Act 1, Scene 1

Britain. The garden of Cymbeline's palace.

[Enter two Gentlemen]
First Gentleman
1 You do not meet a man but frowns: our bloods
2 No more obey the heavens than our courtiers
3 Still seem as does the king.
Second Gentleman
4 But what's the matter?
First Gentleman
5 His daughter, and the heir of's kingdom, whom
6 He purposed to his wife's sole son—a widow
7 That late he married—hath referr'd herself
8 Unto a poor but worthy gentleman: she's wedded;
9 Her husband banish'd; she imprison'd: all
10 Is outward sorrow; though I think the king
11 Be touch'd at very heart.
Second Gentleman
12 None but the king?
First Gentleman
13 He that hath lost her too; so is the queen,
14 That most desired the match; but not a courtier,
15 Although they wear their faces to the bent
16 Of the king's look's, hath a heart that is not
17 Glad at the thing they scowl at.
Second Gentleman
18 And why so?
First Gentleman
19 He that hath miss'd the princess is a thing
20 Too bad for bad report: and he that hath her—
21 I mean, that married her, alack, good man!
22 And therefore banish'd—is a creature such
23 As, to seek through the regions of the earth
24 For one his like, there would be something failing
25 In him that should compare. I do not think
26 So fair an outward and such stuff within
27 Endows a man but he.
Second Gentleman
28 You speak him far.
First Gentleman
29 I do extend him, sir, within himself,
30 Crush him together rather than unfold
31 His measure duly.
Second Gentleman
32 What's his name and birth?
First Gentleman
33 I cannot delve him to the root: his father
34 Was call'd Sicilius, who did join his honour
35 Against the Romans with Cassibelan,
36 But had his titles by Tenantius whom
37 He served with glory and admired success,
38 So gain'd the sur-addition Leonatus;
39 And had, besides this gentleman in question,
40 Two other sons, who in the wars o' the time
41 Died with their swords in hand; for which
42 their father,
43 Then old and fond of issue, took such sorrow
44 That he quit being, and his gentle lady,
45 Big of this gentleman our theme, deceased
46 As he was born. The king he takes the babe
47 To his protection, calls him Posthumus Leonatus,
48 Breeds him and makes him of his bed-chamber,
49 Puts to him all the learnings that his time
50 Could make him the receiver of; which he took,
51 As we do air, fast as 'twas minister'd,
52 And in's spring became a harvest, lived in court—
53 Which rare it is to do—most praised, most loved,
54 A sample to the youngest, to the more mature
55 A glass that feated them, and to the graver
56 A child that guided dotards; to his mistress,
57 For whom he now is banish'd, her own price
58 Proclaims how she esteem'd him and his virtue;
59 By her election may be truly read
60 What kind of man he is.
Second Gentleman
61 I honour him
62 Even out of your report. But, pray you, tell me,
63 Is she sole child to the king?
First Gentleman
64 His only child.
65 He had two sons: if this be worth your hearing,
66 Mark it: the eldest of them at three years old,
67 I' the swathing-clothes the other, from their nursery
68 Were stol'n, and to this hour no guess in knowledge
69 Which way they went.
Second Gentleman
70 How long is this ago?
First Gentleman
71 Some twenty years.
Second Gentleman
72 That a king's children should be so convey'd,
73 So slackly guarded, and the search so slow,
74 That could not trace them!
First Gentleman
75 Howsoe'er 'tis strange,
76 Or that the negligence may well be laugh'd at,
77 Yet is it true, sir.
Second Gentleman
78 I do well believe you.
First Gentleman
79 We must forbear: here comes the gentleman,
80 The queen, and princess.
[Exeunt]
[Enter the QUEEN, POSTHUMUS LEONATUS, and IMOGEN]
