61 pages 2-hour read

Cymbeline

Fiction | Play | Adult | Published in 1623

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Act VChapter Summaries & Analyses

Act V, Scene 1 Summary

Content Warning: This section of the guide includes references to violence, war, and threat of death.


Posthumus is in the Roman camp in Britain. While living in Italy, he was drafted to fight for the Romans. Pisanio has told him that he killed Imogen. Posthumus is wracked with guilt: He feels that Imogen did not deserve to die, and that many who have committed worse sins live longer, including himself. He resolves to disguise himself as a British peasant and fight for his dead Lady’s country.

Act V, Scene 2 Summary

The battle between the British and the Romans begins. Posthumus fights Iachimo; he gets the upper hand and disarms him, but lets him go. Iachimo believes he is an ordinary peasant: He thinks that if the British lords fight even better than this, then the Romans are doomed. He feels guilty for his actions against Imogen, wondering if the British air is seeking revenge by sapping his strength.


Cymbeline is captured briefly, but Belarius, Guiderius, Arviragus and Posthumus bravely rescue him. Lucius tells “Fidele” to flee the battlefield, as the battlefield is descending into chaos.

Act V, Scene 3 Summary

Posthumus meets a British lord who fled from the battlefield. Posthumus recounts how the Romans began to overwhelm the British, causing them to panic and flee. However, an old man and two noble-looking young men made a stand. Their bravery inspired others and the tide of the battle turned. His fury at those he deems cowards drives away the lord. Posthumus threw himself into danger, wishing to die. He decides to switch back to his Roman appearance, so that the victorious British capture him and kill him.


British soldiers enter, discussing the heroism of the anonymous old man and his two sons, and a fourth man in peasant’s garb who joined them. They think Posthumus is a Roman soldier and arrest him, handing him over to Cymbeline.

Act V, Scene 4 Summary

The jailers leave Posthumus constrained. He is glad to be imprisoned as he hopes it is the first step in his penance for Imogen’s death. Ultimately he exhorts the gods for his death as payment for hers. He sleeps.


Music sounds. He is visited by the apparitions of his dead father, mother, and two brothers: the “Leonati,” as their family name is Leonatus. They recite or sing a poem that tells the story of his life. They lament that he was an orphan, making life harder for him despite his noble spirit. They say that Imogen’s choice of him as husband substantiates his worth, and rebuke him for allowing Iachimo to manipulate him. They praise his bravery in battle, and exhort Jupiter to intervene to help him.


Jupiter descends and chastises them for daring to criticize him. He says that he gives his favorites extra challenges so they appreciate the reward all the more, and promises Posthumus will have a good life. He bids them place a tablet on Posthumus’s chest.


Posthumus wakes, and remembers dreaming of his dead family. He finds the tablet, and reads a strange prophecy that promises that both Britain and Posthumus will have prosperity when certain conditions are met: A lion’s offspring must be embraced by a tender spirit, and branches lopped off a tree must return to it.


The jailers come to take Posthumus to execution. One of them jests that at least Posthumus will now avoid the trap of the alehouse; however he agrees that, ultimately, he would not want to swap fates with him. He wonders what awaits Posthumus after his death. A messenger enters. He tells the jailers to remove Posthumus’s bonds and bring him before the king.

Act V, Scene 5 Summary

Cymbeline thanks Belarius, Guiderius, and Arviragus for their pivotal role in winning the battle and saving his kingdom. He is sad that the fourth person in peasant clothes cannot be found. He promises to reward Belarius, Guiderius, and Arviragus and make them his trusted companions.


Cornelius enters. He reports that the Queen has died horribly, “mad” with her illness. He says he must tell Cymbeline her deathbed confessions, which her ladies also witnessed. She confessed that she didn’t really love Cymbeline himself, only his title and the status it gave her. She only pretended to love Imogen, but actually hated her. She planned to manipulate Cymbeline into making Cloten his heir, and then kill him. Cymbeline is shocked, as he had trusted her completely.


