Cymbeline – “Lest the bargain should catch cold and starve.”

Cymbeline – “Lest the bargain should catch cold and starve.”

‘Cymbeline’, also known as ‘Cymbeline, King of Britain’ and ‘The Tragedy of Cymbeline’, has had a strange life as a play. It was written either at the end of 1610 or the beginning of 1611 and either had its first performance in one of the law colleges in the Christmas of 1610 or in April 1611 at the Globe. Curiously, it was listed in the First Folio as a tragedy but today is listed as a Comedy and it certainly has many aspects of comedies like ‘The Winter’s Tale’ and even ‘Much ado About Nothing’.

Shakespeare seems to have been based on a story about the ancient Welsh King Cunobelinus (20BC-40AD approximately) although some characters and subplots seem to be hark back to Boccaccio’s ‘Decameron’. It is interesting to note that at the age of 47, Shakespeare is interested in themes like fidelity and infidelity, redemption and the relationship between appearance and reality. Perhaps after years of fooling around in London, Shakespeare himself was examining these themes in his own life. Perhaps it is also pertinent that around this period in his life, many of his plays deal with father/daughter relationships. At the end of 1610, his daughter Susanna was 27 and had married a local doctor in Stratford upon Avon, and his younger daughter Judith (whose twin brother Hamnet had died in 1596 at the age of 11) was 25 and still unmarried and living at home in Stratford upon Avon. Judith eventually had a strange and unhappy marriage to a vintner named Thomas Quiney and some argue that plays like ‘Cymbeline’ express the general anxiety that Will Shakespeare had with some of Judith’s suitors like the rascal Quiney who she eventually married.

As 1610 came to a close, so did another chapter in William Shakespeare's life. Some believe that he retired to Stratford as early as 1610. Whatever the truth, the period after 1610 marks the final period of Shakespeare's life living full time in London as an actor and playwright. 

The play starts in Britain at Cymberline's castle where two gentlemen recount to the audience recent goings on in the court of King Cymbeline.
“You do not meet a man but frowns: our bloods

No more obey the heavens than our courtiers

Still seem as does the king…

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

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

Be touch'd at very heart…

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 look's, hath a heart that is not

Glad at the thing they scowl at…

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

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.”

So we know the background we learn is that Cymbeline's only daughter, Imogen, had been promised to the son of his new wife and queen (from a previous marriage), Cloten. But Imogen has married Posthumus (the king's own ward) in secret. We know that Cymbeline has banished Posthumus. We also hear that Cymberline's had two sons who were stolen twenty years ago from court and "...to this hour no guess in knowledge which way they went."

Then the action starts properly. Cymberline's Queen enters with Posthumus and Imogen. She has heard their plight and she says that she will help them and not be "evil-eyed" like most stepmothers. The Queen says that she will try to calm the fire of the rage in Cymbeline and even lets Posthumus and Imogen have one last walk in the garden before Posthumus has to leave. 

When the Queen exits, Imogen reveals that she thinks that the Queen is two faced and that her kindness is all facade and a cover up. "How fine this tyrant can tickle where she wounds." The Queen re-enters to tell them to be brief because the King is coming. Imogen gives Posthumus a ring and Posthumus gives her a bracelet and they swear to always wear these love tokens and swear their undying love for one another. Posthumus leaves just as Cymbeline enters and King Cymberline curses Posthumus as he goes. 

Cymberline begins chastising Imogen for her behaviour. Imogen says that it is Cymberlines's fault that she fell in love with Posthumus because he "breed" him as her playfellow. He commands his men to "pen her up" even though the Queen stands up for her stepdaughter. Imogen is taken away. Then Posthumus's manservant Pisanio, enters and says that Posthumus has been accosted and Cloten drew his sword on him. They were separated before hurt was sustained. Pisanio says that Posthumus wanted him to be taken into Imogen's service and look after her as her servant.

We now cross to where Cloten is bragging to a couple of gentlemen about his fight with Posthumus. Although the gentlemen flatter him, we get the sense they think he is a bragging fool who Posthumus could easily beat in a duel. 

We then cross to a room in Cymberline's palace where Pisanio tells Imogen of how sad Posthumus seemed when he left and he assures Imogen that she will soon hear from Posthumus. One of the Queen's ladies then enters and tells Imogen that the Queen wishes to see her.

We now cross to Philario's house in Italy where Posthumus is staying while he is in exile from Britain. Philario and a group of men talk about the nature and relative virtue and fidelity of women from various countries. Posthumus enters and is introduced to the other men. Iachimo says that there is not woman in the world who can't be seduced but Posthumus argues against this and says that nothing or no-one could seduce his virtuous Imogen. But Iachimo claims that even Imogen would give in and he says that he will go to England and try to seduce Imogen. Posthumus eventually agrees to bet with Iachimo and Iachimo bets 10,000 ducats and Posthumus says that he will give Iachimo the ring Imogen gave him.

The action then transfers back to Britain where the Queen asks a Doctor Cornelius to make a lethal poison for her which she claims she wants to use on prepare her a deadly poison, which she claims will be used for science and on "on creators as we count not worth the hanging". The Doctor is suspicious but he tells the audience that what he gave the Queen was not in poison, but a sleeping potion which gives the user the appearance of death and then he exits. 

With the Doctor gone, the Queen reveals that she intends to kill Pisanio with this poison. She hopes that Pisanio will take it so that her son will then she will be able to seduce Imogen to the idea of marrying her son.

