Stanley Wells, Gary Taylor, John Jowett, and William Montgomery (eds), The Oxford Shakespeare: A Textual Companion
Cymbeline first appears in the First Folio; it was entered in the Stationers' Register among the plays in that collection which had not been previously printed. It is evident from the extremely heavy punctuation that the printer's copy was a scribal transcript of some sort. Maxwell summarizes the evidence for scribal copy, some of it compatible with transcription by Ralph Crane; Riverside adds to this evidence the unusual spelling 'dampn'd', present in the uncorrected state of [1.6.105]/627. While it is true, as Maxwell says, that the text does not contain 'all of the peculiarities associated with Crane', the same could be said of the other Folio texts apparently set from Crane transcripts: Maxwell instances in particular the absence of examples of hyphenated verb plus pronominal object; but Measure also lacks examples of this idiosyncrasy. The overall proportions of parentheses, hyphens, and apostrophes are consistent with Crane's practice, as documented by Howard-Hill in Crane's manuscripts and the other printed texts apparently set from one of his transcripts. Riverside describes the use of parentheses as 'lighter than usual', but the proportion—one for every 179 words—is higher than in Barnavelt and Measure. Moreover, aside from one example in King John, only the five Crane texts and Cymbeline contain parentheses in stage directions ([220.127.116.11, 123.4–5, 123.7]/2629.1–2, 2629.4–5, 2629.7). If Crane was responsible for any text in the Folio other than the five comedies traditionally allotted to him, Cymbeline is without doubt the strongest candidate, and it is surprising that it has not received more attention from students of Crane.
Honigmann first suggested, and Jowett and Taylor have confirmed (Shakespeare Reshaped, 'With New Additions', Appendix I), that at some stage in its transmission the manuscript of Cymbeline was affected by a change of hands between 2.4.152 and 18.104.22.168/1154 and 1154.1. The most striking evidence for this is the abrupt change in the spelling of 'O(h)', which cannot be compositorial in origin; a number of other spellings reinforce this disparity between the two portions of the play. It is, as yet, impossible to be sure whether the change of hands occurred in the Folio copy itself, or in the manuscript from which the Folio copy derived. However, the most prominent features of the Folio text occur in both sections, which suggests that the Folio copy was a Crane transcript of another manuscript of mixed provenance. Moreover, in contrast to King John, where the Folio copy seems itself to have been prepared by two different scribes, the break in Cymbeline does not affect the spelling of so many words; this is what we would expect if the preferences of another scribe (Crane?) had overlaid the disparities between the two halves of a composite manuscript. We are therefore inclined to the view that the Folio copy was a Crane transcript, itself copied from a manuscript in which a second hand took over at 22.214.171.124/1154.1. It is, through the medium of the Folio compositors and Crane (or a similar, sophisticating scribe), impossible to say much about the nature of the manuscript from which the copy was prepared. The Folio is notable for its omission of necessary sound cues, but this is true of other Crane transcripts, and of other transcripts which appear to be of a literary nature (for instance, the copy for Folio Othello). Nothing in the text would rule out derivation from a prompt-book; but neither would anything in the text enforce such an ancestry.
The text is clean, and presents few serious difficulties for an editor. It consistently spells the name of the chief female character 'Imogen', a name which first appears in the English language in the Folio text of this play, and which owes its modern popularity (developed during the nineteenth century) entirely to this text. However, as editors have long recognized, this form is an error. The wife of Brute in the portion of Holinshed on which Shakespeare drew for the play was called 'Innogen'; that name also appears in the initial stage direction of Much Ado; it is also consistently used in Simon Forman's account of his visit to a performance of Cymbeline in 1611 (Bodleian Library, Ashmolean 208). We thus possess evidence for the name 'Innogen' (a) in the sources prior to composition, (b) in an account of the play after its composition, and (c) elsewhere in the author's practice. By contrast, the only evidence for 'Imogen' is the Folio text itself, which could easily be due to the simplest of minim errors. The error could easily originate in the Folio's scribal copy; but it might also originate in the Folio itself, despite the fact that it was set by two compositors: compare Q2 Hamlet, where two different compositors consistently commit the error 'Rosencraus'. See also the first edition of Middleton's Women Beware Women, where the central character Bianca is consistently called 'Brancha' (in error for 'Beancha'). We have therefore restored the form 'Innogen' throughout the play.
Brooks, H. F., see Nosworthy
Daniel, P. A., Notes and Conjectural Emendations of Certain Doubtful Passages in Shakespeare's Plays (1870)
Dowden, E., ed., Cymbeline, Arden (1903)
D'Urfey, Thomas, The Injured Princess, or the Fatal Wager (1682)
Furness, H. H., ed., Cymbeline, New Variorum (1913)
Gould, George, Corrigenda and Explanations of the Text of Shakspere (1881)
Honigmann, E. A. J., 'On the Indifferent and One-Way Variants in Shakespeare', The Library, V, 22 (1967), 189–204
Ingleby, C. M., ed., Cymbeline (1886)
Maxwell, J. C, ed., Cymbeline, New (1960)
Nosworthy, J. M., ed., Cymbeline, Arden (1955)
pg 605TEXTUAL NOTES
Title Cymbeline King of Britaine] F (table of contents); the tragedie of cymbeline F (head-title; running titles, alternating with 'Tragedy'); Cymbeline S.R. (among 'tragedies'). One suspects that 'The Tragedie of' was added to the title simply because of its position in the volume. Forman supports the alternative: his note is headed 'Of Cimbalin king of England'. Although 'England' cannot be right—the name never occurs in the play, which refers to Britain(s) or British 51 times—Forman's title has the same form as F's 'Catalogue'. Holinshed also, in the passages which influenced the play, spoke of the 'king of Britaine' or 'of the Britains' (Chap. 18). Finally, this title would have been pertinent to Jacobean politics c.1608–11; as a number of modern critics have remarked, the choice and treatment of the play's subject-matter owe much to the political preoccupations of King James and his court.
1.1.3/3 King] knight (Tyrwhitt); Kings F
1.1.15/15 of] maxwell (Staunton); at F
1.1.30/30 Cassibelan] F2; Cassibulan F1. F2 agrees with the sources; an easy misreading.
1.1.70/70 Exeunt] rowe; Exeunt | Scena Secunda. F. Whether or not—as would normally be true—the Queen and the lovers enter before being seen, the exit here and their entrance clearly overlap, with no change of place or time. Compare Measure 126.96.36.199/187.1.
1.1.85/85, etc. innogen] This edition; Imogen F. See Introduction.
1.1.98/98 Filario's] rowe; Filorio's F
1.1.117 cere] F (ſeare)
1.1.179/179 prey] F (Pray); I pray you capell. Brooks conjectures 'pray' has been substituted under the influence of 1.1.177/177 for a disyllable; 'beseech' is the obvious candidate (Maxwell). But, like Capell's emendation, this merely produces an hexameter in place of an extra stress at the caesura. See lineation notes.
