{"id":1116,"date":"2021-04-13T14:13:29","date_gmt":"2021-04-13T13:13:29","guid":{"rendered":"https:\/\/folio400.com\/?post_type=plays&p=1116"},"modified":"2021-05-31T14:35:48","modified_gmt":"2021-05-31T13:35:48","slug":"cymbeline","status":"publish","type":"plays","link":"https:\/\/folio400.com\/plays\/cymbeline\/","title":{"rendered":"Cymbeline"},"content":{"rendered":"\t\t
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The play\u2019s style and stage directions suggest that it was written for performance in the Blackfriars Theatre, used by the King\u2019s Men from late 1609. A performance of the play is first noted by the astrologer Simon Forman: we don\u2019t know on what date, but he died in 1611. It was probably written between those years.<\/span><\/p>

The play wasn\u2019t printed before appearing in the First Folio. It was probably typeset from a reliable manuscript, written by Ralph Crane, a professional scribe employed by the King\u2019s Men, which he copied from Shakespeare\u2019s manuscripts or an earlier transcript of them.\u2028<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\"Cymbeline\"\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\u2018Fear no more the heat o\u2019th\u2019sun,
Nor the furious winter\u2019s rages,
<\/span>Thou thy worldly task has done,
<\/span>Home art gone and ta\u2019en thy wages\u2019<\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Cymbeline<\/em>, IV ii<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Brief synopsis of the play<\/h4>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Imogen, daughter of King Cymbeline of Britain, defies him by marrying Posthumus, but her husband is banished to Italy.\u00a0 There the callous villain Iachimo lays a wager on her fidelity and embarks on an elaborate plan: Posthumus is deceived, and decides that Imogen should die. This strange and complex romantic play, using Imogen as a metaphor for Britain itself, follows her escape, both from the corrupt royal court and the devastating effects of Iachimo\u2019s plotting, to a final revelation, reunion, and peace.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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