Queen
81 No, be assured you shall not find me, daughter,
82 After the slander of most stepmothers,
83 Evil-eyed unto you: you're my prisoner, but
84 Your gaoler shall deliver you the keys
85 That lock up your restraint. For you, Posthumus,
86 So soon as I can win the offended king,
87 I will be known your advocate: marry, yet
88 The fire of rage is in him, and 'twere good
89 You lean'd unto his sentence with what patience
90 Your wisdom may inform you.
Posthumus
91 Please your highness,
92 I will from hence to-day.
Queen
93 You know the peril.
94 I'll fetch a turn about the garden, pitying
95 The pangs of barr'd affections, though the king
96 Hath charged you should not speak together.
[Exit]
Imogen
97 O
98 Dissembling courtesy! How fine this tyrant
99 Can tickle where she wounds! My dearest husband,
100 I something fear my father's wrath; but nothing—
101 Always reserved my holy duty—what
102 His rage can do on me: you must be gone;
103 And I shall here abide the hourly shot
104 Of angry eyes, not comforted to live,
105 But that there is this jewel in the world
106 That I may see again.
Posthumus
107 My queen! my mistress!
108 O lady, weep no more, lest I give cause
109 To be suspected of more tenderness
110 Than doth become a man. I will remain
111 The loyal'st husband that did e'er plight troth:
112 My residence in Rome at one Philario's,
113 Who to my father was a friend, to me
114 Known but by letter: thither write, my queen,
115 And with mine eyes I'll drink the words you send,
116 Though ink be made of gall.
[Re-enter QUEEN]
Queen
117 Be brief, I pray you:
118 If the king come, I shall incur I know not
119 How much of his displeasure.
[Aside]
Queen
120 Yet I'll move him
121 To walk this way: I never do him wrong,
122 But he does buy my injuries, to be friends;
123 Pays dear for my offences.
[Exit]
Posthumus
124 Should we be taking leave
125 As long a term as yet we have to live,
126 The loathness to depart would grow. Adieu!
Imogen
127 Nay, stay a little:
128 Were you but riding forth to air yourself,
129 Such parting were too petty. Look here, love;
130 This diamond was my mother's: take it, heart;
131 But keep it till you woo another wife,
132 When Imogen is dead.
Posthumus
133 How, how! another?
134 You gentle gods, give me but this I have,
135 And sear up my embracements from a next
136 With bonds of death!
[Putting on the ring]
Posthumus
137 Remain, remain thou here
138 While sense can keep it on. And, sweetest, fairest,
139 As I my poor self did exchange for you,
140 To your so infinite loss, so in our trifles
141 I still win of you: for my sake wear this;
142 It is a manacle of love; I'll place it
143 Upon this fairest prisoner.
[Putting a bracelet upon her arm]
Imogen
144 O the gods!
145 When shall we see again?
[Enter CYMBELINE and Lords]
Posthumus
146 Alack, the king!
Cymbeline
147 Thou basest thing, avoid! hence, from my sight!
148 If after this command thou fraught the court
149 With thy unworthiness, thou diest: away!
150 Thou'rt poison to my blood.
Posthumus
151 The gods protect you!
152 And bless the good remainders of the court! I am gone.
[Exit]