A little later, we see Imogen in her chambers mourning her husband's banishment. Then Pisanio announces Iachimo's arrival from Italy with letters from Posthumus to Imogen.  When Imogen asks about Posthumus, Iachimo says that Posthumus is not thinking about Imogen or England because he is having such a good time with Italian women. Imogen is shocked and hurt and Iachimo says that the only way to avenge Posthumus is for her to give herself over to pleasure with Iachimo himself. He even says that he will dedicate himself to her "sweet pleasure". Imogen rejects Iachimo's offers and then Iachimo says that he was only trying to test her out of the brotherly love he has for Posthumus. He asks for her forgiveness and offers to take any letters to she wants to Posthumus. Iachimo then says that he is in business with Posthumus and others and he asks whether he can store a trunk in her chambers. Imogen agrees to this:

“Willingly;

And pawn mine honour for their safety: since

My lord hath interest in them, I will keep them

In my bedchamber.”

Cymbeline Act Two –“But kiss: one kiss! Rubies unparagoned…”

What is most apparent with Shakespeare in his later plays, is the ease with which he moves from scene to scene and character to character and yet he is able to have the overall plot weave into an intricate fabric and have the worlds that individual characters inhabit work like strands to weave a rich tapestry. It is an act filled with theatricality like a man appearing out of a chest to musicians playing love songs outside of a door to twisted deceptions drawn out to bursting point.

We start Act Two with the Queen’s son Cloten, who is talking about loosing at a game of bowls. His gentlemen companions mock him covertly. After Cloven exits, one of the gentlemen comments on how strange it is that such the intelligent and manipulative Queen should have such a fool for a son. He then shows great concern for the situation Imogen is in and shows hope that she will eventually end up happy with her husband back in Britain:

“That such a crafty devil as is his mother

Should yield the world this ass! a woman that

Bears all down with her brain; and this her son

Cannot take two from twenty, for his heart,

And leave eighteen. Alas, poor princess,

Thou divine Imogen, what thou endurest,

Betwixt a father by thy step-dame govern'd,

A mother hourly coining plots, a wooer

More hateful than the foul expulsion is

Of thy dear husband, than that horrid act

Of the divorce he'ld make! The heavens hold firm

The walls of thy dear honour, keep unshaked

That temple, thy fair mind, that thou mayst stand,

To enjoy thy banish'd lord and this great land!”

We then move forward in time to later that evening and to Imogen’s bedchamber. It is almost midnight and Iachimo's trunk is in Imogen’s room and she is in bed reading as she has done for three hours. Imogen leaves the candle burning as she goes to sleep. The lid of the trunk slowly opens and Iachimo appears out of the trunk. He looks at Imogen (noting the birthmark on her breast), takes in all that is in her bedchamber for his future reference, takes the bracelet that Posthumus gave Imogen as a love token (as proof of her intimate relations with Iachimo) and slips back into the trunk.

“The crickets sing, and man's o'er-labour'd sense

Repairs itself by rest. Our Tarquin thus

Did softly press the rushes, ere he waken'd

The chastity he wounded. Cytherea,

How bravely thou becomest thy bed, fresh lily,

And whiter than the sheets! That I might touch!

But kiss; one kiss! Rubies unparagon'd,

How dearly they do't! 'Tis her breathing that

Perfumes the chamber thus: the flame o' the taper

Bows toward her, and would under-peep her lids,

To see the enclosed lights, now canopied

Under these windows, white and azure laced

With blue of heaven's own tinct. But my design,

To note the chamber: I will write all down:

Such and such pictures; there the window; such

The adornment of her bed; the arras; figures,

Why, such and such; and the contents o' the story.

Ah, but some natural notes about her body,

Above ten thousand meaner moveables

Would testify, to enrich mine inventory.

O sleep, thou ape of death, lie dull upon her!

And be her sense but as a monument,

Thus in a chapel lying! Come off, come off. (Taking off her bracelet)

As slippery as the Gordian knot was hard!

'Tis mine; and this will witness outwardly,

As strongly as the conscience does within,

To the madding of her lord. On her left breast

A mole cinque-spotted, like the crimson drops

I' the bottom of a cowslip: here's a voucher,

Stronger than ever law could make: this secret

Will force him think I have pick'd the lock and ta'en

The treasure of her honour. No more. To what end?

Why should I write this down, that's riveted,

Screw'd to my memory? She hath been reading late

The tale of Tereus; here the leaf's turn'd down

Where Philomel gave up. I have enough:

To the trunk again, and shut the spring of it.

Swift, swift, you dragons of the night, that dawning

May bare the raven's eye! I lodge in fear;

Though this a heavenly angel, hell is here.”

The next morning, Cloten orders musicians to play outside Imogen’s door, so that he can woo her and perhaps this will also “get him gold enough”. After the musicians have finished, Cymbeline and the Queen enter and they advise Cloten that if he keeps trying that Imogen will eventually come round to loving him when time has worn out “the print of his (Posthumus) remembrance”. Then a messenger arrives announcing the arrival of ambassadors from Rome including Caius Lucius. Cymberline says Caius Lucius is a noble man but that this probably signals some trouble and as he exits with the Queen, he tells Cloten to join this the Queen and him in this meeting once he has greeted Imogen.

“A worthy fellow,

Albeit he comes on angry purpose now;

But that's no fault of his: we must receive him

According to the honour of his sender;

And towards himself, his goodness forespent on us,

We must extend our notice. Our dear son,

When you have given good morning to your mistress,

Attend the queen and us; we shall have need

To employ you towards this Roman. Come, our queen.”

