Cymbeline (/ˈsɪmbɪliːn/), also known asThe Tragedie of Cymbeline orCymbeline, King of Britain, is a play byWilliam Shakespeare set inAncient Britain (c. 10–14 AD)[a] and based on legends that formed part of theMatter of Britain concerning the early historical Celtic British KingCunobeline. Although it is listed as a tragedy in theFirst Folio, modern critics often classifyCymbeline as aromance or even acomedy. LikeOthello andThe Winter's Tale, it deals with the themes of innocence and jealousy. While the precise date of composition remains unknown, the play was certainly produced as early as 1611.[1]
Cymbeline is theRoman Empire's vassal king of Britain. Twenty years earlier, Cymbeline's two infant sons, Guiderius and Arvirargus, were kidnapped by an exiled traitor named Belarius. Cymbeline discovers his daughter, Imogen (or Innogen), has secretly married her lover Posthumus Leonatus, a member of Cymbeline's court. The lovers have exchanged jewellery as tokens: Imogen with a bracelet, and Posthumus with a ring. Cymbeline dismisses the marriage and banishes Posthumus since Imogen—as Cymbeline's only remaining child—must produce a fully royal-blooded heir to succeed to the British throne. In the meantime, Cymbeline's Queen is conspiring to have Cloten (her cloddish and arrogant son by an earlier marriage) marry Imogen to secure her bloodline. The Queen is also plotting to murder both Imogen and Cymbeline, procuring what she believes is deadly poison from the court doctor. The doctor, Cornelius, is suspicious and switches the poison for a harmless sleeping potion. The Queen passes the "poison" along to Pisanio, Posthumus and Imogen's loyal servant. Imogen is told it is a medicinal drug. Unable to be with Posthumus, Imogen secludes herself in her chambers, away from Cloten's aggressive advances.
Posthumus must now live in Italy, where he meets Iachimo (or Giacomo), who wagers the proud Posthumus that he, Iachimo, can seduce Imogen, whom Posthumus has praised for her chastity, and will then bring Posthumus proof of Imogen's adultery. If Iachimo wins, he will get Posthumus's token ring. If Posthumus wins, not only must Iachimo pay him but also fight Posthumus in a duel with swords. Iachimo heads to Britain where he attempts to seduce the faithful Imogen, who rejects him. Iachimo then hides in a chest in Imogen's bedchamber and, when the princess falls asleep, steals Posthumus's bracelet from her. He also takes note of the room, as well as the mole on Imogen's partially nude body, to present as false evidence to Posthumus that he seduced his bride. Returning to Italy, Iachimo convinces Posthumus that he has successfully seduced Imogen. In his wrath, Posthumus sends two letters to Britain: one to Imogen, telling her to meet him atMilford Haven, on the Welsh coast; the other to the servant Pisanio, ordering him to murder Imogen at the Haven. However, Pisanio refuses and reveals Posthumus's plot to Imogen. He has Imogen disguise herself as a boy and they continue to Milford Haven to seek employment. He also gives her the Queen's "poison", believing it will alleviate her psychological distress. In the guise of a boy, Imogen assumes the name "Fidele", meaning "faithful".
Back at Cymbeline's court, Cymbeline refuses to pay his British tribute to the Roman ambassador Caius Lucius. Lucius warns Cymbeline of the Roman Emperor's forthcoming wrath, which will be an invasion of Britain by Roman troops. Meanwhile, Cloten learns of the "meeting" between Imogen and Posthumus at Milford Haven. Dressing himself in Posthumus's clothes, he decides to go to Wales to kill Posthumus, and then rape, abduct, and marry Imogen. Imogen has now been travelling as Fidele through the Welsh mountains, her health in decline as she comes to a cave. It is the home of Belarius and his "sons" Polydore and Cadwal, whom he raised into great hunters. The two young men are the British princes Guiderius and Arviragus, who are unaware of their own origin. The men discover Fidele, and, instantly captivated by a strange affinity for "him", become fast friends. Outside the cave, Guiderius is met by Cloten, who insults him, leading to a sword fight during which Guiderius beheads Cloten. Meanwhile, Imogen's fragile state worsens and she takes the "poison" as a medicine; when the men re-enter, they find her "dead." They mourn and, after placing Cloten's body beside hers, briefly depart to prepare for the double burial. Imogen awakes to find the headless body, and believes it to be Posthumus because the body is wearing Posthumus's clothes. Lucius' Roman soldiers have just arrived in Britain and, as the army moves through Wales, Lucius discovers the devastated Fidele, who pretends to be a loyal servant grieving his killed master; Lucius, moved by this faithfulness, enlists Fidele as a pageboy.
