Imogen's Monologue from Act 3, Scene 6 of Cymbeline

In Act 3, Scene 6 of William Shakespeare's Cymbeline, Imogen, disguised as a boy named Fidele, delivers a monologue reflecting on the hardships she's endured during her journey.

Synopsis:

Imogen, the daughter of King Cymbeline, has disguised herself as a boy named Fidele to search for her banished husband, Posthumus. Exhausted and hungry, she finds herself in the Welsh wilderness, contemplating the difficulties of her journey and the nature of human honesty.

What’s just happened before this moment that’s relevant to the scene?

Imogen has been traveling through the wilderness, enduring physical exhaustion and sleeping on the ground for two nights. Misled by false directions from beggars, she feels betrayed and questions the integrity of people, both rich and poor.

Original Text:

I see a man's life is a tedious one:
I have tired myself, and for two nights together
Have made the ground my bed. I should be sick,
But that my resolution helps me. Milford,
When from the mountain-top Pisanio show'd thee,
Thou wast within a ken: O Jove! I think
Foundations fly the wretched; such, I mean,
Where they should be relieved. Two beggars told me
I could not miss my way: will poor folks lie,
That have afflictions on them, knowing 'tis
A punishment or trial? Yes; no wonder,
When rich ones scarce tell true. To lapse in fulness
Is sorer than to lie for need, and falsehood
Is worse in kings than beggars. My dear lord!
Thou art one o' the false ones. Now I think on thee,
My hunger's gone; but even before, I was
At point to sink for food. But what is this?
Here is a path to't: 'tis some savage hold:
I were best not to call; I dare not call: yet famine,
Ere clean it o'erthrow nature, makes it valiant.
Plenty and peace breeds cowards: hardness ever
Of hardiness is mother. Ho! who's here?
If any thing that's civil, speak; if savage,
Take or lend. Ho! No answer? Then I'll enter.
Best draw my sword: and if mine enemy
But fear the sword like me, he'll scarcely look on't.
Such a foe, good heavens!

Translation of Text into Contemporary Language:

I realize that a man's life is exhausting: I've worn myself out, and for two nights in a row, I've slept on the ground. I should be sick, but my determination keeps me going. Milford, when Pisanio showed you to me from the mountain top, you seemed within sight. Oh, Jove! I think that places meant to help the wretched are inaccessible to them. Two beggars told me I couldn't miss my way: would poor folks lie, knowing their afflictions are a punishment or trial? Yes; it's no surprise, when the rich rarely tell the truth. To sin out of abundance is worse than lying out of need, and falsehood is worse in kings than in beggars. My dear lord! You are one of the false ones. Now that I think of you, my hunger's gone; but before, I was about to collapse from lack of food. But what's this? Here's a path to it: it's some savage dwelling. I shouldn't call out; I don't dare to call; yet starvation, before it completely destroys me, makes me brave. Plenty and peace breed cowards: hardship always gives birth to toughness. Ho! Who's here? If anyone civilized is here, speak; if savage, take or lend. Ho! No answer? Then I'll enter. I'd better draw my sword: and if my enemy fears the sword like I do, he won't even look at it. Such a foe, good heavens!

Meaning of Difficult or Unusual Words:

  • Tedious: Tiring or wearisome.

  • Ken: Range of sight or knowledge.

  • Foundations: Charitable institutions or places offering relief.

  • Relieved: Assisted or helped.

  • Lapse in fulness: To sin or err due to abundance or excess.

  • Sorer: More grievous or severe.

  • Savage hold: A wild or uncivilized dwelling.

  • Ere: Before.

  • Clean o'erthrow nature: Completely destroy one's natural state or life.

  • Hardness: Hardship or difficulty.

  • Hardiness: Courage or boldness.

  • Civil: Civilized or courteous.

Breakdown of Text into ‘New Thought’ Paragraphs:

  1. Realization of Hardship: I see a man's life is a tedious one:
    I have tired myself, and for two nights together
    Have made the ground my bed. I should be sick,
    But that my resolution helps me.
    Imogen acknowledges the exhausting nature of her journey, noting her fatigue and the discomfort of sleeping on the ground. She admits that she would be ill if not for her strong determination.

  2. Perception of Distance: Milford,
    When from the mountain-top Pisanio show'd thee,
    Thou wast within a ken: O Jove! I think
    Foundations fly the wretched; such, I mean,
    Where they should be relieved.
    She recalls seeing Milford Haven from a distance, believing it was within reach. However, she now feels that places meant to offer relief seem inaccessible to those in need.

  3. Questioning Honesty: Two beggars told me
    I could not miss my way: will poor folks lie,
    That have afflictions on them, knowing 'tis
    A punishment or trial? Yes; no wonder,
    When rich ones scarce tell true.
    Imogen reflects on being misled by beggars, pondering whether those who suffer would lie despite their own hardships. She concludes that dishonesty is prevalent among both the poor and the rich.

  4. Degrees of Falsehood: To lapse in fulness
    Is sorer than to lie for need, and falsehood
    Is worse in kings than beggars.
    She asserts that sinning out of abundance is worse than lying out of necessity, and deceit is more grievous in those of high status than in the impoverished.

  5. Personal Betrayal: My dear lord!
    Thou art one o' the false ones. Now I think on thee,
    My hunger's gone; but even before, I was
    At point to sink for food.
    Imogen laments that her husband, Posthumus, is among the deceitful. Thinking of him alleviates her hunger, though she was previously near collapse from lack of food.

  6. Seeking Shelter: But what is this?
    Here is a path to't: 'tis some savage hold:
    I were best not to call; I dare not call: yet famine,
    Ere clean it o'erthrow nature, makes it valiant.
    She discovers a path leading to what appears to be a wild dwelling. Although hesitant to call out, her desperation from hunger emboldens her.

  7. Courage from Necessity: Plenty and peace breeds cowards: hardness ever
    Of hardiness is mother. Ho! who's here?
    If any thing that's civil, speak; if savage,
    Take or lend. Ho! No answer? Then I'll enter.
    Imogen muses that abundance fosters cowardice, while hardship cultivates resilience. She calls out, seeking assistance or sustenance, and, receiving no response, decides to enter.

  8. Preparation for Danger: Best draw my sword: and if mine enemy
    But fear the sword like me, he'll scarcely look on't.
    Such a foe, good heavens!
    She draws her sword for protection, hoping that any potential adversary is as fearful of the weapon as she is, which would prevent confrontation.

Journey Keypoints:

  • Hook: Imogen reflects on the exhaustion and challenges of her journey.

  • Turning Point: She questions the honesty of those she encounters and contemplates the nature of deceit across social classes.

  • Climax: Imogen acknowledges her husband's betrayal, which momentarily distracts her from her physical hunger.

  • Resolution: Determined to survive, she musters the courage to seek shelter and prepares to defend herself if necessary.

Famous or Notable Actors Who Have Played the Role:

  • Meryl Streep: Portrayed Imogen in a 1989 production at the Delacorte Theater in New York City's Central Park, delivering a performance that highlighted the character's resilience and vulnerability.

  • Joan Plowright: Assumed the role in a 1957 production at the Old Vic in London, offering a nuanced interpretation of Imogen's strength and determination.

  • Harriet Smithson: Performed as Imogen in the 1827 Paris production, which notably inspired composer Hector Berlioz's Symphonie fantastique.

This monologue delves into themes of endurance, betrayal, and the human capacity for resilience, providing rich material for performance and analysis.