1.2.9/190 Steele if he] This edition (conj. Brooks); Steele if it F
1.3.2/222 question'st] This edition; questioned'st F; question'd'st theobald. Theobald's emendation was designed to rectify the metre, but 'ndst' is an unpronounceable consonant cluster. For euphonic syncopation of the 'ed' in such cases compare Othello 3.3.113/1561 ('lik'st' for 'likedst') and Antony 3.3.18/1386 ('look'st' for 'lookedst'). F could result from conscious or unconscious scribal or compositorial normalization. Alternatively, 'euery' might be a substitution for 'each'; but such errors are less common. Compare 3.4.48/1510.
1.3.9/229 this] theobald (Warburton); his F
188.8.131.52/261.3 A Table … it ] This edition; not in F. The equivalent scene in Decameron and Frederyke of Jennen takes place during a meal; see 5.6.156/2962.
1.4.26 Briton] F (Britaine)
1.4.46/310 not to] rowe (D'Urfey); to F
1.4.72/338 not but] malone; not F
1.4.81/347 purchase] rowe (D'Urfey); purchaſes F. An error characteristic of Compositor E (see Werstine and below).
1.4.101/367 fiue] Fb; fine Fa
1.4.110/376 heerein to] F; hereunto anon. (conj. in Cambridge)
1.4.125/391 thousand] F3; thouſands F1. See 1.4.81/347.
1.4.132/398 a Friend] F; afraid theobald (Warburton)
1.4.132/398 therein] F2; there in F1
1.5.57/494 worke] F; worth wilson (conj. in Maxwell)
1.5.68/505 chance thou changest] F; change thou chancest theobald; chance thou hangest daniel (conj.)
1.5.85/522 words Pisanio] This edition (conj. Dowden); words F
1.6.6–7/530–1 but … glorious ] F; hudson (Staunton) places after 'comfort' (1.6.9/533)
1.6.7/531 desire] F2; desires F1. See 1.4.81/347.
1.6.17/541 alone,] craig; ⁓‸ F
1.6.25/548 truest‸ ] hanmer; trust. F
1.6.29/551 takes] pope; take F. See 1.4.81/347.
1.6.37/559 thunnumber'd] theobald; the number'd F
1.6.73/595 languish‸ ] steevens; ⁓: F1; ⁓, F2
1.6.81/603 count] pope; account F. F could result from an easy synonym substitution, which disrupts the metre.
1.6.102/624 euery] F1; very F3
1.6.105/627 Fiering] F1; Fixing F2
1.6.110 illustrous] F (illustrious). For forms similar to F's, where the 'i' in the suffix is redundant in modern spelling, see Furness. (On the other hand F would be an easy error.)
1.6.126/648 lend to] This edition; lend F. Shakespeare uses 'lend' and 'lend to' interchangeably in such contexts, depending on the metre and the complexity of the syntax. F produces a highly anomalous string of syllables; as emended, the line is a normal hexameter.
1.6.134/656 Liue] F; Lie walker (conj. in Nosworthy)
1.6.163/685 me] Fb; ma Fa
1.6.169/691 mens] F2; men F1
1.6.170/692 desended] F2; defended F1
1.6.183/705 concernes‸ ] rowe (D'Urfey); ⁓: F. See Maxwell.
1.6.187/709 Best] pope; The best F. The is one of the most easily and frequently interpolated words.
2.1.23 an] F (and)
2.1.26/759 your] F3; you F1
2.1.33/766 to night] F2; night F1
2.1.60/793 Husband, then] F4; ⁓. Then F1. See next note.
2.1.61/794 make. The] theobald; ⁓‸ the F. See previous note. As Brooks argues, 'F prints a period and capital T where they are not wanted, and prints neither where they are wanted'; he suggests that a correction has gone wrong. This explanation is even more probable when we recognize that Compositor E—who was especially prone to idiotic misunderstanding of proof-corrections—set this page.
2.1.62/795 Honour:] rowe (subs.); ⁓. F; ⁓, nosworthy. A colon leaves it ambiguous whether the imperative 'Keepe' is addressed to the heavens or Innogen; F and Nosworthy impose one or the other interpretation.
184.108.40.206–3/797.1–2 A Trunke … Lady ] This edition; Enter Imogen, in her Bed, and a Lady. F. The trunk is unlikely to have been 'thrust out'; it might have been pushed up through the trap, which would permit easier entrance and exit for Giacomo, and supply a potent visual image of his ascent from and descent into 'hell'. Arrases appear in other public theatre plays; whether a special one was used for this scene, corresponding to Giacomo's description, cannot be determined, but is possible.
2.2.2/799 houre] Fb; houe Fa
2.2.18/815 they doo't] F; they'd do't nicholson (conj. in Cambridge)
2.2.20/817 lids,] rowe; ⁓. F
2.2.22 azure-laced] F (Azure lac'd). maxwell first inserted the hyphen.
2.2.43/840 riueted] Fb; riuete Fa
2.2.49/846 bare] steevens (Theobald); beare F
220.127.116.11–2/848.1–2 the Bed and Trunke are remoued] This edition; not in F; the Scene closes rowe. The bed could be thrust back in; the trunk could sink back through the trap.
2.3.7/855 cloten] F ('Clot' c.w.); not in text
18.104.22.168/867.1 Musicke] This edition (conj. Nicholson); not in F. See 1.2.15–16/864–5.
22.214.171.124/867.2 musitian] not in F
2.3.19–25/868–74 Hearke … arise ] This song also appears in Bodleian MS Don. c. 57. For discussion see Nosworthy's Appendix C, which refers to previous studies, and J. P. Cutts, 'A Bodleian Song-Book', Music and Letters, 34 (1953), 192–211.
2.3.19/868 Hearke, hearke] F. The word is repeated five times in MS.
2.3.19/868 Heauen] MS (subs.); Heauens F. See Sonnet 29.12. F, with the same meaning, creates an awkward consonant cluster, pg 606and could easily result from unconscious normalization or substitution, by scribe or compositor.
2.3.20/869 arise] F; to rise MS
2.3.21–2/870–1 His … lyes ] F; not in MS. W. M. Evans—in PMLA 60 (1945), 95–101—conjectures that MS lacks these lines because (a) they were a late interpolation in F, or (b) the composer deliberately omitted them, to save the singer from their awkward sibilants. Neither explanation seems likely, given the rhymes and the structure of the song; simple transcription error in MS seems probable.
