Cymbeline
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About this ebook
Cymbeline offers captivating storytelling that's crowned by the beauty of its language. Virginia Woolf, T. S. Eliot, Samuel Beckett, and countless others have quoted Act IV's funeral song: "Fear no more the heat o' th' sun/Nor the furious winter's rages;/Thou thy worldly task hast done,/Home art gone and ta'en thy wages." A moving story of loss and recovery, Shakespeare's drama promises that a leap of faith can lead to miracles.
William Shakespeare
William Shakespeare is the world's greatest ever playwright. Born in 1564, he split his time between Stratford-upon-Avon and London, where he worked as a playwright, poet and actor. In 1582 he married Anne Hathaway. Shakespeare died in 1616 at the age of fifty-two, leaving three children—Susanna, Hamnet and Judith. The rest is silence.
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Reviews for Cymbeline
12 ratings10 reviews
- Rating: 4 out of 5 stars4/5Cymbeline defies the standard genre divisions in the Shakespeare corpus. It sets itself up as a tragedy, with a scheming villain defiling the reputation of a young princess (e.g., Othello), murder plots and poison. Yet, the resolution is famously happy, with the main love interests reconciled and peace between Britain and the Romans obtained. It makes for an interesting read, but it is this happy ending which is the most common point of dispute over this work. Not only is the play a happy ending, but the circumstances seem to simply come from one speech after another laying all of the scheming bare. First, Iachimo tearfully confesses his crime, followed by the posthumous confessions of the Queen, ending in Belarius' revealing that his sons were in fact the sons of Cymbeline, and so Princes of Britain. These events happen quickly, and the plots of the book are simply pointed out in convenient speeches. I have been told that it performs far better than it reads, but the problem is not with Shakespeare challenging the genre, but rather with the rapidity and tidiness of the conclusion.On the other hand, there is another layer present in the ending. Cymbeline takes place in the time of Caesar Augustus, and also the time of the birth of Christ. Though not referenced directly, the plays fortuitous conclusion and honorable peace indicate an era of peace dawning on a conflicted land. One might read the ending of the book as revealing the power of the Christian's savior to bring peace to the Earth.It also lacks a powerful villain. The Queen's plots come in early, but are pushed to the side as the play progresses. Iachimo, whose betrayal of Imogen sets the main conflicts in motion, is merely a charlatan attempting to win a bet. Like the Queen, once his damage is done, he plays little role in the events. Cloten is consistently obnoxious, and when he attempts to engage in some dastardly deeds, he is promptly killed in the attempt. They play more like the villains of the comedies, whose schemes move the plot along, but who do not take center stage.Despite these complaints, it is still a work of literary beauty, filled within Shakespearean genius. In particular, the scene where Pisanio reveals his letter from Posthumous to Imogen is gripping. It is poetic and passionate, as Imogen reveals the strength of her character, dominating the scene and Pisanio. It also contains some moving poetry, most notably the first song (II.3, 19-27):Hark, hark, the lark at heaven's gate singsAnd Phoebus gins arise,His steeds to water at those springsOn chaliced flowers that lies;And winking Mary-Buds beginTo ope their golden eyes.With every thing that pretty is,My lady sweet, arise,Arise, arise!
