1. The first known printed copy of CYMBELINE is that in the 1623 Folio; and the earliest known record of its performance is one in Dr. Simon Forman's Diary, which record, although not dated, is ascertained from dates in other parts of his diary to have been some time between the 20th of April, 1610, and the 15th of May, 1611. There is every reason to believe that when Dr. Forman witnessed its performance, "Cymbeline" was a recently written play: its internal structure testifies to its having been composed at the same period as "The Winter's Tale," 'Henry VIII.," "Coriolanus," and "Timon of Athens." See our opening Notes to those plays. There is the same signally condensed construction, the same abundant imagery, the same lofty and mature tone of morality, and the same peculiar elisional contractions that are to be found in the above-named productions. For instance, we meet with the very unusual contraction of "shall's" for 'shall us'-used where 'shall we' ought in strictness to be employed-in The Winter's Tale," in "Coriolanus," in "Timon of Athens," and in the present play of "Cymbeline;" if we are not mistaken, only in these four plays. For the source of the plot Shakespeare was indebted to Boccaccio; between whose story of "Bernabo da Genova," &c. (related in the ninth novel of the second day of the "Decamerone"), and the portion of "Cymbeline" concerning Posthumus, Imogen, and Iachimo, there is evident similarity. There was a translation of the "Decamerone" published in 1620, the preface to which mentions that there had been other previous English versions printed; and one of these had probably been met with by Shakespeare. The historical particulars in this play were in all likelihood derived by him from Holinshed; who gives the names of Cymbeline and his sons, Guiderius and Arviragus, besides making mention of the tribute claimed by the Roman emperor. But the ground-work of this most

Is outward sorrow; though, I think, the king
Be touch'd at very heart.

Sec. Gent.
None but the king?
First Gent. He that hath lost her too:

so is

the queen, That most desir'd the match: but not a courtier, Although they wear their faces to the bent Of the king's looks,3 hath a heart that is not Glad at the thing they scowl at.

Sec. Gent. First Gent. a thing

And why so? He that hath miss'd the princess is

Too bad for bad report: and he that hath her (I mean, that married her,—alack, good man!— And therefore banish'd) is a creature such

charming play, as above indicated, is the mere skeleton, taken by the poet, and endued with vitality, vigour, beauty, grace, perfection. The whole of the lovely episode of the stolen princes, their mountain life in Wales, their brotherly instinct of affectionate fondness for the seeming boy, their sister; the masterly portrait of the Italian Iachimo; the passionate nature of Posthumus; and, above all, the peerless womanhood of Imogen, are all originated and consummated by Shakespeare's own poetic brain and God-gifted soul. In no one of his plays do we feel more truly to know the dramatist and man, Shakespeare; in no one of his plays do we more earnestly revere his genius, more intensely love his spirit.

2. Still seem as does the king. This opening speech is but the first of a long line of difficult passages occurring in the present play. We print it as given in the Folio, with the exception of the last word " 'king," which is there printed 'kings;' an additional or omitted final s being a frequent typographical error in that most precious, though, alas! most errorful volume. Tyrwhitt made the correction. We take the passage elliptically to signify, 'Our temperaments are not more surely influenced by every change of sky and weather, than are our courtiers' aspects controlled by that of the king-still wearing the same looks that he does.' This passage is illustrated by one a little farther on, which is adverted to in the next Note. "Bloods" is here used as Shakespeare often uses "blood;" in the sense of 'constitutional impression,' 'natural disposition,' 'native impulse or temperament.' See Note 81, Act ii., "Othello."

3. To the bent of the king's looks. According to the stern glance of the king's countenance,' 'in accordance with the frown of the king's looks.' See Note 49, Act i., "Antony and Cleopatra."

His measure duly.

Sec. Gent.

What's his name and birth?

First Gent. I cannot delve him to the root: his father

Was call'd Sicilius, who did join his honour,

Against the Romans, with Cassi belan;
But had his titles by Tenantius, whom
He serv'd with glory and admir'd success,—
So gain'd the sur-addition Leonatus ;
And had, besides this gentleman in question,
Two other sons, who, in the wars o' the time,
Died with their swords in hand; for which their
father

(Then old and fond of issue) took such sorrow,
That he quit being;7 and his gentle lady,
Big of this gentleman, our theme, deceas’d
As he was born. The king he takes the babe
To his protection; calls him Posthumus Leonatus;
Breeds him, and makes him of his bed-chamber:
Puts to him all the learnings that his time
Could make him the receiver of; which he

took,

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

8

And in's spring became a harvest: liv'd in court (Which rare it is to do) most prais'd, most

lov'd:

A sample to the youngest; to the more mature A glass that feated 9 them; and to the graver A child that guided dotards: to his mistress, For whom he now is banish'd,--her own price

4. You speak him far. 'You speak of him in largely praising terms,' 'You speak of him with wide latitude of praise.'

5. I do extend him, sir, within himself. I stretch his praise within the bounds of his own excellence,' 'I enlarge in his praise less than his own ample scope of virtue allows me to do.'

6. Did join his honour. This phrase has been suspected of error, and various substitutions have been proposed for "join," as 'win,' 'gain,' and 'earn;' but we think "did join his honour" is used to express 'gave his brave aid conjunctly,' 'fought honourably in consociation.' Shakespeare frequently uses "honour" in the sense of noble valour,' 'military glory; and we think that it here conveys some such signification; the speaker meaning that Sicilius valiantly and honourably fought under the standard of Cassibelan, who was a usurper, gained his titles under Tenantius, who was the rightful king. Cassibelan was Lud's younger brother, while Tenantius was Lud's son; and on Lud's death, the uncle took the throne to which the nephew was direct heir. After Cassibelan's death Tenantius reigned; and he was father to Cymbeline, who succeeded as king.

7. Quit being. 'Quitted existence,' 'left life.' See Note Act i., "Tempest."

but

30,

Enter the QUEEN, POSTHUMUS, and IMOGEN.

Queen. No, be assur'd you shall not find me, daughter,

After the slander of most stepmothers,
Evil-ey'd unto you: you're my prisoner, but

8. Calls him Posthumus Leonatus. Pope and others omit "Leonatus" here, as injurious to the measure of the line; but we have before pointed out that Shakespeare, in common with many ancient verse-writers, did not regard accuracy of metre in lines where proper names occur. See Note 19, Act iv., "Julius Cæsar."

9. Feated. 'Shaped,' 'fashioned,' 'moulded;' set before them a model whereby they formed themselves. Palsgrave has-"I am well feted or shapen of my lymmes; Je suis bien aligné." Shakespeare himself has phrases of similar signification, which aid in illustrating the present one. See passage referred to in Note 36, Act iii., Hamlet;" and the passage in 'Second Part Henry IV.," Act ii., sc. 3-"He was, indeed, the glass wherein the noble youth did dress themselves."