Imogen
153 There cannot be a pinch in death
154 More sharp than this is.
Cymbeline
155 O disloyal thing,
156 That shouldst repair my youth, thou heap'st
157 A year's age on me.
Imogen
158 I beseech you, sir,
159 Harm not yourself with your vexation
160 I am senseless of your wrath; a touch more rare
161 Subdues all pangs, all fears.
Cymbeline
162 Past grace? obedience?
Imogen
163 Past hope, and in despair; that way, past grace.
Cymbeline
164 That mightst have had the sole son of my queen!
Imogen
165 O blest, that I might not! I chose an eagle,
166 And did avoid a puttock.
Cymbeline
167 Thou took'st a beggar; wouldst have made my throne
168 A seat for baseness.
Imogen
169 No; I rather added
170 A lustre to it.
Cymbeline
171 O thou vile one!
Imogen
172 Sir,
173 It is your fault that I have loved Posthumus:
174 You bred him as my playfellow, and he is
175 A man worth any woman, overbuys me
176 Almost the sum he pays.
Cymbeline
177 What, art thou mad?
Imogen
178 Almost, sir: heaven restore me! Would I were
179 A neat-herd's daughter, and my Leonatus
180 Our neighbour shepherd's son!
Cymbeline
181 Thou foolish thing!
[Re-enter QUEEN]
Cymbeline
182 They were again together: you have done
183 Not after our command. Away with her,
184 And pen her up.
Queen
185 Beseech your patience. Peace,
186 Dear lady daughter, peace! Sweet sovereign,
187 Leave us to ourselves; and make yourself some comfort
188 Out of your best advice.
Cymbeline
189 Nay, let her languish
190 A drop of blood a day; and, being aged,
191 Die of this folly!
[Exeunt CYMBELINE and Lords]
Queen
192 Fie! you must give way.
[Enter PISANIO]
Queen
193 Here is your servant. How now, sir! What news?
Pisanio
194 My lord your son drew on my master.
Queen
195 Ha!
196 No harm, I trust, is done?
Pisanio
197 There might have been,
198 But that my master rather play'd than fought
199 And had no help of anger: they were parted
200 By gentlemen at hand.
Queen
201 I am very glad on't.
Imogen
202 Your son's my father's friend; he takes his part.
203 To draw upon an exile! O brave sir!
204 I would they were in Afric both together;
205 Myself by with a needle, that I might prick
206 The goer-back. Why came you from your master?
Pisanio
207 On his command: he would not suffer me
208 To bring him to the haven; left these notes
209 Of what commands I should be subject to,
210 When 't pleased you to employ me.
Queen
211 This hath been
212 Your faithful servant: I dare lay mine honour
213 He will remain so.
Pisanio
214 I humbly thank your highness.
Queen
215 Pray, walk awhile.
Imogen
216 About some half-hour hence,
217 I pray you, speak with me: you shall at least
218 Go see my lord aboard: for this time leave me.
[Exeunt]

Reading mode

Word definitions on hover

Notes

TLN 1syntax grammar
“our bloods No more obey the heavens than our courtiers”
The sentence is compressed and inverted: 'our bloods obey the heavens no more than our courtiers [obey the king].' The First Gentleman means that the courtiers mirror the king's mood just as bodies were thought to respond to the stars — but now, in the king's anger, neither order holds. 'Bloods' here means bodily humours (the fluids thought to govern emotion), not merely blood.
TLN 6syntax grammar
“purposed to his wife's sole son—a widow That late he married”
The First Gentleman is saying that Cymbeline intended ('purposed') to betroth his daughter Imogen to the Queen's son — a widow whom Cymbeline recently remarried. The dashes and embedded clause make the sentence hard to follow: the main clause is 'He purposed [to give] her ... to his wife's sole son,' and the parenthetical identifies who 'his wife' is (a recent widow-bride). 'Hath referr'd herself unto' means 'has given herself to' (i.e., married).
TLN 15rhetorical device
“wear their faces to the bent Of the king's looks”
'Bent' is a technical term from archery: the degree of tension in a bow. The courtiers arrange ('wear') their facial expressions to match the exact angle of the king's gaze — they bend their faces to correspond with his. The image makes courtly mimicry mechanical and precise, like adjusting a bowstring.
TLN 29syntax grammar
“I do extend him, sir, within himself, Crush him together rather than unfold His measure duly”
The First Gentleman answers the charge that he praises Posthumus too extravagantly ('you speak him far'). He means: 'I actually compress him rather than fully display his worth — I am squeezing him smaller than he is, not stretching him.' 'Extend' = to spread out, display fully; 'crush him together' = compress him; 'unfold his measure duly' = lay out his full worth. The paradox is that even the compressed version sounds like excess.
