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Which is our honour, bitter torture shall
Winnow the truth from falsehood.-On, speak to hiin.

Imo. My boon is, that this gentleman may render
Of whom he had this ring.

What's that to him? [Aside.
Cym. That diamond upon your finger, say,
How came it yours?

lach. Thou ’lt torture me to leave unspoken that
\Vhich, to be spoke, would torture thee.

How! me?
Tuch. I am glad to be constrain’d to utter that which
Torments me to conceal. By villainy
I got this iing; 'twus Leonatus' jewel:
Whom thou didst banish; and (which more may grieve

As it doth ne,) a nobler sir ne'er liv’d
'Twist sky and ground. Wilt thou hear more, my lord 16

C'ujin. All that belongs to this. luch.

That paragon, thy daughter,-
For whom my heart drops blood, and my false spirits
Quail to remember, ?-Give me leave; I faint.

Cym. My duughter! what of her? Renew thy strength:
I had rather thou should'st five while nature will,
Thun die ere I hear more: strive man, and speak.

Iach. Upon a time, (unhappy was the clock

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- 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?

All that
Belongs to this.

That paragon, thy daughter,
In elliptical language, such words as-thou hear, are frequently
omitted; but the players, or transcribers, as in former instances,
were unsatisfied till the metre was destroyed by the insertion of
whatever had been purposely left out. Steevens.

? 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.

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transla 1596, taken his on painti


That struck the hour!) it was in Rome, (accurs’d
The mansion where!) 'twas at a feast, (Ò ’would
Our viands had been poison'd! or, at least,
Those which I heay'd to head!) the good Posthumus,
(What should I say? he was too good, to be
Where ill men were; and was the best of all
Amongst the rar'st of good ones, sitting sadly,
Hearing us praise our loves of Italy
For beauty that made barren the swell'd boast
Of him that best could speak: for feature, laming
The shrine of Venus, or straight-pight Minerva,
Postures beyond brief nature ;8 for condition,
A shop of all the qualities that man
Loves woman for; besides, that hook of wiving,
Fairness, which strikes the eye:
Сут. .

I stand on fire: Come to the matter.


- for feature, laming
The shrine of Venus, or straight-pight Minerva,

Postures beyond brief nature;] Feature for proportion of parts, which Mr. Theobald not understanding, would alter to stature:

--for feature, laming
The shrine of Venus, or straight-pight Minerva,

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
" Like Phæbut' car.” Steevens.

Of chamber-hanging, pictures, this her bracelet,
(0, cunning, how I got it!) nay, some marks
Of secret on her person, that he could not
But think her bond of chastity quite crack’d,
I having ta'en the forfeit. Whereupon,-
Methinks, I see him now,

Ay, so thou dost, [Coming forward.
Italian fiend !-Ah me, most credulous fool,
Egregious murderer, thief, any thing
That's due to all the villains past, in being,
To come!-0, give me coril, or knife, or poison,
Some upright justicer!3 Thou, king, send out
For torturers ingenious: it is I
That all the abhorred things o' the earth amend,
By being worse than they. I am Posthumus,
That kill'd thy daughter:-villain-like, I lie;
That caus'd a lesser villain than myself,
A sacrilegious thief, to do’t:--the temple
Of virtue was she; yea, and she herself.“
Spit, and throw stones, cast mire upon me, set
The dogs o’the street to bay me: every villain
Be call’d, Posthú mus Leonatus; and
Be villainy less than 'twas!-0 Imogen!.
My queen, my life, my wife! O Imogen,
Imogen, Imogen!

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!
You ne'er kill'd Imogen till now :-Help, help!-
Mine honour'd lady!

Does the world go round?
Post. How come these staggerss on me?

Wake, my mistress!
Cym. If this be so, the gods do mean to strike me
To death with mortal joy.

How fares mistress?
Imo. O, get thee from my sight;
Thou gav'st me poison: dangerous fellow, hence!
Breathe not where princes are.

The tune of Imogen!
Pis. Lady,
The gods throw stones of sulphur on me, if
That box I gave you was not thought by me
A precious thing; I had it from the queen.

Cym. New matter still?

It poison'd me.

O Gods!
I left out one thing which the queen confess’d,
Which must approve thee honest: If Pisanio
Have, said she, given his mistress that confection
Which I gave him for a cordial, she is serv'd
As I would serve a rat.
Сут. .

What's this, Cornelius?
Cor. The queen, sir, very oft importun'd me
To temper poisons for her; still pretending
The satisfaction of her knowledge, only
In killing creatures vile, as cats and dogs,
Of no 'esteem: I, dreading that her purpose
Was of more danger, did compound for her
A certain stuff, which, being ta’en, would cease
The present power of life; but, in short time,
All offices of nature should again
Do their due functions.—Have you ta'en of it?

Imo. Most like I did, for I was dead.

My boys,
There was our error.

This is sure, Fidele.

these staggers - ] This wild and delirious perturbation. Staggers is the horse's apoplexy. Johnson.

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