2.3.23/872 And] F; The MS
2.3.24/873 is] F, MS; bin hanmer
2.3.25/874 arise.] a-rise … my Lady sweet … A-rise MS
2.3.26/875 cloten] dyce; not in F
2.3.27/876 vyce] rowe; voyce F
2.3.29/878 amend] F2; amed F1
2.3.41/890 out] F2 (ou't); on't F1
2.3.45/894 solicits] F2; ſolicity F1
2.3.77/926 Aside] This edition; not in F. delius conjectured that the whole sentence is aside.
2.3.80/929 Aside] This edition (conj. Delius); not in F
2.3.98/947 cure] warburton; are F
2.3.118 foil] F (foyle). One might alternatively modernize to file (= 'defile'); the spellings, and probably the pronunciation, to a large degree overlapped, and the words are not easily disentangled.
2.3.134/983 Garment] F2; Garments F1. See 1.4.81/347.
2.3.142/991 am:] This edition (?); ⁓. F1; ⁓, F4. The punctuation adopted here leaves the grammar ambiguous; F1 and F4 both impose an interpretation, and F1's punctuation is not authorial.
2.3.151/1000 you] F3; your F1
2.4.6/1008 sear'd] tyrwhitt; fear'd F
2.4.6/1008 hopes] F2; hope F1. See 1.4.81/347.
2.4.14 Ere] F (Or)
2.4.24/1026 wing-led] F1; mingled F2; winged cartwright (conj.); coupled gould (conj.). Though many editors prefer F2, F1 is undoubtedly the rarer, more difficult reading, and cannot result from mechanical inadvertence; a scribe or compositor, facing '[minims]ingled', will hardly see the extraordinary compound 'wing-led' instead of the common verb 'mingled'. If F1 is wrong, F2 is not right.
2.4.24/1026 courage] dyce; courages F. A typical Compositor E error (see 1.4.81/347), which here disrupts both the metre end the symmetry with 'discipline'.
2.4.32/1034 One of the] F1; one the steevens; of the pope. See lineation notes.
2.4.34/1036 through] rowe; thorough F
2.4.37/1039 philario] capell; Post. F
2.4.41/1043 had] singer (D'Urfey); heue F
2.4.43/1045 Ile] F; Ild nosworthy (conj.)
2.4.47/1049 not] F2; note F1
2.4.57/1059 you] F2; yon F1
2.4.60/1062 leaues] rowe; leaue F. See 1.4.81/347.
2.4.76/1078 Such] singer 2 (Mason); Since F. An easy misreading: minims and e/h.
2.4.76/1078 on't was.] hanmer; ⁓— F; was out on't. maxwell (anon. conj.). Maxwell supposes omission followed by transposition end repunctuation. In manuscripts speeches often have no terminal punctuation; the dash could easily be compositorial.
2.4.116/1118 her woman] her women F1; of her women F2
2.4.135/1137 the] rowe; her F. Easily assimilated to the previous phrase.
2.4.151/1153 follow] This edition; follow him F. Compare Shrew 5.1.132/2392, Hamlet 1.4.65, 4.7.164, 167/614, 2968, 2971. The pronoun is easily interpolated after the verb, but is superfluous and extrametrical here.
2.5.2/1156 Bastards all] pope; all Bastards F. F has the commoner, end less metrical, word-order.
2.5.16 Germen one] F (Iarmen on)
2.5.27/1181 men can name] This edition (conj. W. S. Walker); name F1; may be nam'd F2; have a name ingleby (Dyce); man may name craig (W. S. Walker). Also possible would be 'earth can name' (earth, as often, contrasting with hell): see 'earthie name' (K. John 3.1.73/1022 'on earth vsurpt his name' (Venus 794) 'earthly faults', (Measure 5.1.482/2646), and 'known the earth so full of faults' (Caesar 1.3.45/443).
126.96.36.199, 3.1.85/1189.1, 1274 Flourish.] This edition; not in F. Such musical accompaniment is virtually mandatory for formal royal entrances and exits; F—like some other scribal texts—has no music cues at all.
3.1.11/1200 There will] This edition; There F; There'll warburton (conj.). The future tense seems required by 'Ere'; metrically, the emendation produces an extra unstressed syllable at the caesura, the commonest licence (especially when the line is divided between two speakers).
3.1.13/1202 By] F; Vnto This edition conj. For 'unto itself', compare Coriolanus 4.7.51/2719.
3.1.19/1208 ribb'd, and pal'd] F; ribbed and paled rowe 3; were ribb'd and paled nosworthy (conj.)
3.1.20/1209 bākes] This edition (S.W.W.); Oakes F; rocks hanmer (Theobald). Editors agree in rejecting F; but banks seems preferable to rocks in suggesting both 'sea-coast' (sb.1 9, citing Contention 3.2.83/1647) and 'an artificial earthwork, an embankment, for military use' (sb.1 3).
3.1.53/1242 be, we do‸ say ] malone; ⁓, we do. Say F; ⁓. | Clo⟨ten⟩ and Lords. We do. | Cym⟨beline⟩. Say globe
3.2.2/1276 accuser] capell; accuſe F
3.2.10/1284 to hers] hanmer; to her F. Nosworthy defends F, glossing 'compared to her'; but 'hers' produces better symmetry, not only with 'Thy mind' but with 'Thy Fortunes' (which are 'as lowe', by comparison with 'hers'). The line was set by Compositor E (see 1.4.81/347).
3.2.14/1288 to do good] Fb; to go do od Fa
3.2.21/1295 Feodarie] capell; Fœdarie F. If Capell is right, F is a compound error (transposition, followed by provision of a ligature for the resulting 'oe'). Alternatively, if 'Federarie' at Winter's Tale 2.1.92/604 is correct, one might presume simple haplography here, and read 'Fœdarerie'.
3.2.22/1296 here] Fb; her Fa
3.2.46/1320 Loue‸ ] capell (Tyrwhitt); ⁓. F
3.2.64/1337 Till] pope; And F; To capell
3.2.67/1340 score] F2; store F1
3.2.67/1340 ride] F2; rid F1
3.2.78/1351 nor heere, nor] F2; nor heere, not F1; not here, nor chambers
188.8.131.52/1355.1 followed by] This edition; not in F
184.108.40.206/1355.2 from a Caue in the Woods] This edition; not in F. The woods ('wods') are mentioned twice in Forman's account; 'trees' could clearly be approximated on the Jacobean stage; and in any event readers may if they wish take these 'woods' as literary rather than theatrical.
3.3.2/1357 Stoope] hanmer; Sleepe F. See Nosworthy's note.
3.3.15–16/1370–1 Warre; | That] This edition; ⁓. | This F. F makes sense, 'This' being interpreted vaguely as a reference to the activities common in 'Courts' and 'Warre'; but it is unfortunately ambiguous, suggesting 'This service' [that we now perform]. 'That' would, without confusion, allow a reference to the preceding line ('services of that kind'), but also permit a more general construction: 'then revolve … that service [of any kind] is not service. … ' Compositorial or scribal substitution of 'This' for 'That' would be easy.
