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It was, however, in the revolt against Iachimo's perfidy, in the fall before Pisanio's fatal disclosure, and in the frenzy over the supposed death of Leonatus that the actress put forth electrical power and showed how strong emotion, acting through the imagination, can transfigure the being and give to love or sorrow a monumental semblance and an everlasting voice.
Indeed, as an artistic illustration of Iachimo's immunity from retribution, Posthumus is afterward represented as disarming and sparing him in battle a concession he would n't have made to an ordinary enemy. He looks to Imogen alone. Nothing but the sacrifice of her life will satisfy him.
It was a crime to mention Imogen's name in such society as that which met at Philario's house. The only excuse is Boccaccio, but what shall we say of Iachimo's interview with Imogen, invented by Shakespeare! After his beastly experiment upon her, he excuses himself: 'I have spoke this, to know if your affiance Were deeply rooted. She begs him to prolong his visit!
At this, Leonatus was unable to contain himself, and casting aside all thought of disguise, he came forward, cursing himself for his folly in having believed Iachimo's lying story, and calling again and again on his wife whom he believed dead. "Oh, Imogen, my love, my life!" he cried. "Oh, Imogen! Then Imogen, forgetting she was disguised, cried out, "Peace, my lord here, here!"
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