- Rating: 5 out of 5 stars5/5"Cymbeline" I considered a difficult play to stage until a surprisingly coherent version at the Huntington Theater, in 1991 when my grad school classmate Peter Altman ran the show, the theater. But reading it under the Trumpster makes all Iachimo’s lies problematic; our context changes the register of the play, disenchants it.So many Shakespeare villains articulate truths, like Iago, and here, the clod Cloten, whose assault on the married Imogen gave me the title to my book on Shakespeare and popular culture, which I called "Meaner Parties."* Cloten says of her marriage to Leonatus, “It is no contract, none;/ And though it be allowed in meaner parties…to knit their souls,/ On whom there is no more dependency/ But brats and beggary, in self-figur’d knot,/ Yet you are curbed…by the consequence of a crown…”(II.iii.116ff) He refers to canon law’s accepting, in York Dean Swinburne’s Of Spousals, handshake marriages—as long as there were witnesses to the vows spoken along with the ring or token. By the way, three centuries before DeBeers, engagement and marriage rings weren't distinct; both could be military or wax-sealrings. A couple scenes prior to Cloten here, Iachimo comes to England with a letter of endorsement, part of a bet, from Posthumus Leonatus (I.vi). Posthumus had been exiled to Italy by Cymbelene for displacing the new queen’s execrable son Cloten in Imogen’s affection—in fact, marrying her. As in Merchant of Venice, where Shylock compares his daughter and his ducats, his dearest possessions, Posthumous compares Imogen’s gift ring and herself; to Iachimo’s taunt, “I have not seen the most precious diamond that there is, nor you the lady,” Posthumus rejoins, “I praised her as I rated her: so do I my stone.” Iachimo even refers to Imogen as “she your jewel” to accompany the diamond, “this your jewel”(I.iv.153).Having set up so close a comparison—indeed, an identity— between the token jewel and the lover jewel, no wonder Posthumus falls apart when Iachimo brings back the bracelet he’d stolen from Imogen. Posthumus’s friend Philario notes he is “Quite beyond the government of patience!”(II.iv.150)—rather like a certain new Supreme Court judge.Later confessing to King Cymbeline’s inquiry, “How came it yours?” about the diamond on his finger, Iachimo blurts out that he defamed Imogen with token evidence, “that he could not / But think her bond of chastity quite crack’d,/ I having taken this forfeit”(V.v.206). Posthumus need not have so concluded had he not merged token and person so strongly in his own mind. But Renaissance marriage-court records fill with rings and bracelets betokening contract, whereas in fact it was the words accompanying the token, the vow, that counted in law. What we call domestic court were then in church, canon courts like Deacon Swinburne’s in York Minster (the room still exists, with three judge chairs on a raised dias, now used as a vestry). Shakespeare’s plays feature tokens and vows. Cymbeline could have learned how to run a ring court from the King of France in All’s Well. And of course Twelfth Night boasts the most rings of the Bard’s plays. (See my “Early Modern Rings and Vows in TN,” in Twelfth Night: New Critical Essays (NY: Routledge, 2011), ed. James Schiffer. Note: I quote from my old Harrison edition, which uses Iachimo, not Jachimo.* "meaner" in Elizabethan usage, lower status "parties" (in the legal sense)...average Joes and Jo's
- Rating: 4 out of 5 stars4/5Shaw disliked the complex ending, but I found it very funny.
- Rating: 3 out of 5 stars3/5I was heartened to read in the New York Times today that I wasn't the only one who was knocked off-course by the almost deliberately confusing plot and character interactions.
- Rating: 4 out of 5 stars4/5This is one of Shakespeare’s most convoluted plots. It combines bits and pieces from his greatest works, but in a strange way. There’s a battle to rival that in Henry V, parental ghosts like Hamlet, a jealous husband like Othello and ill-fated lovers and faked death like Romeo and Juliet. In the midst of this jumble are the old standbys, a woman pretending to be a young page and banished people living in the forest. This play is divisive among Shakespeare scholars when it comes to its categorization, some consider it a tragedy and others a romance. King Cymbeline of Britain is furious when he finds out his only daughter, Imogen, has secretly married Posthumus Leonatus, a man from his court. He quickly banishes Posthumus from his kingdom and shortly thereafter Posthumus meets Iachimo in Italy. He tells his new friend all about his beautiful Imogen. Iachimo isn’t impressed and makes a bet with Posthumus regarding her honor. Add in a devious Queen plotting the King’s death, her horrid son Cloten, missing heirs to the throne, warring Romans and a beheading and you’ve got the gist of it. BOTTOM LINE: A strange mishmash of Shakespearean themes, but a satisfying if contrived ending. I’d love to see this one performed, but until then I’ll have to settle for the wild ride the play takes you on.