Cloten then knocks on Imogen's door. When Imogen does finally appear she tells Cloten in no uncertain words that she hates him and can never love him:

“If you'll be patient, I'll no more be mad;

That cures us both. I am much sorry, sir,

You put me to forget a lady's manners,

By being so verbal: and learn now, for all,

That I, which know my heart, do here pronounce,

By the very truth of it, I care not for you,

And am so near the lack of charity--

To accuse myself--I hate you; which I had rather

You felt than make't my boast.”

Cloten then claims that Imogen is being disobedient to her father and then he puts down Posthumus to which Imogen insults Cloten further:

“He (Posthumus) never can meet more mischance than come

To be but named of thee. His meanest garment,

That ever hath but clipp'd his body, is dearer

In my respect than all the hairs above thee,

Were they all made such men.”

Then Pisanio enters and while Imogen talks to Pisanio and says that she cannot find her bracelet and wants Pisanio to get the servants to look for it, Cloten vows to be avenged.

We then move forward in time and across the waters to Rome, where Iachimo, having sailed home has just arrived at Philario's house. Philario and Posthumus are talking about the situation between Rome and Britain and the likelihood of war because Cymberline will not pay the demanded tribute to Rome. Iachimo enters giving Posthumus letters from Imogen and to Iachimo’s question of whether the Roman ambassador Casius Lucius had seen Cymberline, Iachimo answers that the ambassadore was expected to arrive around when Iachimo himself had left. Then Iachimo says to Posthumus that he has won the bet and slept Imogen. Posthumus initially will not believe Iachimo but then Iachimo describes Imogen’s bedchamber in detail and reveals the bracelet as proof and asks for the ring as his debt:

“First, her bedchamber,--

Where, I confess, I slept not, but profess

Had that was well worth watching--it was hang'd

With tapesty of silk and silver; the story

Proud Cleopatra, when she met her Roman,

And Cydnus swell'd above the banks, or for

The press of boats or pride: a piece of work

So bravely done, so rich, that it did strive

In workmanship and value; which I wonder'd

Could be so rarely and exactly wrought…

The chimney

Is south the chamber, and the chimney-piece

Chaste Dian bathing: never saw I figures

So likely to report themselves: the cutter

Was as another nature, dumb; outwent her,

Motion and breath left out…

The roof o' the chamber

With golden cherubins is fretted: her andirons--

I had forgot them--were two winking Cupids

Of silver, each on one foot standing, nicely

Depending on their brands… (Showing the bracelet)

Be pale: I beg but leave to air this jewel; see!

And now 'tis up again: it must be married

To that your diamond; I'll keep them...

She stripp'd it from her arm; I see her yet;

Her pretty action did outsell her gift,

And yet enrich'd it too: she gave it me, and said

She prized it once.”

Posthumus is distraught and gives Iachimo the ring declaring:

“It is a basilisk unto mine eye,

Kills me to look on't. Let there be no honour

Where there is beauty; truth, where semblance; love,

Where there's another man: the vows of women

Of no more bondage be, to where they are made,

Than they are to their virtues; which is nothing.

O, above measure false!”

Philorio then begs Posthumus to take the ring back saying that what Iachimo says proves nothing and suggests Imogen might have lost it or Iachimo might have corrupted one of her women for it. Then Iachimo hits Posthumus hardest with a description of Imogen’s mole on under her breast:

“If you seek

For further satisfying, under her breast--

Worthy the pressing--lies a mole, right proud

Of that most delicate lodging: by my life,

I kiss'd it; and it gave me present hunger

To feed again, though full. You do remember

This stain upon her?”

This seems to Posthumus like irrefutable proof and he gives the ring to Iachimo and exits cursing Imogen as he goes. He is followed by Philario and Iachimo since Philario wants to “pervert the present wrath” that Posthumus seems to have for himself and Imogen.

Act Two ends with Posthumus entering another room in Philario’s house and giving a speech filled with rage and self-pity where he condemns women and berates himself and other men for needing them. This speech is theatrical, overly poetic and filled with contradictions which Shakespeare in cludes on purpose. A rant in the style of Hamlet against his mother or Othello against Desdemona.

“Is there no way for men to be but women

Must be half-workers? We are all bastards;

And that most venerable man which I

Did call my father, was I know not where

When I was stamp'd; some coiner with his tools

Made me a counterfeit: yet my mother seem'd

The Dian of that time so doth my wife

The nonpareil of this. O, vengeance, vengeance!

Me of my lawful pleasure she restrain'd

And pray'd me oft forbearance; did it with

A pudency so rosy the sweet view on't

Might well have warm'd old Saturn; that I thought her

As chaste as unsunn'd snow. O, all the devils!

This yellow Iachimo, in an hour,--wast not?--

Or less,--at first?--perchance he spoke not, but,

Like a full-acorn'd boar, a German one,

Cried 'O!' and mounted; found no opposition

But what he look'd for should oppose and she

Should from encounter guard. Could I find out

The woman's part in me! For there's no motion

That tends to vice in man, but I affirm

It is the woman's part: be it lying, note it,

The woman's; flattering, hers; deceiving, hers;

Lust and rank thoughts, hers, hers; revenges, hers;

Ambitions, covetings, change of prides, disdain,

Nice longing, slanders, mutability,

All faults that may be named, nay, that hell knows,

Why, hers, in part or all; but rather, all;

For even to vice

They are not constant but are changing still

One vice, but of a minute old, for one

Not half so old as that. I'll write against them,

Detest them, curse them: yet 'tis greater skill

In a true hate, to pray they have their will:

The very devils cannot plague them better.”