The treacherous Queen is now wasting away due to her son Cloten's disappearance. Meanwhile, the guilt-ridden Posthumus enlists in the Roman forces as they invade Britain. Belarius, Guiderius, Arviragus, and Posthumus all help rescue Cymbeline from the Roman onslaught; the king does not yet recognise these four, yet takes notice of them as they fight bravely and capture the Roman commanders, Lucius and Iachimo, thus winning the day. Posthumus, allowing himself to be captured, as well as Fidele, are imprisoned alongside the true Romans, who all await execution. In jail, Posthumus sleeps, while the ghosts of his dead family appear to complain toJupiter of his grim fate. Jupiter himself appears in thunder and glory to assure the others that destiny will grant happiness to Posthumus and Britain.
Cornelius arrives at court to announce the Queen's sudden death, and that on her deathbed she unrepentantly confessed to villainous schemes against her husband and his throne. Both troubled and relieved by this news, Cymbeline prepares to execute his prisoners, but pauses when he sees Fidele, whom he finds both beautiful and familiar. Fidele has noticed Posthumus's ring on Iachimo's finger and demands to know how he obtained it. A remorseful Iachimo confesses about the wager he made, and how he tricked Posthumus into believing he had seduced Imogen. Posthumus then comes forward to confirm Iachimo's story, revealing his identity and acknowledging his wrongfulness in wanting Imogen killed. Ecstatic, Imogen throws herself at Posthumus, who, believing she is a boy, knocks her down. Pisanio then rushes to explain that Fidele is Imogen. Imogen still suspects that Pisanio conspired with the Queen to poison her. Pisanio claims innocence, and Cornelius reveals the potion was harmless. Insisting that his betrayal years ago was a set-up, Belarius makes his own happy confession, revealing Guiderius and Arviragus as Cymbeline's own two long-lost sons. With her brothers restored to the line of inheritance, Imogen is free to marry Posthumus. An elated Cymbeline pardons Belarius and the Roman prisoners, including Lucius and Iachimo. Lucius summons his soothsayer to decipher a prophecy of recent events, which ensures happiness for all. Blaming his manipulative Queen for his refusal to pay earlier, Cymbeline now agrees to pay the tribute to the Roman Emperor as a gesture of peace between Britain and Rome. Everyone is invited to a great feast.
Cymbeline is grounded in the story of the historical British kingCunobeline, which was originally recorded inGeoffrey of Monmouth'sHistoria Regum Britanniae, but which Shakespeare likely found in the 1587 edition of Raphael’sHolinshed's Chronicles. Shakespeare based the setting of the play and the character Cymbeline on what he found in Holinshed's chronicles, but the plot and subplots of the play are derived from other sources.[3] The subplot of Posthumus and Iachimo's wager derives from story II.9 ofGiovanni Boccaccio'sThe Decameron and the anonymously authoredFrederyke of Jennen.[4][5] These share similar characters and wager terms, and both feature Iachimo's equivalent hiding in a chest in order to gather proof in Imogen's room. Iachimo's description of Imogen's room as proof of her infidelity derives fromThe Decameron,[b] and Pisanio's reluctance to kill Imogen and his use of her bloody clothes to convince Posthumus of her death derive fromFrederyke of Jennen. In both sources, the equivalent to Posthumus's bracelet is stolen jewellery that the wife later recognises while cross-dressed.[6][7] Shakespeare also drew inspiration forCymbeline from a play calledThe Rare Triumphs of Love and Fortune, first performed in 1582.[8] There are many parallels between the characters of the two plays, including a king's daughter who falls for a man of unknown birth who grew up in the king's court. The subplot of Belarius and the lost princes was inspired by the story of Bomelio, an exiled nobleman inThe Rare Triumphs who is later revealed to be the protagonist's father.[5]
The first recorded production ofCymbeline, as noted bySimon Forman, was in April 1611.[1] It was first published in theFirst Folio in 1623. WhenCymbeline was actually written cannot be precisely dated.