TLN 34historical topical
“join his honour Against the Romans with Cassibelan”
Cassivelaunus (Cassibelan in the play) was a legendary British king who led resistance to Julius Caesar's two invasions of Britain in 55 and 54 BCE. The play's backstory places Posthumus's father as a warrior who fought beside Cassibelan against Rome — linking the Leonatus family directly to Britain's founding resistance to Roman power, a theme the whole play turns on.
historical Holinshed's Chronicles
TLN 38archaic vocab
“gain'd the sur-addition Leonatus”
'Sur-addition' means a title or surname added on top of one's existing name — a further distinction granted for service. Posthumus's father Sicilius fought so gloriously for Tenantius that he earned 'Leonatus' ('lion-born' in Latin) as an honorific second name; this name then passed to his posthumously born son.
TLN 43archaic vocab
“old and fond of issue, took such sorrow That he quit being”
'Fond of issue' means deeply attached to his children ('issue' = offspring, children). 'Quit being' means died, gave up existence. Old Sicilius was so devoted to his sons that when two were killed in battle, grief killed him — he ceased ('quit') to be alive.
TLN 47historical topical
“calls him Posthumus Leonatus, Breeds him and makes him of his bed-chamber”
'Posthumus' (Latin for 'born after [the father's death]') is the name Cymbeline gives the orphan, recording that his father died before he was born. To make someone 'of his bed-chamber' was to appoint them a Gentleman of the Bedchamber — the most intimate court position, attending the king in his private rooms. The name and the appointment together define who Posthumus is: a man whose birth was already shadowed by death, and who grew up in royal intimacy without royal blood.
TLN 54archaic vocab
“A sample to the youngest, to the more mature A glass that feated them”
'Sample' means an example or model to imitate. 'A glass that feated them' means a mirror that formed or improved them — 'feat' (verb) = to make neat, skilled, accomplished; a mirror was the standard Elizabethan image for what shapes a person by showing them an ideal to match. Posthumus served all ages at court: the young looked up to him as a model, the mature used him as a mirror to improve their own conduct.
TLN 67archaic vocab
“I' the swathing-clothes the other, from their nursery Were stol'n”
'Swathing-clothes' (also 'swaddling clothes') are the strips of cloth used to bind a newborn infant tightly, a universal early-modern practice thought to keep the baby's limbs straight. The First Gentleman reports that when Cymbeline's two sons were stolen, one was three years old and the other was still in infancy — literally still in his wrappings. These are Guiderius and Arviragus, whose identity and whereabouts remain unknown for the whole play.
TLN 82cultural context
“After the slander of most stepmothers, Evil-eyed unto you”
The Queen protests she will not live up to the 'slander of most stepmothers' — the well-worn folklore that stepmothers are cruel, envious, and wicked toward stepchildren. 'Evil-eyed' means malevolent, actively wishing harm. The claim is immediately undercut by an aside (TLN 120-123) in which she reveals her true intentions: the Queen is playing the good stepmother only to buy time. Her opening speech is one of the play's clearest instances of dissembling courtesy.
TLN 87archaic vocab
“I will be known your advocate: marry, yet”
'Marry' is a mild oath, derived from the Virgin Mary's name, used as an interjection meaning 'indeed,' 'to be sure,' or 'but.' It carries no religious significance here — it is the equivalent of 'well' or 'mind you.' The Queen is saying: I'll plead your case — but, that said, the king is furious and you should prepare to leave calmly.
TLN 98rhetorical device
“Dissembling courtesy! How fine this tyrant Can tickle where she wounds!”
Imogen immediately sees through the Queen's performance once she is gone. 'Dissembling courtesy' means false politeness that conceals hostility. 'How fine this tyrant / Can tickle where she wounds' is an oxymoron: the Queen can soothe (tickle) and injure (wound) at once — the gentlest touch hides the sharpest knife. 'Fine' means skillful, clever. This short aside establishes the Queen as the play's central hypocrite from Imogen's clear-eyed perspective.
