William Shakespeare: The Complete Works 2nd Edition (539 page)
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Authors: William Shakespeare
Tags: #Drama, #Literary Criticism, #Shakespeare
BOOK: William Shakespeare: The Complete Works 2nd Edition
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You lords and noble friends, know our intent.
What comfort to this great decay may come
Shall be applied; for us, we will resign
During the life of this old majesty
To him our absolute power;
(
To Edgar and Kent
) you to your rights,
With boot and such addition as your honours
Have more than merited. All friends shall taste
The wages of their virtue, and all foes
The cup of their deservings.—O see, see!
What comfort to this great decay may come
Shall be applied; for us, we will resign
During the life of this old majesty
To him our absolute power;
(
To Edgar and Kent
) you to your rights,
With boot and such addition as your honours
Have more than merited. All friends shall taste
The wages of their virtue, and all foes
The cup of their deservings.—O see, see!
LEAR
And my poor fool is hanged. No, no, no life?
Why should a dog, a horse, a rat have life,
And thou no breath at all? Thou’lt come no more.
Never, never, never, never, never.
⌈
To Kent
⌉ Pray you, undo this button. Thank you, sir.
Do you see this? Look on her. Look, her lips.
Look there, look there. He dies
Why should a dog, a horse, a rat have life,
And thou no breath at all? Thou’lt come no more.
Never, never, never, never, never.
⌈
To Kent
⌉ Pray you, undo this button. Thank you, sir.
Do you see this? Look on her. Look, her lips.
Look there, look there. He dies
EDGAR
He faints. (To Lear) My lord, my lord!
KENT ⌈
to Lear
⌉
to Lear
⌉
Break, heart, I prithee break.
EDGAR (to Lear)
Look up, my lord.
KENT
Vex not his ghost. O, let him pass. He hates him
That would upon the rack of this tough world
Stretch him out longer.
That would upon the rack of this tough world
Stretch him out longer.
EDGAR
He is gone indeed.
KENT
The wonder is he hath endured so long.
He but usurped his life.
He but usurped his life.
ALBANY
Bear them from hence. Our present business
Is general woe. (To Edgar and Kent) Friends of my
soul, you twain
Rule in this realm, and the gored state sustain.
Is general woe. (To Edgar and Kent) Friends of my
soul, you twain
Rule in this realm, and the gored state sustain.
KENT
I have a journey, sir, shortly to go:
My master calls me; I must not say no.
My master calls me; I must not say no.
EDGAR
The weight of this sad time we must obey,
Speak what we feel, not what we ought to say.
The oldest hath borne most. We that are young
Shall never see so much, nor live so long.
Speak what we feel, not what we ought to say.
The oldest hath borne most. We that are young
Shall never see so much, nor live so long.
Exeunt with a dead march, carrying the bodies
CYMBELINE
OUR first reference to
Cymbeline
is a note by the astrologer Simon Forman that he saw the play, probably not long before his death on 8 September 1611. He refers to the heroine as ‘Innogen’, and this name occurs in the sources; the form ‘Imogen’, found only in the Folio, appears to be a misprint. The play’s courtly tone, and the masque-like quality of, particularly, the episode (5.5.186.1-2) in which Jupiter ‘descends in thunder and lightning, sitting upon an eagle’ and ‘throws a thunderbolt’, suggests that as Shakespeare wrote he may have had in mind the audiences and the stage equipment of the Blackfriars theatre, which his company used from the autumn of 1609; and stylistic evidence places the play in about 1610-11. It was first printed in the 1623 Folio, as the last of the tragedies. In fact it is a tragicomedy, or a romance, telling a complex and implausible tale of events which cause the deaths of certain subsidiary characters (Cloten, and the Queen) and bring major characters (including the heroine, Innogen) close to death, but which are miraculously resolved in the reunions and reconciliations of the closing scene.
Cymbeline
is a note by the astrologer Simon Forman that he saw the play, probably not long before his death on 8 September 1611. He refers to the heroine as ‘Innogen’, and this name occurs in the sources; the form ‘Imogen’, found only in the Folio, appears to be a misprint. The play’s courtly tone, and the masque-like quality of, particularly, the episode (5.5.186.1-2) in which Jupiter ‘descends in thunder and lightning, sitting upon an eagle’ and ‘throws a thunderbolt’, suggests that as Shakespeare wrote he may have had in mind the audiences and the stage equipment of the Blackfriars theatre, which his company used from the autumn of 1609; and stylistic evidence places the play in about 1610-11. It was first printed in the 1623 Folio, as the last of the tragedies. In fact it is a tragicomedy, or a romance, telling a complex and implausible tale of events which cause the deaths of certain subsidiary characters (Cloten, and the Queen) and bring major characters (including the heroine, Innogen) close to death, but which are miraculously resolved in the reunions and reconciliations of the closing scene.
Shakespeare’s plot reflects a wide range of reading. He took his title and setting from the name and reign of the legendary British king Cymbeline, or Cunobelinus, said to have reigned from 33 BC till shortly after the birth of Christ.