The Yale edition suggests a collaborator had a hand in the authorship, and some scenes (e.g., Act III scene 7 and Act V scene 2) may strike the reader as particularly un-Shakespearean when compared with others. The play shares notable similarities in language, situation, and plot withBeaumont and Fletcher's tragicomedyPhilaster, or Love Lies a-Bleeding (c. 1609–10). Both plays concern themselves with a princess who, after disobeying her father in order to marry a lowly lover, is wrongly accused of infidelity and thus ordered to be murdered, before escaping and having her faithfulness proven. Furthermore, both were written for the same theatre company and audience.[9] Some scholars believe this supports a dating of approximately 1609, though it is not clear which play preceded the other.[10]
The editors of the Oxford and Norton Shakespeare believe the name of Imogen is a misprint for Innogen—they draw several comparisons betweenCymbeline andMuch Ado About Nothing, in early editions of which aghost character named Innogen was supposed to beLeonato's wife (Posthumus being also known as "Leonatus", the Latin form of the Italian name in the other play).Stanley Wells and Michael Dobson point out that Holinshed'sChronicles, which Shakespeare used as a source, mention an Innogen and that Forman's eyewitness account of the April 1611 performance refers to "Innogen" throughout.[1] In spite of these arguments, most editions of the play have continued to use the name Imogen.
Milford Haven is not known to have been used during the period (early 1st century AD) in whichCymbeline is set, and it is not known why Shakespeare used it in the play.Robert Nye noted that it was the closest seaport to Shakespeare's home town ofStratford-upon-Avon: "But if you marched due west from Stratford, looking neither to left nor to right, with the idea of running away to sea in your young head, then Milford Haven is the port you'd reach," a walk of about 165 miles (266 km), about six days' journey, that the young Shakespeare might well have taken, or at least dreamed of taking.[11]Marisa R. Cull notes its possible symbolism as the landing site ofHenry Tudor, when he invaded England via Milford on 7 August 1485 on his way to deposingRichard III and establishing theTudor dynasty. It may also reflect English anxiety about the loyalty of theWelsh and the possibility of future invasions at Milford.[12]
Cymbeline was one of Shakespeare's more popular plays during the eighteenth century, though critics includingSamuel Johnson took issue with its complex plot:
This play has many just sentiments, some natural dialogues, and some pleasing scenes, but they are obtained at the expense of much incongruity. To remark the folly of the fiction, the absurdity of the conduct, the confusion of the names and manners of different times, and the impossibility of the events in any system of life, were to waste criticism upon unresisting imbecility, upon faults too evident for detection, and too gross for aggravation.[13]
William Hazlitt andJohn Keats, however, numbered it among their favourite plays.
By the early twentieth century, the play had lost favour.Lytton Strachey found it "difficult to resist the conclusion that [Shakespeare] was getting bored himself. Bored with people, bored with real life, bored with drama, bored, in fact, with everything except poetry and poetical dreams."[14]
In 1937, Irish playwrightGeorge Bernard Shaw wroteCymbeline Refinished, that rewrites the final act of the play. Shaw commented on the play 1896, in one fiery critique stating it was:
"stagey trash of the lowest melodramatic order, in parts abominably written, throughout intellectually vulgar, and, judged in point of thought by modem intellectual standards, vulgar, foolish, offensive, indecent and exasperating beyond all tolerance."[15]
Shaw, however, would go on to reform his opinion of the play after his rewriting of the ending, yet he remained firmly of the opinion that the final act was disastrous, writing in 1946 that it was "one of the finest of Shakespeare's later plays" but "goes to pieces in the final act."Harley Granville-Barker, who found success as an actor in Shaw's plays had similar views, saying that the play shows that Shakespeare was becoming a "wearied artist".[14]
Some have argued that the play parodies its own content.Harold Bloom wrote that "Cymbeline, in my judgment, is partly a Shakespearean self-parody; many of his prior plays and characters are mocked by it."[16]
Similarities between Cymbeline and historical accounts of theRoman Emperor Augustus have prompted critics to interpret the play as Shakespeare voicing support for the political notions ofJames I, who considered himself the "British Augustus."[17] His political manoeuvres to unite Scotland with England and Wales as an empire mirror Augustus'Pax Romana.[18] The play reinforces the Jacobean idea that Britain is the successor to the civilised virtue of ancient Rome, portraying the parochialism and isolationism of Cloten and the Queen as villainous.[19] Other critics have resisted the idea thatCymbeline endorses James I's ideas about national identity, pointing to several characters' conflicted constructions of their geographic identities. For example, although Guiderius and Arviragus are the sons of Cymbeline, a British king raised in Rome, they grew up in a Welsh cave. The brothers lament their isolation from society, a quality associated with barbarousness, but Belarius, their adoptive father, retorts that this has spared them from corrupting influences of the supposedly civilised British court.[20]