The Roman prisoners are brought in, including Lucius, “Fidele,” Iachimo, and Posthumus at the back. Cymbeline says that his people demand their deaths, in retaliation for the British dead. Lucius finds this dishonorable but says they will face it as Romans. However, he asks Cymbeline to spare his virtuous page, who is a Briton by birth. On seeing “Fidele,” Cymbeline feels naturally inclined to not only spare him, but take him in and grant him a wish. Lucius says “Fidele” doesn’t have to use this wish to save him, but is perturbed when “Fidele” says he won’t.


Among themselves, Belarius, Guiderius, and Arviragus wonder if this person is “Fidele” whom they thought was dead, or a twin image. Pisanio is relieved Imogen is alive.


“Fidele” asks Iachimo to reveal how he got the ring he wears. Iachimo says he is glad to be forced to confess what has happened, as it is torturing him. Iachimo reveals the wager he made with Posthumus. He says that Imogen was chaste, so he could not win the wager truthfully, but did so by deception.


Furious, Posthumus reveals himself. He takes responsibility for Imogen’s death and asks for punishment, devastated. When “Fidele” speaks to him, he angrily knocks him to the ground. Pisanio reveals that “Fidele” is actually Imogen. Imogen angrily rebuffs Pisanio’s concern, accusing him of poisoning her. Pisanio protests that he gave her medicine from the Queen, not poison. Cornelius interjects with another deathbed confession from the Queen: She gave Pisanio poison. He reveals his ploy to swap out the poison for a convincing sleeping draught.


Imogen has emotional reunions with Posthumus and Cymbeline. They wonder what happened to Cloten: Pisanio reveals that he went off to try to murder Posthumus and rape Imogen. Guiderius admits that he killed him. Cymbeline reluctantly says that if that’s true, he will have to execute him for killing his social superior. Belarius interjects. He reveals the true identity of himself, Guiderius, and Arviragus, telling the story their lives.


Imogen, Guiderius, and Arviragus rejoice at being reunited, recounting their immediate love even when Imogen was in disguise. She is happy that she is no longer the kingdom’s heir, as she is free to be Posthumus’s wife.


Cymbeline has many questions for his children, but decides that everyone should celebrate: He will even free the captives. He wonders about the unknown valiant soldier; Posthumus reveals that was him. Remembering their fight, Iachimo invites Posthumus to kill him this time. Posthumus spares him, telling him he must live and repent.


He asks Lucius’s soothsayer to decode the prophecy he found. The soothsayer explains that Posthumus is the lion’s offspring, the spirit is Imogen, and the tree and its branches are Cymbeline and his sons. 


Cymbeline decides to pay the Roman tribute as agreed, blaming the Queen’s influence for reneging on his promise. The soothsayer says his original prophecy is fulfilled: The Roman eagle is reunited with the great sun, Cymbeline. Cymbeline declares peace between Rome and Britain, to be celebrated with great feasts.

Act V Analysis

As the final Act, this section builds toward a final resolution by reincorporating Posthumus back into the plot. Cymbeline is structurally unusual, as one of its protagonists has been absent from the past two Acts. Where Shakespeare has shown other characters responding to events as they unfold during Acts III and IV, the action has not followed Posthumus’s journey, so in order to bring everyone together for a resolution, the first four scenes in this Act are dedicated to Posthumus’s character arc. 


Shakespeare shows how Posthumus responds to the apparent consequences of his actions both emotionally and physically. He has many monologues to express his guilt over ordering Imogen’s death, and he takes action by throwing himself into battle, as shown in the action scene of his fight with Iachimo, and in his duologue with the British lord. These events reflect that his character journey revolves around The Complexities of Honor in Love and War: His lost honor in love is ultimately his own fault over anyone else’s, as his order of his wife’s murder eclipses her alleged infidelity; to redeem himself, he must prove himself through martial honor.


Shakespeare explores ideas of justice and atonement through Posthumus’s choices. His swap back into Roman garb so that Britain can enact punishment on him shows that he fully accepts his guilt and is willing to face retribution. The image of him bound and alone onstage awaiting execution creates pathos, placing him as a sympathetic protagonist who is worthy of redemption. His voluntary invitation of punishment contrasts with Iachimo, who confesses only once exposed by Imogen. This change of fortune allows Posthumus to join the final scene on an equal footing with the other characters, ready for reunion and forgiveness.


