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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.
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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.
325:'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.
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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 at
1296:"Globe to Globe" festival. It was translated by Derik Uya Alfred and directed by Joseph Abuk. 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. Overall, the production was well received by audiences and critics. 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."
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1921:(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).
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1477:, in 1682. 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.
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501:). 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. Some scholars believe this supports a dating of approximately 1609, though it is not clear which play preceded the other.
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1507:; 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". Accordingly, in
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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 to
561:: "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.
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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
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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
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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
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Posthumus must now live in Italy, where he meets
Iachimo (or Giacomo), who wagers the prideful 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
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edited a new version of the text. 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
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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
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structure; however, critics argue that Imogen's actions contradict these social definitions through her defiance of her father and her cross-dressing. Yet critics including Tracey Miller-Tomlinson have emphasised the ways in which the play upholds patriarchal ideology, including in the final scene,
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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
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allusions and exploration of non-normative gender/sexuality – achieved through separation from traditional society into what
Valerie Traub terms "green worlds." Amongst the most obvious and frequently cited examples of this non-normative dimension of the play is the prominence of homoeroticism, as
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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
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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
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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). Hall presented the play as a distant fairy tale, with stylised performances. The production received favourable
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Pino-Saavedra, Yolando, Kurt Ranke, Italo Calvino, J. M. Synge, Violet Paget, Alan Bruford, Peter Christian Asbjørnsen, and Jørgen Moe. "Cymbeline." In Shakespeare and the Folktale: An Anthology of Stories, edited by ARTESE CHARLOTTE, 241-99. PRINCETON; OXFORD: Princeton University Press, 2019.
860:'s company in 1801. 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. Kemble added a dance to Cloten's comic wooing of Imogen. In 1827, his brother
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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". According to Adelman and Tracey Miller-Tomlinson, in taking sole
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first performed in 1582. 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 in
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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 with
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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."
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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 the
419:. 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. The subplot of Posthumus and Iachimo's wager derives from story II.9 of
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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.
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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. Though
638:"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."
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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").
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November of that year, starring Garrick himself as Posthumus. Several scholars have indicated that Garrick's Posthumus was much liked. Valerie Wayne notes that Garrick's changes made the play more nationalistic, representing a trend in perception of
546:, which Shakespeare used as a source, mention an Innogen and that Forman's eyewitness account of the April 1611 performance refers to "Innogen" throughout. In spite of these arguments, most editions of the play have continued to use the name Imogen.
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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. Imogen's own experience with gender fluidity and
1606:'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. In 1956 the
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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 and academics alike.
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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
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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. Other critics have resisted the idea that
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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.
433:. 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 from
1433:, 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.
1213:) 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.)
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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.
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found it "difficult to resist the conclusion that was getting bored himself. Bored with people, bored with real life, bored with drama, bored, in fact, with everything except poetry and poetical dreams."
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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.
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as Imogen. The play was again at Stratford in 2004, directed by David Latham. A large medieval tapestry unified the fairly simple stage design and underscored Latham's fairy-tale inspired direction.
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Matzke, Christine (2013). "Performing the Nation at the London Globe – Notes on a South Sudanese Cymbeline 'We will be like other people in other places'". In Plastow, Jane; Banham, Martin (eds.).
712:. There is some debate as to whether Imogen and Posthumus's marriage is legitimate. Imogen has historically been played and received as an ideal, chaste woman maintaining qualities applauded in a
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1979:... 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 the
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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.
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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.
1811:, 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 the
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782:– Imogen is not afforded empowerment upon her transformation into Fidele. Instead, Imogen's power is inherited from her father and based upon the prospect of reproduction.
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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.
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wrote an adaptation which was apparently never staged. His version eliminates the brothers altogether as part of a notable enhancement of Posthumus's role in the play.
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In both sources, the equivalent to Posthumus's bracelet is stolen jewellery that the wife later recognises while cross-dressed. Shakespeare also drew inspiration for
975:'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.
1614:'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 from
968:, 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.
1501:, 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 1937
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seen in Guiderius and Arviragus's semi-sexual fascination with the disguised Imogen/Fidele. In addition to homoerotic and homosocial elements, the subjects of
160:, 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.
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Here begynneth a propre treatyse of a marchauntes wyfe, that afterwarde wente lyke a man and became a grete lorde, and was called Frederyke of Iennen 1560
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events in any system of life, were to waste criticism upon unresisting imbecility, upon faults too evident for detection, and too gross for aggravation.
4668:"Here begynneth a propre treatyse of a marchauntes wyfe, that afterwarde wente lyke a man and became a grete lorde, and was called Frederyke of Iennen"
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Iachimo's invasion of Imogen's bedchamber may reflect concern that Britain was being maligned by Italian influence. According to Peter A. Parolin,
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674:, who considered himself the "British Augustus." His political manoeuvres to unite Scotland with England and Wales as an empire mirror Augustus'
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1914:, 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.
1742:, 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.
1484:. He cut the Queen, reduced the action to two places (the court and a forest in Wales). The dirge "With fairest flowers..." was set to music by
647:, 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".
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of his grim fate. Jupiter himself appears in thunder and glory to assure the others that destiny will grant happiness to Posthumus and Britain.
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at the Royal Shakespeare Theatre. It was his final production as artistic director, and received largely positive reviews. The cast included
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The editors of the Oxford and Norton Shakespeare believe the name of Imogen is a misprint for Innogen—they draw several comparisons between
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After the 1611 performance mentioned by Simon Forman, there is no record of production until 1634, when the play was revived at court for
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1334:, with Cymbeline as a man of high status who avoids military service. The play was performed outdoors and was accompanied by traditional
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William Hawkins revised the play again in 1759. His was among the last of the heavy revisions designed to bring the play in line with
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adaptation in 1982, ignoring the ancient British period setting in favour of a more timeless and snow-laden atmosphere inspired by
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Belarius – banished lord living under the name Morgan, who abducted King Cymbeline's infant sons in retaliation for his banishment
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1252:. The Queen was a southern belle married to a rancher, with Imogen as a high society girl in love with the cowhand Posthumous.
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Thompson, Ann (2001). "Person and Office: the Case of Imogen, Princess of Britain". In Newey, Vincent; Thompson, Ann (eds.).
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directed the play for Phizzical Productions with six actors playing multiple parts for a UK national tour. The cast included
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by the two main characters Clarissa and Septimus Smith. The lines, which turn Mrs. Dalloway's thoughts to the trauma of the
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437:, and Pisanio's reluctance to kill Imogen and his use of her bloody clothes to convince Posthumus of her death derive from
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has largely been interpreted through a patriarchal lens. Unlike other Shakespearean agents of onstage gender fluidity –
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1895:"Fear no more the heat of the sun" is the line that Winnie and her husband are trying to remember in Samuel Beckett's
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Prior to operatic adaptations only incidental music was composed. The first operatic adaption seems to be composed by
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658:, in my judgment, is partly a Shakespearean self-parody; many of his prior plays and characters are mocked by it."
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production, in 1962, went in the opposite direction. Working on a set draped with heavy white sheets, director
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that rewrites the final act of the play. Shaw commented on the play 1896, in one fiery critique stating it was:
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Wayne, Valerie (2005). "Cymbeline: Patriotism and Performance". In Dutton, Richard; Howard, Jean E. (eds.).
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In 1980, David Jones revived the play for the RSC; the production was in general a disappointment, although
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as "Fear No More the Heat o' the Sun," No. 1 of Five Shakespeare Songs, Op. 23 (1921). It was also set by
538:'s wife (Posthumus being also known as "Leonatus", the Latin form of the Italian name in the other play).
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3971:"South Sudan Theatre Company perform Cymbeline in London – Sudan Tribune: Plural news and views on Sudan"
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Scholars have emphasised that the play attributes great political significance to Imogen's virginity and
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Perhaps the most famous verses in the play come from the funeral song of Act IV, Scene 2, which begins:
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have prompted critics to interpret the play as Shakespeare voicing support for the political notions of
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Ziegler, Georgianna (1 March 1990). "My lady's chamber: Female space, female chastity in Shakespeare".
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Cunningham, Karen (1994). "Female Fidelities on Trial: Proof in the Howard Attainder and "Cymbeline"".
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Lander, Bonnie (1 July 2008). "Interpreting the Person: Tradition, Conflict, and Cymbeline's Imogen".
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in her bedchamber in Act II, scene ii, when Iachimo witnesses the mole under her breast. Painting by
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was one of Shakespeare's more popular plays during the eighteenth century, though critics including
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Collier, Susan (1998). "Cutting to the Heart of the Matter". In Murray, Gillian Kendall (ed.).
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Milford Haven is not known to have been used during the period (early 1st century AD) in which
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Posthumus Leonatus – Innogen's husband, adopted as an orphan and raised in Cymbeline's family
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1603:
810:, with emphasis placed on the spectacle of the production rather than the text of the play.
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with its panoply of male victors. Whilst Imogen and Posthumus's marriage at first upholds
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in October 2007 in a production directed by Sir Trevor Nunn, and in November 2007 at the
1097:
996:
818:. There is evidence that Cibber put on another performance in 1746, and another in 1758.
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3118:"Cymbeline review – Shakespeare's knotty romance is a fabulous farewell for Doran *****"
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Foreword to 'Cymbeline Refinished' · British Universities Film & Video Council 1951
1684:
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1170:. The latter production, which was marked by much-approved scenic complexity, featured
857:
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184:
43:
3021:
1694:, in which Hawke plays Iachimo. The film is set in the context of urban gang warfare.
1030:
Cymbeline. Following Victorian practice, Benthall drastically shortened the last act.
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4584:"Foreword to 'Cymbeline Refinished' · British Universities Film & Video Council"
202:– Cymbeline's son, kidnapped in childhood by Belarius and raised as his son Polydore
8241:
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Cymbeline in Washington, DC at Shakespeare Theatre Company – Lansburgh Theatre 2011
1878:
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873:
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4816:"Cymbeline (Phizzical) @ Grand Opera House, Belfast, 2013 – Reviewing Shakespeare"
1221:
1139:
disliked the set design, which he called too minimal, but he approved the acting.
1022:
was criticised as too cold and formal for Imogen; Leon Gluckman played Posthumus,
1003:
production to Stratford in 1946, inaugurating the post-war tradition of the play.
504:
328:
208:– Cymbeline's son, kidnapped in childhood by Belarius and raised as his son Cadwal
8125:
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7709:
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6521:
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6021:
5937:
5644:
5356:
4887:
3730:
3578:
3175:
1911:
1808:
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1419:
1396:
1377:
1315:
1270:
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1061:
Hall's approach attempted to unify the play's diversity by means of a fairy-tale
1019:
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616:
605:
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286:
4762:
Blood on the Stage, 1600 to 1800: Milestone Plays of Murder, Mystery, and Mayhem
4265:"Cymbeline in Washington, DC at Shakespeare Theatre Company – Lansburgh Theatre"
3993:
2907:
1441:
834:
would prove popular; it was staged a number of times over the next few decades.
8184:
7989:
7964:
7804:
7679:
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7379:
7349:
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7309:
6014:
5754:
5472:
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4632:
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1867:
1798:
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569:, when he invaded England via Milford on 7 August 1485 on his way to deposing
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7143:
7047:
6964:
6934:
6789:
6735:
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5612:
5423:
5228:"'Resident Evil's Milla Jovovich Joins Shakespeare Modernization 'Cymbeline'"
5144:
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4406:
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3768:
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3471:
Ethan Hawke To Reunite With 'Hamlet' Director For Modern-Day 'Cymbeline' 2013
3254:
1845:
1803:
1707:
1622:
1535:
1388:
1381:
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completely opposite direction and placed the action on ranch in the American
1198:
1051:
1027:
1023:
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921:
887:
869:
822:
758:
753:
and paternity/maternity also feature prominently in queer interpretations of
750:
741:
723:
574:
539:
425:
369:
342:
39:
5133:"Anachronistic Italy: Cultural Alliances and National Identity in Cymbeline"
4575:
882:
mounted the play several times between 1837 and 1842. At the Theatre Royal,
187:– Cymbeline's daughter by a former queen, later disguised as the page Fidele
8204:
8009:
7879:
7814:
7809:
7684:
7122:
6723:
6425:
6089:
5465:
A Companion to Shakespeare's Works: The Poems, Problem Comedies, Late Plays
5398:
4283:
4044:
3621:
Wells, Stanley; Pitcher, John; Spencer, TJB; Edmondson, Paul, eds. (2005).
3386:
1849:
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1660:
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578:
467:
322:
306:
258:
8325:
5265:
4509:
4481:"Ethan Hawke To Reunite With 'Hamlet' Director For Modern-Day 'Cymbeline'"
4111:
3027:
8224:
8074:
8029:
8004:
7824:
7599:
7479:
7239:
7194:
6516:
6328:
6084:
5832:
4009:
Shakespeare's Princes of Wales: English Identity and the Welsh Connection
3363:
Cymbeline Refinished · British Universities Film & Video Council 1951
1823:
1812:
1675:
1580:
1485:
1415:
1361:
1289:
1281:
1163:
1089:
1085:
1011:
936:
913:. In the late nineteenth century, the play was produced several times in
849:
513:
472:
356:
333:
133:
5015:
Miller-Tomlinson, Tracey (29 April 2015). "Queer History in Cymbeline".