Iachimo's invasion of Imogen's bedchamber may reflect concern that Britain was being maligned by Italian influence.[21] According to Peter A. Parolin,Cymbeline’s scenes ostensibly set in ancient Rome may be anachronistic portrayals of sixteenth-century Italy, which was characterised by contemporary British authors as a place where vice, debauchery, and treachery had supplanted the virtue of ancient Rome.[19][22] ThoughCymbeline concludes with a peace forged between Britain and Rome, Iachimo's corruption of Posthumus and metaphorical rape of Imogen may demonstrate fears that Great Britain's political union with other cultures might expose Britons to harmful foreign influences.[19][23]
Scholars have emphasised that the play attributes great political significance to Imogen's virginity andchastity.[24][25] There is some debate as to whether Imogen and Posthumus's marriage is legitimate.[24] Imogen has historically been played and received as an ideal, chaste woman maintaining qualities applauded in apatriarchal structure; however, critics argue that Imogen's actions contradict these social definitions through her defiance of her father and her cross-dressing.[26] Yet critics including Tracey Miller-Tomlinson have emphasised the ways in which the play upholds patriarchal ideology, including in the final scene, with its panoply of male victors.[26][27] Whilst Imogen and Posthumus's marriage at first upholdsheterosexual norms, their separation and final reunion leave open non-heterosexual possibilities, initially exposed by Imogen's cross-dressing as Fidele. Miller-Tomlinson points out the falseness of their social significance as a "perfect example" of a public "heterosexual marriage", considering that their private relations turn out to be "homosocial,homoerotic, and hermaphroditic."[27]
Queer theory has gained traction in scholarship onCymbeline, building upon the work ofEve Kosofsky Sedgwick andJudith Butler.[28][29][30] Scholarship on this topic has emphasised the play'sOvidian allusions and exploration of non-normative gender/sexuality – achieved through separation from traditional society into what Valerie Traub terms "green worlds."[28] Amongst the most obvious and frequently cited examples of this non-normative dimension of the play is the prominence of homoeroticism, as seen in Guiderius and Arviragus's semi-sexual fascination with the disguised Imogen/Fidele.[31] In addition to homoerotic and homosocial elements, the subjects ofhermaphroditism and paternity/maternity also feature prominently in queer interpretations ofCymbeline.[32][33][34][35]Janet Adelman set the tone for the intersection of paternity and hermaphroditism in arguing that Cymbeline's lines, "oh, what am I, / A mother to the birth of three? Ne’er mother / Rejoiced deliverance more", amount a "parthenogenesis fantasy".[36][37][38] According to Adelman and Tracey Miller-Tomlinson, in taking sole credit for the creation of his children Cymbeline acts a hermaphrodite who transforms a maternal function into a patriarchal strategy by regaining control of his male heirs and daughter, Imogen.[39][32] Imogen's own experience with gender fluidity andcross-dressing has largely been interpreted through a patriarchal lens.[40][41] Unlike other Shakespearean agents of onstage gender fluidity –Portia,Rosalind,Viola andJulia – Imogen is not afforded empowerment upon her transformation into Fidele.[41] Instead, Imogen's power is inherited from her father and based upon the prospect of reproduction.[41]
After the 1611 performance mentioned by Simon Forman, there is no record of production until 1634, when the play was revived at court forCharles I andHenrietta Maria.[42][43] TheCaroline production was noted as being "well likte by the kinge."[44] In 1728John Rich staged the play with his company atLincoln's Inn Fields, with emphasis placed on the spectacle of the production rather than the text of the play.[45]Theophilus Cibber revived Shakespeare's text in 1744 with a performance at theHaymarket.[46] There is evidence that Cibber put on another performance in 1746, and another in 1758.[45][47][48]
In 1761,David Garrick edited a new version of the text.[48] It is recognized as being close to the original Shakespeare, although there are several differences. Changes included the shortening of Imogen's burial scene and the entire fifth act, including the removal of Posthumus's dream. Garrick's text was first performed in November of that year, starring Garrick himself as Posthumus.[46] Several scholars have indicated that Garrick's Posthumus was much liked.[45][49] Valerie Wayne notes that Garrick's changes made the play more nationalistic, representing a trend in perception ofCymbeline during that period.[50] Garrick's version ofCymbeline would prove popular; it was staged a number of times over the next few decades.[42]
In the late eighteenth century, Cymbeline was performed inJamaica.[51]
The play entered the Romantic era withJohn Philip Kemble's company in 1801.[52] Kemble's productions made use of lavish spectacle and scenery; one critic noted that during the bedroom scene, the bed was so large that Iachimo all but needed a ladder to view Imogen in her sleep.[53] Kemble added a dance to Cloten's comic wooing of Imogen. In 1827, his brotherCharles mounted an antiquarian production atCovent Garden; it featured costumes designed after the descriptions of the ancient British by such writers asJulius Caesar andDiodorus Siculus.