Cymbeline Act Three –“How hard it is to hide the sparks of nature!”

Act Three of ‘Cymberline’ starts off with Rome’s ambassador Caius Lucius explaining to Cymberline, the Queen and Cloten, Rome’s demand to have its tribute paid. In short, this is a tribute to have Rome not invade:

“When Julius Caesar, whose remembrance yet

Lives in men's eyes and will to ears and tongues

Be theme and hearing ever, was in this Britain

And conquer'd it, Cassibelan, thine uncle,--

Famous in Caesar's praises, no whit less

Than in his feats deserving it--for him

And his succession granted Rome a tribute,

Yearly three thousand pounds, which by thee lately

Is left untender'd.”

The Queen speaks eloquently against it and Cloten also speaks against it (but not so eloquently diplomatically). This reinforces Cymbeline's view that he will pay no tribute and he reinforces this with stating that Britain is an independent island. Caius Lucius calmly apologizes to Cymberline that Britain and Rome must now be at war.

“I am sorry, Cymbeline,

That I am to pronounce Augustus Caesar--

Caesar, that hath more kings his servants than

Thyself domestic officers--thine enemy:

Receive it from me, then: war and confusion

In Caesar's name pronounce I 'gainst thee: look

For fury not to be resisted. Thus defied,

I thank thee for myself.”

We then cross to elsewhere in Cymberline’s palace where Pisanio has in his possession a letter from Posthumus, charging Imogen with infidelity. Furthermore Posthumus asks Pisanio to take Imogen away and to kill her. Pisanio is taken back at his master’s request:

“How? of adultery? Wherefore write you not

What monster's her accuser? Leonatus,

O master! what a strange infection

Is fall'n into thy ear! What false Italian,

As poisonous-tongued as handed, hath prevail'd

On thy too ready hearing? Disloyal! No:

She's punish'd for her truth, and undergoes,

More goddess-like than wife-like, such assaults

As would take in some virtue. O my master!

Thy mind to her is now as low as were

Thy fortunes. How! that I should murder her?

Upon the love and truth and vows which I

Have made to thy command? I, her? her blood?

If it be so to do good service, never

Let me be counted serviceable. How look I,

That I should seem to lack humanity

so much as this fact comes to?”

Despite his horror, Pisanio decides (at this point) that he will do as Posthumus commands. Imogen enters and Pisanio gives her a letter telling her that Posthumus is coming and that he will meet her Milford Haven (on the coastland of Wales). Imogen is excited and filled with joy at the prospect of seeing her husband Posthumus, and asks Pisanio about the distance to Milford Haven. Imogen makes plans to leave as soon as possible and cover the tracks of her leaving.

“O, for a horse with wings! Hear'st thou, Pisanio?

He is at Milford-Haven: read, and tell me

How far 'tis thither. If one of mean affairs

May plod it in a week, why may not I

Glide thither in a day? Then, true Pisanio,--

Who long'st, like me, to see thy lord; who long'st,--

let me bate,-but not like me--yet long'st,

But in a fainter kind:--O, not like me;

For mine's beyond beyond--say, and speak thick;

Love's counsellor should fill the bores of hearing,

To the smothering of the sense--how far it is

To this same blessed Milford: and by the way

Tell me how Wales was made so happy as

To inherit such a haven: but first of all,

How we may steal from hence, and for the gap

That we shall make in time, from our hence-going

And our return, to excuse: but first, how get hence:

Why should excuse be born or e'er begot?

We'll talk of that hereafter. Prithee, speak,

How many score of miles may we well ride

'Twixt hour and hour?

… Go bid my woman feign a sickness; say

She'll home to her father: and provide me presently

A riding-suit, no costlier than would fit

A franklin's housewife…

I see before me, man: nor here, nor here,

Nor what ensues, but have a fog in them,

That I cannot look through. Away, I prithee;

Do as I bid thee: there's no more to say,

Accessible is none but Milford way.”

We then encounter a strange scene in the mountains of Wales where Belarius, an old shepherd tells Guiderius and Arviragus (who he calls Polydore and Cadwal and who we think are his two sons) about how wonderful nature and the wilderness are wonderful compared to the city. Guiderius and Arviragus want to leave their home for the city but Belarius points out that the city is filled with treachery and he recounts how he was banished from Cymberline’s court after being falsely accused. The boys leave and then Belarius tells the audience that the boys are in fact the sons of Cymberline and that he took them to get even with Cymberline. He tells the audience that the boys think that he is Morgan and they know themselves by the names Polydore and Cadwal he gave them.

“How hard it is to hide the sparks of nature!

These boys know little they are sons to the king;

Nor Cymbeline dreams that they are alive.

They think they are mine; and though train'd

up thus meanly

I' the cave wherein they bow, their thoughts do hit

The roofs of palaces, and nature prompts them

In simple and low things to prince it much

Beyond the trick of others. This Polydore,

The heir of Cymbeline and Britain, who

The king his father call'd Guiderius,--Jove!

When on my three-foot stool I sit and tell

The warlike feats I have done, his spirits fly out

Into my story: say 'Thus, mine enemy fell,

And thus I set my foot on 's neck;' even then

The princely blood flows in his cheek, he sweats,

Strains his young nerves and puts himself in posture

That acts my words. The younger brother, Cadwal,

Once Arviragus, in as like a figure,

Strikes life into my speech and shows much more

His own conceiving.--Hark, the game is roused!