4340:
4060:
3788:
Boling, Ronald J. (1 April 2000). "Anglo-Welsh Relations in Cymbeline".
1216:
There have been some well-received theatrical productions including the
7834:
7639:
7629:
7489:
7484:
7469:
7464:
7269:
7244:
7219:
7199:
7058:
6919:
6892:
6601:
5888:
5341:
4854:
4714:
3819:
3697:
3666:
Bergeron, David M. (1980). "Cymbeline: Shakespeare's Last Roman Play".
3626:
3097:
1943:
1863:
1853:
1380:
in late 2016. The performance featured Bethan Cullinane as Innogen and
1312:
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1151:
1143:
883:
713:
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609:
554:
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375:
205:
175:
129:
5690:
5661:
4297:"Cymbeline Refinished · British Universities Film & Video Council"
3416:
2805:
2356:
2354:
1080:, to mixed critical reviews. The acting, however, was widely praised.
8199:
8147:
8064:
8059:
7949:
7934:
7919:
7904:
7649:
7624:
7619:
7614:
7564:
7554:
7549:
7544:
7404:
7374:
7369:
7364:
7334:
7274:
7229:
7224:
6914:
6533:
6385:
6321:
5909:
3658:
1695:
1644:
1346:
1050:
played Posthumus, and Robert Harris Cymbeline. Iachimo was played by
910:
332:
Iachimo stealing Imogen's bracelet, Act II Scene ii. Illustration by
314:
199:
5333:
5167:
Macready's Reminiscences and Selections from His Diaries and Letters
4706:
3803:
3681:
1610:
produced a similar television program, this time airing scenes from
557:
noted that it was the closest seaport to Shakespeare's home town of
413:, but which Shakespeare likely found in the 1587 edition of Raphael
8159:
8069:
8024:
7929:
7864:
7859:
7839:
7819:
7774:
7769:
7744:
7739:
7594:
7574:
7534:
7504:
7494:
7459:
7414:
7409:
7399:
7389:
7384:
7299:
7264:
7249:
7234:
7209:
5683:
2865:
2351:
1954:
1667:
play Cymbeline, his Queen, Imogen, and Iachimo, respectively, with
1629:
television, starring Wiktor Sadecki as Cymbeline and Ewa Lassek as
1249:
955:
709:
667:
193:
Cloten – Queen's son by a former husband and step-brother to Imogen
5246:
Potter, Lois (2002). "The 2001 Globe Season: Celts and Greenery".
4966:
3440:
2859:
2422:
2420:
8194:
8189:
8054:
8044:
8034:
7974:
7914:
7854:
7754:
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7734:
7729:
7704:
7694:
7689:
7664:
7604:
7589:
7294:
7279:
6290:
6283:
6115:
5923:
5916:
4882:
Shakespeare Around the Globe: A Guide to Notable Postwar Revivals
4814:
Kleij, Sonja; Mullin, Romano; Williamson, Matt (9 January 2014).
4785:
Archipelagic English: literature, history, and politics 1603–1707
3066:"'Cymbeline: A Folk Tale With Music' by First Folio Theatre ★★★½"
3045:
1739:
838:
802:
production was noted as being "well likte by the kinge." In 1728
745:
553:
is set, and it is not known why Shakespeare used it in the play.
264:
211:
Pisanio – Posthumus's servant, loyal to both Posthumus and Imogen
150:
4947:"THEATER REVIEW; Fairy-Tale Plottings of a British Royal Family"
8174:
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7284:
7189:
5895:
3757:"South Sudan troupe sees new country's struggle in Shakespeare"
2417:
2381:
1626:
991:
577:. It may also reflect English anxiety about the loyalty of the
3339:
Cymbeline · British Universities Film & Video Council 1938
3327:
Cymbeline · British Universities Film & Video Council 2006
3315:
Cymbeline · British Universities Film & Video Council 1996
3303:
Cymbeline · British Universities Film & Video Council 1986
3291:
Cymbeline · British Universities Film & Video Council 1957
3279:
Cymbeline · British Universities Film & Video Council 1951
3267:
Cymbeline · British Universities Film & Video Council 1934
1730:
composed another one, of which scenes were performed in 2009.
666:
Similarities between Cymbeline and historical accounts of the
86:
30:
This article is about Shakespeare's play. For other uses, see
8284:
8084:
7884:
7539:
7524:
7329:
7324:
3435:
Cymbelin · British Universities Film & Video Council 1968
3404:
3392:
3009:
2973:
2095:
1345:
in the Sam Wanamaker Playhouse, a production was directed by
920:
In 1864, as part of the celebrations of Shakespeare's birth,
914:
814:
revived Shakespeare's text in 1744 with a performance at the
6870:
5445:"All the world's a stage as Shakespeare goes to South Sudan"
2591:
2589:
2587:
2341:
2339:
2022:
2020:
2007:
2005:
2003:
1236:. The play was included in the 2013 repertory season of the
336:, designed for an edition of Lamb's Tales, copyrighted 1918.
7759:
7674:
4994:
4245:"Cymbeline · British Universities Film & Video Council"
4225:"Cymbeline · British Universities Film & Video Council"
4205:"Cymbeline · British Universities Film & Video Council"
4185:"Cymbeline – British Universities Film & Video Council"
4165:"Cymbeline – British Universities Film & Video Council"
4145:"Cymbeline – British Universities Film & Video Council"
4125:"Cymbeline · British Universities Film & Video Council"
3103:
1754:
837:
In the late eighteenth century, Cymbeline was performed in
5363:
5208:"Penn Badgley Added To Shakespeare Adaptation 'Cymbeline'"
4077:"Cymbelin · British Universities Film & Video Council"
2811:
2504:
2456:
2324:
2071:
615:
By the early twentieth century, the play had lost favour.
5521:
5314:
Speaight, Robert (1974). "Shakespeare in Britain, 1974".
3512:
3422:
2584:
2535:
2533:
2531:
2336:
2314:
2312:
2251:
2249:
2247:
2220:
2188:
2172:
2170:
2017:
2000:
1607:
1599:
1531:
1519:
1058:
had played Iachimo with Ashcroft at the Old Vic in 1932.
1042:
reviews, both for Hall's conception and, especially, for
650:
Some have argued that the play parodies its own content.
80:
71:
6988:
4687:
Hoeniger, F.D. (Winter 1957). "Two Notes on Cymbeline".
2817:
2687:
2685:
2655:
2616:
2550:
2548:
2297:
2285:
399:
is grounded in the story of the historical British king
174:
Cymbeline – Modelled on the historical King of Britain,
5467:. Vol. 4. Blackwell Publishing. pp. 389–407.
5113:"Theatre Review: Stratford's Cymbeline a solid success"
5102:
3202:
3200:
2985:
2871:
2793:
2781:
2672:
2670:
2643:
2606:
2604:
2572:
2371:
2369:
2232:
2119:
1538:
in 1938. In October 1951 the BBC aired a production of
1277:
that steered into the fairy-tale elements of the text.
989:
in 1923, two years before his influential modern dress
5524:"Comparing scenes from Cymbeline (BBC, 1937 and 1956)"
4502:
Strangers in Blood: Relocating Race in the Renaissance
3948:
Shakespearean Power and Punishment: A Volume of Essays
3827:
3368:
3212:
2961:
2877:
2709:
2528:
2492:
2444:
2432:
2309:
2244:
2167:
2044:
744:. Scholarship on this topic has emphasised the play's
454:
who is later revealed to be the protagonist's father.
5544:"In the beginning: scenes from Cymbeline (BBC, 1937)"
5387:
The Renaissance of Lesbianism in Early Modern England
4813:
4339:
3446:
3236:
3051:
2925:
2908:
Confusion and Deception as a Royal Family Affair 2007
2829:
2769:
2757:
2745:
2682:
2545:
2393:
2107:
2032:
1146:
as Imogen received reviews that rivalled Ashcroft's.
1107:'s 1974 production for the RSC (with assistance from
1084:
as Imogen was often compared favourably to Ashcroft;
242:
Iachimo/Giacomo – a Roman lord and friend of Philario
89:
68:
4988:
African Theatre 12: Shakespeare in and out of Africa
4605:
Women and Romance Fiction in the English Renaissance
3870:. Vol. 8. New York: Columbia University Press.
3705:
Bevington, David; Kastan, David Scott, eds. (2009).
3500:
3488:
3197:
3064:
Tribune, Kerry Reid, Special to the (24 June 2013).
2733:
2721:
2667:
2633:
2631:
2601:
2560:
2366:
2273:
1726:
in 1894, under the title "Dinah"; American composer
612:, however, numbered it among their favourite plays.
581:
and the possibility of future invasions at Milford.
565:
notes its possible symbolism as the landing site of
181:
Queen – Cymbeline's second wife and mother to Cloten
128:
concerning the early historical Celtic British King
83:
77:
5654:– Texts, supplementary materials, and resources at
3476:
3224:
3033:
2997:
2949:
2889:
2697:
2516:
2405:
2261:
2061:
2059:
1422:-themed focus on the play's queer interpretations.
470:, was in April 1611. It was first published in the
74:
65:
5500:
5180:
5053:
4907:"Anton Yelchin and Dakota Johnson Board Cymbeline"
4879:
4620:
4434:Bernard Shaw, Playwright: Aspects of Shavian Drama
3995:"Confusion and Deception as a Royal Family Affair"
3906:William Shakespeare; A Study of Facts and Problems
3729:
3255:British Universities Film & Video Council 2019
2937:
2208:
2155:
1957:(mentioned five times in the play) ended in AD 14.
4315:
3015:
2841:
2628:
1514:There have been a number of radio adaptations of
1220:'s 1998 production in New York City, directed by
254:Caius Lucius – Roman ambassador and later general
8353:
5561:
5541:
5280:
5014:
4722:Irving, Henry; Marshall, Frank A., eds. (1890).
4554:English Ethnicity and Race in Early Modern Drama
3410:
3398:
3387:Cymbeline · Jonathan Silent Film Collection 1913
2426:
2387:
2360:
2143:
2056:
1372:. This version of the play was performed at the
1131:was Cloten. As with contemporary productions of
480:was actually written cannot be precisely dated.
4358:
3828:"British Universities Film & Video Council"
3452:
3028:Cymbeline – The Belgrade Theatre, Coventry 2013
2131:
2077:
1682:, who previously collaborated on the 2000 film
1006:London saw two productions in the 1956 season.
584:
124:) and based on legends that formed part of the
722:private relations turn out to be "homosocial,
542:and Michael Dobson point out that Holinshed's
7074:
6856:
5706:
4409:; Sharpe, Will; Sullivan, Erin, eds. (2015).
4285:"Cymbeline · Jonathan Silent Film Collection"
4081:British Universities Film & Video Council
3887:Narrative and Dramatic Sources of Shakespeare
3868:Narrative and Dramatic Sources of Shakespeare
2191:"So you think you can out-write Shakespeare?"
4551:
4113:"Cymbeline – The Belgrade Theatre, Coventry"
3926:
3518:
3089:: CS1 maint: multiple names: authors list (
2291:
1408:San Francisco's Free Shakespeare in the Park
1326:in Oak Brook, Illinois. The setting was the
1010:directed the less successful production, at
932:returned to the stage for this performance.
132:. Although it is listed as a tragedy in the
6653:
5403:Shakespeare on the English Stage, 1909–1964
4377:
2026:
2011:
1887:, William Shakespeare is competing against
1822:The last two lines appear to have inspired
1530:in 1934, 1951, 1957, 1986, 1996, and 2006.
8215:Locations associated with Arthurian legend
7081:
7067:
6863:
6849:
5713:
5699:
5498:
5056:Last Periods of Shakespeare, Racine, Ibsen
4925:
4759:
4030:
3754:
2979:
2967:
2883:
2595:
2330:
1534:broadcast a production of the play in the
516:of Shakespeare's plays, published in 1623.
5110:
4542:
4095:
3932:Art Song Preservation Society of New York
3704:
3559:
3374:
2931:
2787:
2622:
2189:thebillshakespeareproject (21 May 2017).