William Charles Macready mounted the play several times between 1837 and 1842.[54] At the Theatre Royal,Marylebone, anepicene production was staged with Mary Warner,Fanny Vining,Anna Cora Mowatt, andEdward Loomis Davenport.
In 1859,Cymbeline was first performed inSri Lanka. In the late nineteenth century, the play was produced several times inIndia.[51]
In 1864, as part of the celebrations of Shakespeare's birth,Samuel Phelps performed the title role atTheatre Royal, Drury Lane.Helena Faucit returned to the stage for this performance.
The play was also one ofEllen Terry's last performances withHenry Irving at theLyceum in 1896. Terry's performance was widely praised, though Irving was judged an indifferent Iachimo. Like Garrick, Irving removed the dream of Posthumus; he also curtailed Iachimo's remorse and attempted to render Cloten's character consistent. A review in theAthenaeum compared this trimmed version topastoral comedies such asAs You Like It. The set design, overseen byLawrence Alma-Tadema, was lavish and advertised as historically accurate, though the reviewer for the time complained of such anachronisms as gold crowns and printed books as props.[55]
Similarly lavish but less successful wasMargaret Mather's production in New York in 1897. The sets and publicity cost $40,000, but Mather was judged too emotional and undisciplined to succeed in a fairly cerebral role.
Barry Jackson staged amodern dress production for theBirmingham Rep in 1923, two years before his influential modern dressHamlet.[56]Walter Nugent Monck brought hisMaddermarket Theatre production to Stratford in 1946, inaugurating the post-war tradition of the play.
London saw two productions in the 1956 season.Michael Benthall directed the less successful production, atThe Old Vic. The set design byAudrey Cruddas was notably minimal, with only a few essential props. She relied instead on a variety of lighting effects to reinforce mood; actors seemed to come out of darkness and return to darkness.Barbara Jefford was criticised as too cold and formal for Imogen; Leon Gluckman played Posthumus,Derek Godfrey Iachimo, andDerek Francis Cymbeline. Following Victorian practice, Benthall drastically shortened the last act.[57]
By contrast,Peter Hall's production at theShakespeare Memorial presented nearly the entire play, including the long-neglected dream scene (although a golden eagle designed for Jupiter turned out too heavy for the stage machinery and was not used).[58] Hall presented the play as a distant fairy tale, with stylised performances. The production received favourable reviews, both for Hall's conception and, especially, forPeggy Ashcroft's Imogen.[59]Richard Johnson played Posthumus, and Robert Harris Cymbeline. Iachimo was played byGeoffrey Keen, whose fatherMalcolm had played Iachimo with Ashcroft at the Old Vic in 1932.[60]
Hall's approach attempted to unify the play's diversity by means of a fairy-taletopos. The next majorRoyal Shakespeare Company production, in 1962, went in the opposite direction. Working on a set draped with heavy white sheets, directorWilliam Gaskill employedBrechtianalienation effects, to mixed critical reviews. The acting, however, was widely praised.Vanessa Redgrave as Imogen was often compared favourably to Ashcroft;Eric Porter was a success as Iachimo, as wasClive Swift as Cloten.Patrick Allen was Posthumus, andTom Fleming played the title role.
