Cymbeline

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Imogen by Herbert Gustave Schmalz

Cymbeline ( original early New English title: The Tragedie of Cymbeline , also published in some later editions under the alternative title Cymbeline, King of Britain ) is a play by William Shakespeare . The work takes place in the time of Roman antiquity and is about the fate of Imogen (also Innogen), the daughter of King Cymbeline . Imogen secretly and against the will of her stepmother marries the low-born Posthumus. Banished from the court, he arrives in Rome, places bets on his wife's infidelity and, after being deceived, endeavors to have Imogen murdered. In the turmoil of the military conflict between Rome and Britain, Imogen meets her brothers who were believed lost again, the wicked stepmother confesses on her deathbed her intrigues against the king's daughter, Posthumus forgives his treacherous friend, and Imogen forgives her husband for the attempted murder. Shakespeare probably finished the drama in 1610. He presumably used the novella II, 9 from Boccaccio's Decameron and excerpts from Holinsheds Chronicles as the source for the piece . The first printed version appeared in the First Folio in 1623. The earliest performance is attested by an account by the Elizabethan astrologer and occultist Simon Forman, who mentions the play in his records and claims to have seen it at the Globe Theater , probably in 1611. Since Eward Dowden, the work has been included in the group of late romances .

action

Imogen, the daughter of King Cymbeline, was betrothed to Cloten, the new queen's son. Instead of him, however, she secretly married Posthumus, a man of lower class who had earned great merit. Angry Cymbeline then banishes Posthumus from his kingdom. The latter gives Imogen a bracelet when saying goodbye and receives a ring from her. Posthumus' loyal servant Pisanio remains at court.

In Italy, Iachimo (or "little Iago "), a soldier in the Roman army, bets the exiled Posthumus that he can seduce Imogen into adultery; if he succeeds, Posthumus should give him the ring. In Britain the Queen has ordered Doctor Cornelius to get her a deadly poison; but he only gives her a sleeping pill that gives the appearance of death. This drug, which she identifies as a sedative, she gives Pisanio. Iachimo, who has traveled from Italy, tries to win over Imogen, but is rejected. He apparently gives up and asks to be allowed to put a large chest in Imogen's room, which contains his most valuable possessions, which Imogen grants. During the night Iachimo gets out of the chest, examines the bedchamber and the sleeping Imogen, who has a birthmark on her left breast, and slips the bracelet from her wrist. Back in Italy, he claims to Posthumus that he has won the bet, describes Imogen's bedchamber and presents the bracelet. He then describes the mark on Imogen's chest to the initially unbelieving Posthumus, whereupon Posthumus gives him the ring.

In Britain, Cymbeline refuses to the Roman ambassador Caius Lucius to continue the tribute that Julius Caesar had forced. Pisanio has received a letter from Posthumus requesting that Imogen be brought from London and murdered. He gives her a second letter from Posthumus, asking her to go to Milford Haven on the coast of Wales, where she will meet him. In Milford Haven, Pisanio confesses his deception and shows Imogen the first letter in which Posthumus accuses her of infidelity. He suggests Imogen to put on boys' clothes and to enter the service of Caius Lucius, whereby she could come to Italy, and gives her the means received from the Queen as a tonic for the journey. In the meantime, Imogen's absence was noticed at court, the returned Pisario gives Cloten a wrong whereabouts, where he goes with a suit from Posthumus. Imogen has got lost in the wilderness and comes across "Polydore" and "Cadwell" who, she does not know, are her own brothers Guiderius and Arviragus. Twenty years earlier, two British noblemen had sworn perjuries by accusing nobleman Belarius of collaborating with the Romans, whereupon he was banished from the kingdom by Cymbeline. Belarius kidnapped Cymbeline's sons in revenge so that he should not have an heir to the throne. The sons were raised by the nurse Euriphile, who they believe to be their mother. On the hunt, Belarius and the sons meet Cloten, dressed in Posthumus' suit, who is killed and beheaded by Guiderius in a duel. Imogen has since taken the drug and the returning men believe her dead. They leave Cloten's headless body with her and leave her that way. After a while, Imogen wakes up and thinks the body next to him is that of her husband. When Caius Lucius appears with his army, she introduces herself as Fidele and is accepted into the Roman's service as a page.