2101:
1463:The Injured Princess, or, the Fatal Wager
971:Similarly lavish but less successful was
830:during that period. Garrick's version of
353:Imogen Discovered in the Cave of Belarius
7088:
5564:"More scenes from Cymbeline (BBC, 1956)"
5371:
5348:
5313:
5300:
4968:"The Marlowe Society Presents Cymbeline"
4782:
4686:
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4615:
3903:
3884:
3865:
3665:
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2799:
2649:
2578:
2539:
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2399:
2279:
2226:
2176:
2125:
2050:
2038:
1744:
1563:directed the first screen adaptation of
1440:
1349:where the role of Innogen was played by
890:production was staged with Mary Warner,
843:
503:
374:
347:
327:
305:
38:
7440:Constantine III (Western Roman Emperor)
5720:
5590:
5409:
5225:
5178:
5163:
5130:
4904:
4602:
4499:
4454:
3968:
3945:
3652:
3506:
3494:
3141:
3063:
3039:
3003:
2955:
2895:
2715:
2510:
2498:
2462:
2450:
2303:
2267:
2255:
2113:
1924:
1625:directed an adaptation of the play for
856:The play entered the Romantic era with
703:
379:Watercolour of Posthumus and Imogen by
14:
8354:
8255:
5581:
5442:
5397:
5245:
5205:
4985:
4877:
4838:
4732:
4721:
4431:
4404:
3787:
3572:
3543:
3482:
3242:
3218:
3115:
2991:
2943:
2860:The Marlowe Society Presents Cymbeline
2835:
2775:
2763:
2751:
2691:
2610:
2554:
2345:
2238:
1826:in "Lines to a Yorkshire Terrier" (in
1733:
1567:in 1913. The film was produced by the
1414:, directed by Maryssa Wanlass, with a
785:
732:has gained traction in scholarship on
447:The Rare Triumphs of Love and Fortune,
291:Sicilius Leonatus – Posthumus's father
7062:
6844:
6465:Complete Works of William Shakespeare
5694:
5489:
5462:
5384:
5093:
4944:
4006:Cull, Marisa R. (19 September 2018).
3727:
3620:
3585:
3206:
2847:
2823:
2739:
2727:
2703:
2676:
2661:
2637:
2566:
2522:
2411:
2375:
2318:
2214:
2065:
1901:as they sit exposed to the elements.
1555:
1518:between the 1930s and the 2000s. The
864:mounted an antiquarian production at
8291:
8170:List of legendary rulers of Cornwall
7430:Constans II (son of Constantine III)
5193:from the original on 12 January 2022
5131:Parolin, Peter A. (1 January 2002).
5096:Shakespeare from Betterton to Irving
5051:
4735:Cymbeline: An Annotated Bibliography
4657:
4455:Dunnett, Roderic (27 January 2014).
4119:. Public Reviews. 18 September 2013.
4005:
3952:Fairleigh Dickinson University Press
3645:
3230:
3179:(program). Accessed August 14, 2023.
2480:
2468:
2161:
2149:
1757:for the song "Hark, hark! the lark."
806:staged the play with his company at
6825:
5582:Yajnik, Ramanlal Kanaiyala (1933).
5068:
4411:The Oxford Companion to Shakespeare
4384:The Oxford Companion to Shakespeare
3052:Kleij, Mullin & Williamson 2014
2137:
1787:Home art gone, and ta'en thy wages:
1465:; this version was produced at the
1162:, the play was directed in 1970 by
661:
403:, which was originally recorded in
239:Philario – Posthumus's host in Rome
24:
8165:List of legendary kings of Britain
6640:Shakespeare's influence on Tolkien
5621:
5182:"Tom Hiddleston: Not just a Romeo"
5111:Ouzounian, Richard (1 June 2012).
5098:. Vol. 2. New York: Scribner.
4660:Shakespeare and His Contemporaries
4623:A Shakespeare Companion, 1550–1950
3845:
3458:
1936:
1797:The first two lines are quoted by
1793:As chimney-sweepers, come to dust.
1717:
1201:in 2001, a cast of six (including
596:took issue with its complex plot:
491:Philaster, or Love Lies a-Bleeding
25:
8418:
5632:
5226:Patten, Dominic (8 August 2013).
5206:Patten, Dominic (7 August 2013).
5179:Patalay, Ajesh (30 August 2008).
4905:Lesnick, Silas (12 August 2013).
4637:A Shakespeare Companion 1564–1964
4556:. Cambridge, U.K.; New York, NY:
4323:. 10 October 2013. Archived from
1778:Fear no more the heat o' the sun,
1263:doubled as Posthumus and Cloten.
1088:was a success as Iachimo, as was
954:compared this trimmed version to
534:named Innogen was supposed to be
462:The first recorded production of
8387:British plays adapted into films
8334:
8317:
8300:
8266:
8254:
6933:
6824:
6815:
6814:
6168:
5672:
5562:Wyver, John (20 November 2011).
5542:Wyver, John (12 November 2011).
5522:Wyver, John (28 December 2011).
5443:Tutton, Mark (12 January 2012).
5365:"Stratford Cymbeline Production"
5164:Pollock, Frederick, ed. (1875).
4909:. ComingSoon.net. Archived from
4725:The Works of William Shakespeare
4627:. New York: Funk & Wagnalls.
3555:, first series. London: Methuen.
3104:Melly Still 2016 Production 2016
1784:Thou thy worldly task hast done,
1761:The 'Song' from Act II, Scene 3
457:
136:, modern critics often classify
61:
6884:
5301:Sedgwick, Eve Kosofsky (1993).
4945:Marks, Peter (17 August 1998).
4728:. London: Scribner and Welford.
4289:Jonathan Silent Film Collection
3755:Bloomekatz, Ari (16 May 2012).
3528:
3182:
3161:
3135:
3109:
3057:
2182:
1840:Like undertakers, come to dust.
1837:Jellicle cats and dogs all must
1834:Pollicle dogs and cats all must
1790:Golden lads and girls all must,
1781:Nor the furious winter's rages;
1491:Nearer the end of the century,
530:, in early editions of which a
8236:Vera historia de morte Arthuri
6645:Works titled after Shakespeare
5507:. Farrar, Straus, and Giroux.
5258:Johns Hopkins University Press
3423:Wyver (BBC 1937 and 1956) 2011
3142:Parsons, Gordon (5 May 2023).
2812:Stratford Cymbeline Production
2195:The Bill / Shakespeare Project
1960:
1436:
964:. The set design, overseen by
13:
1:
6805:Shakespeare and other authors
5656:Internet Shakespeare Editions
5104:"Oregon Shakespeare Festival"
5029:10.1080/17450918.2015.1033450
4996:"Melly Still 2016 Production"
3711:Random House Publishing Group
3560:Nosworthy, J.M., ed. (1955).
1993:
1947:
1904:In the Epilogue of the novel
1872:Shakespeare and All That Jazz
1844:The song was set to music by
1706:plays the role of the Queen;
1273:directed a production at the
495:
429:and the anonymously authored
217:Helen – lady attending Imogen
163:
118:
8397:Plays set in the 1st century
8372:Fiction set in Roman Britain
6943:
6687:Shakespeare Birthplace Trust
5410:Trueman, Matt (4 May 2012).
5069:Nye, Robert (30 July 2012).
5062:Wayne State University Press
4438:University of Missouri Press
3969:Collins, Toby (9 May 2012).
3586:Wayne, Valerie, ed. (2017).
1862:(1942). The text is sung by
1702:plays the orphan Posthumus;
1602:broadcast several scenes of
1449:, who adapted Shakespeare's
924:performed the title role at
736:, building upon the work of
585:Criticism and interpretation
7:
8407:Shakespeare's late romances
8377:British traditional history
8230:Trojan genealogy of Nennius
7530:Eldol, Consul of Gloucester
7024:Shakespeare's late romances
6493:English Renaissance theatre
6336:The Second Maiden's Tragedy
6315:The Merry Devil of Edmonton
5847:The Two Gentlemen of Verona
5682:public domain audiobook at
5628:doi:10.2307/j.ctvg25434.11.
5499:Wilson-Lee, Edward (2016).
5492:Renaissance Drama in Action
5094:Odell, George C.D. (1920).
4552:Floyd-Wilson, Mary (2003).
4543:Findlater, Richard (1983).
4432:Dukore, Bernard F. (1973).
4341:"Cymbeline (TV Movie 1982)"
3885:Bullough, Geoffrey (1975).
3866:Bullough, Geoffrey (1980).
3573:Warren, Roger, ed. (1998).
3116:Lawson, Mark (4 May 2023).
2872:Oregon Shakespeare Festival
1649:contemporary Dutch painters
1618:including the trunk scene.
1469:, presumably by the united
1238:Oregon Shakespeare Festival
1234:Chicago Shakespeare Theatre
214:Cornelius – court physician
27:Play by William Shakespeare
10:
8423:
8220:Treason of the Long Knives
6661:Folger Shakespeare Library
6207:The Phoenix and the Turtle
5797:The Merry Wives of Windsor
5503:Shakespeare in Swahililand
5473:10.1002/9780470996560.ch21
5405:. London: Barrie Rocklith.
5391:Cambridge University Press
5378:Liverpool University Press
5374:Literature and Nationalism
4760:Kabatchnik, Amnon (2017).
4609:Cambridge University Press
4558:Cambridge University Press
3889:. Vol. 7. Routledge.
3594:, third series. New York:
1714:plays the role of Imogen.
1641:BBC Television Shakespeare
1245:Hudson Shakespeare Company
1228:was also performed at the
939:'s last performances with
623:In 1937, Irish playwright
391:
301:
220:Two Lords attending Cloten
106:Cymbeline, King of Britain
32:Cymbeline (disambiguation)
29:
8362:English Renaissance plays
8250:
8108:
8095:Æthelfrith of Northumbria
7182:
7133:
7115:Historia Regum Britanniae
7096:
7016:
6987:
6953:Historia Regum Britanniae
6942:
6931:
6883:
6799:
6710:
6680:Royal Shakespeare Theatre
6675:Royal Shakespeare Company
6582:
6439:
6410:
6239:
6230:
6177:
6166:
6098:
6070:
5961:
5871:
5804:A Midsummer Night's Dream
5748:All's Well That Ends Well
5737:
5728:
5605:10.1080/09502369008582077
5349:Strachey, Lytton (1922).
5089:– via Google Books.
5000:Royal Shakespeare Company
4733:Jacobs, Henry E. (1982).
4547:. London: Elm Tree Books.
4026:– via Google Books.
3566:Aberdeen University Press
3447:Cymbeline (TV Movie 1982)
1738:In Beethoven’s one opera
1688:, re-teamed for the film
1522:broadcast productions of
1467:Theatre Royal, Drury Lane
1374:Royal Shakespeare Theatre
1370:Royal Shakespeare Company
1067:Royal Shakespeare Company
935:The play was also one of
926:Theatre Royal, Drury Lane
410:Historia Regum Britanniae
272:Philharmonus – soothsayer
100:The Tragedie of Cymbeline
48:Wilhelm Ferdinand Souchon
8210:Siege of Exeter (c. 630)
5818:Pericles, Prince of Tyre
5286:the neat-herd's daughter
4766:Rowman & Littlefield
4413:(2nd ed.). Oxford:
3904:Chambers, E. K. (1930).
1973:Cymbeline: Second Series
1966:Nosworthy, J. M. (1955)
1929:
1856:on texts by Shakespeare
1457:The play was adapted by
880:William Charles Macready
297:Posthumus's two brothers
8392:Fiction about uxoricide
7345:Camber (legendary king)
7255:Augustine of Canterbury
5826:The Taming of the Shrew
5385:Traub, Valerie (2002).
5326:Oxford University Press
5072:The Late Mr Shakespeare
4990:. Boydell & Brewer.
4878:Leiter, Samuel (1986).
4789:Oxford University Press
4783:Kerrigan, John (2010).
4699:Oxford University Press
4658:Hart, Jonathan (2011).
4603:Hackett, Helen (2000).
4415:Oxford University Press
4388:Oxford University Press
4360:"Decameron Web | Texts"
4014:Oxford University Press
3910:Oxford University Press
3908:. Vol. 2. Oxford:
3653:Adelman, Janet (1992).
2027:Dobson & Wells 2001
2012:Dobson & Wells 2001
1284:Theatre Company staged
1100:played the title role.
909:was first performed in
900:Edward Loomis Davenport
726:, and hermaphroditic."
645:Harley Granville-Barker
8367:Shakespearean comedies
8154:Gesta Regum Britanniae
7945:Quintus Laberius Durus
7940:Publius Septimius Geta
6977:Holinshed's Chronicles
6508:Lord Chamberlain's Men
6419:The Passionate Pilgrim
6192:comparison to Petrarch
5811:Much Ado About Nothing
5790:The Merchant of Venice
5490:White, Martin (1998).
5282:"Secrets of Cymbeline"
5052:Muir, Kenneth (1961).
4500:Feerick, Jean (2016).
4045:10.1086/rd.25.41917304
3732:Shakespeare's Romances
3728:Bloom, Harold (2000).
3194:Accessed May 28, 2024.
3174:14 August 2023 at the
3016:Cymbeline Reviews 2013
1986:
1907:Appointment with Death
1764:(Hark, hark! the lark)
1758:
1698:takes the title role.
1552:foreword to the play.
1454:
1243:In 2004 and 2014, the
1230:Cambridge Arts Theatre
853:
668:Roman Emperor Augustus
640:
603:
527:Much Ado About Nothing
517:
416:Holinshed's Chronicles
384:
360:
337:
318:
285:– King of the gods in
178:, and father to Imogen
51:
7890:Oswald of Northumbria
7435:Constantine the Great
6872:William Shakespeare's
6698:Shakespeare Institute
6667:Shakespeare Quarterly
6186:Shakespeare's sonnets
5854:The Two Noble Kinsmen
5317:Shakespeare Quarterly
5307:Duke University Press
5266:10.1353/shq.2002.0013
5249:Shakespeare Quarterly
4931:hudsonshakespeare.org
4842:Shakespeare Quarterly
4820:Reviewing Shakespeare
4690:Shakespeare Quarterly
4662:. Palgrave Macmillan.