A decade later,John Barton's 1974 production for the RSC (with assistance fromClifford Williams) featuredSebastian Shaw in the title role,Tim Pigott-Smith as Posthumus,Ian Richardson as Iachimo, andSusan Fleetwood as Imogen.Charles Keating was Cloten. As with contemporary productions ofPericles, this one used a narrator (Cornelius) to signal changes in mood and treatment to the audience.Robert Speaight disliked the set design, which he called too minimal, but he approved the acting.[61]
In 1980, David Jones revived the play for the RSC; the production was in general a disappointment, althoughJudi Dench as Imogen received reviews that rivalled Ashcroft's.Ben Kingsley played Iachimo;Roger Rees was Posthumus. In 1987, Bill Alexander directed the play in The Other Place (later transferring to the Pit in London's Barbican Centre) with Harriet Walter playing Imogen, David Bradley as Cymbeline and Nicholas Farrell as Posthumus.
At theStratford Festival, the play was directed in 1970 byJean Gascon and in 1987 byRobin Phillips. The latter production, which was marked by much-approved scenic complexity, featuredColm Feore as Iachimo, andMartha Burns as Imogen. The play was again at Stratford in 2004, directed by David Latham.[62] A large medieval tapestry unified the fairly simple stage design and underscored Latham's fairy-tale inspired direction.
In 1994,Ajay Chowdhury directed anAnglo-Indian production ofCymbeline at the Rented Space Theatre Company. Set in India under British rule, the play features Iachimo, played by Rohan Kenworthy, as a British soldier and Imogen, played by Uzma Hameed, as an Indian princess.[63]
At the newGlobe Theatre in 2001, a cast of six (includingAbigail Thaw,Mark Rylance, andRichard Hope) used extensive doubling for the play. The cast wore identical costumes even when in disguise, allowing for particular comic effects related to doubling (as when Cloten attempts to disguise himself as Posthumus.)[64]
There have been some well-received theatrical productions including thePublic Theater's 1998 production in New York City, directed byAndrei Șerban.[65]Cymbeline was also performed at theCambridge Arts Theatre in October 2007 in a production directed by Sir Trevor Nunn,[66] and in November 2007 at theChicago Shakespeare Theatre. The play was included in the 2013 repertory season of theOregon Shakespeare Festival.[67]
In 2004 and 2014, theHudson Shakespeare Company of New Jersey produced two distinct versions of the play. The 2004 production, directed by Jon Ciccarelli, embraced the fairy tale aspect of the story and produced a colourful version with wicked step-mothers, feisty princesses and a campy Iachimo. The 2014 version, directed by Rachel Alt, went in a completely opposite direction and placed the action on ranch in the AmericanOld West. The Queen was a southern belle married to a rancher, with Imogen as a high society girl in love with the cowhand Posthumous.[68]
In a 2007Cheek by Jowl production,Tom Hiddleston doubled as Posthumus and Cloten.[69][70]
In 2011, the Shakespeare Theatre Company of Washington, DC, presented a version of the play that emphasised its fable and folklore elements, set as a tale within a tale, as told to a child.[71]
In 2012,Antoni Cimolino directed a production at theStratford Festival that steered into the fairy-tale elements of the text.[72]
Also in 2012, theSouth Sudan Theatre Company stagedCymbeline inJuba Arabic for theShakespeare's Globe "Globe to Globe" festival.[73] It was translated by Derik Uya Alfred and directed by Joseph Abuk.[74] Connections between the content of the play and South Sudan's own political struggle have been drawn by the production's producers, as well as some scholars.[75][76] Overall, the production was well received by audiences and critics.[77] Critic Matt Truman gave the production four out of five stars, saying "The world's youngest nation seems delighted to be here and, played with this much heart, even Shakespeare's most rambling romance becomes irresistible."[78]
In 2013,Samir Bhamra directed the play for Phizzical Productions[79] with six actors playing multiple parts for a UK national tour. The cast[80] includedSophie Khan Levy as Innojaan, Adam Youssefbeygi, Tony Hasnath, Liz Jadav and Robby Khela. The production was set in the souks of Dubai and the Bollywood film industry during the 1990s communal riots and received acclaim from reviewers[81] and academics[82] alike.
Also in 2013, afolkmusical adaptation ofCymbeline was performed at theFirst Folio Theatre in Oak Brook, Illinois.[83] The setting was theAmerican South during theCivil War, with Cymbeline as a man of high status who avoids military service. The play was performed outdoors and was accompanied by traditionalAppalachian folk songs.
