The Playmaker

First Rehearsal: Pisanio and Iachimo

2008-07-30T12:46:00.003-04:00

I just finished my first "Cymbeline" rehearsal. It was just me and Ian, the actor playing Pisanio and Iachimo (we're doing a lot of doubling). We talked through his first few scenes and made some interesting discoveries.

When Pisanio first appears, it seems as if he doesn't know the royal family all that well. They don't call him by name. The language is all very formal. Ian and I decided that before the story started, he mostly served Posthumus privately. Now Posthumus is gone, and "He would not suffer me / To bring him to the haven." We decided this is Pisanio's first time in the throne room, and it's his first time talking directly -- and at length -- with The Queen and Imogen. He's a little nervous and he's now jobless (his master has been banished). He asks Imogen to "employ me."

When we played the scene as a job interview, all the sudden the stakes were raised and Ian had something fun to latch onto. The interview basically continues through the next Imogen-Pisanio scene, until the very end when Imogen says, "Those things I bid you do, get them dispatched." Pisanio now has a job!

(Prior to that, Imogen is begging Pisanio for details about Posthumus. We decided that all Pisanio knows is that Posthumus got on a boat and left. Everything he tells Imogen is extemporizing. He's hoping to comfort her and please her. He's not all that good at it initially. He's not an actor. But he warms to it. Eventually, it because easy, because like Imogen, he loves Posthumus. So it's not a chore to wax poetic about him.)

I love Pisanio's first line: "My lord your son drew on my master." There are so many ways one could say it. It could just be a piece of reportage (here's what happened). It could be dripping with irony (My lord your IDIOT son...). It could be doused in pride (My lord your son drew on my NOBLE master). Keeping with Pisanio's intention of getting a job, he has to use the line (and the next few speeches) to subtly imply to Imogen "I'm on your side" without tipping off The Queen.

As for Iachimo, we spent a long time pondering his scene in Imogen's bedroom. He's so torn between looking at her (and touching her) and doing what he came there to do -- gather evidence he can use to win his bet with Posthumus. The actor and I agreed that in real life we wouldn't have this problem. Honestly, you could put me in Michelle Pfiefer's bedroom and ask me to steal something, and though I'm a heterosexual guy, I'd have a pretty easy time carrying out my mission. Ian said he would too.

So what gives Iachimo such trouble? We decided that -- all his bravado aside -- he's woefully inexperienced with women. The only women he's ever slept with have been whores. This is his first time alone -- in an intimate sense -- with a beautiful lady (Who also happens to be the future queen). As with our Pisanio decision, this immensely raised the stakes. And it made his boasting (and bet-making) with Posthumus all the riskier. Knowing he's taking a big chance (Posthumus threatens to kill him if he loses the bet), Iachimo boldly claims he can seduce Imogen. When he actually tries to seduce her, his attempt is almost as lame as Cloten's. More evidence that he's not very experienced with women.

Unlike in plays such as "Hamlet," where characters ponder and navel-gaze, "Cymbeline" seems to be about impetuous people -- people who go off half-cocked.

Cymbeline 3.ii

2008-07-23T13:09:00.001-04:00

SCENE II.
Britain. Another room in CYMBELINE'S palace

Enter PISANIO reading of a letter

PISANIO. How? of adultery? Wherefore write you not
What monsters her accuse? Leonatus!
O master, what a strange infection
Is fall'n into thy ear! What false Italian --
As poisonous-tongu'd as handed -- hath prevail'd
On thy too ready hearing? Disloyal? No.
She's punish'd for her truth, and undergoes,
More goddess-like than wife-like, such assaults
As would take in some [] virtue [virtuous people]. O my master!
Thy mind to her is now as low as were
Thy fortunes. How? that I should murder her?
Upon the love, and truth, and vows, which I
Have made to thy command? I, her? Her blood?
If it be so to do good service, never
Let me be counted serviceable. How look I
That I should seem to lack humanity
So much as this fact comes to? [Reads] 'Do't. The letter
That I have sent her, by her own command
Shall give thee opportunity.' O damn'd paper,
Black as the ink that's on thee! Senseless bauble,
Art thou a [] fedary [accomplice] for this act, and look'st
So virgin-like [] without [on the outside]? Lo, here she comes.

Enter IMOGEN

I [] am ignorant [will feign ignorance] in what I am commanded.
IMOGEN. How now, Pisanio!
PISANIO. Madam, here is a letter from my lord.
IMOGEN. Who? thy lord? That is my lord -- Leonatus?
O, learn'd indeed were that astronomer
That knew the stars as I his [] characters [letters in his handwriting] --
He'd lay the future open. You good gods,
Let what is here contain'd relish of love,
Of my lord's health, of his content; yet not
That we two are asunder -- let that grieve him!
Some griefs are med'cinable; that is one of them,
For it doth physic love -- of his content,
All but in that. Good [] wax [wax seal on the letter], thy leave. Blest be
You bees that make these [] locks of counsel [seals for confidential matters]! Lovers
And men in [] dangerous bonds [bound by risky contracts] [] pray [pray treat] not alike;
Though forfeiters you cast in prison, yet
You [] clasp young Cupid's tables. [fasten love letters] Good news, gods!
[Reads]
'Justice and your father's wrath, should he take me in his dominion, could not be so cruel to me [] as [but that] you, O the dearest of creatures, would even renew me with your eyes. Take notice that I am in Cambria, at Milford Haven. What your own love will out of this [] advise you [advise you to do], [] follow [act upon]. So he wishes you all happiness that remains loyal to his vow, and [he wishes] your increasing in love
LEONATUS POSTHUMUS.'

O for a horse with wings! Hear'st thou, Pisanio?
He is at Milford Haven. Read, and tell me
How far 'tis thither. If one of [] mean [triffling] affairs
May plod it in a week, why may not I
Glide thither in a day? Then, true Pisanio-
Who long'st like me to see thy lord, who long'st --
O, let me [] 'bate [abate, calm down]! -- but not like me, yet long'st,
But in a fainter kind -- O, not like me,
For mine's beyond beyond! -- say, and speak [] thick [quickly] --
Love's counsellor should fill the [] bores of hearing [ears]
To th' smothering of the sense -- how far it is
To this same blessed Milford. And by th' way
Tell me how Wales was made so happy as
T' inherit such a haven. But first of all,
How we may steal from hence; and for the gap
That we shall make in time from our hence-going
And our return, to excuse. But first, how get hence.
Why should excuse be born [] or ere begot [before it is made necessary by what we do]?
We'll talk of that hereafter. Prithee speak,
How many score of miles may we well ride
'Twixt hour and hour?
PISANIO. One score 'twixt sun and sun,
Madam, 's enough for you, and too much too.
IMOGEN. Why, one that rode to's execution, man,
Could never go so slow. I have heard of riding wagers
Where horses have been nimbler than the sands
That run i' th' clock's behalf. But this is fool'ry.
Go bid my woman feign a sickness; say
She'll home to her father; and provide me presently
A riding suit, no costlier than would fit
A [] franklin's [small landowner's] huswife [housewife -- pronounced "hussif"].
PISANIO. Madam, [] you're best [you had better] consider.
IMOGEN. { I see before me, man. Nor here, nor here,
Nor what ensues, but have a fog in them
That I cannot look through. }

{I can see what I'm about to do, not anything else or what will come...}

Away, I prithee;
Do as I bid thee. There's no more to say;
Accessible is none but Milford way. Exeunt

Cymbeline 3.i

2008-07-23T13:08:00.001-04:00

ACT III. SCENE I.
Britain. A hall in CYMBELINE'S palace

Enter in state, CYMBELINE, QUEEN, CLOTEN, and LORDS at one door,
and at another CAIUS LUCIUS and attendants

CYMBELINE. Now say, what would Augustus Caesar with us?
LUCIUS. When Julius Caesar -- whose remembrance yet
Lives in men's eyes, and will to ears and tongues
Be theme and hearing ever -- was in this Britain,
And conquer'd it, Cassibelan, thine uncle,
Famous in Caesar's praises no whit less
Than in his feats deserving it, for him
And his succession granted Rome a tribute,
Yearly three thousand pounds, which by thee lately
Is left untender'd.
QUEEN. And, [] to kill the marvel [spoil the surprise],
Shall be so ever.
CLOTEN. There be many Caesars
Ere such another Julius. Britain is
A world by itself, and we will nothing pay
For wearing our own noses.
QUEEN. That opportunity,
Which then they had to take from 's, [] to resume
We have again [we must take back again]. Remember, sir, my liege,
The kings your ancestors, together with
The natural [] bravery [splendor] of your isle, which stands
As [] Neptune's park [by the sea], ribb'd and [] pal'd [fenced] in
With rocks unscalable and roaring waters,
With sands that will not bear your enemies' boats
But suck them up to th' top-mast. A kind of conquest
Caesar made here; but made not here his brag
Of 'came, and saw, and overcame.' With shame --
The first that ever touch'd him -- he was carried
From off our coast, twice beaten; and his shipping --
Poor ignorant baubles! -- on our terrible seas,
Like egg-shells mov'd upon [] their [the seas'] surges, crack'd
As easily 'gainst our rocks; for joy whereof
The fam'd Cassibelan, who was once [] at point [almost] --
O, [] giglot [whore] fortune! -- to master Caesar's sword,
Made [] Lud's Town [London: named after Cymb's grandfather, Lud] with rejoicing fires bright
And Britons strut with courage.
CLOTEN. Come, there's no more tribute to be paid. Our kingdom is stronger than it was at that time; and, as I said, there is no moe such Caesars. Other of them may have crook'd noses; but to [] owe [own] such [] straight [steady] arms, none.
CYMBELINE. Son, let your mother end.
CLOTEN. We have yet many among us can [] grip [grip a sword] as hard as Cassibelan. I do not say I am one; but I have a hand. Why tribute? Why should we pay tribute? If Caesar can hide the sun from us with a blanket, or put the moon in his pocket, we will pay him tribute for light; else, sir, no more tribute, pray you now.
CYMBELINE. You must know,
Till the injurious Romans did extort
This tribute from us, we were free. Caesar's ambition-
Which swell'd so much that it did almost stretch
The sides o' th' world -- against all [] colour [reason] here
Did put the yoke upon's; which to shake off
Becomes a warlike people, whom we reckon
Ourselves to be.
CLOTEN. We do.
CYMBELINE. Say then to Caesar,
Our ancestor was that Mulmutius which
Ordain'd our laws -- whose use the sword of Caesar
Hath too much mangled; whose repair and franchise
Shall, by the power we hold, be our good deed,
Though Rome be therefore angry. Mulmutius made our laws,
Who was the first of Britain which did put
His brows within a golden crown, and call'd
Himself a king.
LUCIUS. I am sorry, Cymbeline,
That I am to pronounce Augustus Caesar --
Caesar, that hath moe kings his servants than
Thyself domestic officers -- thine enemy.
Receive it from me, then: war and confusion
In Caesar's name pronounce I 'gainst thee; look
For fury not to be resisted. [] Thus defied [Now that you are challenged in Caesar's name],
I thank thee for myself.
CYMBELINE. Thou art welcome, Caius.
Thy Caesar knighted me; my youth I spent
Much under him; of him I gather'd honour,
Which he to seek of me again, perforce,
Behoves me keep at utterance. I am [] perfect [certain]
That the [] Pannonians [Hungarians] and Dalmatians [peoples on the Adriatic] for
Their liberties are now in arms, a precedent
Which not to read would show the Britons [] cold [apathetic];
So Caesar shall not find them.
LUCIUS. Let [] proof [military victory] speak.
CLOTEN. His majesty bids you welcome. Make pastime with us a day or two, or longer. If you seek us afterwards in other terms, you shall find us in our salt-water girdle. If you beat us out of it, it is yours; if you fall in the adventure, our crows shall fare the better for you; and there's an end.
LUCIUS. So, sir.
CYMBELINE. I know your master's pleasure, and he mine;
All the remain is, welcome. Exeunt

Cymbeline 2.v

2008-07-23T13:07:00.001-04:00

SCENE V.
Rome. Another room in PHILARIO'S house

Enter POSTHUMUS

[This first question will be much stronger if it's not rhetorical. How CAN we get women out of our lives?]
POSTHUMUS. Is there no way for men to [] be [be conceived], but women
Must be half-workers?

[Action: reject everyone (as base)]

We are all bastards,

[Action: blame]

And that most venerable man which I
Did call my father was I know not where
When I was stamp'd. Some coiner with his tools
Made me a counterfeit;

[Action: wonder]

yet my mother seem'd
The Dian of that time. So doth my wife
The [] nonpareil [one without equal] of this.

[Action: EXPLODE]

O, vengeance, vengeance!

[Action: rail at injustice]

Me of my lawful pleasure she restrain'd,
And pray'd me oft forbearance; did it with
A pudency so rosy, the sweet view on't
Might well have warm'd old Saturn;

[there was a phrase: "cold as old Saturn"]

[Action: name the crimes against you]

that I thought her
As chaste as unsunn'd snow. O, all the devils!
This [] yellow [cynical?] Iachimo in an hour -- was't not?
Or less! -- at first? Perchance he spoke not, but,
Like a full-acorn'd boar, a German one,
Cried 'O!' and mounted; found no opposition
{ But what he look'd for should oppose and she
Should from encounter guard.}

{this may refer to her hyman, in which case, she's a virgin}

[Action: Explode]

Could I find out
The woman's part in me!

[Action: prove]

For there's no [] motion [impulse]
That tends to vice in man but I affirm
It is the woman's part. Be it lying, note it,
The woman's; flattering, hers; deceiving, hers;
Lust and rank thoughts, hers, hers; revenges, hers;
Ambitions, covetings, [] change of prides [fickleness in excesses], disdain,
[] Nice [wanton] longing, slanders, mutability,
All faults that man may name, nay, that hell knows,
Why, hers, in part or all; but rather all;
For even to vice
They are not constant, but are changing still
One vice but of a minute old for one
Not half so old as that.

[Action: vow]
I'll write against them,
Detest them, curse them.

[Action: let them stew in their own juices]
Yet 'tis [] greater skill [more just, more reasonable]
In a true hate to pray they have their will:
The very devils cannot plague them better. Exit

Cymbeline 2.iv

2008-07-23T13:06:00.002-04:00

SCENE IV.
Rome. PHILARIO'S house

Enter POSTHUMUS and PHILARIO

[What was the beginning of this conversation like? We drop in on it in the middle. Maybe Philario asked Posthumus if he planned on winning the King's trust again? Phothumus answered...]

[Action: complain (as a request for reassurance)]
POSTHUMUS. Fear it not, sir; I [] would [wish] I were so sure
To [] win [win over] the King as I am [] bold [confident] her honour
Will remain hers.

PHILARIO. What [] means [overtures] do you make to him?

[Action: confess ... change the subject]
POSTHUMUS. Not any; but abide the change of time,
Quake in the present winter's state, and wish
That warmer days would come. In these fear'd hopes
I barely [] gratify [repay] your love; they failing,
I must die much your debtor.

[Action: repay kindness ... then change the subject, gently belittle the English]
PHILARIO. Your very goodness and your company
O'erpays all I can do. By [] this [this time] your king
Hath heard of great Augustus. Caius Lucius
Will do's commission throughly; and I think
He'll grant the tribute, send th' arrearages,
Or look upon our Romans, whose remembrance
Is yet fresh in their grief.