Cymbeline
is no chronicle history, but Shakespeare derived some ideas, and many of his characters’ names, from accounts of early British history in Holinshed’s Chronicles and elsewhere. Drawing partially, it seems, on an old play,
The Rare Triumphs of Love and Fortune
(acted 1582, printed 1589), he gives Cymbeline a daughter, Innogen, and a wicked second Queen with a loutish, vicious son, Cloten, whom she wishes to see on the throne in her husband’s place. Cymbeline, disapproving of his daughter’s marriage to ‘a poor but worthy gentleman’, Posthumus Leonatus, banishes him. The strand of plot showing the outcome of a wager that Posthumus, in Rome, lays on his wife’s chastity is indebted, directly or indirectly, to Boccaccio’s
Decameron
. Another old play,
Sir Clyomon and Clamydes
(printed in 1599), may have suggested the bizarre scene (4.2) in which Innogen mistakes Cloten’s headless body for that of Posthumus; and IIolinshed’s
Ilistory of Scotland
supplied the episode in which Cymbeline’s two sons, Guiderius and Arviragus, helped only by the old man (Belarius) who has brought them up in the wilds of Wales, defeat the entire Roman army.
Cymbeline
is no chronicle history, but Shakespeare derived some ideas, and many of his characters’ names, from accounts of early British history in Holinshed’s Chronicles and elsewhere. Drawing partially, it seems, on an old play,
The Rare Triumphs of Love and Fortune
(acted 1582, printed 1589), he gives Cymbeline a daughter, Innogen, and a wicked second Queen with a loutish, vicious son, Cloten, whom she wishes to see on the throne in her husband’s place. Cymbeline, disapproving of his daughter’s marriage to ‘a poor but worthy gentleman’, Posthumus Leonatus, banishes him. The strand of plot showing the outcome of a wager that Posthumus, in Rome, lays on his wife’s chastity is indebted, directly or indirectly, to Boccaccio’s
Decameron
. Another old play,
Sir Clyomon and Clamydes
(printed in 1599), may have suggested the bizarre scene (4.2) in which Innogen mistakes Cloten’s headless body for that of Posthumus; and IIolinshed’s
Ilistory of Scotland
supplied the episode in which Cymbeline’s two sons, Guiderius and Arviragus, helped only by the old man (Belarius) who has brought them up in the wilds of Wales, defeat the entire Roman army.
The tone of
Cymbeline
has puzzled commentators. Its prose and verse style is frequently ornate, sometimes grotesque. Its characterization often seems deliberately artificial. Extremes are violently juxtaposed, most daringly when Innogen, supposed dead, is laid beside Cloten’s headless body: the beauty of the verse in which she is mourned, and of the flowers strewn over the bodies, contrasts with the hideous spectacle of the headless corpse; her waking speech is one of Shakespeare’s most thrillingly difficult challenges to his performers. The appearance of Jupiter lifts the action to a new level of even greater implausibility, preparing us for the extraordinary series of revelations by which the play advances to its impossibly happy ending.
Cymbeline
has been valued mostly for its portrayal of Innogen, ideal of womanhood to, especially, Victorian readers and theatre-goers. The play as a whole is a fantasy, an experimental exercise in virtuosity.
Cymbeline
has puzzled commentators. Its prose and verse style is frequently ornate, sometimes grotesque. Its characterization often seems deliberately artificial. Extremes are violently juxtaposed, most daringly when Innogen, supposed dead, is laid beside Cloten’s headless body: the beauty of the verse in which she is mourned, and of the flowers strewn over the bodies, contrasts with the hideous spectacle of the headless corpse; her waking speech is one of Shakespeare’s most thrillingly difficult challenges to his performers. The appearance of Jupiter lifts the action to a new level of even greater implausibility, preparing us for the extraordinary series of revelations by which the play advances to its impossibly happy ending.
Cymbeline
has been valued mostly for its portrayal of Innogen, ideal of womanhood to, especially, Victorian readers and theatre-goers. The play as a whole is a fantasy, an experimental exercise in virtuosity.
THE PERSONS OF THE PLAYCYMBELINE, King of BritainPrincess INNOGEN, his daughter, later disguised as a man named FideleQUEEN, Cymbeline’s wife, Innogen’s stepmotherLord CLOTEN, her sonBELARIUS, a banished lord, calling himself MorganCORNELIUS, a physicianHELEN, a lady attending on InnogenTwo LORDS attending on ClotenTwo GENTLEMENTwo British CAPTAINSTwo JAILERSPOSTHUMUS Leonatus, a poor gentleman, Innogen’s husbandPISANIO, his servantFILARIO, a friend of PosthumusCaius LUCIUS, ambassador from Rome, later General of the Roman forcesTwo Roman SENATORSRoman TRIBUNESA Roman CAPTAINPhilharmonus, a SOOTHSAYERJUPITERGhost of SICILIUS Leonatus, father of PosthumusGhost of the MOTHER of PosthumusGhosts of the BROTHERS of PosthumusLords attending on Cymbeline, ladies attending on the Queen, musicians attending on Cloten, messengers, soldiers
Enter two Gentlemen
FIRST GENTLEMAN
You do not meet a man but frowns. Our bloods
No more obey the heavens than our courtiers
Still seem as does the King.