4510:10.3138/9781442686946
3791:Shakespeare Quarterly
3669:Shakespeare Quarterly
3592:The Arden Shakespeare
3553:The Arden Shakespeare
3411:Wyver (BBC 1956) 2011
3399:Wyver (BBC 1937) 2011
2427:Miller-Tomlinson 2015
2388:Miller-Tomlinson 2015
2361:Miller-Tomlinson 2015
1977:
1953:, while the reign of
1859:Let Us Garlands Bring
1828:Five-Finger Exercises
1748:
1444:
1376:before moving to the
1322:was performed at the
1037:'s production at the
847:
738:Eve Kosofsky Sedgwick
636:
598:
573:and establishing the
507:
486:Beaumont and Fletcher
378:
351:
331:
309:
42:
7895:Oswiu of Northumbria
7720:Julius Asclepiodotus
7645:Gwenddoleu ap Ceidio
7520:Edwin of Northumbria
7445:Constantine (Briton)
7315:Budic II of Brittany
7290:Bledric ap Custennin
7215:Ambrosius Aurelianus
7090:Geoffrey of Monmouth
6554:Spelling of his name
6394:Vortigern and Rowena
6372:Thomas Lord Cromwell
5952:Troilus and Cressida
5882:Antony and Cleopatra
5776:Love's Labour's Lost
5762:The Comedy of Errors
5494:. London: Routledge.
5412:"Cymbeline – review"
5352:Books and Characters
3975:www.sudantribune.com
2104:, pp. xxv–xxvi.
1925:Notes and references
1817:The Last Convertible
1767:was set to music by
1545:Cymbeline Refinished
1509:Cymbeline Refinished
1504:Cymbeline Refinished
1039:Shakespeare Memorial
1014:. The set design by
1001:Maddermarket Theatre
966:Lawrence Alma-Tadema
808:Lincoln's Inn Fields
704:Gender and sexuality
630:Cymbeline Refinished
439:Frederyke of Jennen.
405:Geoffrey of Monmouth
311:Posthumus and Imogen
8121:Battle of Arfderydd
8000:Silvius (mythology)
7700:Ingenius of Britain
7585:Gogmagog (folklore)
7455:Cordelia of Britain
7450:Constantius Chlorus
7340:Cadwallon ap Cadfan
6778:Richard Shakespeare
6760:Gilbert Shakespeare
6692:Shakespeare's Globe
6597:Authorship question
6592:Attribution studies
6559:Stratford-upon-Avon
6401:A Yorkshire Tragedy
6379:Thomas of Woodstock
6365:The Spanish Tragedy
6306:Love's Labour's Won
6298:The London Prodigal
6255:The Birth of Merlin
6214:The Rape of Lucrece
6200:A Lover's Complaint
6080:Quarto publications
5783:Measure for Measure
5722:William Shakespeare
5137:Shakespeare Studies
5077:Allison & Busby
4317:"Cymbeline Reviews"
3655:Suffocating Mothers
2982:, pp. 238–241.
2826:, pp. 124–125.
2664:, pp. 389–407.
2513:, pp. 202–203.
2465:, pp. 202–205.
2363:, pp. 225–240.
2348:, pp. 156–184.
2078:Decameron Web Texts
1889:George Bernard Shaw
1734:Cultural references
1561:Lucius J. Henderson
1540:George Bernard Shaw
1499:George Bernard Shaw
1343:Shakespeare's Globe
1324:First Folio Theatre
1294:Shakespeare's Globe
1115:in the title role,
1096:was Posthumus, and
997:Walter Nugent Monck
985:production for the
786:Performance history
625:George Bernard Shaw
559:Stratford-upon-Avon
445:from a play called
431:Frederyke of Jennen
111:William Shakespeare
8100:Œthelwald of Deira
8090:Æthelberht of Kent
8080:Wulfhere of Mercia
8020:Son of Gorbonianus
7925:Pir of the Britons
7875:Nennius of Britain
7610:Gracianus Municeps
7500:Dunvallo Molmutius
7305:Brutus Greenshield
7107:Prophetiae Merlini
6905:Posthumus Leonatus
6772:Edmund Shakespeare
6730:Hamnet Shakespeare
6627:Screen adaptations
6350:Sir John Oldcastle
6248:Arden of Faversham
5584:The Indian Theatre
5232:Deadline Hollywood
5212:Deadline Hollywood
4952:The New York Times
4855:10.1353/shq.0.0005
4485:Deadline Hollywood
4457:"Cymbeline review"
3999:The New York Times
3928:"Christopher Berg"
3848:"Cymbeline (1983)"
3070:chicagotribune.com
1919:The Scent of Water
1870:on her 1964 album
1759:
1669:Michael Pennington
1604:André van Gyseghem
1591:as Cymbeline, and
1569:Thanhouser Company
1556:Screen adaptations
1455:
1427:Stratford Festival
1280:Also in 2012, the
1275:Stratford Festival
1160:Stratford Festival
1078:alienation effects
858:John Philip Kemble
854:
518:
508:The first page of
421:Giovanni Boccaccio
385:
381:Henry Justice Ford
361:
338:
319:
294:Posthumus's mother
52:
8402:Tragicomedy plays
8282:
8281:
8180:Matter of Britain
8142:Brut y Tywysogion
8136:Battle of Guoloph
8131:Battle of Camlann
7995:Septimius Severus
7960:Regan (King Lear)
7830:Marius of Britain
7780:Lucius of Britain
7670:Hengist and Horsa
7205:Alhfrith of Deira
7159:Brut y Brenhinedd
7056:
7055:
6838:
6837:
6742:Elizabeth Barnard
6706:
6705:
6435:
6434:
6164:
6163:
5862:The Winter's Tale
5668:Project Gutenberg
5586:. Unwin Brothers.
5514:978-0-374-26207-5
5482:978-0-470-99656-0
5288:. 18 October 2013
5086:978-0-7490-1220-5
4913:on 15 August 2013
4897:978-0-313-23756-0
4798:978-0-19-818384-6
4775:978-1-5381-0616-7
4744:978-0-8240-9258-0
4672:eebo.chadwyck.com
4650:978-0-14-053011-7
4567:978-0-521-81056-2
4519:978-1-4426-8694-6
4447:978-0-8262-0146-1
4424:978-0-19-870873-5
4405:Dobson, Michael;
4397:978-0-19-811735-3
4378:Dobson, Michael;
4291:. 1 January 1913.
4269:BroadwayWorld.com
4033:Renaissance Drama
4023:978-0-19-871619-8
3961:978-0-8386-3679-4
3919:978-0-19-811774-2
3896:978-0-231-08897-8
3877:978-0-231-08898-5
3846:Brooke, Michael.
3761:Los Angeles Times
3720:978-0-307-42183-8
3707:The Late Romances
3646:Secondary sources
3636:978-0-14-192162-4
3605:978-1-904271-30-7
2994:, pp. 61–82.
2321:, pp. 81–86.
2306:, pp. 73–90.
2292:Floyd-Wilson 2003
2241:, pp. 33–66.
2229:, pp. 31–41.
1753:, who composed a
1680:Michael Almereyda
1573:Florence La Badie
1482:classical unities
1399:as Cymbeline and
1109:Clifford Williams
1065:. The next major
958:comedies such as
812:Theophilus Cibber
452:The Rare Triumphs
321:Cymbeline is the
251:Spanish Gentleman
157:The Winter's Tale
126:Matter of Britain
97:), also known as
16:(Redirected from
8414:
8347:
8339:
8338:
8337:
8330:
8322:
8321:
8320:
8313:
8305:
8304:
8303:
8293:
8273:Wikisource texts
8270:
8258:
8257:
8242:Walter of Oxford
7980:Rud Hud Hudibras
7955:Redon of Britain
7715:Julius and Aaron
7660:Helena (empress)
7635:Gurguit Barbtruc
7260:Aurelius Conanus
7083:
7076:
7069:
7060:
7059:
6937:
6865:
6858:
6851:
6842:
6841:
6828:
6827:
6818:
6817:
6766:Joan Shakespeare
6748:John Shakespeare
6651:
6650:
6632:Shakespeare and
6343:Sejanus His Fall
6310:
6270:Double Falsehood
6237:
6236:
6221:Venus and Adonis
6172:
5945:Titus Andronicus
5931:Romeo and Juliet
5735:
5734:
5715:
5708:
5701:
5692:
5691:
5676:
5675:
5616:
5593:Textual Practice
5587:
5578:
5576:
5574:
5558:
5556:
5554:
5538:
5536:
5534:
5518:
5506:
5495:
5486:
5459:
5457:
5455:
5439:
5437:
5435:
5430:on 25 April 2019
5426:. Archived from
5406:
5394:
5381:
5368:
5360:
5345:
5310:
5297:
5295:
5293:
5277:
5242:
5240:
5238:
5222:
5220:
5218:
5202:
5200:
5198:
5184:
5175:
5160:
5158:
5156:
5151:on 25 April 2019
5147:. Archived from
5127:
5125:
5123:
5107:
5099:
5090:
5065:
5059:
5048:
5011:
5009:
5007:
4991:
4982:
4980:
4978:
4963:
4961:
4959:
4941:
4939:
4937:
4927:"Long Pond Show"
4922:
4920:
4918:
4901:
4885:
4874:
4835:
4833:
4831:
4822:. Archived from
4810:
4779:
4756:
4729:
4718:
4683:
4681:
4679:
4663:
4654:
4628:
4626:
4612:
4599:
4597:
4595:
4579:
4548:
4545:These Our Actors
4539:
4496:
4494:
4492:
4476:
4474:
4472:
4463:. Archived from
4451:
4428:
4401:
4374:
4372:
4370:
4355:
4353:
4351:
4336:
4334:
4332:
4327:on 22 April 2019
4312:
4310:
4308:
4292:
4280:
4278:
4276:
4260:
4258:
4256:
4240:
4238:
4236:
4220:
4218:
4216:
4200:
4198:
4196:
4180:
4178:
4176:
4160:
4158:
4156:
4140:
4138:
4136:
4120:
4108:
4106:
4104:
4092:
4090:
4088:
4072:
4027:
4002:
3990:
3988:
3986:
3981:on 25 April 2019
3977:. Archived from
3965:
3942:
3940:
3938:
3923:
3900:
3881:
3862:
3860:
3858:
3852:BFI Screenonline
3842:
3840:
3838:
3823:
3784:
3782:
3780:
3775:on 25 April 2019
3771:. Archived from
3751:
3736:. Philadelphia:
3735:
3724:
3701:
3662:
3640:
3617:
3582:
3569:
3556:
3522:
3519:Christopher Berg
3516:
3510:
3504:
3498:
3492:
3486:
3480:
3474:
3468:
3462:
3456:
3450:
3444:
3438:
3432:
3426:
3420:
3414:
3408:
3402:
3396:
3390:
3384:
3378:
3372:
3366:
3360:
3354:
3348:
3342:
3336:
3330:
3324:
3318:
3312:
3306:
3300:
3294:
3288:
3282:
3276:
3270:
3264:
3258:
3252:
3246:
3240:
3234:
3228:
3222:
3216:
3210:
3204:
3195:
3186:
3180:
3165:
3159:
3158:
3156:
3154:
3139:
3133:
3132:
3130:
3128:
3113:
3107:
3101:
3095:
3094:
3088:
3080:
3078:
3076:
3061:
3055:
3049:
3043:
3037:
3031:
3025:
3019:
3013:
3007:
3001:
2995:
2989:
2983:
2977:
2971:
2965:
2959:
2953:
2947:
2941:
2935:
2929:
2923:
2917:
2911:
2905:
2899:
2893:
2887:
2881:
2875:
2869:
2863:
2857:
2851:
2845:
2839:
2833:
2827:
2821:
2815:
2809:
2803:
2797:
2791:
2785:
2779:
2773:
2767:
2761:
2755:
2749:
2743:
2737:
2731:
2725:
2719:
2713:
2707:
2701:
2695:
2689:
2680:
2674:
2665:
2659:
2653:
2647:
2641:
2635:
2626:
2620:
2614:
2608:
2599:
2593:
2582:
2576:
2570:
2564:
2558:
2552:
2543:
2537:
2526:
2520:
2514:
2508:
2502:
2496:
2490:
2484:
2478:
2472:
2466:
2460:
2454:
2448:
2442:
2436:
2430:
2424:
2415:
2409:
2403:
2397:
2391:
2385:
2379:
2373:
2364:
2358:
2349:
2343:
2334:
2333:, pp. 1–31.