[Action: stand up for the home team]

POSTHUMUS. I do believe
[] Statist [statesman, politician] though I am none, nor like to be,
That this will prove a war; and you shall hear
The legions now in [] Gallia [France] sooner landed
In our not-fearing Britain than have tidings
Of any penny tribute paid. Our countrymen
Are men [] more order'd [better prepared] than when Julius Caesar
Smil'd at their lack of skill, but found their courage
Worthy his frowning at. Their discipline,
Now mingled with their courages, will make known
To [] their approvers [those who test them] they are people such
That [] mend [improve] upon the world.

Enter IACHIMO

PHILARIO. See! Iachimo!

[Posthumus gives a warm welcome to Iachimo. He is positive Imogen is faithful. The more sure he is of this, the more crushed he'll be later.]

POSTHUMUS. The swiftest harts [] have posted [must have sped] you by land,
And winds of all the [] corners [quarters] kiss'd your sails,
To make your vessel nimble.
PHILARIO. Welcome, sir.

[Action: gloat.]
POSTHUMUS. I hope the briefness of your answer made
The speediness of your return.

[Action: wind up for a pitch]
IACHIMO. Your lady
Is one of the fairest that I have look'd upon.

[Action: gloat ... then temp fate by making an oath (as a sign of confidence)]
POSTHUMUS. And therewithal the best; or let her beauty
Look through a [] casement [window: whore looking through a window at clients] to allure false hearts,
And be false with them.

[Action: stall (before going in for the kill)]
IACHIMO. Here are letters for you.

[Action: fish (have you read them?)]
POSTHUMUS. Their tenour good, I trust.

[Action: play cards close to chest]
IACHIMO. 'Tis very like.

[Action: change the subject (is Philario still interested in politics, or is he trying to avert disaster?)]
PHILARIO. Was Caius Lucius in the Britain court
When you were there?

[Action: solve and move on]
IACHIMO. He was expected then,
But not approach'd.

[Action: claim victory]
POSTHUMUS. All is well yet.
Sparkles this stone as it was wont, or is't not
Too dull for your good wearing? [indicates his ring]

[Action: luxuriate]
IACHIMO. If I have lost it,
I should have lost the worth of it in gold.
I'll make a journey twice as far t' enjoy
A second night of such sweet shortness which
Was mine in Britain; for the ring is won.

[Action: withhold]
POSTHUMUS. The stone's too hard to come by.

[Action: shrug it off]
IACHIMO. Not a whit,
Your lady being so easy.

[Action: warn, wipe the smile off his face, drop the mask]
POSTHUMUS. Make not, sir,
Your loss your sport. I hope you know that we
Must not continue friends.

[Action: reason]
IACHIMO. Good sir, we must,
If you [] keep covenant [adhere to your contract]. Had I not brought
The knowledge of your mistress home, I grant
We were to question farther; but I now
Profess myself the winner of her honour,
Together with your ring; and not the wronger
Of her or you, having proceeded but
By both your wills.

[Action: draw a line in the sand]
POSTHUMUS. If you can make't apparent
That you have tasted her in bed, my hand
And ring is yours. If not, the foul opinion
You had of her pure honour gains or loses
Your sword or mine, or masterless leaves both
To who shall find them.

[Action: boast]
IACHIMO. Sir, [] my circumstances [the details I will tell],
Being so near the truth as I will make them,
Must first induce you to believe -- whose strength
I will confirm with oath; which I doubt not
You'll give me leave to spare when you shall find
You need it not.

[Action: accept the challenge]
POSTHUMUS. Proceed.

[Action: make the case, "accidently", "absentmindedly" getting lost in details]
IACHIMO. First, her bedchamber,
Where I confess I slept not, but profess
Had that was well worth watching -- it was hang'd
With tapestry of silk and silver; the story,
Proud Cleopatra when she met her Roman
And [] Cydnus [river where Anthony met Cleopatra] swell'd above the banks, [] or for [either due to]
The press of boats or pride. A piece of work
So bravely done, so rich, that it did [] strive [compete]
In workmanship and value; which I wonder'd
Could be so rarely and exactly wrought,
Since the true life on't was --

[Action: shrug off]
POSTHUMUS. This is true;
And this you might have heard of here, by me
Or by some other.

[Action: feign confusion]
IACHIMO. More particulars
Must justify my knowledge.

[Action: dare]
POSTHUMUS. So they must,
Or do your honour injury.

[Action: produce evidence]
IACHIMO. The chimney
Is south the chamber, and the chimneypiece
Chaste Dian bathing. Never saw I figures
So likely to report themselves. The cutter
Was as another nature, dumb; [] outwent her [surpassed nature, except...],
Motion and breath [] left [he left] out.

[Action: disprove]
POSTHUMUS. This is a thing
Which you might from relation likewise [] reap [learn],
Being, as it is, much spoke of.

[Action: bombard with facts]
IACHIMO. The roof o' th' chamber
With golden cherubins is [] fretted [adorned]; her [] andirons [fired irons] --
I had forgot them -- were two winking Cupids
Of silver, each on one foot standing, nicely
[] Depending on their brands [leaning on their torches].

[Action: "slap" ... then close the case]
POSTHUMUS. [] This is her honour! [This is her honor we're talking about!]
Let it be granted you have seen all this, and praise
Be given to your remembrance; the description
Of what is in her chamber nothing saves
The wager you have laid.

[Action: pull out the ace]
IACHIMO. Then, if you can, [Shows the bracelet]
[] Be pale [be calm]. I beg but leave to air this jewel. See!
And now 'tis [] up again [put away again, e.g. in my pocket]. It must be married
To that your diamond; I'll keep them.

[Action: rub eyes]
POSTHUMUS. Jove!
Once more let me behold it. Is it that
Which I left with her?

[Action: stick the knife in further]
IACHIMO. Sir -- I thank her -- that.
She stripp'd it from her arm; I see her yet;
Her pretty action did outsell her gift,
And yet enrich'd it too. She gave it me, and said
She priz'd it once.

[Action: grasp at straws]
POSTHUMUS. May be she pluck'd it off
To send it me.

[Action: let him connect the dots]
IACHIMO. She writes so to you, doth she?

[Action: topple over into a realization ... curse]
POSTHUMUS. O, no, no, no! 'tis true. Here, take this too;
[Gives the ring]
It is a [] basilisk [serpent whose looks could kill] unto mine eye,
Kills me to look on't. Let there be no honour
Where there is beauty; truth where semblance; love
Where there's another man. { [] The vows [let the vows] of women
Of no more [] bondage [obligation] be to [] where they [those to whom the vows] are made
Than [] they [the women] are to their virtues, which is nothing.}

{Let women's vows no more bind them to men then their vows bind them to virtue, which they don't at all}

O, above measure false!

[Action: calm, reason]
PHILARIO. Have patience, sir,
And take your ring again; 'tis not yet won.
It may be probable she lost it, or
Who knows if one her women, being corrupted
Hath stol'n it from her?

[Action: bounce back, demand proof]
POSTHUMUS. Very true;
And so I hope he came by't. Back my ring.
Render to me some corporal sign about her,
More evident than this; for this was stol'n.

[Action: rail at injustice]
IACHIMO. By Jupiter, I had it from her arm!

[Action: give in to the inevitable]
POSTHUMUS. Hark you, he swears; by Jupiter he swears.
'Tis true -- nay, keep the ring, 'tis true. I am sure
She would not lose it. Her attendants are
All sworn and honourable- -- they induc'd to steal it!
And by a stranger! No, he hath enjoy'd her.
The [] cognizance [sign] of her incontinency
Is this: she hath bought the name of whore thus dearly.
There, take thy [] hire [winnings]; and all the fiends of hell
Divide themselves between you!

[Action: reason]
PHILARIO. Sir, be patient;
This is not strong enough to be believ'd
Of one [] persuaded [thought] well of.

[Action: scorn]
POSTHUMUS. Never talk on't;
She hath been colted by him.

[Action: rub salt into the wound, revel]
IACHIMO. If you seek
For further satisfying, under her breast --
Worthy the pressing -- lies a mole, right proud
Of that most delicate lodging. By my life,
I kiss'd it; and it gave me present hunger
To feed again, though full. You do remember
This stain upon her?

[Action: withdraw (e.g. to a dark place)]
POSTHUMUS. Ay, and it doth confirm
Another stain, as big as hell can hold,
Were there no more but it.

[Action: toy with]
IACHIMO. Will you hear more?

[Action: hurl away]
POSTHUMUS. Spare your arithmetic; never count the [] turns [sexual acts].
Once, and a million!

[Action: jump back in the ring]
IACHIMO. I'll be sworn --

[Action: refuse to play ... then threaten]
POSTHUMUS. No swearing.
If you will swear you have not done't, you lie;
And I will kill thee if thou dost deny
Thou'st made me cuckold.

[Action: stand firm]
IACHIMO. I'll deny nothing.

[Action: wish ... then vow]
POSTHUMUS. O that I had her here to tear her [] limb-meal [limb from limb]!
I will go there and do't, i' th' court, before
Her father. I'll do something -- Exit

[Action: pick up the pieces]
PHILARIO. Quite [] besides
The government [beyond the control] of patience! You have won.
Let's follow him and [] pervert [divert] the present wrath
He hath against himself.
IACHIMO. With all my heart. Exeunt

Cymbeline 2.iii

2008-07-23T13:06:00.001-04:00

SCENE III.
CYMBELINE'S palace. An ante-chamber adjoining IMOGEN'S apartments

Enter CLOTEN and LORDS

[This is a scene about frustration. At its start, Cloten has once-again lost at cards (or maybe dice). He's being forced to woo Imogen, who continually rebuffs him. The Queen is frustrated by her idiot son, who has to be told how to woo; Cymbeline is frustrated by the political situation in Rome; Lord 2, presumably sick and tired of Cloten, is sulking in silence; Imogen is angry because her bracelet is gone -- and then, to make matters worse -- Cloten invades her space.]

[Action: flatter]

FIRST LORD. Your lordship is the most patient man in loss, the most coldest that ever turn'd up [] ace [the card with the lowest value].

[Action: shrug off, swat away a gnat. Or maybe, push for a better compliment]

CLOTEN. It would make any man cold to lose.

[Action: turn the volume up to eleven]

FIRST LORD. But not every man patient after the noble temper of your lordship. You are most hot and furious when you win.

[Action: Change the subject]

CLOTEN. Winning will put any man into courage. If I could get this foolish Imogen, I should have gold enough. It's almost morning, is't not?
FIRST LORD. Day, my lord.

[It seems as if Cloten wants to talk about Imogen. But Lord 2 is silent and Lord 1, usually Cloten follower, doesn't respond. Maybe everyone is aware of how hopeless things are with Imogen.]

CLOTEN. I would this music would come. I am advised to give her music [] a mornings [every morning]; they say it will [] penetrate [touch her heart].

Enter musicians

Come on, tune. If you can penetrate her with your fingering, so. We'll try with tongue too. If none will do, let her remain; but I'll never give [] o'er [up]. First, a very excellent [] good-conceited [witty, clever] thing; after, a wonderful [] sweet air [solo, light song], with admirable rich words to it -- and then let her consider.

[Is Cloten making these sexual puns on purpose? Or is he unaware?]

SONG

Hark, hark! the lark at heaven's gate sings,
And [] Phoebus 'gins arise [the sun begins to rise],
His steeds to water at those springs
On [] chalic'd [cuplike] flow'rs that [] lies [lie];
And [] winking Mary-buds [closed marigold buds] begin
To ope their golden eyes.
With everything that pretty bin,
My lady sweet, arise;
Arise, arise!

So, get you gone. If this penetrate, I will consider your music the better; if it do not, it is a vice in her ears which horsehairs and calves' guts, nor the voice of [] unpaved [castrated: without stones/balls] eunuch to boot, can never amend. Exeunt musicians

Enter CYMBELINE and QUEEN

[Perhaps the king has been less-than-impressed by Cloten's gambeling. Now is Cloten's chance to show off that he's been doing more obedient things. The King and Queen treat Cloten as if he's a little boy. He boasts; they instruct him.]

SECOND LORD. Here comes the King.
CLOTEN. I am glad I was up so late, for that's the reason I was up so early. He cannot choose but take this service I have done fatherly. -- Good morrow to your Majesty and to my gracious mother.
CYMBELINE. Attend you here the door of our stern daughter?
Will she not forth?
CLOTEN. I have assail'd her with musics, but she [] vouchsafes [grants] no notice.
CYMBELINE. The exile of her minion is too new;
She hath not yet forgot him; some more time
Must wear the print of his remembrance out,
And then she's yours.
QUEEN. You are most bound to th' King,
Who lets go by no [] vantages [opportunities] that may
[] Prefer [recommend] you to his daughter. Frame yourself
To [] orderly [regular] [] soliciting [entreating], and [] be friended
With aptness of the season [be ready to take advantage of good luck]; make denials
Increase your services; so seem as if
You were inspir'd to do those duties which
You tender to her; that you in all obey her,
Save when command to your dismission tends,
And therein you are [] senseless [deaf].
CLOTEN. [] Senseless? [stupid?] Not so.

Enter a MESSENGER

MESSENGER. So like you, sir, ambassadors from Rome;
The one is Caius Lucius.

[Action: teach, instruct, lecture]

CYMBELINE. A worthy fellow,
Albeit he comes on angry purpose now;
But that's no fault of his. We must receive him
According to the honour of his sender;
And towards himself, his goodness [] forespent [that he already spent] on us,
We must extend our notice. Our dear son,
When you have given good morning to your mistress,
Attend the Queen and us; we shall have need
T' employ you towards this Roman. Come, our queen.
Exeunt all but CLOTEN

[Cloten is supposed to woo her, but (maybe because he doesn't know how) he seeks a shortcut -- bribing his way into her chamber.]

[Action: Justify (slacking off)]

CLOTEN. If she be up, I'll speak with her; if not,
Let her lie still and dream.

By your leave, ho! [Knocks]

[He needs to SOMEHOW impress the king and queen...]

[Action: weigh the evidence (that money is the answer to all problems)]

I know her women are about her; what
If I do line one of their hands? 'Tis gold
Which buys admittance; oft it doth -- yea, and makes
[] Diana's rangers [Diana's nymphs] [] false themselves [break their oaths], yield up
Their deer to th' [] stand [ambush] o' th' stealer; and 'tis gold
Which makes the true man kill'd and saves the thief;
Nay, sometime hangs both thief and true man. What
Can it not do and undo? I will make
One of her women lawyer to me, for
I yet not understand the case myself.
By your leave. [Knocks]

Enter a LADY

[There are many actions the lady can play here. She could be trying to tactfully rebuff Cloten; she could be flirting with him; she could be mocking him.]

LADY. Who's there that knocks?
CLOTEN. A gentleman.
LADY. No more?
CLOTEN. Yes, and a gentlewoman's son.
LADY. That's more
Than some whose tailors are as dear as yours
Can justly boast of. What's your lordship's pleasure?
CLOTEN. Your lady's person; is she ready?
LADY. Ay,
To keep [] her [to her] chamber.
CLOTEN. There is gold for you; sell me your good report.
LADY. How? [] My good name? [pun on "report" as "reputation"] or to report of you
What I shall think is good? The Princess!

Enter IMOGEN

[Action: flatter]
CLOTEN. Good morrow, fairest sister. Your sweet hand.
Exit LADY

[Action: dismiss (with the minimum of politeness)]
IMOGEN. Good morrow, sir. You lay out too much pains
For purchasing but trouble. The thanks I give
Is telling you that I am poor of thanks,
And scarce can spare them.

[Action: woo (his last -- maybe best -- attempt)]
CLOTEN. Still I swear I love you.

