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Act 3, Scene 7 — The same.
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The argument Belarius and his two sons return to find a beautiful young man (Imogen in disguise) in their cave. The boys are instantly attracted to 'him'; Belarius questions 'his' identity; Imogen, faint and emotional, tells a partial story of a woman whose service she offers; the boys invite her to stay.
Enter Belarius, Guiderius and Arviragus.
BELARIUS ≋ verse dialogue

You, Polydore, have prov’d best woodman and

Are master of the feast. Cadwal and I

Will play the cook and servant; ’tis our match.

The sweat of industry would dry and die

But for the end it works to. Come, our stomachs

Will make what’s homely savoury; weariness

Can snore upon the flint, when resty sloth

Finds the down pillow hard. Now, peace be here,

Poor house, that keep’st thyself!

You, Polydore, have prov’d best woodman and Are master of the feast. Cadwal and I Will play the cook and servant; ’tis our match. The sweat of industry would dry and die But for the end it works to. Come, our stomachs Will make what’s homely savoury; weariness Can snore upon the flint, when resty sl

you, polydore, have prov’d best woodman and are master of the feast. cadwal and i will play the cook and servant; ’tis our match. the sweat of industry would dry and die but for the end it works to. come, our stomachs will make what’s homely savoury; weariness can snore upon the flint, when resty sl

you, polydore, have prov’d best woodman and are ma

GUIDERIUS dialogue

I am thoroughly weary.

I am thoroughly weary.

i am thoroughly weary.

i am thoroughly weary....

ARVIRAGUS dialogue

I am weak with toil, yet strong in appetite.

I am weak with toil, yet strong in appetite.

i am weak with toil, yet strong in appetite.

i am weak with toil, yet strong in appetite....

GUIDERIUS ≋ verse dialogue

There is cold meat i’ th’ cave; we’ll browse on that

Whilst what we have kill’d be cook’d.

There is cold meat i’ th’ cave; we’ll browse on that Whilst what we have kill’d be cook’d.

there is cold meat i’ th’ cave; we’ll browse on that whilst what we have kill’d be cook’d.

there is cold meat i’ th’ cave; we’ll browse on th...

[_Looking into the cave._] Stay, come not in.
BELARIUS ≋ verse dialogue

But that it eats our victuals, I should think

Here were a fairy.

But that it eats our victuals, I should think Here were a fairy.

but that it eats our victuals, i should think here were a fairy.

but that it eats our victuals, i should think here...

GUIDERIUS dialogue

What’s the matter, sir?

What’s the matter, sir?

what’s the matter, sir?

what’s the matter, sir?...

BELARIUS ≋ verse dialogue

By Jupiter, an angel! or, if not,

An earthly paragon! Behold divineness

No elder than a boy!

By Jupiter, an angel! or, if not, An earthly paragon! Behold divineness No elder than a boy!

by jupiter, an angel! or, if not, an earthly paragon! behold divineness no elder than a boy!

by jupiter, an angel! or, if not, an earthly parag...

Why it matters Belarius's first sight of Imogen produces the language of divinity — 'an angel,' 'divineness.' He doesn't know she's his charges' sister, yet his language is exactly right: she is the heir to a kingdom, a princess of divine descent.
↩ Callback to 3-3 Belarius described his two charges as showing noble bearing despite their humble upbringing. Now they show it by recognizing and honoring nobility in 'Fidele' immediately.
🎭 Dramatic irony Belarius calls 'Fidele' an angel. Neither he nor the boys knows that this 'boy' is Imogen, who is actually their sister—making the reverential language even more apt than they know.
Enter Imogen.
IMOGEN ≋ verse danger

Good masters, harm me not.

Before I enter’d here I call’d, and thought

To have begg’d or bought what I have took. Good troth,

I have stol’n nought; nor would not though I had found

Gold strew’d i’ th’ floor. Here’s money for my meat.

I would have left it on the board, so soon

As I had made my meal, and parted

With pray’rs for the provider.

Good masters, harm me not. Before I enter’d here I call’d, and thought To have begg’d or bought what I have took. Good troth, I have stol’n nought; nor would not though I had found Gold strew’d i’ th’ floor. Here’s money for my meat. I would have left it on the board, so soon As I had made my meal,

good masters, harm me not. before i enter’d here i call’d, and thought to have begg’d or bought what i have took. good troth, i have stol’n nought; nor would not though i had found gold strew’d i’ th’ floor. here’s money for my meat. i would have left it on the board, so soon as i had made my meal,

good masters, harm me not. before i enter’d here i

GUIDERIUS dialogue

Money, youth?

