beyond brief nature;] Feature for proportion of parts, which Mr. Theobald not understanding, would alter to stature:
--for feature, laming
Postures beyond brief nature; i.e. the ancient statues of Venus and Minerva, which exceeded, in beauty of exact proportion, any living bodies, the work of brief nature; i. e. of hasty, unelaborate nature. He gives the same character of the beauty of the antique in Antony and Cleopatra:
“O’er picturing that Venus where we see
“ The fancy outwork nature." It appears, from a number of such passages as these, that our author was not ignorant of the fine arts. Warburton.
I cannot help adding, that passages of this kind are but weak proofs that our poet was conversant with what we at present call the fine arts. The pantheons of his own age (several of which I have seen) afford a most minute and particular account of the different degrees of beauty imputed to the different deities; and as Shakspeare had at least an opportunity of reading Chapman’s. translation of Homer, the first part of which was published in. 1596, with additions in 1598, and entire in 1611, he might have taken these ideas from thence, without being at all indebted to: his own particular observation, or acquaintance with statuary and painting. It is surely more for his honour to remark how well he has employed the little knowledge he appears to have had of sculpture or mythology, than from his frequent allusions to them to suppose he was intimately acquainted with either. Steevens.
All too soon I shall, Unless thou would'st grieve quickly.-This Posthumus, (Most like a noble lord in love, and one That had a royal lover,) took his hint; And, not dispraising whom we prais'd, (therein He was as calm as virtue) he began His mistress' picture; which by his tongue being made, And then a mind put in ’t, either our brags Were crack'd of kitchen trulls, or his description Prov'd us unspeaking sots. Сут. .
Nay, nay, to the purpose. Iach. Your daughter's chastity-there it begins. He spake of her, as Diano had hot dreams, And she alone were cold: Whereat, I, wretch! Made scruple of his praise; and wager'd with him Pieces of gold, 'gainst this which then he wore Upon his honour'd finger, to attain In suit the place of his bed, and win this ring By hers and mine adultery: he, true knight, No lesser of her honour confident Than I did truly find her, stakes this ring; And would so, had it been a carbuncle Of Phæbus' wheel;1 and might so safely, had it Been all the worth of his car. Away to Britain Post I in this design: Well may you, sir, Remember me at court, where I was taught Of your chaste daughter the wide difference 'Twixt amorous and villainous. Being thus quench'd Of hope, not longing, mine Italian brain 'Gan in your duller Britain operate Most vilely; for my vantage, excellent; And, to be brief, my practice so prevailid, That I return'd with simular proof enough To make the noble Leonatus mad, By wounding his belief in her renown With tokens thus, and thus; averring notes?
as Dian -] i. e. as if Dian. So, in The Winter's Tale: he utters them as he had eaten ballads." See also, Vol. IX, p. 143, n. 2. Malone. la carbuncle &c.] So, in Antony and Cleopatra :
“ He has deserv'd it, were it carbuncled
Of chamber-hanging, pictures, this her bracelet,
Ay, so thou dost, [Coming forward.
Peace, my lord; hear, hearPost. Shall's have a play of this? Thou scornful page, There lie thy part.
[Striking her: she falls. Pis.
O, gentlemen, help, help
averring notes - ) Such marks of the chamber and pictures, as averred or confirmed my report. Johnson.
3 Some upright justicer!) I meet with this antiquated word in The Tragedy of Darius, 1663:
this day, “ Th’ eternal justicer sees through the stars." Again, in Law Tricks, &c. 1608:
“ No: we must have an upright justicer.” Again, in Warner's Albion's England, 1602, B. X, ch. liv:
“ Precelling his progenitors, a justicer upright.” Steevens. Justicer is used by Shakspeare thrice in King Lear. Henley.
The most ancient law books have justicers of the peace, as frequently as justices of the peace. Reed.
and she herself.] That is,-She was not only the temple of virtue, but virtue herself. Johnson.
Mine, and your mistress: -O, my lord Posthumus!
Does the world go round?
Wake, my mistress!
How fares mistress?
The tune of Imogen!
Cym. New matter still?
It poison'd me.
What's this, Cornelius?
Imo. Most like I did, for I was dead.
This is sure, Fidele.
these staggers - ] This wild and delirious perturbation. Staggers is the horse's apoplexy. Johnson.