- Rating: 4 out of 5 stars4/5This "history" play of Shakespeare's is probably not part of the Tudor campaign for legitimacy, but gives a glimpse into early Britain. A headstrong woman, one of many from Shakespeare -- makes one wonder about his personal life…
- Rating: 4 out of 5 stars4/5"Cymbeline" was one of the few Shakespeare plays that I'd never heard of before embarking on my quest to read them all. So, I really didn't have particularly high hopes that I'd enjoy it.While certainly not amongst the bard's best works, I was surprised to find I enjoyed this play quite a bit. I found it to be well-paced and I enjoyed the interactions between the characters. It had a lot of elements that are typical Shakespeare -- from Imogen's travels disguised by man, to a sad King tossing a child out into the wild, to hidden identities that are revealed at the end.It isn't a perfect play, as there are lots of characters floating about, making it a bit challenging to follow and the ending all sort of tumbles together (happily) for no particular reason. That said, I still liked the overall story.
- Rating: 2 out of 5 stars2/5Willie seems to have been fixated on men who don't trust their wives. Maybe Anne was fooling around on him. Kind of a weird meandering story. Too many elements to maintain my interest.
- Rating: 4 out of 5 stars4/5I sensed that Shakespeare trying to reuse his favorite dramatic devices, including: jealous lovers, wronged women, plucky heroines, male impersonation, scheming villains, idyllic landscapes, wise clowns. I also couldn't help noticing that, although the Bard called the play a tragedy, he was using a romantic comedy / adventure plot. He also gave the "tragedy" a happy ending, albeit a very complicated one. He had to unwind a large number of plot entanglements in one act. I found that complicated to read and wondered how it could be staged without turning into a train wreck. Despite that, I quite enjoyed reading the play, a rousing adventure with great characters. I thought was a vast improvement over the collaborations and a welcome lightening of tone.
- Rating: 5 out of 5 stars5/5Of the Shakespeare plays I've read so far (probably about a dozen or so), this is probably my favourite. I find it difficult to pinpoint exactly why I liked it so much, but I did. The final scene, in particular, is well described as a theatrical tour de force as it relentlessly brings one revelation after another to tie up all the various subplots and bring about the reconciliation of all the still-living characters.
Book preview
Cymbeline - William Shakespeare
ACT I.
SCENE I. Britain. The Garden of Cymbeline’s Palace.
Enter two Gentlemen
FIRST GENTLEMAN. You do not meet a man but frowns: our bloods 1–3
No more obey the heavens than our courtiers
Still seem as does the king.
SEC. GENT. But what’s the matter?
FIRST GENT. His daughter, and the heir of ’s kingdom, whom
He purposed to his wife’s sole son—a widow
That late he married—hath referr’d herself [7]
Unto a poor but worthy gentleman: she ’s wedded;
Her husband banish’d; she imprison’d: all
Is outward sorrow; though I think the king 10
Be touch’d at very heart.
SEC. GENT. None but the king?
FIRST GENT. He that hath lost her too: so is the queen,
That most desired the match: but not a courtier,
Although they wear their faces to the bent
Of the king’s looks, hath a heart that is not
Glad at the thing they scowl at.
SEC. GENT. And why so?
FIRST GENT. He that hath miss’d the princess is a thing
Too bad for bad report: and he that hath her,
I mean, that married her,—alack, good man!—
And therefore banish’d, is a creature such 20
As, to seek through the regions of the earth
For one his like, there would be something failing
In him that should compare. I do not think
So fair an outward and such stuff within
Endows a man but he. [25]
SEC GENT. You speak him far.
FIRST GENT. I do extend him, sir, within himself, 26–28
Crush him together rather than unfold
His measure duly.
SEC GENT. What ’s his name and birth?