3.3.23/1378 Bable] rowe; Babe F; Bribe hanmer; robe nosworthy (Bulloch). Unlike 'bauble', 'check', and 'unpaid-for silk', there is nothing self-evidently undesirable or foolish about a 'robe' as the reward for a courtier's devotion. For dropped letters in Compositor E's stints compare 'Spectacles' (1.6.38/560), 'oppos'd' (1.6.45/567), 'expulsion' (2.1.59/792), etc.
3.3.25/1380 em] capell; him F
3.3.28/1383 know] F2; knowes F1. See 1.4.81/347.
3.3.33 travelling abed] F (trauailing a bed). Though there is a pun— 'travail a-bed' would be a mother's birth pangs—the primary sense seems to be 'travelling in dreams, or lazy day-dreams'.
3.3.34/1389 Prison‸ for ] pope; Priſon, or F; prison‸ of vaughan (conj.). Either a substitution, or another dropped letter by Compositor E.
3.3.83/1438 wherein they Bowe,] warburton; whereon the Bowe‸ F
3.3.86/1441 Polidour] rowe; Paladour F
3.3.99–107/1454–1462 Oh … vp. ] F. Ingram (see Furness) conjectures that these lines are a non-Shakespearian interpolation. There is no particular reason to doubt Shakespeare's authorship, but they do look like an afterthought: they provide a huddle of narrative information, not integrated into the speech, and 'The Game is vp' (3.3.107/1462) repeats 'the Game is rows'd' (3.3.98/1453)—a form of ring composition which Honigmann has noted as characteristic of Shakespearian additions in revision ('Shakespeare's Revised Plays').
3.3.106/1461 Morgan] rowe; Mergan F
220.127.116.11/1462.1 in a Riding Suit] This edition; not in F. The 'Riding Suit' is specified at 3.2.76/1349.
3.4.48/1510 look'st] This edition; look'dst F. F is the only occurrence of that form in the canon, and looks like grammatical sophistication. See 1.3.2/222.
3.4.79/1541 a-fort] rowe; a-foot F
3.4.85/1547 Teachers] F; Treachers nosworthy (conj.)
3.4.89/1551 make] malone; makes F
3.4.101/1563 out] ingleby (Johnson); not in F
3.4.133/1595 churlish noble] This edition; noble F; feeble, noble maxwell. Of many other attempts to rectify the sense and metre of this line, only Maxwell's is plausible; but although it provides an explanation for the apparent error (homoeoteleuton before 'noble'), feeble is not a compelling antithesis to either harsh or noble, and the triple iteration of termination in 'feeble, noble, simple' is unattractive. By contrast, 'churlish' is equally plausible in explaining the error (homoeoteleuton after 'harsh'); but churlish and noble are a natural oxymoron (like simple and nothing), appropriate to Cloten. Moreover, Shakespeare elsewhere juxtaposes harsh and churlish (Venus 134), end uses 'churlish' in the oxymoronic description of Ajax (Troilus 1.2.20/166), who is like Cloten in his compounding of incompatible characteristics.
18.104.22.168/1656.2 Flourish.] This edition; not in F. See note at 22.214.171.124/1189.1.
3.5.32/1688 lookes] F2; looke F1
3.5.40/1696 strokes;] F2; stroke;, F1
3.5.44/1700 lowdst of] capell; lowd of F; loudest rowe. Nosworthy calls Rowe's emendation 'bibliographically more tenable' than Capell's, presumably assuming misreading (est to of); but compositorial omission of a single st ligature could account for the F reading equally well.
3.5.86/1742 tongue] This edition; heart F. Nosworthy conjectures 'mouth' or 'lips' but Shakespeare never elsewhere contrasts these with 'heart'; the tongue/heart contrast occurs at least 28 times elsewhere (Shrew 4.1.6–7, 4.3.77/1564–5, 1956, Contention 3.1.269/1450, etc.).
126.96.36.199/1844.1 Enter] F here marks 'Scena Septima'; but in an identical situation at 4.2.102/2053—where the stage is cleared, but the 'Cave' apparently remains visible—it marks no such division. See Introduction.
3.6.68 Ay,] F (I). dowden conjectured that this word should be omitted, and nosworthy that it be replaced by 'And', in order to have 'bid' governed by 'I should' (3.6.67); this simple modernization achieves the same effect.
3.6.68/1885 Ide] johnson (Tyrwhitt); I do F
3.6.74 price] F (prize). The two words were not distinguished in Shakespeare's day, and 'price' seems the primary sense, though there is a pun on 'prize' (as though a merchant ship, seized as booty).
3.7.9 commends] F (commands). For evidence that this is a spelling variant, see Nosworthy.
3.7.14 supplyant] F (ſuppliant)
4.1.14 imperceiverant] F (imperſeuerant). See OED.
4.2.2/1953 from] This edition; after F. F is metrically anomalous, and could result from synonym substitution: compare 'comes from hunting' (Timon 2.2.8/581), 'returnes from hunting' (History of Lear 3.7/476).
4.2.22 bier] F (Beere). 'Bear' is perhaps an alternative modernization, in the Welsh woods.
4.2.35/1986 breeds] F1; breed F2
4.2.47/1998 appeares] F; approues nosworthy (conj.)
4.2.47/1998 hath] This edition; he hath F. F is metrically anomalous; it could easily arise from sophistication of the contraction hath for 'he hath' (All Is True 5.1.50/2296, etc.).
4.2.51/2002 belarius] This edition; Arui⟨ragus⟩. F; not in capell. Though Capell's solution has been popular, it leaves F's error— and its line-division—unexplained, and produces a fourteener ('But … Charracters'). It seems more likely that 'Arui' has replaced some other prefix (a species of error which occurs elsewhere), and Belarius is the only candidate. Belarius joins in their praises elsewhere; indeed, he initiates this topic of conversation (4.2.46–8/1997–9).
4.2.59/2010 him] pope; them F. Nosworthy defends 'them' as the smile and sigh of 4.2.54/2005; but while both grief and patience are clearly rooted in Innogen herself, it is harder to see how the smile expresses grief and the sigh patience. The proposed error is a common one.
4.2.60/2011 patienc] theobald; patient F
4.2.112/2063 defect] F; th'effect theobald. There is no need for emendation if we recognize that this speech refers to Guiderius, not Cloten: Guiderius' good judgement prevents him from being afraid.
4.2.123/2074 thanks ye] johnson; thanks the F1; thanks to the F3; thank the steevens. Misinterpretation of 'ye' es 'ye' is common; Compositor B commits relatively few terminal 's' errors.
4.2.133/2084 Humor] theobald; Honor F
4.2.155 reck] F (reake). See OED.