[Action: scorn]
IMOGEN. If you but [] said [as opposed to swore] so, 'twere as [] deep [important] with me.
If you swear still, your recompense is still
That I regard it not.

[Action: stand fast]
CLOTEN. This is no answer.

[Action: reason]
IMOGEN. [] But that you shall not [if not for fear you would] say I yield, being silent,
I would not speak. I pray you spare me. Faith,
I shall unfold equal discourtesy
To your best kindness; one of your great knowing
Should learn, being taught, forbearance.

[Action: refuse to budge]
CLOTEN. To leave you in your madness 'twere my sin;
I will not.

[Action: insult]
IMOGEN. Fools are not mad folks.
[This line doesn't make sense. Some editors change it to Fools CURE not mad folks.
Pelican edition's translation: "I am a fool to talk to you, but not mad"]

[Action: warn]
CLOTEN. Do you call me fool?

[Action: apologize, reason]
IMOGEN. As I am mad, I do;
If you'll be patient, I'll no more be mad;
That cures us both. I am much sorry, sir,
You put me to forget a lady's manners
By being so verbal; and learn now, for all,
That I, which know my heart, do here pronounce,
By th' very truth of it, I care not for you,
And am so near the lack of charity
To accuse myself I hate you; which I had rather
You felt than make't my boast.

[Action: chastise ... then insult]
CLOTEN. You sin against
Obedience, which you owe your father. For
The contract you pretend with that base wretch,
One bred of alms and foster'd with cold dishes,
With scraps o' th' court -- it is no contract, none.
[] And [even] though it be allowed [] in meaner parties [among commoners] --
Yet who than he more mean? -- to knit their souls --
On whom there is no more dependency
But brats and beggary -- [] in self-figur'd knot [marriage of their own making (as opposed to arranged)],
Yet you are curb'd from that enlargement by
The consequence o' th' crown, and must not foil
The precious note of it with a base slave,
A [] hilding [contemptible person] [] for a livery [only fit to wear a servant's univform], a squire's cloth,
A [] pantler [servant in change of the pantry]-- not so eminent!

[Action: curse]
IMOGEN. Profane fellow!
Wert thou the son of Jupiter, and no more
But what thou art besides, thou wert too base
To be his groom. Thou wert dignified [] enough [too much],
Even to the point of envy, if 'twere made
Comparative for your virtues to be styl'd
The under-hangman of his kingdom, and hated
For being preferr'd so well.

[Action: curse]
CLOTEN. The south fog rot him!

[Action: insult]
IMOGEN. He never can meet more mischance than come
To be but [] nam'd of [named by] thee. His mean'st garment
That ever hath but [] clipp'd [encircled] his body is dearer
In my respect than all the hairs above thee,
Were they all made such men. How now, Pisanio!

[From here on out, the scene between Imogen and Cloten is done, as-far-as she's concerned. He keeps trying to bait her. She ignores him, intent on finding her bracelet.]

Enter PISANIO

CLOTEN. 'His garments'! Now the devil --
IMOGEN. To Dorothy my woman hie thee presently.
CLOTEN. 'His garment'!
IMOGEN. I am sprited with a fool;
Frighted, and ang'red worse. Go bid my woman
Search for a jewel that too casually
Hath left mine arm. It was thy master's; [] shrew me [may I be cursed],
If I would lose it for a revenue
Of any king's in Europe! I do think
I saw't this morning; confident I am
Last night 'twas on mine arm; I kiss'd it.
I hope it be not gone to tell my lord
That I kiss [] aught [anything] but he.
PISANIO. 'Twill not be lost.
IMOGEN. I hope so. Go and search. Exit PISANIO
CLOTEN. You have abus'd me.
'His meanest garment'!
IMOGEN. Ay, I said so, sir.
If you will make 't an action, call witness to 't.
CLOTEN. I will inform your father.
IMOGEN. Your mother too.
She's my good lady and will conceive, I hope,
But the worst of me. So I leave you, sir,
To th' worst of discontent. Exit
CLOTEN. I'll be reveng'd.
'His mean'st garment'! Well. Exit

Cymbeline 2.ii

2008-07-23T13:05:00.001-04:00

SCENE II.
Britain. IMOGEN'S bedchamber in CYMBELINE'S palace; a trunk in
one corner

Enter IMOGEN in her bed, and a LADY attending

IMOGEN. Who's there? My woman? Helen?

[Interesting that Imogen seems frightened. Of course, her husband has been banished and she's surrounded by enemies. Also, according to the end of the scene, she's reading a rape story. (According to one of the next few lines, she's been reading it for three hours.)]

LADY. Please you, madam.
IMOGEN. What hour is it?
LADY. Almost midnight, madam.
IMOGEN. I have read three hours then. Mine eyes are weak;
Fold down the leaf where I have left. To bed.
Take not away the taper, leave it burning;
And if thou canst awake by four o' th' clock,
I prithee call me. Sleep hath seiz'd me wholly. Exit LADY

[Why does Imogen want to be awakened at 4am? Why does she want to leave the candle burning? Has she been having nightmares?]

To your protection I commend me, gods.
From fairies and the tempters of the night
Guard me, beseech ye!

[In the previous section, Imogen does all sorts of things to protect herself. She fears sleep (why?), but she's been trying to stave it off by reading lurid tales. But she can no longer keep her eyes open. So she takes what measures she can to protect herself while she sleeps. Her action is to prepare for a crisis. She's boy-scouting.]

[Sleeps. IACHIMO comes from the trunk]
IACHIMO. The crickets sing, and man's o'er-labour'd sense
Repairs itself by rest. Our [] Tarquin [legendary Roman rapist] thus
Did [] softly press the rushes [quietly step on the floor] ere he waken'd
The chastity he wounded.

[Why does Iachimo narrate like this, comparing himself and (following) Imogen to mythological figures. It seems as if he's trying to recast something sordid into something grand. Or maybe he's trying to make sense of what he's doing -- trying to place it in a familiar mythological context. Maybe, for all his seeming confidence in the last act, he's never done anything like this before. It may be making him nervous. His action might be to paint a picture (with the goal of making something scary more understandable and manageable)]

[] Cytherea [Aphrodite, goddess of love and beauty],
How [] bravely [splendidly] thou becom'st thy bed! fresh lily,
And whiter than the sheets! That I might touch!
But kiss; one kiss! Rubies unparagon'd,
[] How dearly they do't! [how dearly her lips kiss each other] 'Tis her breathing that
Perfumes the chamber thus. The flame o' th' taper
Bows toward her and would under-peep her lids
To see th' enclosed lights, now canopied
Under these windows white and azure, lac'd
With [] blue [veins] of heaven's own [] tinct [color].

[Iachimo is trying to wrestle with his desire for Imogen. He's here to win money, not to have her way with her. But she's so beautiful and vulnerable. She's already rejected him, so if he makes a pass, he risks losing everything, but... In the previous section, he's either trying to fight off temptation or giving into it. Or maybe a little of both. ]

[Action: get back on track]
But my design
To note the chamber. I will write all down:
Such and such pictures; there the window; such
Th' adornment of her bed; the [] arras [tapestry], [] figures [characters on the tapestry] --
Why, such and such; and the contents o' th' story.

[Action: justify (consciously or unconsciously, Iachimo finds a clever way to make his lust serve his larger goal)]

Ah, but some natural notes about her body
Above ten thousand [] meaner movables [less important things (more literally: articles of furniture)]
Would testify, t' enrich mine inventory.

[Perhaps he touches her and she stirs.]

[Action: pray, cast spell, conjure, command]

O sleep, thou ape of death, lie dull upon her!
And be her [] sense [senses] but as a monument,
Thus in a chapel lying! Come off, come off;
[Taking off her bracelet]

[Action: revel, boast]

As slippery as the [] Gordian knot [mythological knot no one could untie] was hard!
'Tis mine; and this will witness outwardly,
As strongly as the conscience does within,
To th' madding of her lord.

[Then... temptation again. And an attempt to work it into the general plan.]

On her left breast
A mole [] cinque-spotted [with five spots], like the crimson drops
I' th' bottom of a cowslip. Here's a voucher
Stronger than ever law could make; this secret
Will force him think I have pick'd the lock and ta'en
The treasure of her honour.

[Maybe she moves again]

No more. To what end?
Why should I write this down that's riveted,
Screw'd to my memory? She hath been reading late
The tale of [] Tereus [rapist king]; here the leaf's turn'd down
Where [] Philomel [rape victim] gave up. I have enough.
To th' trunk again, and shut the spring of it.
Swift, swift, you dragons of the night, that dawning
May bare the raven's eye! I lodge in fear;
Though this a heavenly angel, hell is here. [Clock strikes]
One, two, three. Time, time!

[Symbolically, for Iachimo as-well-as for the the audience, the bracelet and the book are ways for him to make love to Imogen -- while also completing his plan.]

Cymbeline 2.i

2008-07-23T13:04:00.001-04:00

ACT II. SCENE I.
Britain. Before CYMBELINE'S palace

Enter CLOTEN and the two LORDS

[The key to this scene may be Lord 2's final few lines, which are spoken to Imogen, even though she isn't there:

The heavens hold firm
The walls of thy dear honour, keep unshak'd
That temple, thy fair mind, that thou mayst stand
T' enjoy thy banish'd lord and this great land!

The speech is in verse, even though the rest of the scene is prose. It's as though something nobel suddenly erupts from base soil.

Lord 2, I think, represents a suppressed segment of the court: those lords who long for Postumus's return and who turn to Imogen, meanwhile, to keep the flame burning. Scenes like this make the conflict bigger than a family drama.
]

CLOTEN. Was there ever man had such luck! When I [] kiss'd the jack [hit the target in a game of bowls], upon an [] up-cast [accident] to be hit away! I had a hundred pound on't; and then a whoreson jackanapes must take me up for swearing, as if I borrowed mine oaths of him, and might not spend them at my pleasure.

[Cloten screwed everything up. He bowled badly. He got into some kind of social mishap. It was obvious to everyone whose fault it all was, so Cloten needs to mend his broken pride. He has to coax the lords to say, "You truly have had the worst luck!" So he complains, drops hints, infantilizes himself...]

[Action: praise, worship]
FIRST LORD. What got he by that? You have broke his pate with your bowl.

[Action: mock]
SECOND LORD. [Aside] If [] his [the guy Cloten beat] wit had been like him that broke it, it would have run all out.

[Action: test, challenge]
CLOTEN. When a gentleman is dispos'd to swear, it is not for any standers-by to curtail his oaths. Ha?

[Action: kowtow ... then mock
SECOND LORD. No, my lord; [Aside] { nor crop the ears of them. }

{complicated pun on "curtail" (above): donkeys had their ears cropped}

[Action: boast ... then rail]
CLOTEN. Whoreson dog! I give him satisfaction? Would he had been one of my rank!

[Action: mock]
SECOND LORD. [Aside] To have [] smell'd [pun on rank] like a fool.

[Action: list grievances]
CLOTEN. I am not vex'd more at anything in th' earth. A pox on't! I had rather not be so noble as I am; they dare not fight with me, because of the Queen my mother. Every jackslave hath his bellyful of fighting, and I must go up and down like a cock that nobody can match.

[Action: mock]
SECOND LORD. [Aside] You are cock and [] capon [castrated rooster] too; and you crow, cock, with your [] comb [as in coxcomb: fool's cap] on.

[Action: catch out (Cloten possibly suspects something.)]
CLOTEN. Sayest thou?

[Action: cover]
SECOND LORD. It is not fit your lordship should [] undertake [fight] every [] companion [contemptible fellow] that you give offence to.

[Action: brush away ... then set the agenda]
CLOTEN. No, I know that; but it is fit I should commit offence to my inferiors.

[Action: praise]
SECOND LORD. Ay, it is fit for your lordship only.
CLOTEN. Why, so I say.

[Action: change the subject. (Is Lord 1 aware of Lord 2's sentiments? Is he trying to avert danger?)]
FIRST LORD. Did you hear of a stranger that's come to court to-night?
CLOTEN. A stranger, and I not known on't?

[Action: mock]
SECOND LORD. [Aside] He's a strange fellow himself, and knows it not.
FIRST LORD. There's an Italian come, and, 'tis thought, one of Leonatus' friends.
CLOTEN. Leonatus? A banish'd rascal; and he's another, whatsoever he be. Who told you of this stranger?
FIRST LORD. One of your lordship's pages.
CLOTEN. Is it fit I went to look upon him? Is there no [] derogation [detraction from my honor] in't?
SECOND LORD. You cannot derogate, my lord.
CLOTEN. Not easily, I think.
SECOND LORD. [Aside] You are a fool granted; therefore your [] issues [actions], being foolish, do not derogate.
CLOTEN. Come, I'll go see this Italian. What I have lost to-day at bowls I'll win to-night of him. Come, go.
SECOND LORD. I'll attend your lordship.
Exeunt CLOTEN and FIRST LORD

[Action: speak freely, blurt it out]

That such a crafty devil as is his mother
Should yield the world this ass! A woman that
Bears all down with her brain; and this her son
Cannot take two from twenty, for his heart,
And leave eighteen.

[Action: paint a picture]
Alas, poor princess,
Thou divine Imogen, what thou endur'st,
Betwixt a father by thy step-dame govern'd,
A mother hourly coining plots, a wooer
More hateful than the foul [] expulsion [banishment] is
Of thy dear husband, than that horrid act
Of the divorce he'd make!

[Action: bolster, cheerlead, buttress, pray, demand]

The heavens hold firm
The walls of thy dear honour, keep unshak'd
That temple, thy fair mind, that thou mayst stand
T' enjoy thy banish'd lord and this great land! Exit

Cymbeline 1.vi

2008-07-23T13:03:00.001-04:00

SCENE VI.
Britain. The palace

Enter IMOGEN alone

[Imogen wants pity from the audience. She's trying to get someone to say "poor thing." So she's complaining. She's painting herself as a victim.]

IMOGEN. A father cruel and a step-dame false;
A foolish suitor to a wedded lady
That hath her husband banish'd. O, that husband!
My supreme crown of grief! and those repeated
Vexations of it! [] Had I [I wish I had] been thief-stol'n,
As my two brothers, happy! but most miserable
Is the desire that's [] glorious [e.g. big and complicated]. Blessed be those,
[] How mean soe'er [however humble,lowly], that have their [] honest wills [simple desires],
Which [] seasons [adds savor to] [] comfort [pleasure]. Who may this be? Fie!

Enter PISANIO and IACHIMO

PISANIO. Madam, a noble gentleman of Rome
Comes from my lord with letters.

[Action: reassure]
IACHIMO. [] Change you, madam? [Has your faced change (to one of alarm or fear)?]
The worthy Leonatus is in safety,
And greets your Highness dearly. [Presents a letter]

IMOGEN. Thanks, good sir.
You're kindly welcome.

[IACHIMO is taken back by Imogen's beauty, and to him this suggests that she might also be pure of mind. He is shaken. He may have lost his wager already. Though the bulk of the speech, he begs for strength, he bolsters himself... it might be fun if he asks this of the audience, as if the could give him strength. Maybe he wants them to root for him.]

IACHIMO. [Aside] All of her that is [] out of door [on the surface, e.g. she's beautiful] most rich!
If she be furnish'd with a mind so rare,
She is alone [] th' Arabian bird [unique, like the mythical phoenix], and I
Have lost the wager. Boldness be my friend!
Arm me, audacity, from head to foot!
Or, like the [] Parthian [archer who fires backwards as he runs], I shall flying fight;
Rather, directly fly.

