Abstract

Praise has been lavished on the virtuosity with which, in Cymbeline, Shakespeare brings all the dispersed and disguised characters together in the final act and produces a chain of revelations which leads up to general joy and harmony.1 But it may be questioned whether a simpler plot structure and fewer surprises for the silly king might not have made the play as a whole, and the conclusion in particular, more satisfying dramatically. The main unconformities of Cymbeline (probably with one exception, as we shall see — Posthumus’ vision of ghosts and gods) are not due to changes of plan but to complications of plot.

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