But the truth is, that his
language is such as a skilful villain would naturally use, a mixture of
airy triumph and serious deposition. His gaiety shews his seriousness to
be without anxiety, and his seriousness proves his gaiety to be without
art.
II.iv.83 (205,5) never saw I figures/So likely to report themselves] So
near to speech. The Italians call a portrait, when the likeness is
remarkable, a _speaking picture_.
II.iv.84 (205,6) the cutter/Was as another nature, dumb, out-went
her;/Motion and breath left out] [W: done; out-went her.] This
emendation I think needless. The meaning is this, The _sculptor_ was as
_nature_, but as _nature dumb_; he gave every thing that nature gives,
but _breath_ and _motion_. In _breath_ is included _speech_.
II.iv.91 (205,7) _Post._ This is her honour!] [T: What's this t'her
honour?] This emendation has been followed by both the succeeding
editors, but I think it must be rejected. The expression is ironical.
Iachimo relates many particulars, to which Posthumus answers with
impatience, This is her honour! That is, And the attainment of this
knowledge is to pass for the corruption of her honour.
II.iv.95 (206,8) if you can/Be pale] If you can forbear to flush your
cheek with rage.
II.iv.110 (207,9)
The vows of women
Of no more bondage be, to where they are made,
Than they are to their virtues]
The love vowed by women no more abides with him to whom it is vowed,
than women adhere to their virtue.
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