The struggle between the Roman and British armies was initially unfavorable for them, although Posthumus came to Britain with the Romans, left the Romans and fought for the Britons. But then Belarius, Guiderius and Arviragus appear on the British side - the Romans are defeated, Caius Lucius and Posthumus, who wears Roman clothing, are captured. Spirits of his deceased ancestors gather around the sleeping Posthumus and ask Jupiter to have pity on their descendants; then Jupiter appears and announces that he will bring about Posthumus' happiness. In fact, a little later a messenger comes with the order to take him to Cymbeline.

In the drama finale, almost all of the characters appear again to piece together the fragments of the confusing plot. The court doctor Cornelius surprises everyone with the news that the Queen, Imogen's stepmother, has died. With her last breath she confessed to him her sinister deeds: she did not love Cymbeline, she unwittingly had Imogen poisoned by Pisanio and intended to poison Cymbeline too, so that her son Cloten could ascend the throne. The still disguised Imogen asks Iachimo where he got the ring on his finger, and the latter confesses his mischievous behavior. Imogen reveals himself, she and Posthumus are hugging each other. Belarius reveals his true identity and that of Arviragus and Guiderius as sons of Cymbeline. Cymbeline closes with a great speech to the gods and declares peace between Britain and Rome. The Romans are allowed to leave unmolested and receive their required tribute. At the end of the day, Cymbeline opens a big party in Luds Stadt ( London ) and closes with the words "Never had a war, before the hands were washed / Washed with blood, such a beautiful ending."

Literary templates, intertextual references and cultural contexts

Although the work with its numerous entanglements, the separation of lovers as well as surprising twists and turns and the miraculous rescue at the end has characteristic features of a romance , Shakespeare did not take the material for his story mainly from the existing romances of his time, as in Pericles or The Winter's Tale .

As a template for the drawing of the historical title figure of the semi-legendary King Cymbeline, who lived in 33 BC. BC during the reign of the Roman Emperor Augustus is said to have ascended the throne, as well as for the historical outline of the disputes between the British and Rome, he resorted to Raphael Holinshed's Chronicles of England, Scotland and Ireland instead, as in his histories . The second edition of Holinsheds Chronicles was published in 1587 and thematized not only the documentary history of Great Britain, but also the legendary or mythical early days. Shakespeare already used this fabulous part of the Chronicles for his great tragedies King Lear and Macbeth .

In contrast to Holinsheds Chronicles , however, Shakespeare historically shifts the tribute dispute there, which dates back to the reign of King Kymbeline's son Guiderius. The description of the heroic deeds of Belarius, Guiderius and Arviagus in the fighting with the Romans is based on Holinshed's report on the decisive intervention of the farmer Haie and one of his sons in the battle of Loncart between the Scots and the Danes in AD 976 .

Various details in the design of the figure of Guiderius suggest that Shakespeare was also familiar with the account of Guiderius in the second part of A Mirror for Magistrates (1578) and Robert Fabyan's New Chronicle of England and of France (1516).

Since Holinsheds Chronicles and the other contemporary representations of history that Shakespeare used in all probability for the draft of his work, however, contained hardly any details about early British history, Shakespeare had to add a large part of the characters and plot components for a full drama himself, in addition to his own Imagination also drew on his memories of usable motifs and elements of older and more recent narrative literature known to him.

For example, the bet between Posthumus and Giacomo about Imogen's loyalty can be found in Giovanni Boccaccio's collection of novels Decamerone (probably written between 1349 and 1353) in the ninth story on the second day (novella II.9), the Shakespeare either in the original or in one of the numerous French translations must have been available.

Due to various deviations from the Italian original, it is further assumed in Shakespeare research that Shakespeare most likely also copied this subject or motif in This mater treateth of a merchauntes wyfe that afterwarde went like a man and was called Frederyke of Jennen. , which had appeared as a print fragment around 1517/18, 1520 and 1560, should have been familiar.

A larger number of the more recent Shakespeare editors also assume that, in addition to various popular, mostly only orally transmitted legends and narratives, in particular an anonymous play entitled The Rare Triumphs of Love and Fortune , which was performed at court in 1582 and in 1589 in Printed form was published, could have provided significant impetus for Shakespeare's Cymbeline .

In contrast to his sources, however, Shakespeare dramaturgically reduces the dominant action-driving role of the wife, who in his literary models actively brings about her rehabilitation. In Shakespeare, just as little as in his sources, the slanderer is finally executed; In the genre-specific convention of the conciliatory end of a romance, he is generously forgiven at the end.