O Cymbeline! heaven and my conscience knows

Thou didst unjustly banish me: whereon,

At three and two years old, I stole these babes;

Thinking to bar thee of succession, as

Thou reft'st me of my lands. Euriphile,

Thou wast their nurse; they took thee for

their mother,

And every day do honour to her grave:

Myself, Belarius, that am Morgan call'd,

They take for natural father. The game is up.”

The scene then moves to Milford Haven in Wales where Imogen and Pisanio have arrived. Imogen is upset that her husband is not there and Pisanio gives Imogen Posthumus’s letter accusing her of infidelity and asking Pisanio to kill her:

'Thy mistress, Pisanio, hath played the

strumpet in my bed; the testimonies whereof lie

bleeding in me. I speak not out of weak surmises,

but from proof as strong as my grief and as certain

as I expect my revenge. That part thou, Pisanio,

must act for me, if thy faith be not tainted with

the breach of hers. Let thine own hands take away

her life: I shall give thee opportunity at

Milford-Haven. She hath my letter for the purpose

where, if thou fear to strike and to make me certain

it is done, thou art the pandar to her dishonour and

equally to me disloyal.'

Imogen is distraught and upset that her husband would accuse her of infidelity and she asks Pisanio to kill her:

“False to his bed! What is it to be false?

To lie in watch there and to think on him?

To weep 'twixt clock and clock? if sleep

charge nature,

To break it with a fearful dream of him

And cry myself awake? that's false to's bed, is it?

… I false! Thy conscience witness: Iachimo,

Thou didst accuse him of incontinency;

Thou then look'dst like a villain; now methinks

Thy favour's good enough. Some jay of Italy

Whose mother was her painting, hath betray'd him:

Poor I am stale, a garment out of fashion;

And, for I am richer than to hang by the walls,

I must be ripp'd:--to pieces with me!--O,

Men's vows are women's traitors! All good seeming,

By thy revolt, O husband, shall be thought

Put on for villany; not born where't grows,

But worn a bait for ladies…

True honest men being heard, like false Aeneas,

Were in his time thought false, and Sinon's weeping

Did scandal many a holy tear, took pity

From most true wretchedness: so thou, Posthumus,

Wilt lay the leaven on all proper men;

Goodly and gallant shall be false and perjured

From thy great fall. Come, fellow, be thou honest:

Do thou thy master's bidding: when thou see'st him,

A little witness my obedience: look!

I draw the sword myself: take it, and hit

The innocent mansion of my love, my heart;

Fear not; 'tis empty of all things but grief;

Thy master is not there, who was indeed

The riches of it: do his bidding; strike

Thou mayst be valiant in a better cause;

But now thou seem'st a coward.”

Pisanio says he will not kill her and Imogen is confused as to why they came to Milford Haven but Pisanio says that he did this so it would seem like she was killed but he wants to fake her death. He has obviously changed his mind and his plans since last we saw him. He believes that once Posthumus thinks Imogen is dead than he will feel guilty and feel greater love for her. Pisanio then reveals that he thinks that someone has deceived Posthumus:

“…It cannot be

But that my master is abused:

Some villain, ay, and singular in his art.

Hath done you both this cursed injury…

I'll give but notice you are dead and send him

Some bloody sign of it; for 'tis commanded

I should do so: you shall be miss'd at court,

And that will well confirm it.”

Pisanio then advocates that Imogen pretends to be a boy and he gives her garments he has brought for this deception. If audiences were in any doubt as to the fact that 'Cymberline' is a Comedy, then Imogen's gender switch would confirm which genre this play sits firmly in. Pisanio then suggests that she offer herself as a servant to Caius Lucius who is going to leave from Milford Haven to go back to Rome. Imogen changes immediately and before she leaves, Pisanio presents her with a potion which the Queen gave him which he believes is will calm her and help her if she gets sea sick on her journey.

Cymbeline sees off Caius Lucius knowing what is to come and then he asks for Imogen but is told her chamber door is locked. Cymbeline goes to confirm this and Cloten goes too and then returns to tell his mother, the Queen, that Imogen is missing. The Queen exits to look for Cymbeline, and Cloten starts to plan how he can take revenge on Imogen and her husband.

Then Pisanio enters, having returned from Wales. Cloten asks where Imogen is and Pisanio (believing that Imogen has probably already left Mitford Haven, sends Cloten to Wales to find her (even though he knows she has already got away). Cloten then reveals to the audience his plans to kill Posthumus and rape Imogen.

We cross back to Imogen, who is dressed as a boy but has become lost in the wilderness even though she asked directions of two beggars. She has slept outside for two nights and is hungry when she comes across Belarius’s cave. The boys and Belarius come home from hunting and they are "...weak with toil and strong with appetite..." In what seems like a scene from Goldilocks, Imogen is discovered and thought initially to be a fairy by the boys and Belatius. Imogen who introduces herself as the young boy Fidele, apologizes for eating their food and generally making herself at home. The boys  like the boy (not knowing that he is really a lady and that she is their sister) and welcome him (her). 

The last scene of Act Three sees Roman senators talking to Roman tribunes about how the Roman forces are spread out bu that an army under the command of Caius Lucius is preparing to sail for war against Britain.

Cymbeline Act Four –“Triumphs for nothing and lamenting toys, tis jollity for apes and grief for boys.”

The villainous Cloten arrives in Wales at the place Pisanio said Imogen would be:

“I am near to the place where they should meet, if

Pisanio have mapped it truly. How fit his garments

serve me! Why should his mistress, who was made by

him that made the tailor, not be fit too? the

rather--saving reverence of the word--for 'tis said

a woman's fitness comes by fits. Therein I must

play the workman. I dare speak it to myself--for it

is not vain-glory for a man and his glass to confer

in his own chamber--I mean, the lines of my body are

as well drawn as his; no less young, more strong,

not beneath him in fortunes, beyond him in the

advantage of the time, above him in birth, alike

conversant in general services, and more remarkable

in single oppositions: yet this imperceiverant

thing loves him in my despite. What mortality is!

