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• Cymbeline: Dramatis PersonÆ.
• Act I.
• Scene I.—: Britain. the Garden Ofcymbeline’spalace.
• Scene II.—: The Same. a Public Place.
• Scene III.—: A Room Incymbeline’spalace.
• Scene IV.—: Rome. a Room Inphilario’shouse.
• Scene V.—: Britain. a Room Incymbeline’spalace.
• Scene VI.—: The Same. Another Room In the Palace.
• Act II.
• Scene I.—: Britain. Beforecymbeline’spalace.
• Scene II.—: A Bedchamber; In One Part of It a Trunk.
• Scene III.—: An Ante-chamber Adjoiningimogen’sapartments.
• Scene IV.—: Rome. a Room Inphilario’shouse.
• Scene V.—: The Same. Another Room In the Same.
• Act III.
• Scene I.—: Britain. a Hall Incymbeline’spalace.
• Scene II.—: Another Room In the Same.
• Scene III.—: Wales. a Mountainous Country With a Cave.
• Scene IV.—: Near Milford-haven.
• Scene V.—: A Room Incymbeline’spalace.
• Scene VI.—: Wales. Before the Cave Ofbelarius.
• Scene VII.—: Rome. a Public Place.
• Act IV.
• Scene I.—: Wales. the Forest, Near the Cave Ofbelarius.
• Scene II.—: Before the Cave Ofbelarius.
• Scene III.—: A Room Incymbeline’spalace.
• Scene IV.—: Wales. Before the Cave Ofbelarius.
• Act V.
• Scene I.—: Britain. the Roman Camp.
• Scene II.—: Field of Battle Between the British and Roman Camps.
• Scene III.—: Another Part of the Field.
• Scene IV.—: Britain. a Prison.
• Scene V.—: Cymbeline’stent.

Scene II.—

A Bedchamber; in one part of it a Trunk.

Imogenreading in her bed; a Lady attending.

Imo.

Who’s there? my woman Helen?

Lady.

Please you, madam.

Imo.

What hour is it?

Lady.

Almost midnight, madam.

Imo.

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’ the clock,

I prithee, call me. Sleep has seized me wholly.

[Exit Lady.

To your protection I commend me, gods!

From fairies and the tempters of the night

Guard me, beseech ye!

[Sleeps.Iachimocomes from the trunk.

Iach.

The crickets sing, and man’s o’erlabour’d sense

Repairs itself by rest. Our Tarquin thus

Did softly press the rushes ere he waken’d

The chastity he wounded. Cytherea,

How bravely thou becom’st thy bed! freshlily,

And whiter than the sheets! That I might touch!

But kiss: one kiss! Rubies unparagon’d,

How dearly they do ’t! ’Tis her breathing that

Perfumes the chamber thus; the flame of the taper

Bows toward her, and would under-peep her lids,

To see the enclosed lights, now canopied

Under these windows, white and azure lac’d

With blue of heaven’s own tinct. 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, figures,

Why, such and such; and the contents o’ the story.

Ah! but some natural notes about her body,

Above ten thousand meaner moveables

Would testify, to enrich mine inventory.

O sleep! thou ape of death, lie dull upon her;

And be her senses but as a monument

Thus in a chapel lying. Come off, come off;—

[Taking off her bracelet.

As slippery as the Gordian knot was hard!

’Tis mine; and this will witness outwardly,

As strongly as the conscience does within,

To the madding of her lord. On her left breast

A mole cinque-spotted, like the crimson drops

I’ the 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. 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; here the leaf’s turn’d down

Where Philomel gave up. I have enough:

To the 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!

[Goes into the trunk. The scene closes.