4.2.171/2122 how] pope; thou F
4.2.187 ingenious] F (ingenuous)
4.2.203/2154 not] rowe 3; not the F. An easy interpolation, which in this instance may be related to the preceding 'thee'.
4.2.206/2157 crare] steevens (Sympson); care F
4.2.207/2158 Might] F2; Might'st F1
4.2.207/2158 easilest] F1; easiliest F4; easliest howard-hill (in Oxford Concordance). Although Shakespeare elsewhere elides easily to easlie (LLL 5.2.189/1939, John 2.1.516/792), Howard-Hill's emendation involves more than a simple transposition: for an intended 'easliest' to become 'easilest', the compositor would have to set the wrong ligature (si in place of si) end then the correspondingly wrong letter ('I' in place of 'i'). This is not impossible; but neither is it simple. For F's form compare 'maidenlest' (History of Lear 2.127/424) and 'busielest' (Tempest 3.1.15/1111).
4.2.219/2170 to thee] F; there capell
4.2.225/2176 Ruddocke] hanmer; Raddocke F. See Maxwell.
4.2.229/2180 besides, when] theobald; ⁓. When F
4.2.230/2181 winter-goune] theobald (Warburton); winter-ground F; winter-green verplanck (Douce). Steevens's defence of F is, like other of his nonce glosses, unsubstantiated. Wilson (in maxwell) prefers 'winter-green', but as a noun that compound refers to 'various plants … whose leaves remain green in winter'; its familiarity (OED gives examples from 1548 on) would make it less likely to cause a compositor or scribe trouble. Palaeographically, 'greene'—involving the misreading of 'e' as three different letters—is much less likely than 'goune'.
4.2.238/2189 once] pope; once to F. F's preposition, superfluous both syntactically and metrically, could easily have resulted from the influence of the preceding phrase.
4.2.239–44/2190–95 Fidele. … belarius ] If anything in the canon is a theatrical interpolation due to exigencies of casting, these pg 608lines are a chief candidate. Quite apart from their evident excusing of a bad voice, they are contradicted by the direction 'song' at 4.2.258/2009.
4.2.255/2206 say] F; sing This edition conj. See preceding note.
4.2.258/2209 begin.] This edition; begin. | Song. F
4.2.286/2237 therths Face.] This edition; their Faces. F. Editors are virtually unanimous in decrying F's text and retaining it. After 'on them' (4.2.285/2236), contamination to 'vpon their' would be easy, and after 'their' the following noun would—at some stage—naturally be 'corrected' to a plural. The punctuation is, here as elsewhere, scribal or compositorial. Compare 'the Earths cold face' (Duke of York 2.3.35/1003) and 'my could corps on the earths cold face' (Richard III 5.5.220/3311). Shakespeare repeatedly juxtaposes 'cold' (4.2.285/2236) with 'earth'.
4.2.288 strow] F (strew)
4.2.289/2240 knees‸ ] This edition (conj. Keightley); ⁓: F. As the preceding and following lines rhyme, it is natural to assume that a line has been omitted; in a play of this length, by normal standards the compositors alone could be expected to omit more than one. One also expects a contamination of the sentence beginning 'apart vpon our knees [we'll pray, etc.]'; otherwise 'apart' is being used as an imperative.
4.2.292/2243 is] pope; are F
4.2.325/2276 thy] hanmer; this F
4.2.338/2289 are hence] This edition; are heere F1; are F2. Almost all editors follow F2, end the repetition of 'heere' is suspicious; but assimilation is a commoner error than interpolation.
4.2.375/2326 many, all] F; many, and all johnson; many men, all anon. (conj. in Cambridge). 'Men' would be especially appropriate, given Innogen's situation and frame of mind.
4.2.378/2329 Maister in] F; Master pope; master in his staunton (conj.)
4.2.381/2332 pardon it] F; pardon't hanmer
4.2.392/2343 wild-wood leaues] neilson-hill (Cambridge); wild wood-leaues F. See OED wildwood: 'forest of naturel growth … uncultivated or unfrequented wood'. The hyphens in this text must be largely or wholly scribal in origin; the error would be easy.
4.2.401/2352 hee is] F2; hee's F1
4.3.16/2371, 4.3.23/2378 a lord] Lord. F; 1. L. capell. Capell's identification as 'First Lord', accepted by subsequent editors, creates an unnecessary identity with the 'First Lord' of Act 1.
4.3.28/2383 a lord] Lord. F; 2. L. capell; 1. lord. malone. See previous note.
4.3.40 betid] F (betide)
4.4.2/2403 finde we] F2; we finde F1
4.4.17/2418 the] rowe; their F
4.4.18/2419 Files] rann; Fires F. An easy misreading; the 'Files' end 'horses' suggest an imminent attack; 'Fires' by contrast merely implies a Roman camp.
4.4.27 hard] F (heard). See OED.
4.4.35/2436 is't] F1; is it F2
5.1.1/2456 one wisht] This edition (conj. Kellner); am wisht F; wish'd pope; am whisht chambers. For Kellner's conjecture see Anglica, Untersuchungen … Alois Brandi … ūberreicht (1925), ii. 168. Maxwell rejects it on metrical grounds, but an extra unstressed syllable after the caesura is a common metrical licence (see 4.3.30/2385, etc.). Pope's emendation, almost always adopted, leaves F's error unexplained; Chambers's whisht (meaning 'hushed') makes poor sense.
5.1.15/2470 dread il] This edition; dread it F; dreaded theobald. The line has provoked much emendation and conjecture; 'it' has been defended only as a 'rather vague' allusion to 'this accumulation' or 'sin'. The misreading proposed here would be easy; for the spelling, see OED. (The form 'illes' in the preceding line is almost certainly scribal.)
5.1.16/2471 blest] This edition (conj. Johnson); best F. The emendation is supported by 'sacred wil's' (Winter's Tale 3.3.7/1260), es well as symmetry. For omitted letters in Compositor B's work compare 'amed' (2.3.29/878), 'insulment' (3.5.141/1797), 'stopt' (5.5.42/2548), etc.
5.1.20/2475 Mistris-peace] This edition (conj. Staunton, Athenaeum (14 June 1873), 761–2); Mistris: Peace F. It is not clear why Posthumus should say 'Peace' to 'Britaine'; F could easily arise from misinterpretation of an unusual compound (see OED). Piece could be spelled 'peace' in this period.
5.1.20 mistress-piece] See preceding note.
5.1.32–3/2487–8 begin‸ | The fashion, ] theobald; ⁓, ⁓‸
188.8.131.52/2488.1 A March.] This edition; not in F. F characteristically omits the music cues from this direction.
184.108.40.206/2488.4 Alarums.] This edition; not in F. See preceding note.
