decided improvements upon a story already interesting; and the alterations are coupled with a corresponding refinement of manners and delicacy of sentiment.

When Posthumus is imprudently hurried into a wager on the chastity of his wife, the scene is laid in Rome, and there are present, besides the principals, Philario, a Frenchman, a Dutchman, and a Spaniard. In an ancient translation of the story of Boccacio we are told, "How iiii merchauntes met all togyther in on way, which were of iiii dyverse landes." In the trifling particular of the arrangement of his dramatis personæ in this scene, therefore, Shakspeare acted under the influence of authority; and this is likewise evident, from the circumstance that the Spaniard and Hollander are mutes.

Before the entrance of Posthumus, Iachimo's disposition to cavil and detraction is carefully displayed, so that the ensuing conversation between them, being easily and naturally introduced, carries with it little appearance of any thing extraordinary. It is with very peculiar effect that the last gift of Imogen, her ring, the pledge of love, is made the stake wagered by Posthumus on her honour, against the ten thousand ducats of Iachimo. Shakspeare corrects the impropriety of which Boccacio is guilty, of

making an affectionate husband the proposer of an indelicate wager on the chastity of his wife. Following the arrangement of the story in Westward for Smelts, the dramatist originates the wager with the libertine sceptic; and Posthumus consents to the proposition, only under the provocation of repeatedly, and insolently, expressed confidence, and he finally couples his acquiescence with the honourable stipulation, that if Iachimo fails in his disgraceful enterprise, he shall answer for his presumption with his sword.*

It will be remembered, that Boccacio's villain has no interview with the lady: in Westward for Smelts, he introduces himself as having been entreated by her husband to call and see her.

Shakspeare provides Iachimo with particular recommendations to Imogen, and avails himself of the opportunity for an admirable scene, in

* In Act V. sc. 5., Iachimo professes to give an account of the origin of the wager; but his narration bears but a slender resemblance to the facts as they occurred. In Act I. sc.5., there is no "feast," no Posthumus "sitting sadly," no high bred gallants praising their "loves of Italy,

For beauty that made barren the swell'd boast
Of him that best could speak :"

but almost exactly the reverse. Shakspeare was inattentive to what he had previously written, and thought only of the "Italian merchants who accidentally met in Paris at supper, and talked freely of their wives at home."

which the Italian, in vain, endeavours to shake the fidelity of the princess.

The traducer of the lady's honour, in Westward for Smelts, conceals himself under her bed, which is no very happy deviation from the clumsy expedient of Ambrogiulo to obtain admittance to Zinevra's chamber. Shakspeare's management of this difficult incident is extremely skilful. Iachimo being a stranger in the town requests Imogen to receive into her care a chest of plate and jewels, which some Romans, together with her husband, had bought as a present for the emperor. This is an artful appeal to the lady's tenderest feelings, and opens an easy and natural access to Iachimo. 66 Willingly," re

"And pawn mine honour for their safety: since My lord hath interest in them, I will keep them

In

my bed-chamber."

Zinevra was ignorant of the cause of her husband's apparent cruelty. Imogen is made acquainted with Posthumus's charge of adultery. The rest of the scene coincides more closely with the English than the Italian novel. Neither the lady, in the English tale, nor Imogen, in the play, solicit life from the servant; but each resigns herself with submission to the decree of her husband. The compassionate tenderness of the ser

vant in both cases, reconciles the lady to the assumption of a disguise; and, in both cases, she wanders alone, destitute, and in danger of starvation.

To enable us to speak intelligibly of the ensuing part of the plot, it is necessary to explain, that the queen is a woman of malignant disposition, who, finding it impracticable to unite her son Cloten to Imogen, contemplated the destruction of the princess by slow poison. Preparatory to the execution of her base design, she gave a box of the mixture to Pisanio, with great commendations of its medical virtues, hoping thus to deprive Imogen of this faithful adherent. The physician, however, by whom the drug had been prepared, too well understood the character of the queen to trust her with what she requested, and he rendered the preparation which he gave her perfectly innoxious by the substitution of an opiate for poison. In full confidence of its virtues, Pisanio gave the box to Imogen, when he parted with her in the woods, after having spared her life.

The continuation of the plot of the play is, that Guiderius and Arviragus, the sons of Cymbeline, had been stolen from court in their infancy. The names of these children of the king are rightly copied from Holinshed, but the idea of

their having been kidnapped is fabulous. Shakspeare introduces them in the third act, grown to man's estate; and with them Belarius, a nobleman, formerly banished by Cymbeline, under a false impression of treason. The poet supposes Belarius to have secretly carried the infant princes into the mountains of Wales, where he brought them up as his own, and all three followed the life of hunters, under the names of Morgan, Polydore and Cadwal.

Exhausted by fatigue and hunger, fortune directed the steps of the wandering Imogen to the cave where her brothers and old Belarius dwelt. They received and entertained her with the warmth and simplicity of rustic hospitality; but overcome by sickness, she has recourse to the medicine given her by Pisanio: a deep sleep ensues, accompanied by every outward appearance of death.

In the mean time, Pisanio had returned to court, and Cloten so directly charges him with being accessary to the flight of Imogen, and threatens him so determinately with instant death on prevarication, that Pisanio is driven to the expedient of giving him a feigned letter from Posthumus, which induces Cloten to set out in pursuit of Imogen, among the mountains near Milford. In the course of his search, Cloten encounters Guiderius, whom he provokes