In keeping with the genre of dramatic romance, Shakespeare shifts both history and material from the mercantile merchant milieu to the courtly world and the legendary prehistoric times of Britain.

The motif of the bet for the loyalty, obedience or male controllability of women can already be found in Shakespeare's The Taming of the Shrew at the end of this comedy.

In the contemporary cultural context, the motive for defamation, i.e. H. the allegation of infidelity of a woman through false accusations or evidence and the related question of the test of marital fidelity to the ancient narrative that is widespread in world literature. Templates can be found above all in numerous comedy-like or romantic stories and plays, for example in the story of Susanna . This story was well known as an oral tradition in the Elizabethan-Jacobean period and has been published in several editions as a separate book in the Apocryphal sections of the Geneva Bible since 1557.

For the Elizabethans, this topic of the vulnerability of women through defamation or their alleged infidelity aroused great interest, even in the overarching historical-political context, after Henry VIII had two of his wives, Anne Boleyn and Catherine Howard beheaded for alleged infidelity.

Shakespeare himself used the so-called bed-trick, which is related in this regard , in previous works such as Measure for Measure or All's Well, That Ends Well .

A number of today's Shakespeare researchers and editors also refer to intertextual references to other plays by Shakespeare in which the subject of defamation of the main female characters plays a decisive role, for example in Much Ado about Nothing , Othello or The Winters Tale .

While the false slanderous allegations in these plays not only lead to the symbolic or fictional death of the heroine, but also split the stage society on the public level into accusers and defenders of the slandered women, Shakespeare changes this dramaturgical pattern in Cymbeline . The defamation of Imogen takes place in Italy while she is in Britain. Except for Pisano, who does not believe Imogen's slander, nobody else in her home country knows about it. The slander of Imogen discussed in the play is therefore less on the public-political level than on the private level. Cymbeline also lacks the typically romantic motif of female friendship and the support of the heroine from her trusted companions. In Cymbeline , the protagonist is largely isolated. In contrast to his other works, Shakespeare shifts the focus on how Posthumus and Imogen react to the allegations and directs attention to the suffering of Posthumus. These variations in comparison to the other pieces are partly due to the genre-specific peculiarities of Cymbeline , which cannot be clearly assigned to one of the specific classical dramatic genres, but rather has a peculiar mixture of tragic , tragicomic , historical and romance-like elements from different dramatic structures .

What is striking is Shakespeare's special drawing of his protagonist and the specific design of the plot of her defamation, but not only in an intertextual context.

The previous narratives and stage works, which were in the medieval tradition of romances, with their abundance of stories about heroines suffering from defamation, presented them at the same time largely as male property or sexual objects and, with their inherent misogynous point of view, reflected the socio-cultural perspective of the time Role and position of women. Shakespeare's complex revision and variation of these motifs, in particular Posthumus' haunting forgiveness of his wife's supposed guilt and his affirmation of her human worth despite her assumed sexual permissiveness when he was still firmly convinced of her infidelity (Act 5.1.5), take from the point of view of one Part of today's Shakespeare research anticipates a remarkable paradigmatic change in the assessment of the social significance of the role of women. For example, Valerie Wayne, the editor of the new Arden edition of the work, speaks at this point of a cultural paradigm shift ( “larger cultural shift” ) that is pushing back the explicit contemporary forms of misogyny. The novel discourse on women and sexuality set up in Cymbeline is not only one of the innovative aspects of this piece, but is also one of its essential characteristics.

Dating and text history

The exact date of origin of the work is not known, but based on recent bibliographical research it can be narrowed down to the period 1609/1610 with a very high degree of certainty. The latest possible date ( terminus ad quem ) of the completion of the work is documented by a surviving diary of the London doctor and astrologer Simon Forman about a visit to a performance of Shakespeare's Of Cimbalin King of England . Neither the day nor the place of the performance is named in this diary entry; Forman must have seen the performance before September 8, 1611, the day he drowned while crossing the Thames, which is historically documented. Since Forman's diary contains precisely dated information about attending various other performances of Shakespeare plays such as Macbeth on April 20, 1611 or The Winters Tale on May 15, 1611 at the Globe Theater , the overwhelming majority of today's editors assume that Forman saw the performance of Cymbeline in all probability at the Globe in the spring of 1611, so the piece must therefore have been written at the end of 1610 / beginning of 1611 at the latest.

