NOTE V.

II. 7. 126, 127. The first Folio, followed substantially by the others, has:

'Eno. Take heed you fall not Menas: Ile not on shore,
No to my Cabin: &c.'

Johnson followed Rowe, and Steevens (1778, 1785) adopted Capell's reading, omitting however the stage-direction 'Exeunt, &c.' Capell's readings and stage-direction were adopted without alteration by Malone and Steevens (1793).

In his edition of 1773 Steevens printed as follows:

'Eno. Take heed you fall not, Menas:

I'll not on shore.

Men. No, to my cabin.-&c.'

NOTE VI.

IV. 4. 5-8. In this passage we have adopted Malone's arrangement and reading, which are really those suggested by Capell in his Notes. The first Folio, followed substantially by the rest, has:

'Cleo. Nay, Ile helpe too, Anthony.
What's this for? Ah let be, let be, thou art

The Armourer of my heart: False, false: This, this,
Sooth-law Ile helpe: Thus it must bee.'

Rowe, Pope, Theobald and Warburton follow the Folios.

Hanmer reads:

'Cleo. Nay, I'll help too.

Ant. What's this for? ah, let be, let be, thou art

The armourer of my heart; false, false; this, this.

Cleo. Sooth-la I'll help: thus it must be.'

Johnson, Capell, and Steevens in his earlier editions, follow HanSteevens (1793) and subsequent editors follow Malone.

mer.

Rowe gave Cæsar his proper precedence in the stage-direction.

Pope reads thus:

'Dol. Madam, he will, I know't.

All. Make way there-Cæsar.

SCENE III.

Enter Cæsar, Gallus, Mecænas, Proculeius and Attendants?

Capell has:

'Dol.

Madam, he will; I know it.

within. Make way there,-Cæsar.

Enter CÆSAR, and Train of Romans,

and SELEUCUS,'

He has been followed, substantially, by Malone and other editors. Mr Dyce restored the Flourish.

NOTE VIII,

V. 2. 289. Rowe supposed Charmian and Iras to apply the asp together after the entrance of the guard. It is by no means clear whom he conceived Cleopatra to be addressing in lines 290-295, nor who was the 'she' referred to in line 298.

Steevens imagined that Iras, unseen by Cleopatra, had put her hand into the basket for the asp to bite. But the context implies that the cause of her death was grief at the leave-taking.

CYMBELINE.

DRAMATIS PERSONÆ'.

CYMBELINE, king of Britain.

CLOTEN, son to the Queen by a former husband.

POSTHUMUS LEONATUS, a gentleman, husband to Imogen.

BELARIUS, a banished lord, disguised under the name of Morgan.
GUIDERIUS, sons to Cymbeline, disguised under the names of
ARVIRAGUS, Polydore and Cadwal, supposed sons to Morgan.
PHILARIO, friend to Posthumus,

IACHIMO, friend to Philario,

Italians.

CAIUS LUCIUS, general of the Roman forces.

PISANIO, servant to Posthumus.

CORNELIUS, a physician.

A Roman Captain.

Two British Captains.

A Frenchman, friend to Philario.

Two Lords of Cymbeline's court.

Two Gentlemen of the same.

Two Gaolers.

Queen, wife to Cymbeline.

IMOGEN, daughter to Cymbeline by a former queen.
HELEN, a lady attending on Imogen.

Lords, Ladies, Roman Senators, Tribunes, a Soothsayer, a Dutchman, a Spaniard, Musicians, Officers, Captains, Soldiers, Messengers, and other Attendants.

Apparitions.

SCENE: Britain: Rome.

1 DRAMATIS PERSONA] First given, imperfectly, by Rowe.

CYMBELINE.

ACT I.

SCENE I. Britain. The garden of Cymbeline's palace.

Enter two Gentlemen.

First Gent. You do not meet a man but frowns: our

No more obey the heavens than our courtiers

Still seem as does the king.

But what's the matter?

First Gent. His daughter, and the heir of 's kingdom,