5.3/Sc. 25] This edition; not in F. Either Giacomo's 'Exit' is incorrect, or the stage is cleared and a new scene should be marked (as in many other battle sequences identical to this one).
220.127.116.11–2/2498.1–2 Alarums … Retreat ] This edition; not in F. (The practical implications of F's The Battaile continues'.)
5.4/Sc. 26] This edition; not in F. See 5.3/Sc. 25.
18.104.22.168/2501.3 The Trumpets sound a Retreat] This edition; not in F. See 22.214.171.124/2488.1.
5.5.2/2508 I] This edition (conj. Craig); I did F. F's repetition is extrametrical, and could easily arise from assimilation to the preceding line. 'I' is also usefully ambiguous: 'ay' or 'I?' or 'I—'.
5.5.24/2530 harts] pope 2 (Theobald); hearts F
5.5.24/2530 her] thirlby; our F
5.5.42/2548 stoopt] rowe; stopt F
5.5.43/2549 they] theobald; the F
5.5.53/2559 do not] F; do but theobald; do you ingleby. See next note.
5.5.53/2559 yet you] This edition; you F; tho' you hanmer; but you capell (conj.). The emendation serves the same purpose as the 18th-c. conjectures, but better explains the alleged error (eyeskip from one 'y' to the next). As Johnson explained, 'Posthumus first bids him not wonder, then tells him in another mode of reproach, that wonder is all that he was made for'. But this sense is difficult to convey without a conjunction—especially as this conjunction is the pivot of Posthumus' whole attitude toward his interlocutor.
5.5.64/2570 This] This edition (conj. Ritson); This is F. F's extrametrical 'is' adds nothing, since 'This' could be used as a contraction of 'This is'.
5.5.72/2578 words] F; viands vaughan (conj.). Vaughan supposes an easy misreading, supported by 5.6.157/2963.
5.5.74/2580 For] F; Fortune ingleby (Brae)
5.5.75/2581 a Britaine] F; a Britaine I This edition conj. The addition would make the syntax of this difficult passage more comprehensible; F could easily arise from haplography.
5.5.75/2581 haue resum'd] F; here resume This edition conj. Posthumus must be dressed as a Briton earlier in the scene, and the first part of his soliloquy gives no clue or cue to a change in costume—and it is hard to see how he can resume his role as an Italian without some corresponding visual gesture.
126.96.36.199/2600.1 Flourish.] This edition; not in F. See Introduction.
188.8.131.52/2600.5 Exeunt] theobald (subs.); not in F. See next note.
184.108.40.206/2600.5 Manet] This edition; Scena Quarta. | Enter F. F as it stands is clearly wrong in some way: it calls for Posthumus and a Jailer to enter, when they are still on stage. Hanmer solved this problem by adding an 'Exeunt' at 5.5.94/2600 and omitting 220.127.116.11–5/2600.1–5; other editors, following Theobald, add an 'Exeunt omnes' after 5.5.96/2602. But Hanmer's solution is at least logical, in that it recognizes that the extended direction at 18.104.22.168–5/2600.1–5 and the entrance at 22.214.171.124/2600.5 are incompatible; for the dumb show serves only as a transition for Posthumus from one set of custodians to another, making the (editorially interpolated) mass exeunt not only superfluous but nonsensical. This contradiction in F might be resolved by presuming that the dumb show is an interpolation (Hanmer); but it would be simpler to suppose a misunderstanding in 126.96.36.199/2600.5 (as in this edition).
188.8.131.52–6/2600.5–6 who … legges ] This edition; not in F
5.5.95/2601 gaoler] F (Gao.). Editors since rowe change the prefix to '1. Gaoler'; although this is undoubtedly the sense, and pg 609appropriate in a modernized text, it seems probable that 'Gaoler' (like 'Messenger') means 'First Gaoler', and that the numeral is only added for a second such character. See 5.5.245/2751.
5.5.110/2616 maine part] F; mainport nosworthy (Walker)
5.5.121/2627 make] hudson 2 (Daniel); take F. Nosworthy defends F as 'the operative verb throughout the second half of the speech, being used six times'; but this very repetition would make the proposed error exceptionally easy. Shakespeare never elsewhere uses take with audit; make … audit occurs at Macbeth 1.6.27/392, and Coriolanus 1.1.142/140.
5.5.161/2667 gecke] capell; geeke F
5.5.163/2669 come] dyce 2 (W. S. Walker); came F. See Maxwell.
5.5.175/2681 looke] F2; looke, | looke F1
5.5.212 Preens] F (Prunes)
5.5.212 claws] F (cloyes). OED lists this passage as its only example of cloy, v.2; but the form seems clearly related to cly, clye, clee, cloy (v.1), and claw, each in a range of spellings, all with variants of the same sense, and all but claw now obsolete.
184.108.40.206/2750.1 Gaoler] F; Re-enter Jailers, capell
5.5.245/2751, etc. gaoler] F (Gao.). As F gives no indication of a second jailer's presence, there seems no need to specify '1. gaoler' in all the prefixes here (as editors who follow Capell's stage directions do).
5.5.253/2759 are as] maxwell (Collier); are F
5.5.259/2765 Of] globe; Oh, of F
5.5.263/2769 Sir] F2; Sis F1
5.5.274/2780 or take] capell (Heath); or to take F
5.5.278 on] F (one)
5.5.300/2806 Exeunt.] F1; Exit F2. F2 has an 'Exeunt' after 5.5.291/2797, which editors traditionally accept, taking it to mean 'Exeunt all but the First Gaoler'. But the Messenger tells the Jailer himself to 'bring' his prisoner to the King. The Jailer's final speech can be spoken partly to Posthumus, partly aside, partly to the messenger, as he is unlocking Posthumus' leg-irons.
220.127.116.11/2806.1 Flourish.] This edition; not in F
5.6.5 targs] F (targes). This spelling makes it clear that the word is a monosyllable. See Antony 2.6.39/1035.
5.6.55/2860 and in fine] This edition; and in time F; yes and in time F2; and in due time keightley (W. S. Walker); and so in time hudson 2 (Jervis); and thus in time hertzberg (cited in Nosworthy). Though F2 initiated a tradition of metrical emendation, F1 is metrically acceptable as a defective caesura. More suspicious is the lame repetition of 'in … time', some lines above; one expects some sense of culmination (which the emendations of Keightley, Hudson, and Hertzberg all attempt to supply). This is most easily provided by 'in fine' (meaning 'in the end'), an idiom Shakespeare uses 8 times elsewhere. Under the influence of 5.6.53/2858, and aural similarity, a scribe or compositor could easily substitute 'in time' for 'in fine' (which also alliterates with 'fitted' 5.6.56/2861). The same sense, and a normalization of the metre, would be achieved by 'in conclusion', which is equally common in Shakespeare's work; but the Folio error would be rather less easy to explain.