Money, youth?

money, youth?

money, youth?...

🎭 Dramatic irony The brothers instantly recognize nobility and beauty in Imogen. They don't know she is their sister, yet their instinctive reverence is precisely appropriate to kinship.
ARVIRAGUS ≋ verse dialogue

All gold and silver rather turn to dirt,

As ’tis no better reckon’d but of those

Who worship dirty gods.

All gold and silver rather turn to dirt, As ’tis no better reckon’d but of those Who worship dirty gods.

all gold and silver rather turn to dirt, as ’tis no better reckon’d but of those who worship dirty gods.

all gold and silver rather turn to dirt, as ’tis n...

IMOGEN ≋ verse dialogue

I see you’re angry.

Know, if you kill me for my fault, I should

Have died had I not made it.

I see you’re angry. Know, if you kill me for my fault, I should Have died had I not made it.

i see you’re angry. know, if you kill me for my fault, i should have died had i not made it.

i see you’re angry. know, if you kill me for my fa...

BELARIUS dialogue

Whither bound?

Whither bound?

whither bound?

whither bound?...

IMOGEN dialogue

To Milford Haven.

To Milford Haven.

to milford haven.

to milford haven....

BELARIUS dialogue

What’s your name?

What’s your name?

what’s your name?

what’s your name?...

IMOGEN ≋ verse dialogue

Fidele, sir. I have a kinsman who

Is bound for Italy; he embark’d at Milford;

To whom being going, almost spent with hunger,

I am fall’n in this offence.

Fidele, sir. I have a kinsman who Is bound for Italy; he embark’d at Milford; To whom being going, almost spent with hunger, I am fall’n in this offence.

fidele, sir. i have a kinsman who is bound for italy; he embark’d at milford; to whom being going, almost spent with hunger, i am fall’n in this offence.

fidele, sir. i have a kinsman who is bound for ita...

Why it matters Imogen names herself 'Fidele' — Latin for 'faithful' — a name that is both a disguise and a self-description. Her cover story (a kinsman sailing from Milford) is invented but structurally mirrors her real situation: exile and loss.
BELARIUS ≋ verse praise

Prithee, fair youth,

Think us no churls, nor measure our good minds

By this rude place we live in. Well encounter’d!

’Tis almost night; you shall have better cheer

Ere you depart, and thanks to stay and eat it.

Boys, bid him welcome.

please, fair youth, Think us no churls, nor measure our good minds By this rude place we live in. Well encounter’d! ’Tis almost night; you shall have better cheer before you depart, and thanks to stay and eat it. Boys, bid him welcome.

please, fair youth, think us no churls, nor measure our good minds by this rude place we live in. well encounter’d! ’tis almost night; you shall have better cheer before you depart, and thanks to stay and eat it. boys, bid him welcome.

please, fair youth, think us no churls, nor measur

GUIDERIUS ≋ verse dialogue

Were you a woman, youth,

I should woo hard but be your groom. In honesty

I bid for you as I’d buy.

Were you a woman, youth, I should woo hard but be your groom. In honesty I bid for you as I’d buy.

were you a woman, youth, i should woo hard but be your groom. in honesty i bid for you as i’d buy.

were you a woman, youth, i should woo hard but be ...

ARVIRAGUS ≋ verse affection

I’ll make’t my comfort

He is a man. I’ll love him as my brother;

And such a welcome as I’d give to him

After long absence, such is yours. Most welcome!

Be sprightly, for you fall ’mongst friends.

I’ll make’t my comfort He is a man. I’ll love him as my brother; And such a welcome as I’d give to him After long absence, such is yours. Most welcome! Be sprightly, for you fall ’mongst friends.

i’ll make’t my comfort he is a man. i’ll love him as my brother; and such a welcome as i’d give to him after long absence, such is yours. most welcome! be sprightly, for you fall ’mongst friends.

i’ll make’t my comfort he is a man. i’ll love him ...

Why it matters Arviragus says he'll love 'Fidele' as a brother — which is precisely what Fidele/Imogen is to him, though neither knows it. The play is full of these moments where truth leaks through in the form of metaphor.
IMOGEN ≋ verse dialogue

’Mongst friends,

If brothers. [_Aside._] Would it had been so that they

Had been my father’s sons! Then had my prize

Been less, and so more equal ballasting

To thee, Posthumus.

’Mongst friends, If brothers. [_Aside._] Would it had been so that they Had been my father’s sons! Then had my prize Been less, and so more equal ballasting To thee, Posthumus.