[Action: praise. She is, perhaps, using Iamchimo as a surrogate for her husband.]

IMOGEN. [Reads] 'He is one of the noblest note, to whose
kindnesses I am most infinitely tied. Reflect upon him
accordingly, as you value your trust. LEONATUS.'

So far I read aloud;
But even the very middle of my heart
Is warm'd by th' rest and takes it thankfully.

[Imogen bends over backward to cater to Iachimo (as a gesture to what she thinks is her husband's will). She take the lower rung on the ladder, she kowtows.]

You are as welcome, worthy sir, as I
Have words to bid you; and shall find it so
In all that I can do.

[In the following section, Ianchimo feigns madness, as if he's awestruck by Imogen's beauty. However, feigning madness isn't really a playable action. So we need to break things down further. What actions does he play in order to appear mad?]

IACHIMO. Thanks, fairest lady.

[Mock, jeer (at the mad men), shake some sense into, demand an answer... the more vehemence (and violence) with which he plays these actions, casting aside social niceties, the more likely it is he'll achieve his goal of seeming mad.]

{ What, are men mad? Hath nature given them eyes
To see this [] vaulted arch [heavens] and the rich [] crop [fruit, produce]
Of sea and land, which can distinguish 'twixt
The fiery orbs above and the [] twinn'd [exactly alike] stones
Upon the [] number'd beach [beach littered with numerous stones], and can we not
Partition make with [] spectacles [eyes] so precious
'Twixt fair and foul? }

{Can't men tell the difference between, high and low, ugly and beautiful?}

{ IMOGEN. What [] makes [is the cause of] your admiration?
IACHIMO. It cannot be i' th' eye, for apes and monkeys,
'Twixt two such [] shes [women], would [] chatter [praise] this way and
Contemn with [] mows [grimaces] the other; nor i' th' judgment,
For idiots in this case of favour would
Be wisely definite; nor i' th' appetite;
Sluttery, to such [] neat [fine] excellence oppos'd,
Should make desire vomit emptiness,
Not so [] allur'd to feed [attracted]. }

{Imogen: what is it in you that makes you speak with such wonderment?
Iachimo: It can't be something in my eyes, because apes and monkeys (which have eyes), would react the same way, praising such a beautiful woman and grimacing at an ugly one; it also can't be judgement, because idiots would be just as sure as I am; it can't be sexual desire, because I wouldn't be attracted to a slut if she was standing next to you.}

[In the above, Iachimo pretends to be trying to work out a puzzle. Again, he should play this with vehemence: puzzle it out, wrack your brains...]

IMOGEN. What is the matter, [] trow [I wonder]?

[Action: nail the point home, shake sense into her...]

IACHIMO. The [] cloyed will [overfed lust] --
That [] satiate yet unsatisfied [fed yet still hungry] desire, that tub
Both fill'd and [] running [emptying] -- [] ravening [feeding on] first the lamb,
Longs after for the garbage.
IMOGEN. What, dear sir,
Thus raps you? Are you well?

[It's interesting that he now decides to send Pisanio away. Presumably, he doesn't want P to be there when he seduces Imogen, but why wait this long to send P out? Was he hoping P would leave earlier or did want P to witness the "madness." Or is he pointedly making P leave now, so that Imogen will get some point?]

IACHIMO. Thanks, madam; well. Beseech you, sir,
Desire [] my man's abode [my main to wait] where I did leave him.
He's [] strange [a foreigner] and peevish [easily distressed].

[Iachimo too is a foreigner. Is he trying to make Imogen connect the dots?]

PISANIO. I was going, sir,
To give him welcome. Exit

[The above is a half line. Maybe there's a pause afterwards. Now that they're alone, does Iachimo somehow make Imogen uncomfortable (it may be enough that they are alone), causing her to change the subject? Maybe this is the end of Iachimo's first tactic. Maybe he was hoping that, having madly praised her, Imogen would jump him, now that they're alone.]

IMOGEN. Continues well my lord? His health beseech you?
IACHIMO. Well, madam.
IMOGEN. Is he dispos'd to mirth? I hope he is.

[Action: paint a picture]

IACHIMO. Exceeding pleasant; none a stranger there
So merry and so gamesome. He is call'd
The Britain reveller.

[Action: correct a mistake]

IMOGEN. When he was here
He did incline to sadness, and oft-times
Not knowing why.

[Action: re-assert the picture, providing evidence]

IACHIMO. I never saw him sad.
There is a Frenchman his companion, one
An eminent monsieur that, it seems, much loves
A [] Gallian [French] girl at home. He furnaces
The thick sighs from him; whiles the jolly Briton --
Your lord, I mean -- laughs from's free lungs, cries 'O,
Can my sides hold, to think that man -- who knows
By history, report, or his own proof,
What woman is, yea, what she cannot choose
But must be -- will's free hours languish for
[] Assured bondage?' [1. betrothal, 2. certain bondage.]
IMOGEN. [] Will [does] my lord say so?
IACHIMO. Ay, madam, with his eyes in flood with laughter.
It is a recreation to be by
And hear him mock the Frenchman.

[Action: plant a seed]
But heavens know
Some men are much [] to blame. [worthy of rebuke.]
IMOGEN. Not he, I hope.

[Action: chastise him, flatter her]

IACHIMO. Not he; but yet [] heaven's bounty towards [what fortune gives him] him might
Be us'd more thankfully. In himself, 'tis much;
In you, which I account his, beyond all talents.

[Action: bait the hook, plant another seed, set a lure, hint]

Whilst I am bound to wonder, I am bound
To pity too.
IMOGEN. What do you pity, sir?

[Action: withhold]

IACHIMO. Two creatures heartily.
IMOGEN. Am I one, sir?
You look on me: what wreck discern you in me
Deserves your pity?

[Action: pounce!]

IACHIMO. [] Lamentable! [accented on the first syllable] What,
To [] hide me [hide] from the radiant sun and solace
I' th' dungeon by a [] snuff [snuffed out candle]?
IMOGEN. I pray you, sir,
Deliver with more openness your answers
To my demands. Why do you pity me?

[Action: hold back, tease]

IACHIMO. That others do,
I was about to say, enjoy your -- But
It is an office of the gods to [] venge [avenge] it,
Not mine to speak on't.
IMOGEN. You do seem to know
Something of me, or what concerns me; pray you --
Since doubting things go ill often hurts more
Than to be sure they do; for certainties
Either are past remedies, or, timely knowing,
The remedy then born -- discover to me
What both you [] spur and stop [start saying and stop saying].

[Action: make love]

IACHIMO. Had I [] this [your] cheek
To bathe my lips upon; this hand, whose touch,
Whose every touch, would force the feeler's soul
To th' oath of loyalty; this object, which
Takes prisoner the wild motion of mine eye,
Fixing it only here; should I, damn'd then,
Slaver with lips as common as the stairs
That mount the [] Capitol [stairs to the temple of Jupiter in Rome]; [] join gripes with [clutch] hands
{ Made hard with hourly falsehood -- falsehood as
With labour };

{hands made as hard by falsehood as laborer's hands are hardened by labor}

then [] by-peeping [sidelong glancing] in an eye
Base and [] illustrious [dull, lackluster] as the smoky light
That's fed with stinking tallow -- it were fit
That all the plagues of hell should at one time
Encounter such [] revolt [infidelity].

[If I had access to your beauty, I'd be damned to see all else as base.]

[Action: steer him back on course]

IMOGEN. My lord, I fear,
Has forgot Britain.

[Action: threaten to reveal the "truth"]

IACHIMO. And himself. [] Not I
Inclin'd to this intelligence pronounce [I am not inclined to speak of]
The beggary of [] his change [the way he has changed]; but 'tis your graces
That from my [] mutest conscience [silent inmost thought] to my tongue
Charms this report out.
IMOGEN. Let me hear no more.

[Action: blurt it out]

IACHIMO. O dearest soul, your cause doth strike my heart
With pity that doth make me sick! A lady
So fair, and fasten'd to an [] empery,
Would [empire which would] make the great'st king double, to be partner'd
With [] tomboys [whores] hir'd with that [] self exhibition [same allowance of money]
Which your own coffers yield! with diseas'd [] ventures [prostitutes]
That play with all infirmities for gold
Which rottenness can lend nature! such [] boil'd stuff [women treated for VD with sweating]
As well might poison poison! Be reveng'd;
Or she that bore you was no queen, and you
Recoil from your great stock.

[Action: Demand to know, cover ears, then demand to know again]

IMOGEN. Reveng'd?
How should I be reveng'd? If this be true --
As I have such a heart that both mine ears
Must not in haste abuse -- if it be true,
How should I be reveng'd?

[Action: (Don't play this like a rhetorical question, play it as if Imogen has an answer and) demand to know!]

IACHIMO. Should he make me
Live like [] Diana's priest [a chaste priest] betwixt cold sheets,
Whiles he is [] vaulting variable ramps [having sex with prostitutes],
In your despite, upon your purse? Revenge it.

[Action: pledge allegiance]

I dedicate myself to your sweet pleasure,
More noble than that [] runagate to [deserter from] your bed,
And will continue fast to your affection,
[] Still close [always as secret] as sure.
IMOGEN. What ho, Pisanio!

[Action: beg]

IACHIMO. Let me my service tender on your lips.

[Action: flagellate... accuse]

IMOGEN. Away! I do condemn mine ears that have
So long attended thee. If thou wert honourable,
Thou wouldst have told this tale for virtue, not
For such an end thou seek'st, as base as strange.
Thou wrong'st a gentleman who is as far
From thy report as thou from honour; and
Solicits here a lady that disdains
Thee and the devil alike. -- What ho, Pisanio! --
The King my father shall be made acquainted
Of thy assault. If he shall think it fit
A saucy stranger in his court to [] mart [do business]
As in a [] Romish stew [Roman brothel], and to expound
His beastly mind to us, he hath a court
He little cares for, and a daughter who
He not respects at all.-- What ho, Pisanio!

[Plan B failed. Time for plan C.]

[Action: reveal the man behind the curtain ... sing praises]

IACHIMO. O happy Leonatus! I may say
The [] credit that [trust in] thy lady hath of thee
Deserves thy trust, and thy most perfect goodness
[] Her [deserves her] assur'd credit. Blessed live you long,
A lady to the worthiest sir that ever
Country call'd his! and you his mistress, only
For the most worthiest fit! Give me your pardon.
I have spoke this to know if your [] affiance [fidelity]
Were deeply rooted, and shall make your lord
That which he is new o'er; and he is one
The truest manner'd, such a holy witch
That he enchants societies into him,
Half all men's hearts are his.
IMOGEN. You make amends.

[Action: worship ... then beg mercy]

IACHIMO. He sits 'mongst men like a descended god:
He hath a kind of honour sets him of
More than a mortal seeming. Be not angry,
Most mighty Princess, that I have adventur'd
To try your taking of a false report, which hath
Honour'd with confirmation your great judgment
In the election of a sir so rare,
Which you know cannot err. The love I bear him
Made me to fan you thus; but the gods made you,
Unlike all others, [] chaffless [faultless]. Pray your pardon.
IMOGEN. All's well, sir; take my pow'r i' th' court for yours.

[Action: make her an accomplice]

IACHIMO. My humble thanks. I had almost forgot
T' entreat your Grace but in a small request,
And yet of moment too, for it concerns
Your lord; myself and other noble friends
Are partners in the business.
IMOGEN. Pray what is't?
IACHIMO. Some dozen Romans of us, and your lord --
The best feather of our wing -- have mingled sums
To buy a present for the Emperor;
Which I, the [] factor [agent] for the rest, have done
In France. 'Tis [] plate [silver or gold-plated objects] of rare device, and jewels
Of rich and exquisite form, their values great;
And I am [] something curious [somewhat concerned], being [] strange [a foreigner],
To have them in safe stowage. May it please you
To take them in protection?
IMOGEN. Willingly;
And pawn mine honour for their safety. Since
My lord hath interest in them, I will keep them
In my bedchamber.
IACHIMO. They are in a trunk,
Attended by my men. I will make bold
To send them to you only for this night;
I must aboard to-morrow.
IMOGEN. O, no, no.
IACHIMO. Yes, I beseech; or I shall short my word
By length'ning my return. From Gallia
I cross'd the seas on purpose and on promise
To see your Grace.
IMOGEN. I thank you for your pains.
But not away to-morrow!
IACHIMO. O, I must, madam.
Therefore I shall beseech you, if you please
To greet your lord with writing, do't to-night.
I have outstood my time, which is [] material [of much consequence]
'To th' [] tender [giving] of our present.
IMOGEN. I will write.
Send your trunk to me; it shall safe be kept
And truly yielded you. You're very welcome. Exeunt

Cymbeline 1.v

2008-07-23T13:01:00.000-04:00

SCENE V.
Britain. CYMBELINE'S palace

Enter QUEEN, LADIES, and CORNELIUS

[The queen is surrounded by her ladies. She needs them to go away so that she's not seen getting the poison from Doctor Cornelius.]

[Action: order, request, give instructions]
QUEEN. Whiles yet the dew's on ground, gather those flowers;
Make haste; who has the [] note [list] of them?

[In other words, "Who has the list of the flowers?"]

[Maybe the ladies all search for the note. One finally finds it.]

LADY. I, madam.

[Maybe the ladies all gather around the list, looking at it. The queen wants them gone.]

QUEEN. [] Dispatch. [hurry.] Exeunt LADIES

[The previous line is short, suggesting a subsequent pause. Maybe the ladies take their time leaving, or there's some confusion or stumbling. The queen so wants to be alone with the doctor. It must be exasperating to her. Maybe she only has a few minutes with the doctor. Anyone could come in at any time. She needs him to hand over the drugs in a hurry.]

Now, Master Doctor, have you brought those drugs?
CORNELIUS. Pleaseth your Highness, ay. Here they are, madam.
[Presenting a box]

[Perhaps he starts to hand them over; then thinks better of it and pulls them back.]

But I beseech your Grace, without offence --
My conscience bids me ask -- [] wherefore [why] you have
Commanded of me these most poisonous compounds
Which are the [] movers [the cause] of a languishing death,
But, though slow, deadly?

[His problem is that, though he knows she's requested a poison and doesn't want to give it to her, she's a queen. Possible actions: delay, play for time, submit a complaint...]

[Action: belittle, strip down, accuse, berate, condescend]
QUEEN. I wonder, Doctor,
Thou ask'st me such a question. Have I not been
Thy pupil long? Hast thou not learn'd me how
To make perfumes? distil? preserve? yea, so
That our great king himself doth woo me oft
For my confections?

[Action: pummel him with logic. He is the scientist. She is turning the tables on him. Also, when she says, "Unless thou think'st me devilish," she cuts him off at the pass, saying it before he does. That makes him look like a bad guy if he does say it.]

Having thus far proceeded --
Unless thou think'st me devilish -- is't not [] meet [appropriate]
That I did amplify my judgment in
Other [] conclusions [experiments]? I will try the forces
Of these thy compounds on such creatures as
We count not worth the hanging -- but none human --
To try the vigour of them, and apply
[] Allayments [antidotes] to their act, and by them gather
Their several virtues and effects.

[It's interesting that the queen -- and she IS a queen -- goes to such lengths to explain herself. At first, she says "I'm surprised you asked." Then, she elaborates. It's sort of a "The lady doth protest too much" situation. She probably should have just said, "None of your business." Maybe guilt loosened her tongue a bit too much.]

[Action: graciously refuse, delay]
CORNELIUS. Your Highness
Shall from this practice but make hard your heart;
Besides, the seeing these effects will be
Both noisome and infectious.
QUEEN. O, content thee.