5.6.56/2861 fit] hudson 2 (W. S. Walker); fitted. F's termination is extrametrical and superfluous: see Abbott, 341, 342.
5.6.63/2868 ladies] cambridge; La. F1; Lady. F4
5.6.65/2870 heard] F3; heare F1
5.6.122/2928 resembles: … Lad‸ ] johnson; ⁓‸ … ⁓: F
5.6.135 On] F (One)
5.6.143/2949 Torments] hudson 2 (Ritson); Which torments F
5.6.165 straight-pitched] F (straight-pight)
5.6.178 cracked] F (crak'd)
5.6.206/3012 got it] F2; got F1
5.6.226/3032 villain] maxwell; villany F
5.6.234/3040 comes] F1; come rowe
5.6.262/3068 frõ] rowe; fro F
5.6.263/3069 locke] neilson-hill (Dowden); Rocke F
5.6.275 truth] F (troth)
5.6.278/3084 was] F; had This edition conj. Substitution of auxiliary verbs is a common error; 'had' permits elislon ('sh'd'), where 'was' does not (being indistinguishable, if elided, from 'she is').
5.6.304/3110 boy] This edition; man F; youth keightley. Keightley suspected that F's lame 'man' is a substitution for some other noun, caused by contamination from the other 'man' in the line. But 'boy' is much more likely than 'youth' to be the original noun. Belarius cells Arviragus and Guiderius 'boys' 10 times, 'youths' never; 'boy' better alliterates; and Shakespeare contrasts 'boy' with 'man' at least 18 times elsewhere, including: 'If thou kil'st me, boy, thou shalt kill a man' (Much Ado 5.1.79/2143), 'His disgrace is to be called Boy, but his glorie is to subdue men' (LLL 1.2.171–2/472–3), and—in Cymbeline itself—'The Boy hath taught vs manly duties' (4.2.398/2349) and 'Two Boyes, an Oldman (twice a Boy)' (5.5.57/2563).
5.6.313 on's] F (one's)
5.6.336/3142 meere] rann (Tyrwhitt); neere F
5.6.337/3143 Treason:] pope; ⁓‸ F
5.6.353/3159 like] F2; liks F1
5.6.360.1/3166.1 Guiderius kneeles] This edition; not in F. The subsequent directions for Arviragus (5.6.362.1/3168) and both (5.6.374/3180) are also editorial. It seems natural for both, when presented to their father/king, to kneel; he in turn blesses them.
5.6.380/3186 ye] rowe; we F
5.6.388/3194 Brothers] rowe; Brother F
5.6.394/3200 Intergatories] malone (Tyrwhitt); Interrogatories F
5.6.407/3213 so] F2; no F1
5.6.448/3253 thy] F; this This edition conj.
5.6.451/3256 this] F; thy capell. If one assumes that the difficulty in 5.6.451/3256 is related to that in 5.6.448/3253, the entire speech can be addressed to Posthumus (whose tablet the Soothsayer is interpreting).
5.6.471/3276 this yet] F3; yet this F1
5.6.487.1/3292.1 Flourish.] This edition; not in F
5.6.487.1/3292.1 in Triumph] This edition; not in F
2 Courtiers‸ ] ⁓:
58 eld'st] eldest
58 old;] ⁓‸
59 cloathes‸ the other, ] ⁓, ⁓‸
140 bless'd] blessed
320–1 Country-Mistresses] ⁓-| ⁓
336 others,] ⁓.
344 Mistris] Mistirs
381 thet] rhat
387 Estate] Fstate
388 spoke.] ‸,
391 safe.] Fb; ⁓, Fa
396 my] Fa; My Fb
400 preserue] pre-ſeure
555 mad?] Fb; ⁓. Fa
559 Beach,] Fb; ⁓‸ Fa
560 Spectacles] Spectales
567 oppos'd] Fb; opos'd Fa
569 allur'd] allur, d
577 abode] Fb; aboed Fa
579 Continews] Continwes Fa; Continues Fb
586 knowing] knowiug
595 be:] Fb; ⁓▪ Fa
603 Tallents] Fa; Talents Fb
614 your—] Fb; ⁓: Fa
625 loyalty:] ⁓.
627 dampn'd] Fa; damn'd Fb
628 Slauer] F (c.w.); Slauuer F (text). (OED does not record 'slauuer'.)
635 Encounter] Fb; Encounter Fa
635 feare,] Fa; ⁓‸ Fb
636 iachimo] Fb (Iach.); Iach. Fa
788 And] Aud
792 expulsion] Fb; expusion Fa
820 designe?] Fa; ⁓. Fb
823 adornement] Fb; adronement Fa
872 eyes:] ⁓‸
875 penetrate] pen trate
884 daughter?] ⁓‸
944 kindnesse] kinduesse
947 Fooles] Fooies (?)
974 Enuie,] ⁓.
979 meanest] mean'st
1002 meanest] mean'st
1034 fayr'st] fayrest
1102 that:] ⁓‸
1130 deerly.] ⁓‸
1182 rather all.] ⁓‸
1269 Salt-water-Girdle] Salt-|water-Girdle
1291 So much] Fb; Somuch Fa
1291 Doo't: The Letter,] Doo't: The Letter.
1294 Incke] Fa; Inke Fb
1313.1 She … Letter ] (Fb here has a blank line; Fa places the blank line instead between - .)
1320 Leonatus-Posthumus] Fa (roman); ⁓‸ ⁓ Fb (roman)
1333 Wales‸ ] Fb; ⁓: Fa
1335 and] Fb, ‸nd Fa
1337 get] ger
1343 Execution] Excution
1351 (Man);] (Man)‸
1351 heere‸ ] ⁓;
1483 innogen (reades)] Imogen reades. (indented as stage direction)
1502 false] falſe
1630 one.] ⁓,
1631 this,] ⁓.
1797 insultment] inſulment
1889 Friends,] ⁓?
1956 sicke.] ⁓,
1992 answer] auſwer
2035 Grandfather:] ⁓?
2151 Age,] Ag‸e (very faint inking of a fragment in some copies)
2173 face,] ⁓.
2356 bring] bring
2409 vs] v.
2420 And] Aud
2537 nothing:] ⁓.
2650 deseru'd] d‸ſeru'd
2655 or] Or
2813 Our] Onr
2931 forbeare,] ⁓‸
2957 strength,] ⁓‸
3004 operate] operare
3047 pisanio] Piſæ.
3052 If Pisanio] If Paſanio
3108 Lord.] ⁓‸
3167 Aruiragus,] ⁓.
3195 whether? these‸ ] ⁓‸ ⁓?
3203 Me,] ⁓:
FOLIO STAGE DIRECTIONS
18.104.22.168/0.1 Enter two Gentlemen.
22.214.171.124/68.1 Enter the Queene, Posthumus, and Imogen.
