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II.iii.24 (194,2) His steeds to water at those springs On chalic'd flowers that lies]

Hanmer reads,

Each chalic'd flower supplies;

to escape a false concord: but correctness must not be obtained by such licentious alterations. It may be noted, that the cup of a flower is called calix, whence chalice.

II.iii.28 (195,3) With, every thing that pretty bin] is very properly restored by Hanmer, for pretty is; but he too grammatically reads,

With all the things that pretty bin.

II.iii.102 (197,5) one of your great knowing/Should learn, being taught, forbearance] i.e. A man who is taught forbearance should learn it.

II.iii.111 (198,7) so verbal] Is, so verbose, so full of talk.

II.iii.118-129 (199,8) The contract you pretend with that base wretch] Here Shakespeare has not preserved, with his common nicety, the uniformity of character. The speech of Cloten is rough and harsh, but certainly not the talk of one,

Who can't take two from twenty, for his heart,

And leave eighteen.—

His argument is just and well enforced, and its prevalence is allowed throughout all civil nations: as for rudeness, he seems not to be mach undermatched.

II.iii.124 (199,9) in self-figur'd knot] [This is nonsense. We should read,

—SELF-FINGER'D knot;

WARBURTON.] But why nonsense? A self-figured knot is a knot formed by yourself. (see 1765, VII, 301, 8)

II.iv.71 (204,4) And Cydnus swell'd above the banks, or for/The press of boats, or pride] [This is an agreeable ridicule on poetical exaggeration, which gives human passions to inanimate things: and particularly, upon what he himself writes in the foregoing play on this very subject:

"—And made

The water, which they beat, to follow faster,

As amorous of their strokes."

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