In 2015, atShakespeare's Globe in the Sam Wanamaker Playhouse, a production was directed bySam Yates where the role of Innogen was played byEmily Barber andJonjo O'Neill as Posthumus.
In 2016,Melly Still directedCymbeline at theRoyal Shakespeare Company. This version of the play was performed at theRoyal Shakespeare Theatre before moving to theBarbican in late 2016. The performance featured Bethan Cullinane as Innogen andGillian Bevan as Cymbeline.[84]
In 2023,Gregory Doran directedCymbeline at the Royal Shakespeare Theatre. It was his final production as artistic director, and received largely positive reviews.[85][86] The cast includedPeter De Jersey as Cymbeline andAmber James as Imogen.
Also in 2023,San Francisco's Free Shakespeare in the Park performedCymbeline, directed by Maryssa Wanlass, with aDavid Bowie/fantasy-themed focus on the play's queer interpretations.[87]
In 2024, at theStratford Festival,Cymbeline, directed by Esther Jun, reversed the gender of several roles, with Cymbeline portrayed as Queen of Britain by Lucy Peacock and her husband as a Duke, played by Rick Roberts. Innogen was played by Allison Edwards-Crewe.[88]
The play was adapted byThomas d'Urfey asThe Injured Princess, or, the Fatal Wager; this version was produced at theTheatre Royal, Drury Lane, presumably by the unitedKing's Company andDuke's Company, in 1682.[89] The play changes some names and details, and adds a subplot, typical of the Restoration, in which a virtuous waiting-woman escapes the traps laid by Cloten. D'Urfey also changes Pisanio's character so that he at once believes in Imogen's (Eugenia, in D'Urfey's play) guilt. For his part, D'Urfey's Posthumus is ready to accept that his wife might have been untrue, as she is young and beautiful. Some details of this alteration survived in productions at least until the middle of the century.
William Hawkins revised the play again in 1759. His was among the last of the heavy revisions designed to bring the play in line withclassical unities. He cut the Queen, reduced the action to two places (the court and a forest in Wales).[52] The dirge "With fairest flowers..." was set to music byThomas Arne.[89]
Nearer the end of the century,Henry Brooke wrote an adaptation which was apparently never staged.[90] His version eliminates the brothers altogether as part of a notable enhancement of Posthumus's role in the play.
George Bernard Shaw, who criticized the play perhaps more harshly than he did any of Shakespeare's other works, took aim at what he saw as the defects of the final act in his 1937Cymbeline Refinished; as early as 1896, he had complained about the absurdities of the play to Ellen Terry, then preparing to act Imogen. He called it "stagey trash of the lowest melodramatic order". He later changed his view, saying it was "one of the finest of Shakespeare's later plays", but he remained convinced that it "goes to pieces in the final act".[91] Accordingly, inCymbeline Refinished he rewrote the last act, cutting many of the numerous revelations and expositions, while also making Imogen a much more assertive figure in line with his feminist views.[92]
There have been a number of radio adaptations ofCymbeline between the 1930s and the 2000s.[93] TheBBC broadcast productions ofCymbeline in theUnited Kingdom in 1934, 1951, 1957, 1986, 1996, and 2006.[94][95][96][97][98][99]NBC broadcast a production of the play in theUnited States in 1938.[100] In October 1951 the BBC aired a production ofGeorge Bernard Shaw'sCymbeline Refinished, as well asShaw's foreword to the play.[101][102]
Lucius J. Henderson directed the first screen adaptation ofCymbeline in 1913.[103] The film was produced by theThanhouser Company and starredFlorence La Badie asImogen,James Cruze as Posthumus,William Garwood as Iachimo,William Russell as Cymbeline, andJean Darnell as the Queen.[104]
In 1937 theBBC broadcast several scenes ofAndré van Gyseghem's production of the play, which opened 16 November the same year, on television. The scenes that comprised the broadcast were pulled exclusively from Acts I and II of the play, and included the 'trunk scene' from Act II Scene 2.[105] In 1956 theBBC produced a similar television program, this time airing scenes fromMichael Benthall's theatrical production, which opened 11 September 1956. Like the 1937 program, the 1956 broadcast ran for roughly half an hour and presented several scenes fromCymbeline, including the trunk scene.[106][107]