[It would be funny if Cornelius hadn't handed the poison to the queen. He just "presented" it, but still held it in his own hands. That would help justify the queen going on and on. Maybe, on "O, content thee" she grabs it from him. It's a shared line, which implies she interrupts him. She's tired of the polite game, and Pisanio is coming into the room.]

Enter PISANIO

[Action (to the audience): boast, ridicule, make them accomplices to a prank, justify]

[Aside] Here comes a flattering rascal; upon him
Will I first work. He's for his master,
An enemy to my son.- How now, Pisanio!
Doctor, your service for this time is ended;
Take your own way.

[It might be interesting if, in fact, Cornelius gave her real poison. Maybe he gets and idea when he says, "But you shall do no harm" and, during his next speech, stealthily replaces the poison with fake poison.]

CORNELIUS. [Aside] I do suspect you, madam;
But you shall do no harm.
QUEEN. [To PISANIO] Hark thee, a word.

[In this speech, Cornelius's problem is that the audience might be loyal to the queen. Or, regardless of their loyalties, they might think he's wrong to dupe her. He needs to win them over (they might tell on him!), so he presents evidence against her and justifies himself.]

CORNELIUS. [Aside] I do not like her. She doth think she has
Strange ling'ring poisons. I do know her spirit,
And will not trust one of her malice with
A drug of such damn'd nature. Those she has
Will stupefy and dull the sense awhile,
Which first [] perchance [perhaps] she'll prove on cats and dogs,
Then afterward up higher; but there is
No danger in what show of death it makes,
More than the locking up the spirits a time,
To be more fresh, reviving. She is fool'd
With a most false effect; and I the truer
So to be false with her.
QUEEN. No further service, Doctor,
Until I send for thee.

[She asked him to leave way earlier. He's still not gone. Perhaps she barks that last line at him. His line, following, is a shared-verse line with hers. That implies that he picks up is cue really fast. Maybe her bark scared him and he fled.]

CORNELIUS. I humbly take my leave. Exit

[Maybe he has to gather up his stuff. The short line implies a pause. It must be really irritating to the queen.]

[Since we don't ever hear Pisanio say "She weeps, still," presumably, he and the queen have been having a quiet conversation all the time Cornelius has been speaking. ]

[The following bit is interesting. By the end of it, after Pisanio leaves, she suspects that he's completely loyal to Posthumus, and she hopes he'll take the poison so that Posthumus will no longer have any agents at court. But then why does she spend so long before that trying to win him over. He doesn't have any lines while she's trying to seduce him.

Is she really trying to seduce him away from his master? If so, he must somehow give her the impression that she's failed. Maybe because he doesn't say anything. Maybe her goal is to get him to say, "I am your servant." ]

[Action: Ursurp ownership of Pisanio (in the first part of the speech, she orders him around as if he's her servant.)]

QUEEN. Weeps she still, say'st thou? Dost thou think in time
She will not [] quench [cool down], and let instructions enter
Where folly now possesses? Do thou work.
When thou shalt bring me word she loves my son,

[Action: praise, offer rewards]

I'll tell thee on the instant thou art then
As great as is [] thy master [Postumus];

[Action: destroy Posthumus, belittle, ruin his reputation, wake Pisanio up to the truth]

greater, for
His fortunes all lie speechless, and his [] name [reputation]
Is at last gasp. Return he cannot, nor
Continue where he is. To [] shift his being [change his location]
Is to exchange one misery with another,
And every day that comes comes comes to
A day's work in him. { What shalt thou expect
To be depender on a thing that leans, }
Who cannot be new built, nor has no friends
So much as but to prop him?

{What do you expect for yourself if you depend on something broken (like Posthumus) }

[The QUEEN drops the box. PISANIO takes it up]

[Did she intend to drop the box all along? Maybe not. Maybe she's switching to plan B, because she's expended so many words on plan A -- winning Pisanio over -- and he's not taking the bait.]

Thou tak'st up
Thou know'st not what; but take it for thy labour.
It is a thing I made, which hath the King
Five times redeem'd from death. I do not know
What is more [] cordial [restoriative]. Nay, I prithee take it;
It is an earnest of a further good
That I mean to thee. Tell thy mistress how
The case stands with her; do't as from thyself.
{ Think what a chance thou changest on; } but think

{Think what a good chance this is for you!}

Thou hast thy mistress still; [] to boot [and also], my son,
Who shall take notice of thee. I'll move the King
To any shape of thy preferment, such
As thou'lt desire; and then myself, I chiefly,
That set thee on to this desert, am bound
To load thy merit richly. Call my women.
Think on my words. Exit PISANIO

[At the end of the speech, after working really hard to get Pisanio to take the box with the "poison," she tries to seduce him, again. She's hedging her bets, trying both plans. It's worth doing, because it one plan doesn't work, the other might. But it makes her a bit "schizophrenic." In the following speech, she vents to the audience and explains her erratic behavior. It has a "Can you SEE what I'm up aghaint?" flavor. It's as if she need to win them over to the fact that she's competent. ]

A sly and [] constant [loyal] knave,
Not to be [] shak'd [i.e. not to be seduced]; the agent for his master,
And the remembrancer of her to hold
The hand-fast to her lord. I have given him that
Which, if he take, shall quite unpeople her
Of [] leigers [ambassadors] for her [] sweet [e.g. sweet husband]; and which she after,
[] Except [unless] she [] bend her humour [changes her mind], shall be assur'd
To taste of too.

[Is she saying that Imogen might drink the poison, too? Why would the Queen want that to happen? She wants Imogen to marry her son. Maybe she means Imogen will drink it after she marries Cloten. Or maybe it's just occurring to her that Imogen might drink the poison. Maybe it's not a good thought. In any case, she doesn't have long to think about it, because...]

Re-enter PISANIO and LADIES

So, so. Well done, well done.
The violets, cowslips, and the primroses,
Bear to my closet. Fare thee well, Pisanio;
Think on my words. Exeunt QUEEN and LADIES

[He needs the audience to understand that he's going to choose the straight and narrow path. Since he hasn't spoken, he may be worried they don't know his intentions. One (controversial?) way to play this is for him to really consider switching sides after "And shall do" and then decide not to.]
PISANIO. And shall do.
But when to my good lord I prove untrue
I'll choke myself- there's all I'll do for you. Exit

Cymbeline 1.IV

2008-07-05T23:34:00.000-04:00

SCENE IV.
Rome. PHILARIO'S house

Enter PHILARIO, IACHIMO, a FRENCHMAN, a DUTCHMAN, and a SPANIARD

IACHIMO. Believe it, sir, I have seen him in Britain. He was then of a [] crescent [increasing, like the waxing mooon, growing fame] note, expected to prove so worthy as since he hath been allowed the name of [He was given the name Leonatus]. { But I could then have look'd on him without the help of [] admiration [wonder], [] though [even if] the catalogue of his endowments had been [] tabled [listed] by his side, and I to peruse him by items. }

{But back then I could have looked at him without being impressed, even if his accomplishments were written all over him.}

[Belittle Posthumus]

PHILARIO. You speak of him when he was less furnish'd than now he is with that which makes him both without and within.

[Stand up for your friend]

FRENCHMAN. I have seen him in France; {we had very many there could behold the sun with as firm eyes as he.}

{We had many people in France just as good as him -- just as able to look into the sun (like the eagle, the king of birds)}

[Tear him down]

IACHIMO. This matter of marrying his king's daughter, wherein he must be weighed rather by her [] value [social rank] than his own, [] words [gives an account of] him, I doubt not, a great [] deal from the matter [distance from the truth].

[Doubt his worth]

FRENCHMAN. And then his banishment.

[Add more evidence]

IACHIMO. Ay, and the [] approbation [approval] of those that weep this lamentable [] divorce [forced separation] under [] her colours [her camp] are wonderfully to extend him, be it but to fortify her judgment, which [] else [otherwise] an easy battery might lay flat, for taking a beggar, without less quality. But how comes it he is to sojourn with you? How creeps acquaintance?

[Justify his praise / Gather intelligence]

PHILARIO. His father and I were soldiers together, to whom I have been often bound for no less than my life.

[Defend your honor]

Enter POSTHUMUS

Here comes the Briton. Let him be so entertained amongst you as suits with gentlemen of your [] knowing [discernment] to a stranger of his quality. I beseech you all be better known to this gentleman, whom I commend to you as a noble friend of mine. How worthy he is I will leave to appear hereafter, rather than story him in his own hearing.

[Set the tone, make the rules, keep peace, trumpet your friend]

FRENCHMAN. Sir, we have known together in Orleans.

[Remind, peek-a-boo, grab attention]

POSTHUMUS. Since when I have been debtor to you for courtesies, which I will be ever to pay and yet pay still.

[Bend over backwards to be polite]

FRENCHMAN. Sir, you o'errate my poor kindness. I was glad I did [] atone [reconcile] my countryman and you; it had been pity you should have been [] put together [pitted in a duel] with so [] mortal [fatal] a purpose as then each bore, upon importance of so slight and trivial a nature.

[Wave away the past (a form of belittling)]

POSTHUMUS. By your pardon, sir. I was then a young traveller; {rather shunn'd to [] go even [agree] with what I heard than in my every action to be guided by others' experiences;} but upon my mended judgment- if I offend not to say it is mended- my quarrel was not altogether slight.

{because I didn't want to seem as if I was listening to other people, I avoided agreeing with anyone}

[Apologize / Stand up for yourself]

FRENCHMAN. Faith, yes, to be put to the [] arbitrement [settlement] of swords, and by such two that would by all likelihood have [] confounded [killed] one the other or have fall'n both.

[Willfully misunderstand. P is saying, "it wasn't a trifle." Frenchman is saying, "Of course not. Someone could have gotten killed."]

IACHIMO. Can we, with manners, ask what was the difference?

[Gather intelligence, feed the fire, give the Frenchman amunition]

FRENCHMAN. Safely, I think. 'Twas a contention in public, which may, without contradiction, suffer the report. It was much like an argument that fell out last night, where each of us fell in praise of our country mistresses; this gentleman at that time vouching -- and upon warrant of bloody affirmation -- his to be more fair, virtuous, wise, chaste, constant, qualified, and less attemptable, than any the rarest of our ladies in France.

[Paint the picture, set the stage. How much are Iachimo and the Frenchman in league with each other. What, if anything, do they know about Imogen already? They clearly know about the banishment, because they spoke of it before P came in. But do they know how trusting P is? Have the worked out this con between them ahead of time? Or are they opportunists -- seizing the moment.]

IACHIMO. That lady is not now living, [] or [or is] this gentleman's opinion, [] by this [by now], worn out.

[feign puzzlement, try to solve a puzzle (faked)]

POSTHUMUS. She holds her virtue still, and I my mind.

[stand up for yourself, for Imogen]

IACHIMO. You must not so far prefer her fore ours of Italy.

[warn, challenge]

POSTHUMUS. Being so far provok'd as I was in France, I would [] abate her nothing [not lesson my opinion of her], though I profess myself her adorer, not her friend.

[draw a line in the sand]

IACHIMO. As fair and as good -- a kind of hand-in-hand comparison -- had been [] something [somewhat] too fair and too good for any lady in Britain. If she [] went before [were better than] others I have seen as that diamond of yours outlustres many I have beheld, I could [] not but [not help myself but] believe she excelled many; but I have not seen the most precious diamond that is, nor you the lady.

[reason, point out a flaw in his logic, trip him up]

POSTHUMUS. I prais'd her as I rated her. So do I my stone.

[stand your ground]

IACHIMO. What do you esteem it at?

[challenge]

POSTHUMUS. More than the world enjoys.

[answer honestly]

IACHIMO. Either your unparagon'd mistress is dead, or she's outpriz'd by a trifle.

[mock]

POSTHUMUS. You are mistaken: the one may be sold or given, if there were wealth enough for the purchase or merit for the gift; the other is not a thing for sale, and only the gift of the gods.

[correct, as a teacher correcting a foolish child]

IACHIMO. Which the gods have given you?

[feign incredulity]

POSTHUMUS. Which by their graces I will keep.

[stake a claim]

IACHIMO. You may wear her in title yours; but you know strange fowl light upon neighbouring ponds. Your ring may be stol'n too. [] So your brace of unprizable estimations [Thus, your two objects of unestimable value], the one is but frail and the other [] casual [subject to chance or accident]; a cunning thief, or a that-way-accomplish'd courtier, would hazard the winning both of first and last.

[bring him down to earth]

POSTHUMUS. Your Italy contains none so accomplish'd a courtier to convince the honour of my mistress, if in the holding or loss of that you term her frail. I do nothing doubt you have store of thieves; notwithstanding, I fear not my ring.

[stand ground]

PHILARIO. Let us [] leave here [stop this (before it goes too far)], gentlemen.

[put out the fire before it ends in tears]

POSTHUMUS. Sir, with all my heart. This worthy signior, I thank him, makes no stranger of me; we are familiar at first.

[show off your worldliness, make it known to all that you understand what's going on, look a tiger in the eye]

IACHIMO. With five times so much conversation I should get ground of your fair mistress; make her [] go back even to the yielding [make her lose the battle and yield to me sexually], had I admittance and opportunity to friend.

[boast]

POSTHUMUS. No, no.

[deny]

IACHIMO. I dare thereupon pawn the [] moiety [half] of my estate to your ring, which, in my opinion, o'ervalues it something. But I make my wager rather against your confidence than her reputation; and, to bar your offence herein too, I durst attempt it against any lady in the world.

[up the ante]

POSTHUMUS. You are a great deal [] abus'd [deceived] in too bold a [] persuasion [opinion], and I doubt not you [] sustain [will receive] what y'are worthy of by your attempt.

[condescend, belittle, tear down]

IACHIMO. What's that?

[egg on]

POSTHUMUS. A repulse; though your attempt, as you call it, deserve more -- a punishment too.

[give him what he deserves, hit him with a zinger]

PHILARIO. Gentlemen, enough of this. It came in too suddenly; let it die as it was born, and I pray you be better acquainted.

[Keep the peace, stop the madness, pull them apart]

IACHIMO. Would I had put my estate and my neighbour's on th' [] approbation [proof] of what I have spoke!

[Curse (feigned -- really a challenge)]

POSTHUMUS. What lady would you choose to assail?

[Force him to show his hand]

IACHIMO. Yours, whom in constancy you think stands so safe. I will lay you ten thousand ducats to your ring that, commend me to the court where your lady is, with no more advantage than the opportunity of a second conference, and I will bring from thence that honour of hers which you imagine so reserv'd.

[Make the challenge]

POSTHUMUS. I will wage against your gold, gold to it. My ring I hold dear as my finger; 'tis part of it.

[Accept (which is also a challenge -- "show me your worst")]

IACHIMO. You are a friend [of Imogen?], and therein the wiser [not to want to gamble with her ring?]. If you buy ladies' flesh at a million a dram, you cannot preserve it from tainting. But I see you have some religion in you, that you fear.

[taunt]

POSTHUMUS. This is but a custom in your tongue; you bear a graver purpose, I hope.

[play for time, tread water, gather intelligence, give him an out]

IACHIMO. I am the master of my speeches, and would undergo what's spoken, I swear.

[stand ground]

POSTHUMUS. Will you? I Shall but lend my diamond till your return. Let there be covenants drawn between's. My mistress exceeds in goodness the hugeness of your unworthy thinking. I dare you to this match: here's my ring. [Does he give it to Philario or Iachimo? The next line suggest the former.]