2328:
2322:
2316:
2307:
2301:
2295:
2289:
2283:
2277:
2271:
2265:
2259:
2253:
2242:
2236:
2230:
2224:
2218:
2212:
2206:
2205:
2203:
2201:
2186:
2180:
2174:
2165:
2159:
2153:
2147:
2141:
2135:
2129:
2123:
2117:
2111:
2105:
2099:
2093:
2087:
2081:
2075:
2069:
2063:
2054:
2048:
2042:
2036:
2030:
2024:
2015:
2009:
1987:
1964:
1958:
1952:
1949:
1940:
1879:Stephen Sondheim
1728:Christopher Berg
1637:Elijah Moshinsky
1612:Michael Benthall
1425:In 2024, at the
1311:Also in 2013, a
1305:Sophie Khan Levy
1174:as Iachimo, and
1150:played Iachimo;
1123:as Iachimo, and
1117:Tim Pigott-Smith
1103:A decade later,
1082:Vanessa Redgrave
1008:Michael Benthall
896:Anna Cora Mowatt
874:Diodorus Siculus
662:British identity
500:
497:
245:French Gentleman
123:
120:
96:
95:
92:
91:
88:
85:
82:
79:
76:
73:
70:
67:
21:
8422:
8421:
8417:
8416:
8415:
8413:
8412:
8411:
8352:
8351:
8350:
8346:from Wikisource
8340:
8335:
8333:
8323:
8318:
8316:
8306:
8301:
8299:
8296:
8292:sister projects
8289:at Knowledge's
8283:
8278:
8246:
8126:Battle of Badon
8104:
8050:Uther Pendragon
7910:Penda of Mercia
7900:Owain mab Urien
7800:Maelgwn Gwynedd
7790:Lud son of Heli
7785:Lucius Tiberius
7765:Leir of Britain
7710:Jago of Britain
7655:Queen Gwendolen
7580:Goffar the Pict
7355:Capetus Silvius
7178:
7129:
7092:
7087:
7057:
7052:
7042:Deus ex machina
7012:
6983:
6938:
6929:
6879:
6869:
6839:
6834:
6795:
6744:(granddaughter)
6702:
6649:
6578:
6544:Religious views
6522:Curtain Theatre
6443:
6431:
6406:
6357:Sir Thomas More
6303:
6277:Edmund Ironside
6226:
6173:
6160:
6134:Ghost character
6094:
6066:
5957:
5938:Timon of Athens
5867:
5724:
5719:
5673:
5645:Standard Ebooks
5635:
5624:
5622:Further reading
5619:
5572:
5570:
5552:
5550:
5532:
5530:
5515:
5483:
5453:
5451:
5433:
5431:
5357:Harcourt, Brace
5334:10.2307/2868939
5291:
5289:
5236:
5234:
5216:
5214:
5196:
5194:
5187:Telegraph.co.uk
5154:
5152:
5121:
5119:
5087:
5005:
5003:
4976:
4974:
4957:
4955:
4935:
4933:
4916:
4914:
4898:
4888:Greenwood Press
4829:
4827:
4826:on 2 April 2015
4799:
4776:
4745:
4707:10.2307/2867546
4677:
4675:
4651:
4633:Halliday, F. E.
4617:Halliday, F. E.
4593:
4591:
4568:
4520:
4490:
4488:
4470:
4468:
4467:on 2 April 2015
4448:
4425:
4398:
4382:, eds. (2001).
4368:
4366:
4349:
4347:
4330:
4328:
4306:
4304:
4274:
4272:
4254:
4252:
4234:
4232:
4214:
4212:
4194:
4192:
4174:
4172:
4154:
4152:
4134:
4132:
4117:The Reviews Hub
4102:
4100:
4086:
4084:
4024:
3984:
3982:
3962:
3936:
3934:
3920:
3897:
3878:
3856:
3854:
3836:
3834:
3804:10.2307/2902322
3778:
3776:
3748:
3721:
3682:10.2307/2869367
3648:
3643:
3637:
3606:
3579:Clarendon Press
3539:
3531:
3526:
3525:
3517:
3513:
3505:
3501:
3493:
3489:
3481:
3477:
3469:
3465:
3457:
3453:
3445:
3441:
3433:
3429:
3421:
3417:
3409:
3405:
3397:
3393:
3385:
3381:
3373:
3369:
3361:
3357:
3349:
3345:
3337:
3333:
3325:
3321:
3313:
3309:
3301:
3297:
3289:
3285:
3277:
3273:
3265:
3261:
3253:
3249:
3241:
3237:
3229:
3225:
3221:, p. xlii.
3217:
3213:
3205:
3198:
3187:
3183:
3176:Wayback Machine
3166:
3162:
3152:
3150:
3148:morningstar.com
3140:
3136:
3126:
3124:
3114:
3110:
3102:
3098:
3082:
3081:
3074:
3072:
3062:
3058:
3050:
3046:
3038:
3034:
3026:
3022:
3014:
3010:
3002:
2998:
2990:
2986:
2980:Wilson-Lee 2016
2978:
2974:
2968:Bloomekatz 2012
2966:
2962:
2954:
2950:
2942:
2938:
2930:
2926:
2918:
2914:
2906:
2902:
2894:
2890:
2882:
2878:
2870:
2866:
2858:
2854:
2846:
2842:
2834:
2830:
2822:
2818:
2810:
2806:
2798:
2794:
2786:
2782:
2774:
2770:
2762:
2758:
2750:
2746:
2738:
2734:
2726:
2722:
2714:
2710:
2702:
2698:
2690:
2683:
2675:
2668:
2660:
2656:
2648:
2644:
2636:
2629:
2621:
2617:
2609:
2602:
2596:Kabatchnik 2017
2594:
2585:
2577:
2573:
2565:
2561:
2553:
2546:
2538:
2529:
2521:
2517:
2509:
2505:
2497:
2493:
2489:, V. vi.369-71.
2485:
2481:
2473:
2469:
2461:
2457:
2449:
2445:
2437:
2433:
2425:
2418:
2410:
2406:
2398:
2394:
2386:
2382:
2374:
2367:
2359:
2352:
2344:
2337:
2331:Cunningham 1994
2329:
2325:
2317:
2310:
2302:
2298:
2290:
2286:
2278:
2274:
2266:
2262:
2254:
2245:
2237:
2233:
2225:
2221:
2213:
2209:
2199:
2197:
2187:
2183:
2175:
2168:
2160:
2156:
2148:
2144:
2136:
2132:
2124:
2120:
2112:
2108:
2100:
2096:
2088:
2084:
2076:
2072:
2064:
2057:
2049:
2045:
2037:
2033:
2025:
2018:
2010:
2001:
1996:
1991:
1990:
1965:
1961:
1950:
1941:
1937:
1932:
1927:
1912:Agatha Christie
1852:as part of his
1830:). He writes:
1809:First World War
1736:
1720:
1718:Stage adaptions
1710:is Cloten; and
1653:Richard Johnson
1589:William Russell
1585:William Garwood
1558:
1439:
1397:Peter De Jersey
1271:Antoni Cimolino
1166:and in 1987 by
1137:Robert Speaight
1129:Charles Keating
1125:Susan Fleetwood
1071:William Gaskill
1054:, whose father
1048:Richard Johnson
1020:Barbara Jefford
973:Margaret Mather
796:Henrietta Maria
788:
751:hermaphroditism
706:
664:
617:Lytton Strachey
606:William Hazlitt
587:
532:ghost character
498:
488:'s tragicomedy
460:
394:
304:
287:Roman mythology
248:Dutch Gentleman
166:
122: 10–14 AD
121:
115:Ancient Britain
109:, is a play by
64:
60:
35:
28:
23:
22:
15:
12:
11:
5:
8420:
8410:
8409:
8404:
8399:
8394:
8389:
8384:
8379:
8374:
8369:
8364:
8349:
8348:
8331:
8329:from Wikiquote
8314:
8285:
8280:
8279:
8277:
8276:
8264:
8251:
8248:
8247:
8245:
8244:
8239:
8232:
8227:
8222:
8217:
8212:
8207:
8202:
8197:
8192:
8187:
8185:Molmutine Laws
8182:
8177:
8172:
8167:
8162:
8157:
8150:
8145:
8138:
8133:
8128:
8123:
8118:
8112:
8110:
8106:
8105:
8103:
8102:
8097:
8092:
8087:
8082:
8077:
8072:
8067:
8062:
8057:
8052:
8047:
8042:
8037:
8032:
8027:
8022:
8017:
8012:
8007:
8002:
7997:
7992:
7990:Sawyl Penuchel
7987:
7982:
7977:
7972:
7967:
7965:Rhydderch Hael
7962:
7957:
7952:
7947:
7942:
7937:
7932:
7927:
7922:
7917:
7912:
7907:
7902:
7897:
7892:
7887:
7882:
7877:
7872:
7867:
7862:
7857:
7852:
7847:
7842:
7837:
7832:
7827:
7822:
7817:
7812:
7807:
7805:Magnus Maximus
7802:
7797:
7792:
7787:
7782:
7777:
7772:
7767:
7762:
7757:
7752:
7747:
7742:
7737:
7732:
7727:
7722:
7717:
7712:
7707:
7702:
7697:
7692:
7687:
7682:
7680:Humber the Hun
7677:
7672:
7667:
7662:
7657:
7652:
7647:
7642:
7637:
7632:
7627:
7622:
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7507:
7502:
7497:
7492:
7487:
7482:
7477:
7472:
7467:
7462:
7457:
7452:
7447:
7442:
7437:
7432:
7427:
7425:Conan Meriadoc
7422:
7417:
7412:
7407:
7402:
7397:
7392:
7387:
7382:
7380:Cassivellaunus
7377:
7372:
7367:
7362:
7357:
7352:
7350:Cap of Britain
7347:
7342:
7337:
7332:
7327:
7322:
7320:Cadfan ap Iago
7317:
7312:
7310:Brutus of Troy
7307:
7302:
7297:
7292:
7287:
7282:
7277:
7272:
7267:
7262:
7257:
7252:
7247:
7242:
7237:
7232:
7227:
7222:
7217:
7212:
7207:
7202:
7197:
7192:
7186:
7184:
7180:
7179:
7177:
7176:
7169:
7162:
7155:
7147:
7139:
7137:
7131:
7130:
7128:
7127:
7119:
7111:
7102:
7100:
7094:
7093:
7086:
7085:
7078:
7071:
7063:
7054:
7053:
7051:
7050:
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7020:
7018:
7014:
7013:
7011:
7010:
7002:
6993:
6991:
6985:
6984:
6982:
6981:
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6912:
6909:
6906:
6903:
6898:
6895:
6889:
6887:
6881:
6880:
6868:
6867:
6860:
6853:
6845:
6836:
6835:
6833:
6832:
6822:
6811:
6810:
6807:
6800:
6797:
6796:
6794:
6793:
6787:
6781:
6775:
6769:
6763:
6757:
6751:
6745:
6739:
6733:
6727:
6721:
6714:
6712:
6708:
6707:
6704:
6703:
6701:
6700:
6695:
6689:
6684:
6683:
6682:
6672:
6671:
6670:
6657:
6655:
6648:
6647:
6642:
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6619:
6614:
6609:
6604:
6599:
6594:
6588:
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6580:
6579:
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6576:
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6566:
6561:
6556:
6551:
6546:
6541:
6536:
6531:
6526:
6525:
6524:
6519:
6505:
6500:
6495:
6490:
6485:
6483:Collaborations
6480:
6475:
6474:
6473:
6468:
6456:
6450:
6448:
6437:
6436:
6433:
6432:
6430:
6429:
6422:
6414:
6412:
6408:
6407:
6405:
6404:
6397:
6390:
6382:
6375:
6368:
6361:
6353:
6346:
6339:
6332:
6325:
6318:
6311:
6301:
6294:
6287:
6280:
6273:
6266:
6258:
6251:
6243:
6241:
6234:
6228:
6227:
6225:
6224:
6217:
6210:
6203:
6196:
6195:
6194:
6181:
6179:
6175:
6174:
6167:
6165:
6162:
6161:
6159:
6158:
6153:
6148:
6143:
6138:
6137:
6136:
6131:
6126:
6118:
6113:
6108:
6102:
6100:
6096:
6095:
6093:
6092:
6087:
6082:
6076:
6074:
6072:Early editions
6068:
6067:
6065:
6064:
6056:
6049:
6048:
6047:
6040:
6033:
6018:
6011:
6010:
6009:
6002:
5990:
5983:
5975:
5967:
5965:
5959:
5958:
5956:
5955:
5948:
5941:
5934:
5927:
5920:
5913:
5906:
5899:
5892:
5885:
5877:
5875:
5869:
5868:
5866:
5865:
5858:
5850:
5843:
5836:
5829:
5822:
5814:
5807:
5800:
5793:
5786:
5779:
5772:
5765:
5758:
5755:As You Like It
5751:
5743:
5741:
5732:
5726:
5725:
5718:
5717:
5710:
5703:
5695:
5687:
5686:
5670:
5659:
5647:
5634:
5633:External links
5631:
5630:
5629:
5623:
5620:
5618:
5617:
5588:
5579:
5559:
5539:
5519:
5513:
5496:
5487:
5481:
5460:
5440:
5407:
5395:
5382:
5369:
5361:
5346:
5311:
5298:
5278:
5243:
5223:
5203:
5176:
5161:
5128:
5108:
5100:
5091:
5085:
5066:
5049:
5023:(3): 225–240.
5012:
4992:
4983:
4964:
4942:
4923:
4902:
4896:
4875:
4849:(2): 156–184.