First Folio 1623 - The Tragedie of Cymbeline , title page, p. 1

Due to the close linguistic and stylistic relationship between Cymbeline and The Winters Tale , it is generally assumed in current Shakespeare research that the work was written earlier. Various evidence suggests that Shakespeare probably wrote these two plays in quick succession or possibly even at the same time during the closure of London theaters due to the plague outbreak from August 1608 to late 1609 or early 1610. The renowned British Shakespeare expert and editor of the Oxford Shakespeare Complete Edition, Stanley Wells, raises the plausible objection that no playwright would work on two larger works simultaneously. Given the current state of research, the chronological order in which Cymbeline and The Winters Tale were written is also controversial ; nor can it be ruled out with complete certainty that Shakespeare could not have completed the work on Cymbeline until the theaters reopened.

On the basis of these previous historical and bibliographical findings, the presumed period of origin of Cymbeline is dated almost without exception to the period between 1609 and 1610 in the modern editions with a relatively high degree of certainty .

As with all Shakespeare works, the original manuscript of the play has not been preserved. The earliest printed version appeared in 1623 after Shakespeare's death in the first complete edition of his works, the First Folio , under the title The Tragedie of Cymbeline . The work was assigned to the group of tragedies by the editors John Heminges and Henry Condell and printed as the last drama. The printing rights for the piece had shortly before been entered in the Stationers' Register on November 8, 1623, along with 15 other pieces not yet published in print for " Mr. Blount and Isaak Jaggard ". Cymbeline is also mentioned as the last work in this entry . In contrast to Forman's diary entries, in which the female protagonist is consistently named as Innogen , the first folio edition contains the different name form Imogen in forty places . In various editions today is since the issuance Oxford Collected Works in 1986, the name of the daughter Cymbeline again for several reasons Innogen emended Service.

German translations

In the late 18th and 19th centuries numerous translations were made, of which Dorothea Tieck's is still the most common. For the 20th century, the translations by Theodor von Zeynek , Erich Fried and Frank Günther are particularly noteworthy.

As part of the planned complete English-German study edition of Shakespeare's works under the patronage of the German Shakespeare Society , a bilingual edition of “Cymbeline” is in preparation. With the participation of a large number of well-known German Anglicists and Shakespeare researchers, the special interests and information needs of German-speaking readers are to be addressed in a comprehensive commentary and commentary section in a generally understandable form on the basis of the current state of scientific research. In this context, a German prose version is intended, which aims to reproduce the original text as accurately and verbatim as possible.

Film and television adaptations

The first known film adaptation of Cymbeline appeared as a shortened 22-minute silent film version in a production of the Edwin Thanhouser Company with Florence La Badie in the female lead and James Cruze as Posthumus. In 1937, shortly after the start of television operations in Great Britain in 1937, a 45-minute short version of selected scenes of the play was broadcast by the BBC ; In 1956 the BBC broadcast a new television version with additional scenes based on recordings of a theatrical performance of the work at the Old Vic Theater . In the United States, a stage production of Cymbeline was recorded as a theatrical film for the Berkeley Shakespeare Festival in California in 1981. The BBC television version of the play with Helen Mirren in the role of Imogen, which was made a year later, is generally considered one of the best BBC productions by television critics. The first notable film version of the play produced in the studio was directed by Michael Almereyda with Ed Harris as Cymbeline, Ethan Hawke as Iachimo and Dakota Johnson as Imogen. The location was moved to the present in this film adaptation.

The performance of the play produced in 1998 under the direction of Dieter Dorn was broadcast on German-language television in 2000 .

Musical arrangements

In addition to almost 80 traditional incidence music, seven arrangements for the opera are known:

Charles Fussell composed a secular oratorio lasting about an hour on the Cymbelin material ( premiere 1987).