[put the money on the table]

PHILARIO. I will have it no [] lay [wager].

[refuse to play, knock over the chess board]

IACHIMO. By the gods, it is one. If I bring you no sufficient testimony that I have enjoy'd the dearest bodily part of your mistress, my ten thousand ducats are yours; so is your diamond too. If I come off, and leave her in such honour as you have trust in, she your jewel, this your jewel, and my gold are yours- provided I have [] your commendation [a warm letter of introduction from you] for my more free entertainment.

[Accept, leap into the game / clarify the rules]

POSTHUMUS. I embrace these conditions; let us have articles betwixt us. Only, thus far you shall answer: if you make your voyage upon her, and give me directly to understand you have prevail'd, I am no further your enemy -- she is not worth our debate; if she remain unseduc'd, you not making it appear otherwise, for your ill opinion and th' assault you have made to her chastity you shall answer me with your sword.

[Agree, accept, legalize / threaten, raise the stakes]

IACHIMO. Your hand -- a covenant! We will have these things set down by lawful counsel, and straight away for Britain, lest the bargain should catch cold and starve. I will fetch my gold and have our two wagers recorded.

[Accept the new stakes (which is also a challenge)]

POSTHUMUS. Agreed.

[Accept and finalize]

Exeunt POSTHUMUS and IACHIMO

FRENCHMAN. Will this hold, think you?

[Gather intelligence]

PHILARIO. Signior Iachimo will not from it. Pray let us follow 'em.

[Put a stop to it. Or at least, that's the action I would play. He clearly doesn't succeed (judging from what follows), but he should leave the scene trying.]

Exeunt

Cymbeline 1.III

2008-07-05T22:00:00.001-04:00

SCENE III.
Britain. CYMBELINE'S palace

Enter IMOGEN and PISANIO

IMOGEN. I [] would [wish] thou [] grew'st unto [were attached to] the shores o' th' haven [harbor],
And questioned'st every sail; if he should write,
|
|-- [cast a spell over Pisanio. MAKE him a tree on the shore. Or damn him for not being one.]

And I not have it, 'twere a paper lost,
[] As offer'd mercy is [e.g. as pardon granted a prisoner often is lost]. What was the last
|
|-- [take him by the shoulders, force him to see the danger, the horror]

That he spake to thee? [beg for a crum]

PISANIO. It was: his queen, his queen! [Shared line]

[Give her a gift.]

IMOGEN. Then wav'd his handkerchief?
PISANIO. And kiss'd it, madam. [Shared line. Two minds are thinking as one. Singing together.]
IMOGEN. Senseless linen, happier therein than I! [Curse the handkerchief.]
And that was all? [Demand more]
PISANIO. No, madam; for so long [Shared line. He's ready with more.]
As he could make me with his eye, or [] care [with care I could]
Distinguish him from others, he did keep
The deck, with glove, or hat, or handkerchief,
Still waving, as the fits and stirs of's mind
Could best express how slow his soul sail'd on,
How swift his ship.

[Conjure up a vision. Paint a picture. Make her cry. Spielberg it.]

IMOGEN. Thou shouldst have made him [Shared line]
As little as a crow, or less, [] ere left
To after-eye him. [before you stopped gazing at him]

[Berate him]

PISANIO. Madam, so I did. [Shared line. Stand up for yourself!]

IMOGEN. I would have broke mine eyestrings, crack'd them but
[Set an example]
To look upon him, till the diminution
Of space had pointed him sharp as my needle;
Nay, followed him till he had melted from
The smallness of a gnat to air, and then
Have turn'd mine eye and wept. But, good Pisanio,
When shall we hear from him?
[Beg for another crum]
PISANIO. Be assur'd, madam, [Shared line. Comfort. Don't let cracks form between lines. Too much chance for despair.]
With his [] next vantage. [first opportunity]

[Short line. Pause? Maybe they're both at a loss. They will be incomplete until they hear from P.]

IMOGEN. I [] did not [did not properly] take my leave of him, but [] had [still had]
Most pretty things to say. Ere I could tell him
How I would think on him at certain hours
Such thoughts and such [A: this connects to ... (see B, below) ]; or I could make him swear
The shes of Italy should not betray
Mine interest and his honour; or have charg'd him,
At the sixth hour of morn, at noon, at midnight,
T' [] encounter [go to meet] me with [] orisons [prayers], for then
I am in heaven for him; or ere I could
Give him that parting kiss which I had set
Betwixt two charming words, [... B (see A, above)] comes in my father,
And like the tyrannous breathing of the north
Shakes all our buds from growing.

[You could join A to B without all the words in between. Of course, those words are the juice. I'd die before I'd cut them. But the actor should see the logic of the speech.]

[Though it started with "good Pisanio," I think this speech is where Imogen really takes Pisanio into her confidence -- where she makes him part of her heart. She talks to him like she would to a best girlfriend. She shares her secrets, some of them sexual.]

Enter a LADY

LADY. The Queen, madam,
Desires your Highness' company. [Light a fire under her ass!]
IMOGEN. Those things I bid you do, get them dispatch'd.
I will attend the Queen. [Hide the note you were passing! The teacher is looking!]
PISANIO. Madam, I shall. Exeunt

The last two lines make it seem like this entire scene is a parenthetical phrase. As if, right before the scene began, Imogen asked Pisanio to do some things for her. He said, "Yes, Madam" and started to leave. At which point, Imogen said, "Wait! Oh, Pisanio... I wish grew'st unto the the shores o' the haven..." And they were off. The LADY woke them from this dream, and they resumed their business.

It tells a nice story of how, though they both miss P terribly, they have work to do. They do it, but from time to time, they fall into revery.

It also might be nice to make this their first such revery. In scene one, I suggested that Pisanio hadn't yet reconciled himself to working for Imogen. Going with that interpretation, this scene could be a "getting to know you" scene. They can come together over their love for P.

They are vitally important to each other. For each, the other is the only "piece" of P he/she can cling to.

Cymbeline 1.II

2008-07-05T21:04:00.003-04:00

SCENE II. Britain. A public place

Enter CLOTEN and two LORDS

FIRST LORD. Sir, I would advise you to [] shift a [change your] shirt; the violence of [] action [fighting] hath made you reek as a sacrifice. [] Where air comes out [from you, Cloten] , air comes in; there's [] none abroad [no air coming from others] so wholesome as that you vent.

[advise / praise ]

CLOTEN. If my shirt were bloody, then [] to shift [I'd change] it. Have I hurt him?

[brush off / challenge (have I hurt him?) -- see who is on your side.]

SECOND LORD. [Aside] No, faith; not so much as his [] patience [forbearance].

[mock]

FIRST LORD. Hurt him! His body's a [] passable [pun: pretty good / able to be passed through] carcass if he be not hurt. It is a throughfare [public highway] for steel if it be not hurt.

[praise w/ hyperbolic sarcasm]

SECOND LORD. [Aside] [] His steel was in debt; it went o' th' back side the town. [His blade snuck around the back side of the town like a debtor fleeing a bill collector -- in other words, it missed the mark. ]

[mock with dripping sarcasm]

CLOTEN. The villain would not [] stand [oppose, resist] me.

[lay down the gauntlet, challenge anyone to disagree with you, boast, proclaim, take the spoils]

SECOND LORD. [Aside] No; but he fled forward [] still [always], toward your face.

[laugh at]

FIRST LORD. Stand you? You have land enough of your own; but he added to your having, gave you some ground.

[sing the praises of]

SECOND LORD. [Aside] As many inches [] as you have oceans [e.g. none]. [] Puppies [young fools]!

[Dispense with, brush away annoying flies]

CLOTEN. I would they had not come between us.

[Curse]

SECOND LORD. [Aside] So would I, till you had measur'd how long a fool you were upon the ground.

[Make a bitter joke]

CLOTEN. And that she should love this fellow, and refuse me!

[Rail]

SECOND LORD. [Aside] If it be a sin to make a true [] election [choice], she is damn'd.

[Mock with sarcasm]

FIRST LORD. Sir, as I told you always, her beauty and her brain go not together; she's a good [] sign [show] , but I have seen small reflection of her wit.

[Praise Cloten by belittling Imogen]

SECOND LORD. [Aside] She shines not upon fools, lest the reflection should hurt her.

[Right back atcha]

CLOTEN. Come, I'll to my chamber. Would there had been some hurt done!

[Test loyalty ("who is with me?") / Rail]

SECOND LORD. [Aside] I wish not so; unless it had been the fall of an ass, which is no great hurt.

[mock]

CLOTEN. You'll go with us?

[test]

FIRST LORD. I'll attend your lordship.

[follow / toady up ]

CLOTEN. Nay, come, let's go together.

[test]

SECOND LORD. Well, my lord.

[reluctantly agree]

Exeunt

This prose scene -- prose because it's a comic counterpoint to the previous verse scene? -- is relatively simply. Lord 1 praises Cloten while Lord 2 mocks him behind his back, to the audience.

Once again, we discover factions at Cymbeline's court. There are pro-Cloten factions and anti-Cloten (or pro Posthumus) factions.

Presumably, this is more than just cults of personality. There must be Lords who have yolked their fortunes to Cloten. If he becomes King, they'll rise. If not, they'll fall. (Other Lords have favored Posthumus.)

Question: does Lord 1 really believe what he says? Or is he just playing politics -- praising a fool he despises but is bound to? There's no correct answer. Lord 1 could be played either way.

Question 2: does Cloten really believe he's bested Posthumus? Or is this bravado to cover humiliation?

I'm a little confused by the first line:

FIRST LORD. Sir, I would advise you to [] shift a [change your] shirt; the violence of [] action [fighting] hath made you reek as a sacrifice. [] Where air comes out [from you, Cloten] , air comes in; there's [] none abroad [no air coming from others] so wholesome as that you vent.

Lord 1 seems be saying, "You should change your shirt, because you stink ... but no one smells as good (what does wholesome mean in this context) as you." Is be backpedaling after a look from Clothen?

More than ever, my suggested actions are mere suggestions. One actor is praising; the other is mocking. There are many ways to do both.

One last question: what are the stakes here? Why doesn't one guy say something nice, the other something mean, and then everyone quit? If the audience stands in for the court, the two guys could be trying to sway public opinion. They will keep on until the public "votes" one way or the other -- or until something stops them from continuing, such as Cloten ordering them to leave.

Actually, it seems more likely that Lord 2 is trying to sway the audience than Lord 1. Lord 1 doesn't even seem aware of them -- at least not in his lines. Of course, the actor could play some of his lines to the audience. In fact, that might be interesting. It's definitely worth trying in rehearsal.

On the flip side, it might be worth experimenting with Lord 2 delivering his mockery to another (silent) courtier (or courtiers). Someone he's trying to sway to his side.

Everyone in this scene is testing -- prodding at wounds, passing out treats, seeing who bites. Seeing who is passing out medals.

Cymbeline 1.I.c

2008-07-05T18:48:00.001-04:00

Enter CYMBELINE and LORDS

POSTHUMUS. Alack, the King! [Surrender? Flee? -- short line. Is there some sort of physical action?]
CYMBELINE. Thou basest thing, [] avoid [depart] (1); hence from my sight
If after this command thou [] fraught [burden] the court
With thy unworthiness, thou diest (2). Away!
Thou'rt poison to my blood (3).

[1. Banish. 2. Threaten. 3. Belittle, mock, scorn, diss]

POSTHUMUS. The gods protect you, [A shared line. A cut off. "I'm out-a here!"]
And bless [] the good remainders of the court! [those who remain at court.]
I am gone. [He cuts off the verse line. Pregnant pause after he leaves.]

Exit

[Who is he saying "the gods protect you" to? The obvious choice would be Imogen. But it could also be said to the King. If he says it to C, is he mocking (is it ironic) or being generous?]

IMOGEN. There cannot be a [] pinch [pang. torment] in death
More sharp than this is. [Guilt dad.]
CYMBELINE. O disloyal thing, [Shared line. Dad cuts her off.]
That shouldst [] repair [restore] my youth, [yet] thou heap'st
A year's age on me! [Guilt back. You're killing your father, do you know that?]
IMOGEN. I beseech you, sir,
Harm not yourself with your vexation.
I am senseless of your wrath; [] a touch more rare [parting from P]
Subdues all [other] pangs, all fears. [I'm sticking my fingers in my ears. I can't hear you. I can't hear you I can't hear you. She's giving him the cold shoulder.]

CYMBELINE. Past [] grace [sense of duty/propriety]? obedience? [Chastising.]
IMOGEN. Past hope, and in despair; [] that [that thing which is] way past [] grace [mercy/forgiveness].

[He's saying "You're a bad daughter." She's saying, "You don't know the half of it."]

CYMBELINE. That mightst have had the sole son of my queen! [Reasoning? Putting the dunce cap on her? Guilting?]

IMOGEN. O blessed that I might not! I chose an eagle,
And did avoid a [] puttock. [Bird of prey, kite, buzzard. term of contempt. ]

[Giving thanks to the gods. Then saying "my dog is better than your dog."]

CYMBELINE. Thou took'st a beggar, wouldst have made my throne
A seat for baseness. ["Would you have me thrown out of the country club?"]

IMOGEN. No; I rather added
A lustre to it. ["You stupid man. The country club will give you a ten-year free membership because of me."]

CYMBELINE. O thou vile one!

[He's so undone by her comebacks, he can only sputter insults. He doesn't even make it to the end of a verse line. ALTERNATE: he CURSES her, trumping all her comebacks. He cuts the verse line off, needing only the words he uses.]

IMOGEN. Sir, [REALLY short line. Does she pause until he looks at her?]
It is your fault that I have lov'd Posthumus.
You bred him as my playfellow, and he is
A man worth any woman; [] overbuys me
Almost the sum he pays. [he pays more than I'm worth -- most of what he pays is too much]

[She suddenly stops playing schoolyard insult games. She reasons with him. She turns everything around, making the whole thing his fault. She pulls out her ace of spades.]

CYMBELINE. What, art thou mad? [A shared line. He can't listen any more. He cuts her off.]
IMOGEN. Almost, sir. Heaven restore me! Would I were
A [] neat-herd's [cowheard's] daughter, and my Leonatus
Our neighbour shepherd's son! [I'm leaving this family. This is a BIG rejection for a King's daughter.]

Re-enter QUEEN

CYMBELINE. Thou foolish thing! [Shared line. He cuts her off and attacks the queen instead.]
[To the QUEEN] They were again together. You have done
Not after our command. Away with her,
And pen her up.

[First, he "whips" the queen. Then, he orders obedience. He turns the queen into a servant. (Unless he's talking to someone else when he says "Away with her" If he is, his "And pen her up" might mean refer to Q. Send I away and pen up the Queen. But that plays against the rhythm. It's "and PEN her Up" not "and pen HER up."]

QUEEN. Beseech your patience.- Peace, [She cuts him off, before he makes any more threats]
Dear lady daughter, peace!- Sweet sovereign,
Leave us to ourselves, and make yourself some comfort
Out of your best [] advice. [council]

[She stops him in his tracks? she begs him? she seduces him? She winks at him? Whatever she does seems to work. He's happy someone else is dealing with the problem. He spits out one more curse and then leaves.]