4836:
4811:
4797:
4780:
4774:
4757:
4743:
4730:
4719:
4684:
4664:
4655:
4649:
4629:
4613:
4600:
4580:
4566:
4549:
4540:
4518:
4497:
4487:. 31 July 2013
4477:
4452:
4446:
4429:
4423:
4407:Wells, Stanley
4402:
4396:
4380:Wells, Stanley
4375:
4356:
4337:
4313:
4293:
4281:
4261:
4241:
4221:
4201:
4181:
4161:
4141:
4121:
4109:
4093:
4073:
4028:
4022:
4003:
3991:
3966:
3960:
3943:
3924:
3918:
3901:
3895:
3882:
3876:
3863:
3843:
3824:
3785:
3752:
3746:
3725:
3719:
3702:
3663:
3649:
3647:
3644:
3642:
3641:
3635:
3618:
3604:
3583:
3570:
3557:
3547:, ed. (1903).
3545:Dowden, Edward
3540:
3538:
3532:
3530:
3527:
3524:
3523:
3511:
3499:
3487:
3475:
3463:
3451:
3439:
3427:
3415:
3403:
3391:
3379:
3375:Cymbeline 1913
3367:
3355:
3343:
3331:
3319:
3307:
3295:
3283:
3271:
3259:
3247:
3245:, p. 212.
3235:
3233:, p. 170.
3223:
3211:
3209:, p. 262.
3196:
3181:
3160:
3144:"Word Perfect"
3134:
3108:
3096:
3056:
3044:
3032:
3020:
3008:
2996:
2984:
2972:
2960:
2948:
2936:
2932:Ouzounian 2012
2924:
2912:
2900:
2888:
2884:Long Pond Show
2876:
2864:
2852:
2840:
2838:, p. 100.
2828:
2816:
2804:
2802:, p. 391.
2792:
2788:Findlater 1983
2780:
2778:, p. 305.
2768:
2766:, p. 107.
2756:
2754:, p. 105.
2744:
2742:, p. 213.
2732:
2730:, p. 596.
2720:
2718:, p. 526.
2708:
2696:
2694:, p. xli.
2681:
2679:, p. 126.
2666:
2654:
2652:, p. 150.
2642:
2627:
2625:, p. 200.
2623:Bevington 2009
2615:
2600:
2598:, p. 273.
2583:
2581:, p. 352.
2571:
2569:, p. 110.
2559:
2557:, p. 246.
2544:
2527:
2515:
2503:
2501:, p. 202.
2491:
2479:
2467:
2455:
2453:, p. 156.
2443:
2431:
2429:, p. 235.
2416:
2404:
2392:
2390:, p. 226.
2380:
2378:, p. 175.
2365:
2350:
2335:
2323:
2308:
2296:
2284:
2272:
2260:
2258:, p. 188.
2243:
2231:
2219:
2207:
2181:
2166:
2154:
2142:
2130:
2128:, p. 366.
2118:
2106:
2102:Nosworthy 1955
2094:
2082:
2070:
2055:
2053:, p. 133.
2043:
2031:
2029:, p. vii.
2016:
2014:, p. 101.
1998:
1997:
1995:
1992:
1989:
1988:
1959:
1946:is dated from
1934:
1933:
1931:
1928:
1926:
1923:
1877:At the end of
1868:John Dankworth
1842:
1841:
1838:
1835:
1799:Virginia Woolf
1795:
1794:
1791:
1788:
1785:
1782:
1779:
1769:Franz Schubert
1751:Franz Schubert
1749:A portrait of
1735:
1732:
1719:
1716:
1712:Dakota Johnson
1704:Milla Jovovich
1671:as Posthumus.
1665:Robert Lindsay
1595:as the Queen.
1583:as Posthumus,
1557:
1554:
1528:United Kingdom
1475:Duke's Company
1471:King's Company
1459:Thomas d'Urfey
1447:Thomas D'Urfey
1438:
1435:
1406:Also in 2023,
1384:as Cymbeline.
1357:as Posthumus.
1328:American South
1318:adaptation of
1261:Tom Hiddleston
1218:Public Theater
1189:production of
1183:Ajay Chowdhury
1168:Robin Phillips
1121:Ian Richardson
1119:as Posthumus,
1113:Sebastian Shaw
1044:Peggy Ashcroft
1016:Audrey Cruddas
987:Birmingham Rep
961:As You Like It
787:
784:
764:cross-dressing
705:
702:
663:
660:
594:Samuel Johnson
586:
583:
563:Marisa R. Cull
499: 1609–10
476:in 1623. When
466:, as noted by
459:
456:
393:
390:
303:
300:
299:
298:
295:
292:
289:
279:
278:
274:
273:
270:
267:
261:
259:Roman senators
255:
252:
249:
246:
243:
240:
236:
235:
231:
230:
227:
224:
221:
218:
215:
212:
209:
203:
197:
194:
191:
188:
185:Imogen/Innogen
182:
179:
171:
170:
165:
162:
26:
9:
6:
4:
3:
2:
8419:
8408:
8405:
8403:
8400:
8398:
8395:
8393:
8390:
8388:
8385:
8383:
8380:
8378:
8375:
8373:
8370:
8368:
8365:
8363:
8360:
8359:
8357:
8345:
8344:
8332:
8328:
8327:
8315:
8311:
8310:
8298:
8297:
8294:
8288:
8275:
8274:
8269:
8265:
8263:
8262:
8253:
8252:
8249:
8243:
8240:
8238:
8237:
8233:
8231:
8228:
8226:
8223:
8221:
8218:
8216:
8213:
8211:
8208:
8206:
8203:
8201:
8198:
8196:
8193:
8191:
8188:
8186:
8183:
8181:
8178:
8176:
8173:
8171:
8168:
8166:
8163:
8161:
8158:
8156:
8155:
8151:
8149:
8146:
8144:
8143:
8139:
8137:
8134:
8132:
8129:
8127:
8124:
8122:
8119:
8117:
8114:
8113:
8111:
8107:
8101:
8098:
8096:
8093:
8091:
8088:
8086:
8083:
8081:
8078:
8076:
8073:
8071:
8068:
8066:
8063:
8061:
8058:
8056:
8053:
8051:
8048:
8046:
8043:
8041:
8038:
8036:
8033:
8031:
8028:
8026:
8023:
8021:
8018:
8016:
8015:Sisillius III
8013:
8011:
8008:
8006:
8003:
8001:
7998:
7996:
7993:
7991:
7988:
7986:
7983:
7981:
7978:
7976:
7973:
7971:
7968:
7966:
7963:
7961:
7958:
7956:
7953:
7951:
7948:
7946:
7943:
7941:
7938:
7936:
7933:
7931:
7928:
7926:
7923:
7921:
7918:
7916:
7913:
7911:
7908:
7906:
7903:
7901:
7898:
7896:
7893:
7891:
7888:
7886:
7883:
7881:
7878:
7876:
7873:
7871:
7870:Myrddin Wyllt
7868:
7866:
7863:
7861:
7858:
7856:
7853:
7851:
7848:
7846:
7843:
7841:
7838:
7836:
7833:
7831:
7828:
7826:
7823:
7821:
7818:
7816:
7813:
7811:
7808:
7806:
7803:
7801:
7798:
7796:
7793:
7791:
7788:
7786:
7783:
7781:
7778:
7776:
7773:
7771:
7768:
7766:
7763:
7761:
7758:
7756:
7753:
7751:
7748:
7746:
7743:
7741:
7738:
7736:
7733:
7731:
7728:
7726:
7725:Julius Caesar
7723:
7721:
7718:
7716:
7713:
7711:
7708:
7706:
7703:
7701:
7698:
7696:
7693:
7691:
7688:
7686:
7683:
7681:
7678:
7676:
7673:
7671:
7668:
7666:
7663:
7661:
7658:
7656:
7653:
7651:
7648:
7646:
7643:
7641:
7638:
7636:
7633:
7631:
7628:
7626:
7623:
7621:
7618:
7616:
7613:
7611:
7608:
7606:
7603:
7601:
7598:
7596:
7593:
7591:
7588:
7586:
7583:
7581:
7578:
7576:
7573:
7571:
7568:
7566:
7563:
7561:
7558:
7556:
7553:
7551:
7548:
7546:
7543:
7541:
7538:
7536:
7533:
7531:
7528:
7526:
7523:
7521:
7518:
7516:
7515:Edern ap Nudd
7513:
7511:
7508:
7506:
7503:
7501:
7498:
7496:
7493:
7491:
7488:
7486:
7483:
7481:
7478:
7476:
7473:
7471:
7468:
7466:
7463:
7461:
7458:
7456:
7453:
7451:
7448:
7446:
7443:
7441:
7438:
7436:
7433:
7431:
7428:
7426:
7423:
7421:
7418:
7416:
7413:
7411:
7408:
7406:
7403:
7401:
7398:
7396:
7393:
7391:
7388:
7386:
7383:
7381:
7378:
7376:
7373:
7371:
7368:
7366:
7363:
7361:
7358:
7356:
7353:
7351:
7348:
7346:
7343:
7341:
7338:
7336:
7333:
7331:
7328:
7326:
7323:
7321:
7318:
7316:
7313:
7311:
7308:
7306:
7303:
7301:
7298:
7296:
7293:
7291:
7288:
7286:
7283:
7281:
7278:
7276:
7273:
7271:
7268:
7266:
7263:
7261:
7258:
7256:
7253:
7251:
7248:
7246:
7243:
7241:
7238:
7236:
7233:
7231:
7228:
7226:
7223:
7221:
7218:
7216:
7213:
7211:
7208:
7206:
7203:
7201:
7198:
7196:
7193:
7191:
7188:
7187:
7185:
7181:
7175:
7174:
7170:
7168:
7167:
7163:
7161:
7160:
7156:
7154:
7153:
7148:
7146:
7145:
7144:Roman de Brut
7141:
7140:
7138:
7136:
7132:
7125:
7124:
7120:
7117:
7116:
7112:
7109:
7108:
7104:
7103:
7101:
7099:
7095:
7091:
7084:
7079:
7077:
7072:
7070:
7065:
7064:
7061:
7049:
7048:Milford Haven
7046:
7044:
7043:
7039:
7036:
7032:
7031:
7027:
7025:
7022:
7021:
7019:
7015:
7008:
7007:
7003:
7000:
6999:
6995:
6994:
6992:
6990:
6986:
6979:
6978:
6974:
6971:
6967:
6966:
6965:The Decameron
6962:
6959:
6955:
6954:
6950:
6949:
6947:
6945:
6941:
6936:
6926:
6923:
6921:
6918:
6916:
6913:
6910:
6907:
6904:
6902:
6899:
6896:
6894:
6891:
6890:
6888:
6886:
6882:
6878:
6877:
6873:
6866:
6861:
6859:
6854:
6852:
6847:
6846:
6843:
6831:
6823:
6821:
6813:
6812:
6808:
6806:
6802:
6801:
6798:
6791:
6790:Thomas Quiney
6788:
6785:
6782:
6780:(grandfather)
6779:
6776:
6773:
6770:
6767:
6764:
6761:
6758:
6755:
6752:
6749:
6746:
6743:
6740:
6737:
6736:Judith Quiney
6734:
6731:
6728:
6725:
6722:
6719:
6718:Anne Hathaway
6716:
6715:
6713:
6709:
6699:
6696:
6693:
6690:
6688:
6685:
6681:
6678:
6677:
6676:
6673:
6669:
6668:
6664:
6663:
6662:
6659:
6658:
6656:
6652:
6646:
6643:
6641:
6638:
6636:
6635:
6630:
6628:
6625:
6623:
6620:
6618:
6615:
6613:
6610:
6608:
6605:
6603:
6600:
6598:
6595:
6593:
6590:
6589:
6587:
6585:
6581:
6575:
6572:
6570:
6567:
6565:
6562:
6560:
6557:
6555:
6552:
6550:
6547:
6545:
6542:
6540:
6537:
6535:
6532:
6530:
6527:
6523:
6520:
6518:
6515:
6514:
6513:
6509:
6506:
6504:
6501:
6499:
6498:Globe Theatre
6496:
6494:
6491:
6489:
6486:
6484:
6481:
6479:
6476:
6472:
6469:
6467:
6466:
6462:
6461:
6460:
6457:
6455:
6452:
6451:
6449:
6447:
6442:
6438:
6428:
6427:
6423:
6421:
6420:
6416:
6415:
6413:
6409:
6403:
6402:
6398:
6396:
6395:
6391:
6388:
6387:
6383:
6381:
6380:
6376:
6374:
6373:
6369:
6367:
6366:
6362:
6359:
6358:
6354:
6352:
6351:
6347:
6345:
6344:
6340:
6338:
6337:
6333:
6331:
6330:
6326:
6324:
6323:
6319:
6317:
6316:
6312:
6308:
6307:
6302:
6300:
6299:
6295:
6293:
6292:
6288:
6286:
6285:
6281:
6279:
6278:
6274:
6272:
6271:
6267:
6264:
6263:
6259:
6257:
6256:
6252:
6250:
6249:
6245:
6244:
6242:
6238:
6235:
6233:
6229:
6223:
6222:
6218:
6216:
6215:
6211:
6209:
6208:
6204:
6202:
6201:
6197:
6193:
6190:
6189:
6188:
6187:
6183:
6182:
6180:
6176:
6171:
6157:
6154:
6152:
6149:
6147:
6144:
6142:
6139:
6135:
6132:
6130:
6127:
6125:
6122:
6121:
6119:
6117:
6114:
6112:
6111:Late romances
6109:
6107:
6106:Problem plays
6104:
6103:
6101:
6097:
6091:
6088:
6086:
6083:
6081:
6078:
6077:
6075:
6073:
6069:
6062:
6061:
6057:
6055:
6054:
6050:
6046:
6045:
6041:
6039:
6038:
6034:
6031:
6030:
6026:
6025:
6024:
6023:
6019:
6017:
6016:
6012:
6008:
6007:
6003:
6001:
6000:
5996:
5995:
5994:
5991:
5989:
5988:
5984:
5981:
5980:
5976:
5974:
5973:
5969:
5968:
5966:
5964:
5960:
5954:
5953:
5949:
5947:
5946:
5942:
5940:
5939:
5935:
5933:
5932:
5928:
5926:
5925:
5921:
5919:
5918:
5914:
5912:
5911:
5907:
5905:
5904:
5903:Julius Caesar
5900:
5898:
5897:
5893:
5891:
5890:
5886:
5884:
5883:
5879:
5878:
5876:
5874:
5870:
5864:
5863:
5859:
5856:
5855:
5851:
5849:
5848:
5844:
5842:
5841:
5840:Twelfth Night
5837:
5835:
5834:
5830:
5828:
5827:
5823:
5820:
5819:
5815:
5813:
5812:
5808:
5806:
5805:
5801:
5799:
5798:
5794:
5792:
5791:
5787:
5785:
5784:
5780:
5778:
5777:
5773:
5771:
5770:
5766:
5764:
5763:
5759:
5757:
5756:
5752:
5750:
5749:
5745:
5744:
5742:
5740:
5736:
5733:
5731:
5727:
5723:
5716:
5711:
5709:
5704:
5702:
5697:
5696:
5693:
5689:
5685:
5681:
5680:
5671:
5669:
5665:
5664:
5660:
5657:
5653:
5652:
5648:
5646:
5642:
5641:
5637:
5636:
5626:
5625:
5614:
5610:
5606:
5602:
5598:
5594:
5589:
5585:
5580:
5569:
5565:
5560:
5549:
5545:
5540:
5529:
5525:
5520:
5516:
5510:
5505:
5504:
5497:
5493:
5488:
5484:
5478:
5474:
5470:
5466:
5461:
5450:
5446:
5441:
5429:
5425:
5421:
5417:
5413:
5408:
5404:
5400:
5396:
5392:
5389:. Cambridge:
5388:
5383:
5379:
5375:
5370:
5366:
5362:
5358:
5354:
5353:
5347:
5343:
5339:
5335:
5331:
5327:
5323:
5319:
5318:
5312:
5308:
5304:
5299:
5287:
5283:
5279:
5275:
5271:
5267:
5263:
5259:
5255:
5251:
5250:
5244:
5233:
5229:
5224:
5213:
5209:
5204:
5192:
5188:
5183:
5177:
5173:
5169:
5168:
5162:
5150:
5146:
5142:
5138:
5134:
5129:
5118:
5114:
5109:
5105:
5101:
5097:
5092:
5088:
5082:
5078:
5074:
5073:
5067:
5063:
5058:
5057:
5050:
5046:
5042:
5038:
5034:
5030:
5026:
5022:
5018:
5013:
5001:
4997:
4993:
4989:
4984:
4973:
4969:
4965:
4954:
4953:
4948:
4943:
4932:
4928:
4924:
4912:
4908:
4903:
4899:
4893:
4889:
4884:
4883:
4876:
4872:
4868:
4864:
4860:
4856:
4852:
4848:
4844:
4843:
4837:
4825:
4821:
4817:
4812:
4808:
4804:
4800:
4794:
4790:
4786:
4781:
4777:
4771:
4767:
4763:
4758:
4754:
4750:
4746:
4740:
4736:
4731:
4727:
4726:
4720:
4716:
4712:
4708:
4704:
4700:
4696:
4692:
4691:
4685:
4673:
4669:
4665:
4661:
4656:
4652:
4646:
4642:
4641:Penguin Books
4639:. Baltimore:
4638:
4634:
4630:
4625:
4624:
4618:
4614:
4610:
4607:. Cambridge:
4606:
4601:
4589:
4585:
4581:
4577:
4573:
4569:
4563:
4559:
4555:
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4546:
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4507:
4503:
4498:
4486:
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4466:
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4458:
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4420:
4416:
4412:
4408:
4403:
4399:
4393:
4389:
4385:
4381:
4376:
4365:
4364:www.brown.edu
4361:
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4314:
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4298:
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4270:
4266:
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4230:
4226:
4222:
4210:
4206:
4202:
4190:
4186:
4182:
4170:
4166:
4162:
4150:
4146:
4142:
4130:
4126:
4122:
4118:
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4098:
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4078:
4074:
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4066:
4062:
4058:
4054:
4050:
4046:
4042:
4038:
4034:
4029:
4025:
4019:
4015:
4011:
4010:
4004:
4001:. 4 May 2007.
4000:
3996:
3992:
3980:
3976:
3972:
3967:
3963:
3957:
3953:
3949:
3944:
3933:
3929:
3925:
3921:
3915:
3911:
3907:
3902:
3898:
3892:
3888:
3883:
3879:
3873:
3869:
3864:
3853:
3849:
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3829:
3825:
3821:
3817:
3813:
3809:
3805:
3801:
3797:
3793:
3792:
3786:
3774:
3770:
3766:
3762:
3758:
3753:
3749:
3747:9780791056578
3743:
3739:
3738:Chelsea House
3734:
3733:
3726:
3722:
3716:
3712:
3708:
3703:
3699:
3695:
3691:
3687:
3683:
3679:
3675:
3671:
3670:
3664:
3660:
3656:
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3650:
3638:
3632:
3628:
3624:
3619:
3615:
3611:
3607:
3601:
3597:
3593:
3589:
3584:
3580:
3576:
3571:
3567:
3563:
3558:
3554:
3550:
3546:
3542:
3541:
3537:
3520:
3515:
3508:
3503:
3496:
3491:
3484:
3479:
3472:
3467:
3460:
3455:
3448:
3443:
3436:
3431:
3424:
3419:
3412:
3407:
3400:
3395:
3388:
3383:
3376:
3371:
3364:
3359:
3352:
3347:
3340:
3335:
3328:
3323:
3316:
3311:
3304:
3299:
3292:
3287:
3280:
3275:
3268:
3263:
3256:
3251:
3244:
3239:
3232:
3227:
3220:
3215:
3208:
3203:
3201:
3193:
3191:
3185:
3178:
3177:
3173:
3170:
3164:
3149:
3145:
3138:
3123:
3119:
3112:
3105:
3100:
3092:
3086:
3071:
3067:
3060:
3053:
3048:
3041:
3036:
3029:
3024:
3017:
3012:
3005:
3000:
2993:
2988:
2981:
2976:
2969:
2964:
2957:
2952:
2945:
2940:
2933:
2928:
2921:
2916:
2909:
2904:
2897:
2892:
2885:
2880:
2873:
2868:
2861:
2856:
2849:
2844:
2837:
2832:
2825:
2820:
2813:
2808:
2801:
2800:Speaight 1974
2796:
2790:, p. 18.
2789:
2784:
2777:
2772:
2765:
2760:
2753:
2748:
2741:
2736:
2729:
2724:
2717:
2712:
2706:, p. 94.
2705:
2700:
2693:
2688:
2686:
2678:
2673:
2671:
2663:
2658:
2651:
2650:Halliday 1952
2646:
2639:
2634:
2632:
2624:
2619:
2613:, p. 80.
2612:
2607:
2605:
2597:
2592:
2590:
2588:
2580:
2579:Chambers 1930
2575:
2568:
2563:
2556:
2551:
2549:
2542:, p. 84.
2541:
2540:Thompson 2001
2536:
2534:
2532:
2525:, p. 92.
2524:
2519:
2512:
2507:
2500:
2495:
2488:
2483:
2476:
2471:
2464:
2459:
2452:
2447:
2441:, p. 86.
2440:
2439:Thompson 2001
2435:
2428:
2423:
2421:
2414:, p. 91.
2413:
2408:
2401:
2400:Sedgwick 1993
2396:
2389:
2384:
2377:
2372:
2370:
2362:
2357:
2355:
2347:
2342:
2340:
2332:
2327:
2320:
2315:
2313:
2305:
2300:
2293:
2288:
2281:
2280:Kerrigan 2010
2276:
2269:
2264:
2257:
2252:
2250:
2248:
2240:
2235:
2228:
2227:Bergeron 1980
2223:
2216:
2211:
2196:
2192:
2185:
2179:, p. 64.
2178:
2177:Strachey 1922
2173:
2171:
2164:, p. 39.
2163:
2158:
2151:
2146:
2139:
2134:
2127:
2126:Halliday 1964
2122:
2116:, p. 39.
2115:
2110:
2103:
2098:
2091:
2086:
2079:
2074:
2067:
2062:
2060:
2052:
2051:Hoeniger 1957
2047:
2041:, p. 11.
2040:
2039:Bullough 1975
2035:
2028:
2023:
2021:
2013:
2008:
2006:
2004:
1999:
1985:
1982:
1976:p.xxiv quote:
1975:
1974:
1969:
1963:
1956:
1945:
1942:The reign of
1939:
1935:
1922:
1920:
1915:
1913:
1909:
1908:
1902:
1900:
1899:
1893:
1890:
1886:
1885:
1880:
1875:
1873:
1869:
1865:
1861:
1860:
1855:
1851:
1847:
1846:Roger Quilter
1839:
1836:
1833:
1832:
1831:
1829:
1825:
1820:
1818:
1814:
1810:
1806:
1805:
1804:Mrs. Dalloway
1800:
1792:
1789:
1786:
1783:
1780:
1777:
1776:
1775:
1772:
1770:
1766:
1765:
1756:
1752:
1747:
1743:
1741:
1731:
1729:
1725:
1715:
1713:
1709:
1708:Anton Yelchin
1705:
1701:
1697:
1693:
1692:
1687:
1686:
1681:
1678:and director
1677:
1672:
1670:
1666:
1662:
1658:
1654:
1650:
1646:
1642:
1639:directed the
1638:
1634:
1632:
1628:
1624:
1623:Jerzy Jarocki
1619:
1617:
1613:
1609:
1605:
1601:
1596:
1594:
1590:
1586:
1582:
1578:
1574:
1570:
1566:
1562:
1553:
1551:
1548:, as well as
1547:
1546:
1541:
1537:
1536:United States
1533:
1529:
1525:
1521:
1517:
1512:
1510:
1506:
1505:
1500:
1496:
1494:
1489:
1487:
1483:
1478:
1476:
1472:
1468:
1464:
1460:
1452:
1448:
1443:
1434:
1432:
1428:
1423:
1421:
1417:
1413:
1409:
1404:
1402:
1398:
1394:
1390:
1389:Gregory Doran
1385:
1383:
1382:Gillian Bevan
1379:
1375:
1371:
1367:
1363:
1358:
1356:
1355:Jonjo O'Neill
1352:
1348:
1344:
1339:
1337:
1333:
1329:
1325:
1321:
1317:
1314:
1309:
1306:
1302:
1297:
1295:
1291:
1287:
1283:
1278:
1276:
1272:
1267:
1264:
1262:
1258:
1257:Cheek by Jowl
1253:
1251:
1246:
1241:
1239:
1235:
1231:
1227:
1223:
1222:Andrei Șerban
1219:
1214:
1212:
1208:
1204:
1200:
1199:Globe Theatre
1195:
1192:
1188:
1184:
1179:
1177:
1173:
1169:
1165:
1161:
1156:
1153:
1149:
1145:
1140:
1138:
1134:
1130:
1126:
1122:
1118:
1114:
1110:
1106:
1101:
1099:
1095:
1094:Patrick Allen
1091:
1087:
1083:
1079:
1076:
1072:
1068:
1064:
1059:
1057:
1053:
1052:Geoffrey Keen
1049:
1045:
1040:
1036:
1033:By contrast,
1031:
1029:
1028:Derek Francis
1026:Iachimo, and
1025:
1024:Derek Godfrey
1021:
1017:
1013:
1009:
1004:
1002:
998:
994:
993:
988:
984:
980:
979:Barry Jackson
976:
974:
969:
967:
963:
962:
957:
953:
952:
946:
942:
938:
933:
931:
930:Helena Faucit
927:
923:
922:Samuel Phelps
918:
916:
912:
908:
903:
901:
897:
893:
889:
885:
881:
877:
875:
871:
870:Julius Caesar
867:
866:Covent Garden
863:
859:
851:
846:
842:
840:
835:
833:
829:
824:
823:David Garrick
819:
817:
813:
809:
805:
801:
797:
793:
783:
781:
777:
773:
769:
765:
760:
759:Janet Adelman
756:
752:
747:
743:
742:Judith Butler
739:
735:
731:
727:
725:
720:
715:
711:
701:
698:
693:
688:
685:
680:
678:
673:
669:
659:
657:
653:
648:
646:
639:
635:
633:
631:
626:
621:
618:
613:
611:
607:
602:
597:
595:
591:
582:
580:
576:
575:Tudor dynasty
572:
568:
564:
560:
556:
552:
547:
545:
541:
540:Stanley Wells
537:
533:
529:
528:
523:
515:
511:
506:
502:
493:
492:
487:
481:
479:
475:
474:
469:
465:
458:Date and text
455:
453:
448:
444:
440:
436:
435:The Decameron
432:
428:
427:
426:The Decameron
422:
418:
417:
412:
411:
406:
402:
398:
389:
382:
377:
373:
371:
365:
358:
354:
350:
346:
344:
343:Milford Haven
335:
330:
326:
324:
316:
312:
308:
296:
293:
290:
288:
284:
281:
280:
276:
275:
271:
269:Roman captain
268:
266:
262:
260:
256:
253:
250:
247:
244:
241:
238:
237:
233:
232:
228:
225:
223:Two Gentlemen
222:
219:
216:
213:
210:
207:
204:
201:
198:
195:
192:
189:
186:
183:
180:
177:
173:
172:
168:
167:
161:
159:
158:
153:
152:
147:
143:
139:
135:
131:
127:
116:
112:
108:
107:
102:
101:
94:
58:
57:
49:
45:
41:
37:
33:
19:
8341:
8324:
8312:from Commons
8307:
8286:
8272:
8260:
8234:
8205:River Malvam
8152:
8140:
8010:Sisillius II
7880:Octa of Kent
7815:Queen Marcia
7810:Mandubracius
7685:Iago ap Beli
7171:
7164:
7157:
7151:
7142:
7135:Translations
7123:Vita Merlini
7121:
7113:
7105:
7040:
7034:
7028:
7004:
6996:
6975:
6969:
6963:
6957:
6951:
6875:
6874:
6792:(son-in-law)
6786:(son-in-law)
6724:Susanna Hall
6665:
6654:Institutions
6633:
6478:Coat of arms
6471:Translations
6463:
6459:Bibliography
6426:To the Queen
6424:
6417:
6399:
6392:
6384:
6377:
6370:
6363:
6355:
6348:
6341:
6334:
6327:
6320:
6313:
6304:
6296:
6289:
6282:
6275:
6268:
6260:
6253:
6246:
6219:
6212:
6205:
6198:
6184:
6146:Performances
6090:Second Folio
6058:
6051:
6042:
6035:
6027:
6020:
6013:
6004:
5997:
5992:
5985:
5977:
5970:
5950:
5943:
5936:
5929:
5922:
5915:
5908:
5901:
5894:
5887:
5880:
5860:
5852:
5845:
5838:
5831:
5824:
5816:
5809:
5802:
5795:
5788:
5781:
5774:
5768:
5767:
5760:
5753:
5746:
5688:
5678:
5662:
5650:
5638:
5599:(1): 73–90.