TLN 103rhetorical device
“I shall here abide the hourly shot Of angry eyes”
Imogen says she will 'abide the hourly shot of angry eyes' — endure the constant fire of hostile stares. 'Shot' makes angry glances into arrows or bullets, turning the court into a battlefield where the weapon is the gaze. The militarized image fits a woman under arrest who treats being watched as being attacked.
TLN 116archaic vocab
“Though ink be made of gall”
Ink in this period was frequently made from oak galls — a bitter, astringent substance produced by wasp larvae growing in oak bark — mixed with iron salts and water. 'Gall' also means bitterness, rancor, bile. Posthumus's line works on both levels: he will drink Imogen's letters joyfully even if the ink is made of something literally bitter, and even if the words themselves carry sorrowful news. The pun layers the physical material with the emotional charge.
TLN 122syntax grammar
“he does buy my injuries, to be friends; Pays dear for my offences”
In the Queen's aside, 'he does buy my injuries, to be friends' means Cymbeline pays the price of reconciliation every time she wrongs him — he 'buys' peace by yielding and forgiving. 'Pays dear for my offences' extends the commercial metaphor: Cymbeline is paying a high price for her misdeeds by continuing to forgive them and accommodate her. The Queen coldly regards her husband's affection as a resource she exploits.
TLN 135archaic vocab
“sear up my embracements from a next With bonds of death”
Posthumus prays the gods to 'sear up' his capacity for love — to cauterize ('sear' = to burn and seal a wound shut) his arms so he could never embrace another wife if Imogen died. He asks for bonds of death to bind him from any future love. The image is violent and medical: love sealed shut like a burning wound rather than transferred to someone new.
TLN 148archaic vocab
“If after this command thou fraught the court With thy unworthiness”
'Fraught' is used here as a verb meaning to load, freight, or fill — as one loads a ship with cargo. Cymbeline is warning Posthumus: if you fill ('fraught') this court with your unworthy presence, you die. The nautical sense of 'fraught' (freighting a vessel) makes Posthumus's presence a kind of contaminating cargo being loaded where it does not belong.
TLN 160syntax grammar
“I am senseless of your wrath; a touch more rare Subdues all pangs, all fears”
'I am senseless of your wrath' means 'I cannot feel your anger' — it is as if her senses are blocked to it. 'A touch more rare' is a feeling more exquisite, rarer in kind — her love for Posthumus — that overrides ('subdues') all other pain and fear. 'Touch' here means an emotion or inner sensation. Imogen is not defying her father coldly: she is saying that one feeling so powerful has made her numb to all lesser ones.
TLN 165archaic vocab
“I chose an eagle, And did avoid a puttock”
A 'puttock' was the common kite or buzzard — a scavenging raptor held in contempt as base and cowardly. Imogen sets Posthumus (the eagle, king of birds, emblem of nobility and noble aspiration) against Cloten (the puttock, a low predator that feeds on carrion). The contrast is crushing: she chose the highest bird and refused the most despised. 'Eagle' also carries Jupiter's emblem — the god's own bird — giving Posthumus a quietly divine resonance.
TLN 175syntax grammar
“overbuys me Almost the sum he pays”
Imogen argues Posthumus 'overbuys' her — pays more than she is worth — 'almost the sum he pays.' The language of commerce is striking in a love-speech: she casts marriage as a transaction and positions herself as the lesser bargain. The force of 'almost' is important: she is not wholly self-deprecating, just insisting that Posthumus's worth so exceeds hers that she nearly does not justify the price he pays by loving her.
TLN 204archaic vocab
“I would they were in Afric both together; Myself by with a needle, that I might prick The goer-back”
Imogen imagines Cloten and his sword-drawing companion both exiled to Africa — the Elizabethan byword for the most distant and dangerous foreign land — with herself present only as a needle to prick whichever one turned coward and ran away ('the goer-back'). The vignette shows her biting contempt for Cloten: she reduces him and his companion to men who need a woman with a sewing needle to keep them from retreating. 'Afric' = Africa.