Cymbeline - eTheses Repository - University of Birmingham
Cymbeline - eTheses Repository - University of Birmingham
Cymbeline - eTheses Repository - University of Birmingham
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250.<br />
In her first exclamations we trace, besides<br />
astonishment and anguish, and the acute sense<br />
<strong>of</strong> the injustice inflicted on her, a flash <strong>of</strong><br />
indignant spirit, which we did not find in<br />
Desdemona or Hermione ... /i.e. "False to his<br />
bed!" etc../... This is followed by that affecting<br />
lamentation over the falsehood and injustice <strong>of</strong><br />
her husband, in which she betrays no atom <strong>of</strong><br />
Jealousy or wounded self-love, but observes, in<br />
the extremity <strong>of</strong> her anguish, that after his lapse<br />
from truth "all good seeming would be discredited,"<br />
and then she resigns herself to his will with the<br />
most entire submission.<br />
(Shakespeare's Heroines (1879), p.226f.)<br />
15. Fletcher, pp.104f.<br />
16. Fletcher, pp.107f.<br />
17. For example, The Spectator (January 38 1843) and The<br />
Morning; Post (see Appendix B): The Athenaeum (January<br />
28) commented on "some needless omissions <strong>of</strong> dialogue".<br />
18. Helen Faucit's book is described by Shattuok as<br />
"probably used for touring in the 1840s and 50s" (p.84) -<br />
it contains cues and notes for entrances, but gives<br />
little indication <strong>of</strong> "business" - except for the<br />
difference in texts, it tells us no more than Macready's<br />
book about what went on on stage. Miss Faucit'3 version<br />
<strong>of</strong> the "awakening" speech differs from Macready's (she<br />
allows herself more lines) and though both books omit<br />
the "madded Hecuba" lines, in her commentary on the<br />
play Miss Faucit prints a version <strong>of</strong> the end <strong>of</strong> the<br />
speech which includes the a (see Part I, Chapter 2,<br />
note 19) - a version similar to that adopted by Phelps.<br />
The organisation <strong>of</strong> the first two acts can be compared<br />
in ilaeready's and Helen Faucit's version, and that <strong>of</strong><br />
Ke.able -<br />
Macready.<br />
Act I includes I, 1-5.<br />
Act II I, 6 and 7; Ii, 1.<br />
Act III. II, 2-4 (5 omitted); III, 1-5<br />
(departure <strong>of</strong> Lucius omitted)<br />
Act IV. Ill, 6 (7 omitted); IV, 1 and 2<br />
(3 omitted).<br />
Act V, IV, 4; V, 1-3 (4 omitted), 5.<br />
Faucit.<br />
Act I includes I, 1-7 (omitting 3).<br />
Act II II, 1-4 (omitting 5).<br />
Act III III, 1-3 - scene added "from<br />
Cumberland"-4. /i.e. a sequence<br />
<strong>of</strong> III, 5 (1-65), 4 then 5 (70-161)