Text output

English
  • John Jowett, William Montgomery, Gary Taylor and Stanley Wells. (Ed.): The Oxford Shakespeare. The Complete Works. Second edition. Oxford University Press, Oxford 2005. ISBN 978-0-19-926718-7
  • Martin Butler (Ed.): William Shakespeare: Cymbeline. The New Cambridge Shakespeare. Cambridge University Press, Cambridge 2005, 12th edition 2016. ISBN 978-0-521-29694-6
  • Roger Warren (Ed.): William Shakespeare: Cymbeline. Oxford World's Classics. Oxford University Press, Oxford 1998. ISBN 978-0199536504
  • Valerie Wayne (Ed.): William Shakespeare: Cymbeline. The New Arden Shakespeare. Third Series. Bloomsbury 2017. ISBN 978-1-904271-30-7
German
  • Frank Günther (Ed.): William Shakespeare: Cymbeline. Bilingual edition. ars vivendi, Cadolzburg 2012. ISBN 978-3897161825

literature

  • Hans-Dieter Gelfert: William Shakespeare in his time. CH Beck, Munich 2014, ISBN 978-3-406-65919-5 , pp. 389-391.
  • Ingrid Hotz-Davies and Walter Kluge: Cymbeline , in: Ina Schabert (Ed.): Shakespeare-Handbuch. Time, man, work, posterity. 5th, revised and supplemented edition. Kröner, Stuttgart 2009, ISBN 978-3-520-38605-2 , pp. 463-468.

Web links

Wikisource: The Tragedy of Cymbeline  - Sources and full texts
Commons : Cymbeline  - collection of images, videos and audio files