Posthumus, thy head, which now is growing upon thy

shoulders, shall within this hour be off; thy

mistress enforced; thy garments cut to pieces before

thy face: and all this done, spurn her home to her

father; who may haply be a little angry for my so

rough usage; but my mother, having power of his

testiness, shall turn all into my commendations. My

horse is tied up safe: out, sword, and to a sore

purpose! Fortune, put them into my hand! This is

the very description of their meeting-place; and

the fellow dares not deceive me.”

We then go to Belarius’s cave where Imogen seems sick. Guiderius, Arviragus, and Belarius reluctantly go out to hunt. Imogen takes the potion which she was given by Pisanio thinking it to just a medicine for feeling sick.

Then, Cloten, who is disguised in the clothes of Posthumus comes across Guiderius, Arviragus, and Belarius, challenging them to a fight. Guiderius and Cloten fight and Guiderius kills Cloten and removes the prince’s head. Then Belarius identifies the dead Cloten as the Queen’s son and a prince and he gets anxious.

“O thou goddess,

Thou divine Nature, how thyself thou blazon'st

In these two princely boys! They are as gentle

As zephyrs blowing below the violet,

Not wagging his sweet head; and yet as rough,

Their royal blood enchafed, as the rudest wind,

That by the top doth take the mountain pine,

And make him stoop to the vale. 'Tis wonder

That an invisible instinct should frame them

To royalty unlearn'd, honour untaught,

Civility not seen from other, valour

That wildly grows in them, but yields a crop

As if it had been sow'd. Yet still it's strange

What Cloten's being here to us portends,

Or what his death will bring us. “

Guiderius and Arviragus are happy and Arviragus goes to tell Fidele (Imogen in disguise). Then Arviragus returns and tells them all that Fidele (Imogen) is dead. They put the body of Fidele (Imogen) in the forest and sing a prayer the body. Then they lay beside Fidele (Imogen) Cloten's headless body (which is still dressed in Posthumus’s clothes).

Then Imogen awakes, and she sees the headless body who she thinks is Posthumus. Imogen thinks her husband is dead. She also realizes that the potion Pisanio gave her is a sleeping potion and thinks that Pisanio must have also killed Posthumus:

“These flowers are like the pleasures of the world;

This bloody man, the care on't. I hope I dream;

For so I thought I was a cave-keeper,

And cook to honest creatures: but 'tis not so;

'Twas but a bolt of nothing, shot at nothing,

Which the brain makes of fumes: our very eyes

Are sometimes like our judgments, blind. Good faith,

I tremble stiff with fear: but if there be

Yet left in heaven as small a drop of pity

As a wren's eye, fear'd gods, a part of it!

The dream's here still: even when I wake, it is

Without me, as within me; not imagined, felt.

A headless man! The garments of Posthumus!

I know the shape of's leg: this is his hand;

His foot Mercurial; his Martial thigh;

The brawns of Hercules: but his Jovial face

Murder in heaven?--How!--'Tis gone. Pisanio,

All curses madded Hecuba gave the Greeks,

And mine to boot, be darted on thee! Thou,

Conspired with that irregulous devil, Cloten,

Hast here cut off my lord. To write and read

Be henceforth treacherous! Damn'd Pisanio

Hath with his forged letters,--damn'd Pisanio--

From this most bravest vessel of the world

Struck the main-top! O Posthumus! alas,

Where is thy head? where's that? Ay me!

where's that?

Pisanio might have kill'd thee at the heart,

And left this head on. How should this be? Pisanio?

'Tis he and Cloten: malice and lucre in them

Have laid this woe here. O, 'tis pregnant, pregnant!

The drug he gave me, which he said was precious

And cordial to me, have I not found it

Murderous to the senses? That confirms it home:

This is Pisanio's deed, and Cloten's: O!

Give colour to my pale cheek with thy blood,

That we the horrider may seem to those

Which chance to find us: O, my lord, my lord!”

Then the Roman army arrives and Caius Lucius comes upon Imogen and Cloten. Initially, they think that the two ‘men’ they have found are dead. At first, they think that both of them are dead, but then Imogen awakens. Imogen says name is Fidele. She asks whether she the Roman commander Caius Lucius would accept him (even though he is really a her) into his service as a page. Caius Lucius accepts.

The next scene transports us back to Cymbeline's castle where the Queen has had a fever since her son went missing from court. Cymbeline pressures Pisanio to reveal where Imogen has gone to. Messages then arrive to telling that the Romans have invaded and Cymbeline leaves to prepares to face the Romans. Pisanio thinks over his situation:

“I heard no letter from my master since

I wrote him Imogen was slain: 'tis strange:

Nor hear I from my mistress who did promise

To yield me often tidings: neither know I

What is betid to Cloten; but remain

Perplex'd in all. The heavens still must work.

Wherein I am false I am honest; not true, to be true.

These present wars shall find I love my country,

Even to the note o' the king, or I'll fall in them.

All other doubts, by time let them be clear'd:

Fortune brings in some boats that are not steer'd.”

We cross back to Guiderius, Arviragus, and Belarius who can hear both armies moving into their wilderness. Belarius wants them to hide and ride out the conflict. Guiderius and Arviragus are eager to fight on Cymberline’s side.