In 1968Jerzy Jarocki directed an adaptation of the play forPolish television, starring Wiktor Sadecki as Cymbeline and Ewa Lassek asImogen.[108]
Elijah Moshinsky directed theBBC Television Shakespeare adaptation in 1982, ignoring the ancient British period setting in favour of a more timeless and snow-laden atmosphere inspired byRembrandt and hiscontemporary Dutch painters.[109]Richard Johnson,Claire Bloom,Helen Mirren, andRobert Lindsay play Cymbeline, his Queen, Imogen, and Iachimo, respectively, withMichael Pennington as Posthumus.[110]
In 2014,Ethan Hawke and directorMichael Almereyda, who previously collaborated on the 2000 filmHamlet, re-teamed for the filmCymbeline, in which Hawke plays Iachimo.[111] The film is set in the context of urban gang warfare.Ed Harris takes the title role.Penn Badgley plays the orphan Posthumus;[112]Milla Jovovich plays the role of the Queen;[113]Anton Yelchin is Cloten; andDakota Johnson plays the role of Imogen.[114]
Prior to operatic adaptations only incidental music was composed. The first operatic adaption seems to be composed byEdmond Missa in 1894, under the title "Dinah"; American composerChristopher Berg composed another one, of which scenes were performed in 2009.[115]
In Beethoven’s one operaFidelio, the loyal wife Leonore, disguising herself as a man, takes on the name Fidelio, as a probable reference to Imogen’s cross-dressing as Fidele.
.png)
The 'Song' from Act II, Scene 3(Hark, hark! the lark) was set to music byFranz Schubert in 1826.
Perhaps the most famous verses in the play come from the funeral song of Act IV, Scene 2, which begins:
The first two lines are quoted byVirginia Woolf inMrs. Dalloway by the two main characters Clarissa and Septimus Smith. The lines, which turn Mrs. Dalloway's thoughts to the trauma of theFirst World War, are at once an elegiac dirge and a profoundly dignified declaration of endurance. The song provides a major organisational motif for the novel. The final couplet also appears in theAnton Myrer novel,The Last Convertible.
The last two lines appear to have inspiredT. S. Eliot in "Lines to a Yorkshire Terrier" (inFive-Finger Exercises). He writes:
The song was set to music byRoger Quilter as "Fear No More the Heat o' the Sun," No. 1 of Five Shakespeare Songs, Op. 23 (1921). It was also set byGerald Finzi as part of hissong cycle on texts by ShakespeareLet Us Garlands Bring (1942). The text is sung byCleo Laine to music byJohn Dankworth on her 1964 albumShakespeare and All That Jazz.
At the end ofStephen Sondheim'sThe Frogs, William Shakespeare is competing againstGeorge Bernard Shaw for the title of best playwright, deciding which of them is to be brought back from the dead in order to improve the world. Shakespeare sings the funeral song of Act IV, Scene 2, when asked about his view of death (the song is titled "Fear No More").
"Fear no more the heat of the sun" is the line that Winnie and her husband are trying to remember in Samuel Beckett'sHappy Days as they sit exposed to the elements.
In the Epilogue of the novelAppointment with Death byAgatha Christie, the first four lines of the verse are quoted by the character Ginevra Boynton as she reflects on the life of her deceased mother Mrs Boynton.
InThe Scent of Water (1963) by Elizabeth Goudge, the central character, Mary Lindsay, feels struck by lightning when she realises she has fallen in love with Paul Randall, an author and Royal Air Force pilot, blinded in the last days of World War II, and married. "Fear no more the lightning-flash", Mary suddenly thinks, along with the rest of that stanza, ending "All lovers young, all lovers must /Consign to thee, and come to dust", knowing she must hide her love, and recognising that, already fifty, she is growing old (Chapter IX, Part 1, p 164).
... it's not possible to eliminate the debt to Boccaccio completely. The description of Imogen's bed-chamber, for instance, owes nothing to the English tale, but we have only to glance at theDecameron to discover a room in which a candle is burning, which is hung with pictures, all carefully noted by Ambrogiuolo, and to recognise at once a refinement of detail that stirred Shakespeare's imagination and set the poetry flowing from his pen.
{{cite web}}: CS1 maint: multiple names: authors list (link)
Cymbeline public domain audiobook atLibriVox| Characters |
| |
|---|---|---|
| Sources |
| |
| Adaptations | ||
| Related | ||
Media from Commons
Quotations from Wikiquote
Texts from Wikisource