His character is also important in exploring the theme of The Nature of British Identity: Shakespeare creates a symbolic parallel of Posthumus and Iachimo’s relationship with that of Britain and Rome. Dressed as an ordinary British peasant but fighting nobly for his country, Posthumus represents an ideal of the British spirit infused with sovereignty and bravery. Not recognizing him, Iachimo equates him with Britain itself, saying the realm seeks to avenge its princess. Previously, in the wager, Posthumus seemingly suffered a defeat by Iachimo and entered into an ignoble alliance with him; he has betrayed himself and his values in ordering Imogen killed, mirroring Cymbeline’s corruption by the Queen’s influence. However, he now battles Iachimo and wins; then, despite being entitled to enact revenge, he chooses to let Iachimo live. 


In parallel to this, Britain had previously been defeated by Rome and had entered an ignoble relationship, paying tribute from the subservient position of defeat. In this Act, Britain defeats Rome in battle, but Cymbeline chooses neither to kill his prisoners, nor renege on the tribute after all. The payment of the tribute is now an expression of Britain’s own code of honor rather than of subservience. Shakespeare suggests that independence and mutual respect are not incompatible: British identity can be built around its own values of honor, as expressed in extending cooperation toward external forces rather than nursing enmity toward them.


Through the supernatural element of the prophecies (See: Symbols & Motifs), Shakespeare suggests that British victory is divinely ordained, again paralleling the personal and political as supernatural forces also suggest that various characters’ elevation will also be divinely ordained. These supernatural predictions tie into the theme of The Influence of Nature Versus Nurture on Character: Cymbeline’s children, and Posthumus, are all equated with divine nobility. In the symbol of the cedar, the prophecy suggests that the primacy of Cymbeline’s bloodline and his heirs is natural and inherent like a tree: The branches all share the same sap. Those who flee the battle initially are inspired by the example of Belarius, Guiderius, and Arviragus, showing that though their nobility is fundamental, most people’s characters are not set in stone: Shakespeare acknowledges that nurture still plays a role. 


In Posthumus’s vision, Jupiter acknowledges that he has chosen him as a favorite; the appearance of his family’s ghosts also suggests that he has inherited his virtue from them. They do acknowledge the impact of his circumstances on his choices, as they lament that he grew up an orphan, and that he was exiled from his marriage; they remonstrate with him for allowing Iachimo to “to taint his nobler heart and brain” (V.4.65), suggesting that though Posthumus and Iachimo have fundamental qualities, these can still be molded away from their natural inclination.


Shakespeare balances the dramatic stakes for the characters with elements that offer a lighter tone for the resolution, creating a hopeful ending. The supernatural or divine element is a typical feature of Shakespeare’s later comedies, sometimes grouped as “romances” by modern commentators, such as The Tempest or The Winter’s Tale; this creates a magical, romantic atmosphere. Shakespeare also includes comedic moments in the final scene. For example, Lucius’s faux-reassurance that “Fidele” doesn’t have to save his life is contrasted with his indignant reaction when Imogen bluntly declines to do so. The final scene also reveals the full extent of the Queen’s villainy: Her offstage confession that she never even loved Cymbeline casts her as a stereotypical, cartoon-like villain with no redeeming features, ensuring her death has no tragedy to it. Shakespeare thus creates a neat ending in which most characters are either fully restored, or removed.


Iachimo is the exception to this pattern: His repentance is ambiguous, as he blames the British climate for tainting his Italian brain, despite concocting most of his plot back in Italy. Posthumus spares his life so that he can live to think about his deeds and repent. This ambiguity serves as a reminder of the morally hazardous real world, while also creating an important foil to Posthumus’s own wholehearted redemption.


Indeed, many of these lighter elements also relate to the thematic resolution of play, as ultimately, problems are resolved by the reconciliation of The Relationship Between Appearance and Reality. Through the world of gods and prophecy, Shakespeare shows that appearance is not always easily interpreted at first, but the play concludes by showing how these visions relate to reality. The Queen’s illness reveals her for who she is, and Imogen, Guiderius, and Arviragus’s noble manner can now be understood in the context of their noble blood. Clarity is restored as appearance and reality match up again, with Cymbeline seeing clearly and becoming free from corruption, promising a bright future for his family and for Britain as he restores his heirs, forgives his allies, and creates a noble relationship with Rome.

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