"poison" by the aid of a physician; the kindly dwarfs become valiant young hunters, and Schneewittchen's crystal coffin becomes a woodland bed of flowers and moss lightly sprinkled on the face of the seeming dead. It can hardly be denied that these several elements of story are not quite faultlessly wrought together. The complex mechanism of the plot is lubricated by a free use of happy coincidences and fortuities, and explained by conversations and soliloquies which serve merely to explain it. It is even possible to maintain that the motley contrast of the interwoven motives has here and there infected the characters;-that Cloten, more particularly, as he appears in the council of war, is a person of more distinction than the clownish wooer of Imogen and butt of the court wits. As in all the plays of this latest group, mechanical coherence of plot is treated with apparent nonchalance, even character is displayed rather in detached moments than with that subtle power of exhibiting its gradual evolution or decay which contributes so much to the fascination of Hamlet or Othello or Antony and Cleopatra; but these moments are illuminated with a dramatic vision so intense and a poetry so poignantly beautiful, that the less intrinsic movements of the play sink into a subordination of effect in which their incoherences are lost sight of. In the subject-matter with which they deal we cannot sharply divide the so-called Romances from the Tragedies; they all deal with tragic harms; both Cymbeline and The Winter's Tale sound several chords of the theme of Othello. But, in the first place, the tragic action is briefer and simpler, less desperate in its outlook, less harrowing in its course; and, in the second, there open out of it vistas of a reposeful and healing seclusion on the one side, of remorse and atonement on the other, which finally converge in scenes of reconciliation and forgiveness.

HERFORD: The Eversley Shakespeare.

The play is not merely a series of beautiful pictures, or interesting episodes, such as we are accustomed to find in the productions of dramatists of less renown. Here, as elsewhere in Shakespeare, everything is subservient to the development of character. From this point of view every scene contributes its share to the dénouement, nor is there any falling off observable in the power of the artist; the master-hand is as discernible in these latest creations as in those of any earlier period. And he has put forth all his strength on the central figure of the drama, the matchless Imogen, to speak of whom is to sing one long pæan of praise, and whose very name is as full of music as her voice. In her is to be found everything that makes woman lovable, and there is no situation in which she is placed which does not reveal some fresh beauty in her character.

EVANS: Henry Irving Shakespeare.

In Cymbeline we may note what has presented itself in the plays of admitted inferiority, a recurrence of hints of motive and character that are fully worked out in more perfect pieces. This is sometimes an anticipation, but sometimes a memory; and possibly the appearance that Iachimo is a first idea of Iago, and Posthumus the crude conception of the passion of Othello, as Cymbeline of the weakness and tyranny of Lear, may be but fallacious. Indeed, the thought has sometimes occurred to me, that Shakespeare indulged himself designedly in this drama in playing with the same motives in less severe combination, and in falling back for relief, after the tension of his great tragic actions, upon the milder harmonies that might be evoked as truly from the selfsame themes.

LLOYD: Critical Essays on the Plays of Shakespeare.

DRAMATIS PERSONAE.

CYMBELINE, king of Britain.

CLOTEN, Son to the Queen by a former husband.

POSTHUMUS LEONATUS, a gentleman, husband to Imogen.
BELARIUS, a banished lord, disguised under the name of

Morgan.

GUIDERIUS, sons to Cymbeline, disguised under the
names of Polydore and Cadwal, sup-
posed sons to Morgan.

ARVIRAGUS,

PHILARIO, friend to Posthumus,

}

Italians.

IACHIMO, friend to Philario,

CAIUS LUCIUS, General of the Roman forces.

PISANIO, servant to Posthumus.

CORNELIUS, a physician.

A Roman Captain.

Two British Captains.

A Frenchman, friend to Philario.

Two Lords of Cymbeline's Court.

Two Gentlemen of the same.

Two Gaolers.

Queen, wife to Cymbeline.

IMOGEN, daughter to Cymbeline by a former queen.

HELEN, a lady attending on Imogen.

Lords, Ladies, Roman Senators, Tribunes, a Soothsayer, a Dutchman, a Spaniard, Musicians, Officers, Captains, Soldiers, Messengers, and other Attendants.

Apparitions.

SCENE: Britain: Rome.

CYMBELINE.

ACT FIRST.

Scene I.

Britain. The garden of Cymbeline's palace.

Enter two Gentlemen.

First Gent. You do not meet a man but frowns: our

bloods

No more obey the heavens than our courtiers

Still seem as does the king.

Sec. Gent.

But what's the matter?

First Gent. His daughter, and the heir of 's kingdom,

whom

He purposed to his wife's sole son—a widow

That late he married-hath referr'd herself

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.

Sec. Gent.

None but the king?
First Gent. He that hath lost her too: so is the queen,
That most desired the match: but not a courtier,
Although they wear their faces to the bent

Of the king's looks, hath a heart that is not
Glad at the thing they scowl at.

Sec. Gent.

And why so?

First Gent. He that hath miss'd the princess is a thing. Too bad for bad report: and he that hath her,

ΙΟ

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.

Sec. Gent.

You speak him far.

First Gent. I do extend him, sir, within himself,
Crush him together rather than unfold

His measure duly.

Sec. Gent.

What's his name and birth?

First Gent. I cannot delve him to the root: his father
Was call'd Sicilius, who did join his honour
Against the Romans with Cassibelan,
But had his titles by Tenantius, whom
He served with glory and admired success,
So gain'd the sur-addition Leonatus:
And had, besides this gentleman in question,
Two other sons, who in the wars o' the time

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30

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 bed-chamber:
Puts to him all the learnings that his time
Could make him the receiver of; which he took,

As we do air, fast as 'twas minister'd,

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And, in 's spring became a harvest: lived in court