“No reason I, since of your lives you set

So slight a valuation, should reserve

My crack'd one to more care. Have with you, boys!

If in your country wars you chance to die,

That is my bed too, lads, an there I'll lie:

Lead, lead.

The time seems long; their blood

thinks scorn,

Till it fly out and show them princes born.”

Cymbeline Act Five –“Hang there like fruit my soul, till the tree die.”

‘Cymberline’ is a magnificent play with some great verse, well-developed characters and an intricate plot. But many consider Shakespeare’s use of spirits and the God Jupiter in Act Five of ‘Cymberline’ is reason enough to consider this not a Shakespeare play. Some consider the sequence where Posthumus is visited in gaol by his dead parents and Jupiter as forced, clumsy and absurd. But re-reading this play and this scene makes me think about it what the function of doing this scene in this way was for Shakespeare in his day.

Firstly, Shakespeare was an innovator and he liked to use contemporary events and discoveries in his plays. The 1610 discovery by Galileo (using the new invention of a telescope) of three and then the fourth moon of Jupiter was written about by Galileo in his popular work ‘Siderius Nuncius’. It is possible that Shakespeare read this work or at least that he had heard about this discovery and was interested in it. In this sense, it is not unlikely that Shakespeare wanted to put the figure of Jupiter and some allegorical reference to its moons in a play around this time. Secondly, Shakespeare’s plays are influenced by the both the actors he was writing for and the theatre and conventions he was playing with. The Globe Theatre was built in 1599 from the timber of The Theatre. It had served Shakespeare and his company well with its apron or thrust stage, it’s 3,000 person capacity, its tiered audience area, its trapdoor, its balcony and its false ceiling under the roof. But when Inigo Jones hit the scene with the designs he did for Ben Jonson (for plays such as ‘Oberon, the Faery Prince’) and for masque balls and his creation of proscenium arches for performances in the houses of the upper classes, Shakespeare knew that The Globe Theatre needed to be innovative in its use of conventions. It is likely that an elaborate set of pulleys, the use of the trapdoor, the use of smoke and some form of pyrotechnic effects (they had gunpowder and other elements to use) along with ‘music of the spheres’ were used in the first production of ‘Cymberline’ in Act Five. Just as we as modern audiences expect some spectacle with the latest play or musical, Shakespeare’s audience probably expected the same of him and the Globe Theatre. It may be that what some modern readers and audiences find problematic and even forced, clumsy and absurd in these parts of ‘Cymberline’ are in fact linked to conventions that we don’t quite understand or don’t quite understand the context in which Shakespeare was doing this.

Act Five of ‘Cymberline’ starts with Posthumus’s return to Britain with the Roman army. He has heard that Imogen is dead and he has been given a handkerchief from Pisanio which belonged to the now thought dead Imogen. Posthumus is grief-stricken and castes off his Roman clothes and puts on the clothes of a British peasant and decides he will fight on the British side against the Romans.

“Yea, bloody cloth, I'll keep thee, for I wish'd

Thou shouldst be colour'd thus. You married ones,

If each of you should take this course, how many

Must murder wives much better than themselves

For wrying but a little! O Pisanio!

Every good servant does not all commands:

No bond but to do just ones. Gods! if you

Should have ta'en vengeance on my faults, I never

Had lived to put on this: so had you saved

The noble Imogen to repent, and struck

Me, wretch more worth your vengeance. But, alack,

You snatch some hence for little faults; that's love,

To have them fall no more: you some permit

To second ills with ills, each elder worse,

And make them dread it, to the doers' thrift.

But Imogen is your own: do your best wills,

And make me blest to obey! I am brought hither

Among the Italian gentry, and to fight

Against my lady's kingdom: 'tis enough

That, Britain, I have kill'd thy mistress; peace!

I'll give no wound to thee. Therefore, good heavens,

Hear patiently my purpose: I'll disrobe me

Of these Italian weeds and suit myself

As does a Briton peasant: so I'll fight

Against the part I come with; so I'll die

For thee, O Imogen, even for whom my life

Is every breath a death; and thus, unknown,

Pitied nor hated, to the face of peril

Myself I'll dedicate. Let me make men know

More valour in me than my habits show.

Gods, put the strength o' the Leonati in me!

To shame the guise o' the world, I will begin

The fashion, less without and more within.”

The battle between the Romans and the Britons begins. Iachimo duels with Posthumus who is disguised as a British peasant. Iachimo feels guilty and remorseful for his false accusation of Imogen.

“The heaviness and guilt within my bosom

Takes off my manhood: I have belied a lady,

The princess of this country, and the air on't

Revengingly enfeebles me; or could this carl,

A very drudge of nature's, have subdued me

In my profession? Knighthoods and honours, borne

As I wear mine, are titles but of scorn.

If that thy gentry, Britain, go before

This lout as he exceeds our lords, the odds

Is that we scarce are men and you are gods.”

The British seem to be loosing the battle until the unexpected arrival of Belarius, Guiderius, and Arviragus. They along with Posthumus (disguised as a peasant) save Cymbeline from being captured by the Romans. The Romans are defeated, Caius Lucius is taken prisoner. Posthumus, thinking that he deserves the punishment of death for what he did to Imogen, changes back into Roman clothes and allows himself to be captured, claiming he is a Roman (even though he fought with the Britons). Posthumus is put in a stockade and when he falls asleep, he is visited by his ancestors and then Jupiter himself descends:

“No more, you petty spirits of region low,

Offend our hearing; hush! How dare you ghosts

Accuse the thunderer, whose bolt, you know,

Sky-planted batters all rebelling coasts?