5596:
5592:
5583:
5571:. Retrieved
5568:Screen Plays
5567:
5551:. Retrieved
5548:SCREEN PLAYS
5547:
5531:. Retrieved
5528:SCREEN PLAYS
5527:
5502:
5491:
5464:
5452:. Retrieved
5448:
5432:. Retrieved
5428:the original
5416:The Guardian
5415:
5402:
5399:Trewin, J.C.
5386:
5373:
5355:. New York:
5351:
5321:
5315:
5302:
5290:. Retrieved
5285:
5253:
5247:
5235:. Retrieved
5231:
5215:. Retrieved
5211:
5195:. Retrieved
5186:
5170:. New York:
5166:
5153:. Retrieved
5149:the original
5136:
5120:. Retrieved
5116:
5095:
5071:
5055:
5020:
5016:
5004:. Retrieved
4999:
4987:
4975:. Retrieved
4971:
4956:. Retrieved
4950:
4934:. Retrieved
4930:
4915:. Retrieved
4911:the original
4886:. New York:
4881:
4846:
4840:
4828:. Retrieved
4824:the original
4819:
4784:
4761:
4734:
4724:
4694:
4688:
4676:. Retrieved
4671:
4659:
4636:
4622:
4604:
4592:. Retrieved
4587:
4553:
4544:
4501:
4489:. Retrieved
4484:
4469:. Retrieved
4465:the original
4460:
4436:. Columbia:
4433:
4410:
4383:
4367:. Retrieved
4363:
4348:. Retrieved
4344:
4329:. Retrieved
4325:the original
4320:
4305:. Retrieved
4300:
4288:
4273:. Retrieved
4268:
4253:. Retrieved
4248:
4233:. Retrieved
4228:
4213:. Retrieved
4208:
4193:. Retrieved
4188:
4173:. Retrieved
4168:
4153:. Retrieved
4148:
4133:. Retrieved
4128:
4116:
4101:. Retrieved
4085:. Retrieved
4080:
4036:
4032:
4008:
3998:
3983:. Retrieved
3979:the original
3974:
3947:
3935:. Retrieved
3931:
3905:
3886:
3867:
3855:. Retrieved
3851:
3835:. Retrieved
3831:
3798:(1): 33–66.
3795:
3789:
3777:. Retrieved
3773:the original
3760:
3731:
3706:
3676:(1): 31–41.
3673:
3667:
3657:. New York:
3654:
3622:
3587:
3574:
3561:
3548:
3535:
3534:Editions of
3529:Bibliography
3514:
3507:Lesnick 2013
3502:
3495:Patten* 2013
3490:
3478:
3466:
3454:
3442:
3430:
3418:
3406:
3394:
3382:
3370:
3358:
3346:
3334:
3322:
3310:
3298:
3286:
3274:
3262:
3250:
3238:
3226:
3214:
3188:
3184:
3167:
3163:
3151:. Retrieved
3147:
3137:
3125:. Retrieved
3122:The Guardian
3121:
3111:
3099:
3073:. Retrieved
3069:
3059:
3047:
3040:Dunnett 2014
3035:
3023:
3011:
3004:Trueman 2012
2999:
2987:
2975:
2963:
2956:Collins 2012
2951:
2939:
2927:
2915:
2903:
2896:Patalay 2008
2891:
2879:
2867:
2855:
2843:
2831:
2819:
2807:
2795:
2783:
2771:
2759:
2747:
2735:
2723:
2716:Pollock 1875
2711:
2699:
2657:
2645:
2618:
2574:
2562:
2518:
2511:Adelman 1992
2506:
2499:Adelman 1992
2494:
2486:
2482:
2474:
2470:
2463:Adelman 1992
2458:
2451:Hackett 2000
2446:
2434:
2407:
2402:, p. 8.
2395:
2383:
2326:
2304:Ziegler 1990
2299:
2287:
2275:
2268:Feerick 2016
2263:
2256:Parolin 2002
2234:
2222:
2217:, p. 2.
2210:
2198:. Retrieved
2194:
2184:
2157:
2145:
2133:
2121:
2114:Collier 1998
2109:
2097:
2085:
2073:
2046:
2034:
1980:
1978:
1972:
1967:
1962:
1951: 10–40
1938:
1918:
1916:
1905:
1903:
1896:
1894:
1883:
1876:
1871:
1866:to music by
1857:
1850:Gerald Finzi
1843:
1827:
1821:
1816:
1802:
1796:
1773:
1762:
1760:
1737:
1724:Edmond Missa
1721:
1700:Penn Badgley
1689:
1683:
1673:
1661:Helen Mirren
1657:Claire Bloom
1635:
1620:
1615:
1598:In 1937 the
1597:
1593:Jean Darnell
1587:as Iachimo,
1571:and starred
1564:
1559:
1543:
1523:
1515:
1513:
1508:
1502:
1497:
1493:Henry Brooke
1490:
1479:
1462:
1456:
1450:
1430:
1424:
1411:
1405:
1392:
1386:
1365:
1359:
1351:Emily Barber
1341:In 2015, at
1340:
1338:folk songs.
1319:
1310:
1301:Samir Bhamra
1298:
1285:
1279:
1268:
1265:
1259:production,
1254:
1242:
1225:
1215:
1211:Richard Hope
1207:Mark Rylance
1203:Abigail Thaw
1196:
1190:
1187:Anglo-Indian
1185:directed an
1180:
1176:Martha Burns
1157:
1148:Ben Kingsley
1141:
1132:
1102:
1060:
1032:
1005:
999:brought his
990:
983:modern dress
977:
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652:Harold Bloom
649:
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323:Roman Empire
320:
310:
226:Two Captains
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8225:Trinovantum
8075:Vortiporius
8030:Tasciovanus
8005:Sisillius I
7825:Marganus II
7600:Gorbonianus
7480:Saint David
7240:King Arthur
7195:Saint Alban
7173:Merlínússpá
7166:Breta sögur
6989:Adaptations
6830:WikiProject
6517:The Theatre
6503:Handwriting
6329:The Puritan
6120:Characters
6085:First Folio
6053:Richard III
5833:The Tempest
5328:: 389–394.
5117:thestar.com
5060:. Detroit:
5017:Shakespeare
4972:camdram.net
4737:. Garland.
4588:bufvc.ac.uk
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4097:"Cymbeline"
3832:bufvc.ac.uk
3483:Patten 2013
3243:Dukore 1973
3219:Dowden 1903
2992:Matzke 2013
2944:Tutton 2012
2836:Potter 2002
2776:Trewin 1964
2764:Leiter 1986
2752:Leiter 1986
2692:Dowden 1903
2611:Irving 1890
2555:Dobson 2015
2346:Lander 2008
2239:Boling 2000
2200:25 December
1824:T. S. Eliot
1813:Anton Myrer
1676:Ethan Hawke
1581:James Cruze
1486:Thomas Arne
1437:Adaptations
1416:David Bowie
1403:as Imogen.
1401:Amber James
1362:Melly Still
1336:Appalachian
1330:during the
1290:Juba Arabic
1282:South Sudan
1197:At the new
1164:Jean Gascon
1127:as Imogen.
1111:) featured
1105:John Barton
1098:Tom Fleming
1092:as Cloten.
1090:Clive Swift
1086:Eric Porter
1046:'s Imogen.
1012:The Old Vic
937:Ellen Terry
850:Ellen Terry
714:patriarchal
692:Cymbeline’s
571:Richard III
567:Henry Tudor
514:First Folio
473:First Folio
357:George Dawe
334:Louis Rhead
277:Apparitions
229:Two Jailers
134:First Folio
8382:1611 plays
8356:Categories
8326:Quotations
7835:Mempricius
7640:Gurgustius
7630:Gurgintius
7490:Diocletian
7485:Digueillus
7470:Cunobeline
7465:Cunedagius
7270:Beldgabred
7245:Arvirargus
7220:Amphibalus
7200:Albanactus
7183:Characters
7150:Layamon's
7001:(1982; TV)
6920:Arvirargus
6885:Characters
6754:Mary Arden
6738:(daughter)
6726:(daughter)
6602:Bardolatry
6512:King's Men
6454:Birthplace
6141:Chronology
6060:Henry VIII
5987:Richard II
5979:Edward III
5889:Coriolanus
5305:. Durham:
5303:Tendencies
5292:9 February
5260:: 95–105.
5197:9 February
4787:. Oxford:
4753:1011808615
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4528:1013939031
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3857:9 February
3627:Penguin UK
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3577:. Oxford:
3207:Odell 1920
3192:(program).
2848:Marks 1998
2824:Wayne 2005
2740:White 1998
2728:Odell 1920
2704:Odell 1920
2677:Wayne 2005
2662:Wayne 2005
2638:Wells 2005
2567:Wayne 2017
2523:Wayne 2017
2412:Wayne 2017
2376:Traub 2002
2319:Wayne 2017
2215:Bloom 2000
2066:Wayne 2017
1994:References
1944:Cunobeline
1898:Happy Days
1864:Cleo Laine
1854:song cycle
1616:Cymbeline,
1410:performed
1255:In a 2007
1172:Colm Feore
1152:Roger Rees
1144:Judi Dench
1035:Peter Hall
884:Marylebone
852:as Imogen.
724:homoerotic
677:Pax Romana
610:John Keats
555:Robert Nye
544:Chronicles
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206:Arvirargus
176:Cunobeline
169:In Britain
164:Characters
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130:Cunobeline
8287:Cymbeline
8261:Wikiquote
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8148:Excalibur
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7650:Gwenddydd
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7620:Guinevere
7615:Guiderius
7565:Fulgenius
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7375:Carausius
7370:Caradocus
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6622:Memorials
6617:Influence
6607:Festivals
6549:Sexuality
6539:Portraits
6534:New Place
6386:Ur-Hamlet
6322:Mucedorus
6232:Apocrypha
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5963:Histories
5910:King Lear
5873:Tragedies
5769:Cymbeline
5679:Cymbeline
5663:Cymbeline
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7300:Brennius
7265:Bedivere
7250:Ascanius
7235:Archmail
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6911:Belarius
6820:Category
6768:(sister)
6756:(mother)
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6262:Cardenio
6151:Settings
6099:See also
6022:Henry VI
5993:Henry IV
5739:Comedies
5684:LibriVox
5573:27 April
5553:27 April
5533:27 April
5454:20 April
5434:20 April
5401:(1964).
5217:8 August
5191:Archived
5155:29 April
5122:28 April
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4958:21 April
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4635:(1964).
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