1.1.102/102 Enter Queene.
1.1.125/125 Enter Cymbeline, and Lords.
1.1.151/151 Enter Queene.
126.96.36.199/159.1 Enter Pisanio. (after 'Folly', 1.1.159/159)
188.8.131.52/181.1 Enter Clotten, and two Lords.
184.108.40.206/220.1 Enter Imogen, and Pisanio.
1.3.38/258 Enter a Lady.
220.127.116.11–3/261.3–5 Enter Philario, Iachimo: a Frenchman, a Dutch-|man, and a Spaniard.
18.104.22.168/288.1 Enter Posthumus.
22.214.171.124/437.1 Enter Queene, Ladies, and Cornelius.
1.5.3/440 Exit Ladies.
126.96.36.199/463.1 Enter Pisanio.
1.5.75/512 Exit Pisa. (after 1.5.74/511)
1.5.82/519 Enter Pisanio, and Ladies.
188.8.131.52/522.1 Exit Qu. and Ladies (after 'words', 1.5.85/522)
184.108.40.206/524.1 Enter Imogen alone.
1.6.9/533 Enter Pisanio, and Iachimo. (after 'Fye')
1.6.22/546 Imogen reads.
220.127.116.11/733.2 Enter Clotten, and the two Lords.
18.104.22.168–3/797.1–2 Enter Imogen, in her Bed, and a Lady.
22.214.171.124/807.1 Iachimo from the Trunke.
126.96.36.199/847.1 Clocke strikes
188.8.131.52/848.3 Enter Clotten, and Lords.
184.108.40.206/861.1 Enter Musitians.
220.127.116.11/878.2 Enter Cymbaline, and Queene.
18.104.22.168/923.1 Enter a Lady.
2.3.83/932 Enter Imogen. (after 'Princesse')
22.214.171.124/982.1 Enter Pisanio.
126.96.36.199/1002.1 Enter Posthumus, and Philario.
2.4.26/1028 Enter Iachimo.
188.8.131.52/1154.1 Enter Posthumus.
184.108.40.206–3/1189.1–3 Enter in State, Cymbeline, Queene, Clotten, and Lords at | one doore, and at another, Caius, Lucius, | and Attendants.
220.127.116.11/1274.1 Enter Pisanio reading of a Letter.
3.2.22/1296 Enter Imogen, (after 'comes')
18.104.22.168–2/1355.1–2 Enter Belarius, Guiderius, and Aruiragus.
22.214.171.124/1462.1 Enter Pisanio and Imogen.
3.4.21/1483 Imogen reades.
126.96.36.199–2/1656.2–3 Enter Cymbeline, Queene, Cloten, Lucius, | and Lords.
188.8.131.52/1673.1 Exit Lucius, &c
3.5.41/1697 Enter a Messenger.
184.108.40.206/1711.1 Exit. (after 'dayes')
220.127.116.11/1721.1 Enter Cloten.
3.5.69/1725.1 Exit Qu.
3.5.80/1736 Enter Pisanio.
18.104.22.168/1802.1 Enter Pisanio.
22.214.171.124/1817.1 Enter Imogen alone.
126.96.36.199/1844.1 Enter Belarius, Guiderius, and Aruiragus.
3.6.44/1861 Enter Imogen.
188.8.131.52/1910.1 Enter two Roman Senators, and Tribunes.
184.108.40.206/1926.2 Enter Clotten alone.
220.127.116.11–2/1951.1–2 Enter Belarius, Guiderius, Aruiragus, and | Imogen from the Caue.
18.104.22.168/2014.1 Enter Cloten.
4.2.102/2053 Fight and Exeunt.
4.2.102/2053 Enter Belarius and Aruiragus.
4.2.113/2064 Enter Guiderius.
4.2.184/2135 Enter Guidereus.
4.2.187/2138 Solemn Musick.
4.2.196/2147 Enter Aruiragus, with Imogen dead, bearing | her in his Armes.
4.2.282.1/2233.1 Enter Belarius with the body of Cloten.
4.2.293/2244 Imogen awakes.
4.2.334.2/2285.2 Enter Lucius, Captaines, and a Soothsayer.
22.214.171.124/2355.2 Enter Cymbeline, Lords, and Pisanio.
126.96.36.199/2401.2 Enter Belarius, Guiderius, & Aruiragus.
188.8.131.52/2455.1 Enter Posthumus alone.
184.108.40.206–7/2488.1–7 Enter Lucius, Iachimo, and the Romane Army at one doore: | and the Britaine Army at another: Leonatus Posthumus | pg 611following like a poore Souldier. They march ouer, and goe | out. Then enter againe in Skirmish Iachimo and Posthu-|mus: he vanquisheth and disarmeth Iachimo, and then | leaues him.
220.127.116.11–4/2498.1–4 The Battaile continues, the Britaines fly, Cymbeline is | taken: Then enter to his rescue, Bellarius, Guiderius, | and Aruiragus.
5.3.1–2/2501.1–2 Enter Posthumus, and seconds the Britaines. They Rescue | Cymbeline, and Exeunt.
18.104.22.168–2/2501.3–4 Then enter Lucius, Iachimo, and Imogen.
22.214.171.124–2/2506.1–2 Enter Posthumus, and a Britaine Lord.
126.96.36.199/2589.1 Enter two Captaines, and Soldiers.
188.8.131.52–4/2600.1–4 Enter Cymbeline, Belarius, Guiderius, Aruiragus Pisanio, and | Romane Captiues. The Captaines present Posthumus to | Cymbeline, who deliuers him ouer to a Gaoler.
[184.108.40.206/2600.5] Enter Posthumus, and Gaoler.
220.127.116.11–9/2629.1–9 Solemne Musicke. Enter (as in an Apparation) Sicillius Leo-|natus, Father to Posthumus, an old man, attyred like a war-|riour, leading in his hand an ancient Matron (his wife, & | Mother to Posthumus) with Musicke before them. Then | after other Musicke, followes the two young Leonati (Bro-|thers to Posthumus) with wounds as they died in the warrs. | They circle Posthumus round as he lies sleeping.
18.104.22.168–3/2692.1–3 Iupiter descends in Thunder and Lightning, sitting vppon an | Eagle: hee throwes a Thunder-bolt. The Ghostes fall on | their knees.
22.214.171.124/2750.1 Enter Gaoler.
5.5.284.1/2790.1 Enter a Messenger.
126.96.36.199–2/2806.1–2 Enter Cymbeline, Bellarius, Guiderius, Arui-|ragus, Pisanio, and Lords.
188.8.131.52/2828.2 Enter Cornelius and Ladies.
184.108.40.206–2/2874.1–2 Enter Lucius, Iachimo, and other Roman prisoners, | Leonatus behind, and Imogen.