CYMBELINE. Nay, let her languish [Cut off. Maybe so as not to see weak. But he does leave.]
[] A drop of blood a day [sighs were said to consume the heart's blood] and, being aged,
Die of this folly. Exit, with LORDS

Enter PISANIO

QUEEN. Fie! you must give way. [Chastise.]
Here is your servant. How now, sir! What news?
PISANIO. My lord your son drew on my master.
QUEEN. Ha! [Short line. Pause.]
No harm, I trust, is done? [maybe as "Spill the beans, dammit!"]
PISANIO. There might have been, [Shared line. Maybe because Q's last line was a bark.]
But that my master rather play'd than fought,
And had no help of anger; they were parted
By gentlemen at hand. [Mock Q via her son the wimp.]
QUEEN. I am very glad on't. [Shared. Cut him off before he further insults Cloten.]
IMOGEN. Your son's my father's friend; he takes his part [Chastise.]
To draw upon an exile! O brave sir! [Praise.]
I would they were in Afric both together; [Really wish it into being!]
[] Myself by with a needle, that I might prick
The [] goer-back. [the coward] Why came you from your master?
PISANIO. On his command. He would not [] suffer [allow] me
To bring him to the haven; left these notes
Of what commands I should be subject to,
When't pleas'd you to employ me.

[It might be interesting if, at this point, Pisanio is very upset that P rejected him. He wants to be with his master, not with his master's wife. This will allow some growth in the Pisanio/Imogen relationship.]

QUEEN. [to the absent P] This hath been
Your faithful servant. I dare [] lay [wager] mine honour
He will remain so.

[Why is Q so interested in praising Pisanio in front of I? Is she just trying to calm I down? Does she think she'll be able to make use of Pisanio later, if she's able to get Pisanio into I's good graces?]

PISANIO. I humbly thank your Highness.
QUEEN. Pray walk awhile.
IMOGEN. About some half-hour hence,
Pray you speak with me. You shall at least
Go see my lord aboard. For this time leave me. Exeunt

[I wants to make clear that she will be helped on her own terms or none at all.

This scene paints an interesting picture of Cymbeline's court. C sort of has power. He's able to banish P. But he's a weak king. He too easily gives into his wife and daughter. This has created an atmosphere of scattered power. Does C have the power? Does Q have it? Does I have it? Everything is so de-centered that no one seems to really listen to anyone else. The person who yells the loudest has the power. The one risk is that Cymbeline will get so pissed off, he'll order someone beheaded. But barring that, you can overpower him if with histrionics.

This seems very much like real family life. Dad CAN ground the kids. But how often he forgets that he has this power! And then everything devolves into a shouting match.]

Cymbeline 1.I.b

2008-07-05T18:14:00.001-04:00

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 [thesis / antithesis]

{Rest assured that, unlike most stepmothers, I'm not an evil stepmother.}

Your gaoler shall deliver you the keys
That lock up your restraint. For you, Posthumus,
So soon as I can win th' offended King,
I will be known your advocate. [] Marry [indeed], yet
The fire of rage is in him, and 'twere good
You [] lean'd unto [obeyed] his sentence with what patience
Your wisdom may inform you.

[Possible actions: placate, assure, enter-into-a-conspiracy-with. The Queen first addresses Imogen, then Posthumus, and the speech takes the broad form of "you ... and now YOU." To Imogen, she offers rescue; to Posthumus, she warns and cautions. Her goal here is to hasten P's departure without making I hate her. He does this by saying, "It's not ME, it's the King. He's really pissed of at you Posthumus. On the other hand, I'm the hero who is going to save Imogen."]

POSTHUMUS. Please your Highness, [Shared line. He cuts Q off: "I get it, I'm leaving!"]
I will from hence to-day.
QUEEN. You know the peril.
[She counters by cutting him off. The danger is that he'll stick around too long, and maybe put up a fight. Maybe he'll WIN the fight. Maybe others will intervene on his behalf. But she can't just say "Get out!" That will make her look bad. She's calling attention to the obvious, saying "I don't have to remind you!"]

I'll [] fetch a turn [walk back and forth] about the garden, pitying
The pangs of barr'd affections, [] though [even though] the King
Hath charg'd you should not speak together. Exit

[Here, she's "sacrificing herself" for the greater good. She's turning herself into a martyr. This is a great guilt tactic.]

IMOGEN. O dissembling courtesy! How fine this tyrant
Can tickle where she wounds! My dearest husband,
{ I something fear my father's wrath, but nothing-
Always reserv'd my holy duty- what
His rage can do on me. }

{I somewhat fear my father's anger but (always respecting the deference I owe him) don't at all fear what his rage can do to me.}

You must be gone;
And I shall here abide the hourly shot
Of angry eyes, not comforted to live
But that there is this jewel in the world
That I may see again.

[Imogen makes three points: (1) The queen is a good liar (but I'm not taken in by her); (2) though I'm a dutiful daughter, I'm not afraid of my father's punishments; (3) You go -- meanwhile I'll be able to handle all the abuse around here, by living with the hope I'll see you again.

She sets up a us-against-them world. They're strong, but I'm strong too. Her action here may be to plan the war, to share the war plans, to bolster the troops...]

POSTHUMUS. My queen! my mistress!
O lady, weep no more, lest I give cause
To be suspected of more tenderness
Than doth become a man. I will remain
The loyal'st husband that did e'er [] plight troth [pledge faith as in engagement to marry];
My residence in Rome at one Philario's,
Who to my father was a friend, to me
Known but by letter; thither write, my queen,
And with mine eyes I'll drink the words you send,
Though ink be made of gall. [1. bile; oal-galls, used in making ink]

[First he comforts her; then he comforts himself. He guilts her into bucking up ("stop crying or you'll make me cry"), he reassures her (by pledging fidelity); he begs her (orders her?) to write.]

Re-enter QUEEN

QUEEN. Be brief, I pray you.
If the King come, I shall incur I know not
How much of his displeasure. { [Aside] Yet I'll [] move [prompt] him
To walk this way. [] I never do him wrong
But [whenever I do him wrong] he does [] buy my injuries [accept offenses], to be friends;
Pays dear for my offences. } Exit

{I'll prompt hims to walk this way. Whenever I do him wrong, he accepts my offenses as friends. He pays dearly for my offenses. ??? }

[Note that Q has barely given the lovers an time alone. She must be really pissed off that P is still there. So she's resorted to pleading: "Be brief, I pray you." She tries to bolster her plea with a guilt trip: "I'm the one who is going to get in trouble."

Then she talks to the audience. It's as if she's worried that she's gone too far -- that it won't just be P and I who are fooled. We (her confidants) will be fooled too. We'll worry about her. So she reassures us. She also blows her own trumpet by explaining how "in" she is with the King. Perhaps the actress should say the first bit to P and I and then say the second bit as if someone in the audience shouts out, "Oh my God! The King is going to KILL you!"]

POSTHUMUS. { Should we be taking leave
As long a term as yet we have to live,
The [] loathness [reluctance] to depart would grow. Adieu! }

{If we said goodbye for the rest of our lives, the reluctance to depart would grow. Farewell. }

[P tries to rip himself away. He flees. He puts a stop to things.]

IMOGEN. Nay, stay a little. [Short line -- a pause? Maybe a kiss?]
[] Were [even if] you but riding forth [] to air yourself [to get some fresh air],
Such parting were too petty. Look here, love:
This diamond was my mother's; take it, heart;
But keep it till you woo another wife,
When Imogen is dead.

[She guilts him into staying by chastising his lack of protocol: "Your goodbye wasn't good enough." She seduces him with a gift. She plants a seed of guilt should he ever stray.]

POSTHUMUS. How, how? Another? [He cuts her off.]
You gentle gods, give me but this I have, [He vows. He promises the gods!]
And [] sear up [seal -- wrap up like a corpse] my embracements from a next
With bonds of death! [] Remain, remain thou here [spoken to the ring]
[Puts on the ring]
While [] sense [ability to see or feel] can keep it on. And, sweetest, fairest,
{ As I my poor self did exchange for you,
To your so infinite loss, so in our [] trifles [exchanges???]
I [] still [always] win of you. } For my sake wear this;
It is a manacle of love; I'll place it
Upon this fairest prisoner. [Puts a bracelet on her arm]

{ Since I exchanged my poor self for you, which was a huge loss for you (you being so valuable), so it seems in our exchanges, I am always the winner (and you the loser). }

[As much as he loves I, I think P has been trying to leave. But he's stuck. He's like a mom dropping her child off at preschool for the first time. He tries to leave, but the kid keeps crying, and it's killing him. He's finally realizes that his only chance to get out is to slow down and perform a sort of ceremony. He re-pledging himself to his wife before the Queen, the court and the gods. He's marrying her (again). He's making a solemn promise.]

IMOGEN. O the gods!
When shall we see again? [She's clinging. She's demanding.]

Enter CYMBELINE and LORDS

I always think it's fun to play the gods literally. P and I really believe the gods are in the room with them, and they're really talking to Jupiter, Athena or whoever.

Doing this is much more playable than vague prayers or oaths.

This is a scene in which the three characters are mostly talking past each other. Each wants something from the other. I wants P to stay. P wants to leave with his dignity intact (and with minimal cruelty). Q wants P out of there (without looking like the bad guy). They characters have such tunnel-vision for whatever they are trying to achieve, they barely seem to listen to each other.

There's a sense of immanent danger here. P and Q feel P MUST be gone before the King arrives. They lose.

It's interesting that the first characters in this scene, the two Gentlemen, are thwarted by Q, P and I entering. Q, P and I are similarly thwarted by Cymbeline entering. This whole scene is breathless, whispery and furtive.

Cymbeline 1.I.a

2008-07-05T15:07:00.002-04:00

Cymbeline's first scene (act one, scene one) has four parts. It starts with a discussion between two gentlemen. Next, there's a mini-scene between Imogen, Posthumous and the Queen. Then, King Cymbeline enters and has an argument with the other characters. Finally, after Cymbeline leaves, there's a short scene between Imogen, the Queen and Pisanio. I'll tackle each mini-scene in a separate post. So...

Cymbeline 1.I.a: The Two Gentlemen

ACT I. SCENE I.
Britain. The garden of CYMBELINE'S palace

FIRST GENTLEMAN. You do not meet a man but frowns; our bloods
No more obey the heavens than our courtiers
Still seem as does the King's.
SECOND GENTLEMAN. But what's the matter?
FIRST GENTLEMAN. His daughter, and the heir of's kingdom, whom
He purpos'd to his wife's sole son- a widow
That late he married- hath referr'd herself
Unto a poor but worthy gentleman. She's wedded;
Her husband banish'd; she imprison'd. All
Is outward sorrow, though I think the King
Be touch'd at very heart.
SECOND GENTLEMAN. None but the King?
FIRST GENTLEMAN. 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, hath a heart that is not
Glad at the thing they scowl at.
SECOND GENTLEMAN. And why so?
FIRST GENTLEMAN. He that hath miss'd the Princess is a thing
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
As, to seek through the regions of the earth
For one his like, there would be something failing
In him that should compare. I do not think
So fair an outward and such stuff within
Endows a man but he.
SECOND GENTLEMAN. You speak him far.
FIRST GENTLEMAN. I do extend him, sir, within himself;
Crush him together rather than unfold
His measure duly.
SECOND GENTLEMAN. What's his name and birth?
FIRST GENTLEMAN. I cannot delve him to the root; his father
Was call'd Sicilius, who did join his honour
Against the Romans with Cassibelan,
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' th' time,
Died with their swords in hand; for which their father,
Then old and fond of issue, took such sorrow
That he quit being; 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 minist'red,
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 th' more mature
A glass that feated them; and to the graver
A child that guided dotards. To his mistress,
For whom he now is banish'd- her own price
Proclaims how she esteem'd him and his virtue;
By her election may be truly read
What kind of man he is.
SECOND GENTLEMAN. I honour him
Even out of your report. But pray you tell me,
Is she sole child to th' King?
FIRST GENTLEMAN. His only child.
He had two sons- if this be worth your hearing,
Mark it- the eldest of them at three years old,
I' th' swathing clothes the other, from their nursery
Were stol'n; and to this hour no guess in knowledge
Which way they went.
SECOND GENTLEMAN. How long is this ago?
FIRST GENTLEMAN. Some twenty years.
SECOND GENTLEMAN. That a king's children should be so convey'd,
So slackly guarded, and the search so slow
That could not trace them!
FIRST GENTLEMAN. Howsoe'er 'tis strange,
Or that the negligence may well be laugh'd at,
Yet is it true, sir.
SECOND GENTLEMAN. I do well believe you.
FIRST GENTLEMAN. We must forbear; here comes the gentleman,
The Queen, and Princess. Exeunt

I need to start by understanding what they're saying on a literal level. Here's where textual notes (in my various editions) and The Oxford English Dictionary come in handy. Sometimes a line is enough like modern English for me to understand it immediately. Sometimes a note or two will help. Sometimes, I need to paraphrase a section before I understand it.

Over the years, I've come up with a system for making textual notes. For instance...

FIRST GENTLEMAN. You do not meet a man [] but frowns [who does not frown]; { our [] bloods [moods]
{ No more obey the heavens than our courtiers
Still seem as does the King's. }

{ Just as our moods obey the heavens, our courtiers follow the king's lead. }

the note [who doses not frown] explains the meaning of "but frowns." I indicate that by placing open/close brackets before the word "but." So if you see open/close brackets, you'll know that the following text is explained by the next bracketed note:

[] but frowns [who does not frowned]
[] bloods [moods]

Sometimes, I'll paraphrase a section. I'll put the paraphrase between open/close curly braces and wrap the corresponding untranslated text in similar braces:

{ No more obey the heavens than our courtiers
Still seem as does the King's. }

{ Just as our moods obey the heavens, our courtiers follow the king's lead. }

Okay. Let's get to it!

FIRST GENTLEMAN. You do not meet a man [] but frowns [who does not frown]; { our [] bloods [moods]
{ No more obey the heavens than our courtiers
Still seem as does the King's. }

{ Just as our moods obey the heavens, our courtiers follow the king's lead. }

He's saying that the king is sad (angry? vexed?) and that all the courtiers are following his lead by frowning.

One thing to note here is that Gent 1 is having to explain this to the second gentleman. To me, this implies that Gent 2 is a stranger (or socially inept). If he was of the court, surely he'd know this already (and much of the following information). Hm... Should we make Gent 2 a foreigner? We could also play against the script and make him a small child. Gent 1 could be a daddy explaining the ways of the court to his son.

At first, it seems Gent 1 is just describing things: everyone is frowning. But there's a bit of commentary at the end: everyone is aping the king. More than that, he's saying it's inevitable that everyone obeys the king. This reminds me of modern quips about fashion: "When Brad Pitt wears ripped jeans, everyone starts wearing ripped jeans." Is Gent 1 making a wry comment about fashion? Is he implying that people BETTER frown if they know what's good for them? Is he implying that the courtiers are being opportunistic -- frowning because they know it will win them the King's favor?

What's his attitude about this? Is he colluding? "Isn't it funny how we're all fooling the king?" Is he warning? "You [son, foreigner] had better start frowning if you know what's good for you!" Is he setting himself above the fools at court? "I see right through those hypocritical frowners!"

I'm starting to see some possible actions: condescend, belittle the courtiers, mock the courtiers, warn Gent 2, teach Gent 2, reveal the plot (to fool the King), recruit Gent 2 (to join the plot). Some of these seem more likely than others; some seem more playable. It will be interesting to try some out in rehearsal, to see how they color the scene and how they excite the actors.

The goal is never to get the audience to understand the action. Watching a play isn't a guessing game. The goal is to give the actor something exciting and fun to play. If he plays "to mock" and the audience thinks he's doing something else, that's fine - as long as the audience thinks he's doing something interesting. If the actor feels he's doing something interesting, he'll interest the audience.