No more obey the heavens than our courtiers
Still seem as does the King.
SECOND GENTLEMAN
But what’s the matter?
FIRST GENTLEMAN
His daughter, and the heir of ’s kingdom, whom
He purposed to his wife’s sole son—a widow
That late he married—hath referred herself
Unto a poor but worthy gentleman. She’s wedded,
Her husband banished, she imprisoned. All
Is outward sorrow, though I think the King
Be touched at very heart.
He purposed to his wife’s sole son—a widow
That late he married—hath referred herself
Unto a poor but worthy gentleman. She’s wedded,
Her husband banished, she imprisoned. All
Is outward sorrow, though I think the King
Be touched at very heart.
SECOND GENTLEMAN
None but the King?
FIRST GENTLEMAN
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 of the thing they scowl at.
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 of the thing they scowl at.
SECOND GENTLEMAN
And why so?
FIRST GENTLEMAN
He that hath missed 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 banished!—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.
Too bad for bad report, and he that hath her—
I mean that married her—alack, good man,
And therefore banished!—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.
SECOND GENTLEMAN
You speak him far.
FIRST GENTLEMAN
I do extend him, sir, within himself;
Crush him together rather than unfold
His measure duly.
Crush him together rather than unfold
His measure duly.
SECOND GENTLEMAN What’s his name and birth?
FIRST GENTLEMAN
I cannot delve him to the root. His father
Was called Sicilius, who did join his honour
Against the Romans with Cassibelan
But had his titles by Tenantius, whom
He served with glory and admired success,
So gained the sur-addition ‘Leonatus’;
And had, besides this gentleman in question,
Two other sons who in the wars o‘th’ time
Died with their swords in hand; for which their father,
Then old and fond of issue, took such sorrow
That he quit being, and his gentle lady,
Big of this gentleman, our theme, deceased
As he was born. The King, he takes the babe
To his protection, calls him Posthumus Leonatus,
Breeds him, and makes him of his bedchamber;
Puts to him all the learnings that his time
Could make him the receiver of, which he took
As we do air, fast as ’twas ministered,
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 th’ more mature
A glass that feated them, and to the graver
A child that guided dotards. To his mistress,
For whom he now is banished, her own price
Proclaims how she esteemed him and his virtue.
By her election may be truly read
What kind of man he is.
Was called Sicilius, who did join his honour
Against the Romans with Cassibelan
But had his titles by Tenantius, whom
He served with glory and admired success,
So gained the sur-addition ‘Leonatus’;
And had, besides this gentleman in question,
Two other sons who in the wars o‘th’ time
Died with their swords in hand; for which their father,
Then old and fond of issue, took such sorrow
That he quit being, and his gentle lady,
Big of this gentleman, our theme, deceased
As he was born. The King, he takes the babe
To his protection, calls him Posthumus Leonatus,
Breeds him, and makes him of his bedchamber;
Puts to him all the learnings that his time
Could make him the receiver of, which he took
As we do air, fast as ’twas ministered,
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 th’ more mature
A glass that feated them, and to the graver
A child that guided dotards. To his mistress,
For whom he now is banished, her own price
Proclaims how she esteemed him and his virtue.
By her election may be truly read
What kind of man he is.
SECOND GENTLEMAN
I honour him
Even out of your report. But pray you tell me,
Is she sole child to th’ King?
Is she sole child to th’ King?
FIRST GENTLEMAN His only child.
He had two sons—if this be worth your hearing,
Mark it: the eld‘st of them at three years old,
I’th’ swathing clothes the other, from their nursery
Were stol’n, and to this hour no guess in knowledge
Which way they went.
Mark it: the eld‘st of them at three years old,
I’th’ swathing clothes the other, from their nursery
Were stol’n, and to this hour no guess in knowledge
Which way they went.
SECOND GENTLEMAN How long is this ago?
FIRST GENTLEMAN Some twenty years.
SECOND GENTLEMAN
That a king’s children should be so conveyed,
So slackly guarded, and the search so slow
That could not trace them!
So slackly guarded, and the search so slow
That could not trace them!
FIRST GENTLEMAN
Howsoe‘er ’tis strange,
Or that the negligence may well be laughed at,
Yet is it true, sir.
Yet is it true, sir.
SECOND GENTLEMAN I do well believe you.
Enter the Queen, Posthumus, and Innogen
FIRST GENTLEMAN
We must forbear. Here comes the gentleman,
The Queen and Princess.
The Queen and Princess.
Exeunt the two Gentlemen
QUEEN
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