’mongst friends, if brothers. [_aside._] would it had been so that they had been my father’s sons! then had my prize been less, and so more equal ballasting to thee, posthumus.

’mongst friends, if brothers. [_aside._] would it ...

Why it matters Imogen's aside reveals that she feels her own worth — as a princess, as Cymbeline's heir — was always an unequal burden in her marriage to the exile Posthumus. She wishes she had been lower born. Unknown to her, these two men ARE her brothers.
BELARIUS dialogue

He wrings at some distress.

He wrings at some distress.

he wrings at some distress.

he wrings at some distress....

GUIDERIUS dialogue

Would I could free’t!

Would I could free’t!

would i could free’t!

would i could free’t!...

ARVIRAGUS ≋ verse anger

Or I, whate’er it be,

What pain it cost, what danger! Gods!

Or I, whate’er it be, What pain it cost, what danger! Gods!

or i, whate’er it be, what pain it cost, what danger! gods!

or i, whate’er it be, what pain it cost, what dang...

[_Whispering._] Hark, boys.
[_Aside._] Great men,
IMOGEN ≋ verse deception

That had a court no bigger than this cave,

That did attend themselves, and had the virtue

Which their own conscience seal’d them, laying by

That nothing-gift of differing multitudes,

Could not out-peer these twain. Pardon me, gods!

I’d change my sex to be companion with them,

Since Leonatus false.

That had a court no bigger than this cave, That did attend themselves, and had the virtue Which their own conscience seal’d them, laying by That nothing-gift of differing multitudes, Could not out-peer these twain. Pardon me, gods! I’d change my sex to be companion with them, Since Leonatus false.

that had a court no bigger than this cave, that did attend themselves, and had the virtue which their own conscience seal’d them, laying by that nothing-gift of differing multitudes, could not out-peer these twain. pardon me, gods! i’d change my sex to be companion with them, since leonatus false.

that had a court no bigger than this cave, that di

Why it matters Imogen's aside — 'I'd change my sex to be companion with them' — is poignant. She is already presenting as a man. She wishes she could do it permanently, because Posthumus has failed her and these strangers feel more like home than her husband ever did.
BELARIUS ≋ verse dialogue

It shall be so.

Boys, we’ll go dress our hunt. Fair youth, come in.

Discourse is heavy, fasting; when we have supp’d,

We’ll mannerly demand thee of thy story,

So far as thou wilt speak it.

It shall be so. Boys, we’ll go dress our hunt. Fair youth, come in. Discourse is heavy, fasting; when we have supp’d, We’ll mannerly demand thee of thy story, So far as thou wilt speak it.

it shall be so. boys, we’ll go dress our hunt. fair youth, come in. discourse is heavy, fasting; when we have supp’d, we’ll mannerly demand thee of thy story, so far as thou wilt speak it.

it shall be so. boys, we’ll go dress our hunt. fai...

GUIDERIUS dialogue

Pray draw near.

Pray draw near.

pray draw near.

pray draw near....

ARVIRAGUS ≋ verse dialogue

The night to th’ owl and morn to th’ lark less

welcome.

The night to th’ owl and morn to th’ lark less welcome.

the night to th’ owl and morn to th’ lark less welcome.

the night to th’ owl and morn to th’ lark less wel...

IMOGEN dialogue

Thanks, sir.

Thanks, sir.

thanks, sir.

thanks, sir....

ARVIRAGUS dialogue

I pray draw near.

I pray draw near.

i pray draw near.

i pray draw near....

[_Exeunt._]

The Reckoning

This is the recognition scene that isn't quite a recognition. The two brothers fall instantly in love with Imogen without knowing she is their sister. Imogen remains disguised as Fidele. Belarius is cautious but eventually trusts her. The scene is charged with dramatic irony: Imogen is with her family, unaware. Her brothers are attracted to her (in her male disguise, but attracted nonetheless) without knowing she is their sister. The scene establishes the rhythm of the Welsh world: acceptance, hospitality, and a natural affinity that transcends the information any of them consciously possess. This is how recognition will eventually work in this play — not through deliberate revelation, but through the returning assertion of natural kinship.

If this happened today…

A young man (actually a woman in disguise) appears at a mountain cave. The two brothers living there are struck by his beauty and charm. Their father is cautious but eventually trusts him. The stranger says she's heading to Milford Haven to find a kinsman, and nearly starved getting there. The brothers invite her to stay and become part of their family.

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