Moving on...

SECOND GENTLEMAN. But what's the matter? [pause -- short line]
FIRST GENTLEMAN. His daughter, and the heir of's kingdom, whom
He purpos'd to his wife's sole son- a widow
That late he married- hath referr'd herself
Unto a poor but worthy gentleman. She's wedded;
Her husband banish'd; she imprison'd. All
Is [] outward sorrow [show of sorrow vs. king's real sorrow?], though I think the King
Be touch'd at very heart.

Gent 2's first line is even more evidence that he's an alien at court. He has no idea that the princess is in trouble. At this point, his action is pretty simple: he's trying to solve a puzzle, the get hip with what's happening, to not look like a rube, to get to the bottom of things...

I noted that there's a pause after his line. That's because this section is in verse. Iambic Pentameter to be precise. Most lines are stressed like this: tee-TUM, tee-TUM, tee-TUM, tee-TUM, tee-TUM. "Her HUSband BANish'd; SHE imPRISon'd ALL..." But this line breaks the pattern. It's missing some syllables: "But what's the matter?" tee-TUM, tee-TUM, tee..."

One way to play this, if it makes sense, is to take a pause during the time the remaining syllables would be said if this was a normal line. But why would there be a pause there? My guess is that it's not Gent 2's pause. He's asked his question. He's done.

So it's Gent 1's pause. Maybe he's a bit taken aback by Gent 2's blunt question. (Maybe he wasn't done speaking and Gent 2 interrupted.) Maybe he needs to pause for a second while he gathers his thoughts, while he figures out the best way to explain the situation. Maybe the pause means "Jesus Chrirst! That's a question and a half... How do I even begin to answer?" Maybe the pause is filled with Gent 1's ironic laughter.

Maybe he switches to a conspiratorial (or scared) whisper during this next speech:

FIRST GENTLEMAN. His daughter, and the heir of's kingdom, whom
He purpos'd to his wife's sole son- a widow
That late he married- hath referr'd herself
Unto a poor but worthy gentleman. She's wedded;
Her husband banish'd; she imprison'd. All
Is [] outward sorrow [show of sorrow vs. king's real sorrow?], though I think the King
Be touch'd at very heart.

This is all new information for the audience: the King's wanted his daughter to marry his wife's son (by a previous marriage). But instead, she married a poor (but worthy) man. The King got so upset about this, he banished the poor man she married and threw her in prison.

But this is a speech to Gent 2, not to the audience. So the actor can't just deliver exposition. So why is he telling this to Gent 2. Well, Gent 2 DID ask! Again, Gent 2 seems clueless about the politics and mood of the court. And in addition to explaining the facts to him, Gent 1 editorializes...

"All / Is outward sorrow, though I think the King / Be touch'd at very heart."

At court, everyone is just making an outward show of sadness (outrage? shock?), but the King is genuinely upset.

As with earlier speeches, is Gent 2 warning Gent 1? "If you don't want trouble, act like you're upset!" Is he enlisting Gent 2 in a plot? "We're all fooling the king!"

Be touch'd at very heart.
SECOND GENTLEMAN. [] None but [only] the King?

This is a shared verse line!

Be (tee) touch'd (TUM) at (tee) ver (TUM) y (tee) heart. (TUM) None (tee) but (TUM) the (tee) King? (TUM)

So Gent 2 jumps right in -- interrupting Gent 1's line. Gent 2 may be a newbie, but he's getting the point. He's zooming right in on the key issue. Gent 2, at least given his first two lines, seems to be really good at going for the jugular. And the action (ask a skeptical question, ask a pointed question...) seems to work, because Gent 1 has to amend himself. It's not JUST the King that's upset.

FIRST GENTLEMAN. He that hath lost her too. [Cloten? Posthumus?] So is the Queen,
That most desir'd the match. { But not a courtier,
Although they wear their faces [] to the bent [according to the inclination]
Of the King's looks, hath a heart that is not
Glad at the thing they scowl at. }

{ But there isn't a courtier -- though they adjust their expressions to suit the king's desire -- that isn't glad at heart about what they're frowning about }

It seems to me like Gent 1 GRUDGINGLY concedes that he exaggerated about ONLY the King being upset. "Yes, yes, yes, there are a few others, but..." Maybe the actor should rush the first couple of sentences. Give an inch, but not a mile. He then returns to his main theme, that the BULK of the courtiers are shamming.

This is a classic Thesis/Antithesis speech -- a comparing of two opposites. They crop up all over Shakespeare. At their simplest, they're lines like "To be (thesis) or not to be (antithesis). It's really helpful for the actor to understand -- and play -- the form of the speech:

FIRST GENTLEMAN. this this this this this this this this this this. BUT that that that that that that that that that that.

When he's saying the "this" part, he's already thinking ahead, knowing he's going to overturn it with the "that part." Usually, but not always, the "that" is the speaker's REAL opinion. He brings up "this" as the "exception that proves the rule."

In the "BUT that" part of the speech, Gent 2 is reinforcing his idea, underlining his point, hitting his point home...

SECOND GENTLEMAN. And why so?

Once again, to the point! Is Gent 2 possibly impatient with Gent 1? Would he rather talk to someone less wordy? Or is he rapt? Is he saying "For God's sake, spill the beans?" Or is he saying, "Tell me more! Tell me more"?

FIRST GENTLEMAN. [] He [Cloten] that hath miss'd the Princess is a [] thing [guy]
Too bad for bad report; and he [Posthumous] that hath her-
I mean that married her, alack, good man!
And therefore banish'd- is a creature such
As, to seek through the regions of the earth
For one his like, there would be something failing
In him that should compare. I do not think
So fair an outward and such stuff within
Endows a man but he.

That's another thesis/antithesis. Cloten bad; Postumous good. It's also such extreme praise (for Posthumous), it's almost worship. It IS worship. Maybe this is the heart of the scene: "We -- the courtiers -- love Posthumous, but he's been banished and we have to pretend we're on the King's side." If Gent 1 has been whispering thus far, trying to give Gent 2 the scoop without endangering their lives, it would be interesting if he forgot himself here and spoke full voice while waxing poetic about Posthumous.

SECOND GENTLEMAN. You speak him far.

Once again, to the point. Interesting that Gent 2 doesn't show his hand. He doesn't say, "Posthumous sounds great. I can understand why you love him so." He just says, "I can see you like him."

FIRST GENTLEMAN. [] I do extend him, sir, within himself; [I do praise him for his own internal qualities]
{ Crush him together rather than unfold
His measure duly. }

{I make him seem small when -- If I was a better speaker -- I should be trumpeting his true worth.}

Does Gent 2 get Gent 1 to betray even more of his passion for Posthumous? Maybe so, or maybe with no need for prodding, Gent 1 chastises himself for (so he thinks of himself) being such a poor speaker. He berates himself, he flagellates himself...

SECOND GENTLEMAN. What's his name and birth?

Gent 2, ever cagey, plays the scientist. He gathers data, he collects tools...

FIRST GENTLEMAN. I cannot delve him to the root; his father
Was call'd Sicilius, who did join his honour
Against the Romans with Cassibelan,
But had his titles by Tenantius, whom
He serv'd with glory and admir'd success,
So gain'd the sur-addition Leonatus;

|----------|
LUD CASSIBELAN
|
|
TENANTIUS
|
|
CYMBELIE

In that last bit, Gent 1 is praising Posthumous by listing his pedigree. If I was playing Gent 1, I'd have to translate the speech into more modern terms: "His father was General Patton..."

And had, besides this gentleman in question,
Two other sons, who, in the wars o' th' time,
Died with their swords in hand; for which their father,
Then old and fond of issue, took such sorrow
That he quit being; 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 [educates] him and makes him [] of his bed-chamber [a personal servant],
Puts to him all the learnings that his [] time [age]
Could make him the receiver of; which he took,
As we do air, fast as 'twas minist'red,
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 [an example] to the youngest; to th' more mature
A [] glass that feated them [mirror that reflected them elegantly]; and to the [] graver [more serious? closer to the grave]
A child that guided dotards. [a youngster that guided old men] To his mistress,
For whom he now is banish'd- [] her own price [the price she was willing to pay]
Proclaims how she esteem'd him and his virtue;
By her election may be truly read
What kind of man he is.

Gent 1 ends his praise by telling Posthumous's story and listing his many virtues. In this speech, directed at Gent 2's heart, Gent 1 spins a tear-jerker, tells a "Paul Bunyan" story, mythologizes Posthumous, etc. He's making Posthumous's story into a Speilberg epic, complete with a John William's score. It works...

SECOND GENTLEMAN. I honour him
Even out of your report. But pray you tell me,
Is she sole child to th' King?

Or does it? Is Gent 2 won over or is he patronizing Gent 1? He sure changes the subject quickly. Now he's interested in Imogen. (It seems as if he's able to change the subject to Imogen by agreeing with Gent 1 about Posthumous.)

Whether or not she's the sole child is, of course, of great importance. If she's the sole child, she's heir to the throne. And the man she marries will be king.

FIRST GENTLEMAN. His only child.
He had two sons- if this be worth your hearing,
Mark it- the eldest of them at three years old,
I' th' swathing clothes the other, from their nursery
Were stol'n; and to this hour no guess in knowledge
Which way they went.
SECOND GENTLEMAN. How long is this ago?
FIRST GENTLEMAN. Some twenty years. [the boys are aprox 23 and 20.]
SECOND GENTLEMAN. That a king's children should be so convey'd,
So slackly guarded, and the search so slow
That could not trace them!
FIRST GENTLEMAN. { Howsoe'er 'tis strange,
Or that the negligence may well be laugh'd at,
Yet is it true, sir.
{ However strange it seems -- or however much the negligence may amaze people -- it's true. }

SECOND GENTLEMAN. I do well believe you.

Interesting that this is Gent 2's longest line:

SECOND GENTLEMAN. That a king's children should be so convey'd,
So slackly guarded, and the search so slow
That could not trace them!

Throughout the scene, Gent 1 has told Gent 2 a serious of stories. THIS is the one that most interests him and captivates him.

SECOND GENTLEMAN. I do well believe you.

And presumably it's linked to Gent 2's earlier question about the heir to the throne. With scant evidence and much imagination, I'm going to suggest that Gent 2 is a foreigner (maybe from Italy -- which figures much into the later events) who wants to know what's going to happen when the old King dies. (Depending on who ascends the throne, things may be good or bad for Italy.) Maybe -- and here I'm being really fanciful -- Gent 2 is a spy.

Gent 1 has a different agenda. He wants to win Gent 2 over to the pro-Posthumous camp. This camp may be much more than just a bunch of guys who like Posthumous. They may be a political alliance. They may be meeting to decide what to do about Posthumous's banishment. Maybe Gent 1's friends asked him to enlist the Italian gentleman in their cause.

Even if the actors play all this, the audience won't get it. But it will infuse their playing with immediacy, fun and court intrigue. The audience may not get what's going on, but they will feel that SOMETHING is going on -- and that's what's most important. At heart, this is an exposition scene. My job -- while making sure the actors speak clearly enough so that the audience follows key bits of info -- is to make the scene playable, which means to make it about characters trying to get something from each other.

In the end, we never find out these characters agendas:

FIRST GENTLEMAN. We must forbear; here comes the gentleman,
The Queen, and Princess. Exeunt

We never see Gent 1 and Gent 2 again.

Rules of the Game

2008-07-05T14:27:00.001-04:00

I am starting pre-production for Shakespeare's "Cymbeline." My company, Folding Chair Classical Theatre, will start rehearsing the show in August 2008. We'll perform it throughout September.

I've decided to cast the show with just six actors, even though the play has over twenty parts. At Folding Chair, we always double (triple or quadruple) cast. Since we can't pay actors, there's no way we can hold onto twenty-plus volunteers for three months. But finding six loyal and talented people is possible.

I know it's possible to do the play with six actors, because The Globe did it (to positive reviews). I didn't see that production, so I'm just using it as an article of faith. It can be done, so we'll do it.

But I'm getting ahead of myself. Before I worry about casting, I need to become friends with the script. I need to analyze it; I need to understand it; I need to start dreaming about it.

The script is here: http://www.gutenberg.org/dirs/etext97/1ws3910.txt, and it's great to be able to access it online. But when I direct Shakespeare plays, I buy as many print editions as I can afford. Each is useful, as each has different textual notes. I often have to read notes from five or six editions to understand the whole play. So far, I have the Riverside, Folger and Pelican editions. In addition to these, the Oxford English Dictionary is invaluable. You can access it online for free via most public libraries (generally, you need a library card to do so).

When working on a script, my ultimate goal is to understand how to make it actable. The modern actors is trained to play "actions" on stage. In other words, he's trained not to just speak and emote. Instead, he tries to link each line to something his character is trying to achieve, some objective.

If the line is, "Come to bed," the actor's objective -- in that moment -- may be to achieve orgasm. While saying "come to bed," he's playing an action to achieve that objective. By action, I don't mean he has to do some sort of physical movement (though some actions can involve physical movements). I mean that the actor needs to understand how saying "come to bed" will help him achieve his goal.

When he says "come to bed," is he ordering? Is be pleading? Is be seducing? None of these is necessarily right or wrong. It depends on the particulars of the story and the actor. If, in a particular story, a character is very concerned with seeming manly, it may not make sense for him to play pleading. But some stories and characters are more elastic. In some, the actor can freely choose an action from many that could work.

We usually phrase actions as verbs: to seduce, to persuade, etc. Actors can DO those things. An actor my not be able to feel happy, be angry, or work himself into some other general state, but he can praise, command, pester and beg. As a director, I can't order an actor to be happy. But I can order him to dance, to jump for joy, to party like there's no tomorrow...

(Modern acting theory was pioneered by Stanislavsky. If you're interested in learning more about it, I recommend The Practical Handbook for the Actor. I also highly recommend Barry Edelstein's Thinking Shakespeare, the bible of Shakespearean acting.)

My job isn't to pick actions for the actors. Still, I want to make sure I understand some possible action for each moment. That way, if the actor is at a loss, I can help him.

I need to understand the play -- not as a scholar -- but as a director who is chiefly concerned with character motivations. Who wants what from whom and what are they doing to get what they want? How are the words they're saying helping -- or hindering -- them achieve their goals? There aren't right answers. There are just fun possibilities.

Over the years, I've come up with a system for making textual notes. For instance...

FIRST GENTLEMAN. You do not meet a man [] but frowns [who does not frown]; { our [] bloods [moods]

the note [who doses not frown] explains the meaning of "but frowns." I indicate that by placing open/close brackets before the word "but." So if you see open/close brackets, you'll know that the following text is explained by the next bracketed note:

[] but frowns [who does not frowned]
[] bloods [moods]

Sometimes, I'll paraphrase a section. I'll put the paraphrase between open/close curly braces and wrap the corresponding untranslated text in similar braces:

LADY. The Queen, madam,
Desires your Highness' company.

[Light a fire under her ass!]

Original:

{ No more obey the heavens than our courtiers
Still seem as does the King's. }

Paraphrase:
{ Just as our moods obey the heavens, our courtiers follow the king's lead. }

I will put other notes in brackets, often using then to suggest actions:

LADY. The Queen, madam,
Desires your Highness' company. [Light a fire under her ass!]

My actions are always suggestions. you may be able to come up with better ones for the same line. Or at lease ones that are just as good.

LADY. The Queen, madam,
Desires your Highness' company. [Beg her to come.]

My actions are starting points. They allow me to go into rehearsal with confidence, knowing that at the very least, the actors and I will have something to try, something to debate, something to build on.