Poor shadows of Elysium, hence, and rest

Upon your never-withering banks of flowers:

Be not with mortal accidents opprest;

No care of yours it is; you know 'tis ours.

Whom best I love I cross; to make my gift,

The more delay'd, delighted. Be content;

Your low-laid son our godhead will uplift:

His comforts thrive, his trials well are spent.

Our Jovial star reign'd at his birth, and in

Our temple was he married. Rise, and fade.

He shall be lord of lady Imogen,

And happier much by his affliction made.

This tablet lay upon his breast, wherein

Our pleasure his full fortune doth confine:

and so, away: no further with your din

Express impatience, lest you stir up mine.

Mount, eagle, to my palace crystalline.”

Posthumus wakes up, finding an oracle in writing beside him which reads: 
'When as a lion's whelp shall, to himself unknown,

without seeking find, and be embraced by a piece of

tender air; and when from a stately cedar shall be

lopped branches, which, being dead many years,

shall after revive, be jointed to the old stock and

freshly grow; then shall Posthumus end his miseries,

Britain be fortunate and flourish in peace and plenty.'

The gaoler arrives to lead Posthumus to his death but death is avoided when a messenger enters saying that Cymberline wishes to see the prisoner.

Cymbeline enters with Belarius, Guiderius and Arviragus. Cymberline wants to reward them for their valour along with the other peasant (Posthumus in disguise)who saved him but who seems to have disappeared. Then Cornelius enters and announces that the Queen has succumbed to her fever and died. On her deathbed she confessed that she only loved Cymberline for his title and riches and that she was planning to use poison to kill him slowly so that her now dead son Cloten would become king. Cymberline is shocked and says that it was the Queen’s beauty that allowed him to be deceived for so long.

Guards bring in the Roman prisoners, Caius Lucius, Iachimo, Imogen (still dressed as a boy and known as Fidele) and Posthumus. Caius Lucius asks for mercy for his servant Fidele (Imogen) who is a Briton. Fidele (Imogen) is then brought before Cymberline (her father). He grants freedom to Fidele (Imogen), and says he will grant her whatever he (she) wants. Fidele (Imogen) asks for a private word. They quickly come back and Iachimo is asked to step forward. Fidle (Imogen) asks Iachimo where he got his ring from. We already know that it is the ring that Imogen gave Posthumus. Iachimo, confesses all including his deception to gain access to Imogen’s bedchamber. Posthumus is angry and attempts to attack Iachimo, but knocks Fidele down. Pisanio goes to the Fidele and reveals Fidele is in fact Imogen. Cymberline and Posthumus are overjoyed. Imogen awakens and tries to push Pisanio away since she thinks he tried to poison her but it is revealed that the Queen gave him the potion and told him was medicine. The doctor, Cornelius, says he gave this potion to the Queen for another purpose but not trusting her, made a compound that gave the semblance of death but in fact put the taker to sleep.

Then the whole story of Imogen’s coming to the cave and how it looked like she was dead is revealed. The death of Cloten is also told and Cymberline condemns Guiderius to death for killing a prince. Then Belarius reveals how his sons are in fact the sons of Cymberline.

“ I am too blunt and saucy: here's my knee:

Ere I arise, I will prefer my sons;

Then spare not the old father. Mighty sir,

These two young gentlemen, that call me father

And think they are my sons, are none of mine;

They are the issue of your loins, my liege,

And blood of your begetting…

I, old Morgan,

Am that Belarius whom you sometime banish'd:

Your pleasure was my mere offence, my punishment

Itself, and all my treason; that I suffer'd

Was all the harm I did. These gentle princes--

For such and so they are--these twenty years

Have I train'd up: those arts they have as I

Could put into them; my breeding was, sir, as

Your highness knows. Their nurse, Euriphile,

Whom for the theft I wedded, stole these children

Upon my banishment: I moved her to't,

Having received the punishment before,

For that which I did then: beaten for loyalty

Excited me to treason: their dear loss,

The more of you 'twas felt, the more it shaped

Unto my end of stealing them. But, gracious sir,

Here are your sons again; and I must lose

Two of the sweet'st companions in the world.

The benediction of these covering heavens

Fall on their heads like dew! for they are worthy

To inlay heaven with stars.”

Cymbeline is joyful to see his sons and forgives Guiderius and also Belarius. Iachimo asks for Posthumus to kill him for what he has done but Posthumus pardons him. A Soothsayer (who has been hanging around with Caius Lucius) interprets Posthumus’s prophecy as predicting the return of Cymberline’s sons and the reunion of Imogen and Posthumus. Cymberline makes many final announcements including announcing he will free all the Roman prisoners and start to pay again a tribute to Rome. He encourages them all to celebrate and to honour the god Jupiter who has brought them such happiness and peace:

“My peace we will begin. And, Caius Lucius,

Although the victor, we submit to Caesar,

And to the Roman empire; promising

To pay our wonted tribute, from the which

We were dissuaded by our wicked queen;

Whom heavens, in justice, both on her and hers,

Have laid most heavy hand…

Laud we the gods;

And let our crooked smokes climb to their nostrils

From our blest altars. Publish we this peace

To all our subjects. Set we forward: let

A Roman and a British ensign wave

Friendly together: so through Lud's-town march:

And in the temple of great Jupiter

Our peace we'll ratify; seal it with feasts.

Set on there! Never was a war did cease,

Ere bloody hands were wash'd, with such a peace.”

Shakespeare returns to battle with storms of the inner and outer world of Prospero in 'The Tempest'.