FIRST GENT. I cannot delve him to the root: his father
Was call’d Sicilius, who did join his honour 30
Against the Romans with Cassibelan,
But had his titles by Tenantius, whom 32
He served with glory and admired success,
So gain’d the sur-addition Leonatus: 34
And had, besides this gentleman in question,
Two other sons, who in the wars o’ the time
Died with their swords in hand; for which their father,
Then old and fond of issue, took such sorrow 38
That he quit being, and his gentle lady,
Big of this gentleman, our theme, deceased 40
As he was born. The king he takes the babe
To his protection, calls him Posthumus Leonatus,
Breeds him and makes him of his bed-chamber:
Puts to him all the learnings that his time
Could make him the receiver of; which he took,
As we do air, fast as ’t was minister’d,
And in ’s spring became a harvest: lived in court—
Which rare it is to do—most praised, most loved:
A sample to the youngest, to the more mature
A glass that feated them, and to the graver 50
A child that guided dotards; to his mistress, 51
For whom he now is banish’d, her own price 52
Proclaims how she esteem’d him and his virtue;
By her election may be truly read
What kind of man he is.
SEC. GENT. I honour him
Even out of your report. But, pray you, tell me,
Is she sole child to the king?
FIRST GENT. His only child.
He had two sons,—if this be worth your hearing,
Mark it,—the eldest of them at three years old,
I’ the swathing clothes the other, from their nursery 60
Were stolen, and to this hour no guess in knowledge
Which way they went.
SEC GENT. How long is this ago?
FIRST GENT. Some twenty years.
SEC. GENT. That a king’s children should be so convey’d! 64
So slackly guarded! and the search so slow,
That could not trace them!
FIRST GENT. Howsoe’er ’t is strange,
Or that the negligence may well be laugh’d at,
Yet is it true, sir.
SEC. GENT. I do well believe you.
FIRST GENT. We must forbear: here comes the gentleman,
The queen and princess. [Exeunt. 70
Enter the Queen, POSTHUMUS and IMOGEN
QUEEN. No, be assured you shall not find me, daughter,
After the slander of most stepmothers,
Evil-eyed unto you: you ’re my prisoner, but
Your gaoler shall deliver you the keys
That lock up your restraint. For you, Posthumus,
So soon as I can win the offended king,
I will be known your advocate: marry, yet
The fire of rage is in him, and ’t were good
You lean’d unto his sentence with what patience 79
Your wisdom may inform you.
POST. Please your highness, 80
I will from hence to-day.
QUEEN. You know the peril.
I ’ll fetch a turn about the garden, pitying
The pangs of barr’d affections, though the king
Hath charged you should not speak together. [Exit.
IMO. O
Dissembling courtesy! How fine this tyrant
Can tickle where she wounds! My dearest husband,
I something fear my father’s wrath; but nothing—
Always reserved my holy duty—what 88
His rage can do on me: you must be gone,
And I shall here abide the hourly shot 90
Of angry eyes, not comforted to live,
But that there is this jewel in the world
That I may see again.
POST. My queen! my mistress!
O lady, weep no more, lest I give cause
To be suspected of more tenderness
Than doth become a man! I will remain
The loyal’st husband that did e’er plight troth:
My residence in Rome at one Philario’s,
Who to my father was a friend, to me
Known but by letter: thither write, my queen, 100
And with mine eyes I ’ll drink the words you send,
Though ink be made of gall.
Re-enter Queen
QUEEN. Be brief, I pray you:
If the king come, I shall incur I know not
How much of his displeasure. [Aside] Yet I ’ll move him
To walk this way: I never do him wrong
But he does buy my injuries, to be friends; 106
Pays dear for my offences. [Exit.
POST. Should we be taking leave
As long a term as yet we have to live,
The loathness to depart would grow. Adieu!
IMO. Nay, stay a little: 110
Were you but riding forth to air yourself,
Such parting were too petty. Look here, love;
This diamond was my mother’s: take it, heart;
But keep it till you woo another wife,
When Imogen is dead.