Remarks

  1. ↑ Tabor assumes that the plant that gives Imogen a death-like sleep could be chamois , Edward Tabor, Plant Poisons in Shakespeare. Economic Botany 24/1, 1970, 86
  2. ↑ Cf. Ina Schabert (Ed.): Shakespeare-Handbuch. Time, man, work, posterity. 5th, revised and supplemented edition. Kröner, Stuttgart 2009, ISBN 978-3-520-38605-2 , page 464 and Ulrich Suerbaum : The Shakespeare guide. Reclam, Ditzingen 2006, ISBN 3-15-017663-8 , 3rd rev. Edition 2015, ISBN 978-3-15-020395-8 , p. 197. See also Michael Dobson , Stanley Wells (Ed.): The Oxford Companion to Shakespeare. Oxford University Press, 2nd Edition, Oxford 2015, ISBN 978-0-19-870873-5 , p. 244, and Jonathan Bate , Eric Rasmussen (Eds.): William Shakespeare Complete Works ( The RSC Shakespeare ). Macmillan Publishers 2008, ISBN 978-0-230-20095-1 , p. 2244. For the sources cited, cf. also the detailed presentation in Roger Warren (Ed.): William Shakespeare: Cymbeline. Oxford World's Classics. Oxford University Press, Oxford 1998, Introduction p. 15ff. and pp. 26-42, and Valerie Wayne (Ed.): William Shakespeare: Cymbeline. The New Arden Shakespeare. Third Series. Bloomsbury 2017, Introduction, pp. 94-109.
  3. ↑ See Roger Warren (ed.): William Shakespeare: Cymbeline. Oxford World's Classics. Oxford University Press, Oxford 1998, Introduction p. 16ff. and Michael Dobson , Stanley Wells (Eds.): The Oxford Companion to Shakespeare. Oxford University Press, 2nd Edition, Oxford 2015, p. 244. See also Valerie Wayne (Ed.): William Shakespeare: Cymbeline. The New Arden Shakespeare. Third Series. Bloomsbury 2017, Introduction, pp. 5, 19 and 101f.
  4. ↑ Cf. Ina Schabert (Ed.): Shakespeare-Handbuch. Time, man, work, posterity. 5th, revised and supplemented edition. Kröner, Stuttgart 2009, ISBN 978-3-520-38605-2 , page 463, and Michael Dobson , Stanley Wells (ed.): The Oxford Companion to Shakespeare. Oxford University Press, 2nd Edition, Oxford 2015, ISBN 978-0-19-870873-5 , p. 244. For more details, see Leo Salingar: Shakespeare Traditions of Comedy . Cambridge University Press 2008, ISBN 978-0-5212-9113-2 , pp. 56-59, and Roger Warren (Ed.): William Shakespeare: Cymbeline. Oxford World's Classics. Oxford University Press, Oxford 1998, Introduction pp. 26-36.
  5. ↑ See more detailed Valerie Wayne (ed.): William Shakespeare: Cymbeline. The New Arden Shakespeare. Third Series. Bloomsbury 2017, Introduction, pp. 5-8.
  6. ↑ See Roger Warren (ed.): William Shakespeare: Cymbeline. Oxford World's Classics. Oxford University Press, Oxford 1998, Introduction p. 19ff. See also Valerie Wayne (Ed.): William Shakespeare: Cymbeline. The New Arden Shakespeare. Third Series. Bloomsbury 2017, Introduction, p. 15f.
  7. ↑ See more detailed Valerie Wayne (ed.): William Shakespeare: Cymbeline. The New Arden Shakespeare. Third Series. Bloomsbury 2017, Introduction, p. 15ff., P. 20ff. and 1ff.
  8. ↑ See Valerie Wayne (Ed.): William Shakespeare: Cymbeline. The New Arden Shakespeare. Third Series. Bloomsbury 2017, Introduction, p. 12ff. and Martin Butler (Ed.): William Shakespeare: Cymbeline. The New Cambridge Shakespeare. Cambridge University Press, Cambridge 2005, 12th edition 2016, pp. 24–36.
  9. ↑ See Roger Warren (ed.): William Shakespeare: Cymbeline. Oxford World's Classics. Oxford University Press, Oxford 1998, Introduction, p. 63, and Valerie Wayne (Ed.): William Shakespeare: Cymbeline. The New Arden Shakespeare. Third Series. Bloomsbury 2017, Introduction, p. 30. See also Ina Schabert (Ed.): Shakespeare-Handbuch. Time, man, work, posterity. 5th, revised and supplemented edition. Kröner, Stuttgart 2009, p. 463, and Michael Dobson , Stanley Wells (Ed.): The Oxford Companion to Shakespeare. Oxford University Press, 2nd edition, Oxford 2015, pp. 244 and 129f. See also Stanley Wells, Gary Taylor: William Shakespeare: A Textual Companion . Oxford University Press, Oxford 1987, ISBN 978-0-393-31667-4 , pp. 604f., And Martin Butler (ed.): William Shakespeare: Cymbeline. The New Cambridge Shakespeare. Cambridge University Press, Cambridge 2005, 12th edition 2016. ISBN 978-0-521-29694-6 , Introduction pp. 3ff.
  10. ↑ See Roger Warren (ed.): William Shakespeare: Cymbeline. Oxford World's Classics. Oxford University Press, Oxford 1998, Introduction, pp. 67f. and Appendix A: The Character's Names, pp. 265-269. See also Valerie Wayne (ed.): William Shakespeare: Cymbeline. The New Arden Shakespeare. Third Series. Bloomsbury 2017, Appendix 1, p. 382 and in detail on the question of the name of the female protagonist, pp. 391–398. Cf. also Ina Schabert (Ed.): Shakespeare-Handbuch. Time, man, work, posterity. 5th, revised and supplemented edition. Kröner, Stuttgart 2009, p. 463, and Michael Dobson , Stanley Wells (Ed.): The Oxford Companion to Shakespeare. Oxford University Press, 2nd edition, Oxford 2015, p. 244. See also Martin Butler (ed.): William Shakespeare: Cymbeline. The New Cambridge Shakespeare. Cambridge University Press, Cambridge 2005, 12th edition 2016, pp. 3–6. The editors, who still keep the name form Imogen , rely primarily on the consistent choice of this name form in the first print edition from 1623, which apparently was very carefully created and has a high level of textual authority. The group of today's editors who choose Innogen as the name of the female heroine essentially assume that the spelling of the first text edition is incorrect at this point, since the name Innogen was widespread in Great Britain during the time the work was written and the Spelling with " m " only appears in two places in contemporary texts and sources. The name Innogen for the daughter of the legendary British King Cymbeline, on the other hand, appears not only in Forman's diary entry, but also in numerous other sources from the time, including a. in Holinsheds Chronicles or in the first part of The Mirror for Magistrates (1574) as well as in various plays by Shakespeare and other Elizabethan authors.
  11. ↑ See the corresponding statements by the editors in the publisher's announcement (as of August 2019) under [1] , accessed on August 13, 2019.
  12. ↑ See Valerie Wayne (ed.): William Shakespeare: Cymbeline. The New Arden Shakespeare. Third Series. Bloomsbury 2017, Introduction, p. 128ff. See also Michael Dobson , Stanley Wells (Ed.): The Oxford Companion to Shakespeare. Oxford University Press, 2nd Edition, Oxford 2015, ISBN 978-0-19-870873-5 , p. 247.
  13. ^ The New Arden Shakespeare. Cymbeline. Third Series. Edited by Valerie Wayne. Bloomsbury 2017. p. 405.