WARBURTON.] It is easy to sit down and give our author meanings which he never had. Shakespeare has no great right to censure poetical exaggeration, of which no poet is more frequently guilty. That he intended to ridicule his own lines is very uncertain, when there are no means of knowing which of the two plays was written first. The commentator has contented himself to suppose, that the foregoing play in his book was the play of earlier composition. Nor is the reasoning better than the assertion. If the language of Iachimo be such as shews him to be mocking the credibility of his hearer, his language is very improper, when his business was to deceive. 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. II.iv.127 (207,2) The cognizance] The badge; the token; the visible proof. III.i.26 (211,2) and his shipping,/(Poor ignorant baubles!) on our terrible seas] [_Ignorant_, for _of no use_. WARB.] Rather, _unacquainted_ with the nature of our boisterous seas. III.i.51 (212,3) against all colour] Without any pretence of right. III.i.73 (213,5) keep at utterance] [i.e. At extreme distance. WARB.] More properly, in a state of hostile defiance, and deadly opposition. III.i.73 (213,6) I am perfect] I am well informed. So, in Macbeth, "--in your state of honour _I am perfect_." (see 1765, VII, 314,7) III.ii.4 (214,2) What false Italian (As poisonous tongu'd as handed)] About Shakespeare's time the practice of poisoning was very common in Italy, and the suspicion of Italian poisons yet more common.