POST. How, how! another ?
You gentle gods, give me but this I have,
And sear up my embracements from a next 117–118
With bonds of death! [Putting on the ring.] Remain, remain thou here
While sense can keep it on! And, sweetest, fairest,
As I my poor self did exchange for you 120
To your so infinite loss, so in our trifles
I still win of you: for my sake wear this;
It is a manacle of love; I ’ll place it
Upon this fairest prisoner. [Putting a bracelet on her arm.
IMO. O the gods!
When shall we see again?
Enter CYMBELINE and Lords
POST. Alack, the king!
CYM. Thou basest thing, avoid! hence, from my sight!
If after this command thou fraught the court 127
With thy unworthiness, thou diest: away!
Thou ’rt poison to my blood.
POST. The gods protect you,
And bless the good remainders of the court! 130
I am gone. [Exit.
IMO. There cannot be a pinch in death
More sharp than this is.
CYM. O disloyal thing,
That shouldst repair my youth, thou heap’st
A year’s age on me!
IMO. I beseech you, sir,
Harm not yourself with your vexation:
I am senseless of your wrath; a touch more rare 136
Subdues all pangs, all fears. 137
CYM. Past grace? obedience?
IMO. Past hope, and in despair; that way, past grace.
CYM. That mightst have had the sole son of my queen!
IMO. O blessed, that I might not! I chose an eagle, 140
And did avoid a puttock.
CYM. Thou took’st a beggar; wouldst have made my throne
A seat for baseness.
IMO. No; I rather added
A lustre to it.
CYM. O thou vile one!
IMO. Sir,
It is your fault that I have loved Posthumus:
You bred him as my playfellow, and he is
A man worth any woman, overbuys me 147–148
Almost the sum he pays.
CYM. What, art thou mad!
IMO. Almost, sir: heaven restore me! Would I were
A neat-herd’s daughter, and my Leonatus 150
Our neighbour-shepherd’s son!
CYM. Thou foolish thing!
Re-enter Queen
They were again together: you have done
Not after our command. Away with her,
And pen her up.
QUEEN. Beseech your patience. Peace,
Dear lady daughter, peace! Sweet sovereign,
Leave us to ourselves, and make yourself some comfort
Out of your best advice. 157
CYM. Nay, let her languish
A drop of blood a day; and, being aged,
Die of this folly! [Exeunt Cymbeline and Lords.
QUEEN. Fie! you must give way.
Enter PISANIO
Here is your servant. How now, sir! What news? 160
PIS. My lord your son drew on my master.
QUEEN. Ha!
No harm, I trust, is done?
PIS. There might have been,
But that my master rather play’d than fought,
And had no help of anger: they were parted 164
By gentlemen at hand.
QUEEN. I am very glad on ’t.
IMO. Your son ’s my father’s friend; he takes his part.
To draw upon an exile! O brave sir!
I would they were in Afric both together; 168
Myself by with a needle, that I might prick
The goer-back. Why came you from your master? 170
PIS. On his command: he would not suffer me
To bring him to the haven: left these notes
Of what commands I should be subject to
When ’t pleased you to employ me.
QUEEN. This hath been
Your faithful servant: I dare lay mine honour
He will remain so.
PIS. I humbly thank your highness.
QUEEN. Pray, walk awhile.
IMO. About some half-hour hence,
I pray you, speak with me: you shall at least
Go see my lord aboard: for this time leave me. [Exeunt.
1–3 our bloods … king] These obscure lines mean that our dispositions or moods are not so much governed by the heavens—by every skyey influence
—as by the views of the king, to which courtiers adapt their own sentiment. The courtiers seem to feel as the King feels; when he frowns, they frown.
7 hath referr’d herself] hath given herself, transferred herself.
25 You speak him far] You praise him extensively, you are lavish in your eulogy.
26–28 I do extend…duly] I dilate upon him within his merits. I narrow the compass of his praises, rather than expand them to full length.
32 Tenantius] the