Again! and bring me word how ’tis with her.
Again! and bring me word how ’tis with her.
again! and bring me word how ’tis with her.
again! and bring me word how ’tis with her....
This brief scene is Shakespeare's version of a news cycle arriving all at once. Cymbeline faces four simultaneous crises: his wife is dangerously ill, his stepson has disappeared, his daughter has vanished, and a Roman army is on the beach. His instinct is to blame the nearest available target — Pisanio, whose presence is conspicuous precisely because everyone else has gone. This is psychologically accurate: when people face multiple incomprehensible failures, they reach for the one explicable element and punish it. Pisanio survives by being exactly what Cymbeline accuses him of not being — honest. The scene is short by design. Shakespeare doesn't want us dwelling on Cymbeline's rationality; the king is not at his best, and the play knows it.
Sir, my life is yours;
I humbly set it at your will; but for my mistress,
I nothing know where she remains, why gone,
Nor when she purposes return. Beseech your Highness,
Hold me your loyal servant.
Sir, my life is yours; I humbly set it at your will; but for my mistress, I nothing know where she remains, why gone, Nor when she purposes return. Beseech your Highness, Hold me your loyal servant.
sir, my life is yours; i humbly set it at your will; but for my mistress, i nothing know where she remains, why gone, nor when she purposes return. beseech your highness, hold me your loyal servant.
sir, my life is yours; i humbly set it at your wil...
Good my liege,
The day that she was missing he was here.
I dare be bound he’s true and shall perform
All parts of his subjection loyally. For Cloten,
There wants no diligence in seeking him,
And will no doubt be found.
Good my liege, The day that she was missing he was here. I dare be bound he’s true and shall perform All parts of his subjection loyally. For Cloten, There wants no diligence in seeking him, And will no doubt be found.
good my liege, the day that she was missing he was here. i dare be bound he’s true and shall perform all parts of his subjection loyally. for cloten, there wants no diligence in seeking him, and will no doubt be found.
good my liege, the day that she was missing he was
Pisanio's closing soliloquy turns on one of the play's central ethical riddles: can deception be a form of loyalty? He lied to Posthumus about Imogen's death. He helped Imogen deceive everyone about her identity. He has concealed information from the king. Yet in each case, his motive was protection of the people he served. His line 'Wherein I am false I am honest; not true, to be true' is Shakespeare giving a genuinely difficult moral proposition its most compressed form. A servant in this period had almost no recourse when ordered to do something wrong. Pisanio found his third way: disobey the worst orders, protect the person, and bear the consequences. His final image — boats without steerers — is the play's most explicit statement that Providence must finish what humans cannot.
The time is troublesome.
The time is troublesome.
the time is troublesome.
the time is troublesome....
So please your Majesty,
The Roman legions, all from Gallia drawn,
Are landed on your coast, with a supply
Of Roman gentlemen by the Senate sent.
So please your Majesty, The Roman legions, all from Gallia drawn, Are landed on your coast, with a supply Of Roman gentlemen by the Senate sent.
so please your majesty, the roman legions, all from gallia drawn, are landed on your coast, with a supply of roman gentlemen by the senate sent.
so please your majesty, the roman legions, all fro
Now for the counsel of my son and queen!
I am amaz’d with matter.
Now for the counsel of my son and queen! I am amaz’d with matter.
now for the counsel of my son and queen! i am amaz’d with matter.
now for the counsel of my son and queen! i am amaz
Good my liege,
Your preparation can affront no less
Than what you hear of. Come more, for more you’re ready.
The want is but to put those pow’rs in motion
That long to move.
Good my liege, Your preparation can affront no less Than what you hear of. Come more, for more you’re ready. The want is but to put those pow’rs in motion That long to move.
good my liege, your preparation can affront no less than what you hear of. come more, for more you’re ready. the want is but to put those pow’rs in motion that long to move.
good my liege, your preparation can affront no les...
I thank you. Let’s withdraw,
And meet the time as it seeks us. We fear not
What can from Italy annoy us; but
We grieve at chances here. Away!
I thank you. Let’s withdraw, And meet the time as it seeks us. We fear not What can from Italy annoy us; but We grieve at chances here. Away!
i thank you. let’s withdraw, and meet the time as it seeks us. we fear not what can from italy annoy us; but we grieve at chances here. away!
i thank you. let’s withdraw, and meet the time as ...
I heard no letter from my master since
I wrote him Imogen was slain. ’Tis strange.
Nor hear I from my mistress, who did promise
To yield me often tidings. Neither know I
What is betid to Cloten, but remain
Perplex’d in all. The heavens still must work.
Wherein I am false I am honest; not true, to be true.
These present wars shall find I love my country,
Even to the note o’ th’ King, or I’ll fall in them.
All other doubts, by time let them be clear’d:
Fortune brings in some boats that are not steer’d.
I heard no letter from my master since I wrote him Imogen was slain. ’Tis strange. Nor hear I from my mistress, who did promise To yield me often tidings. Neither know I What is betid to Cloten, but remain Perplex’d in all. The heavens still must work. Wherein I am false I am honest; not true, to be
i heard no letter from my master since i wrote him imogen was slain. ’tis strange. nor hear i from my mistress, who did promise to yield me often tidings. neither know i what is betid to cloten, but remain perplex’d in all. the heavens still must work. wherein i am false i am honest; not true, to be
i heard no letter from my master since i wrote him
The Reckoning
This is a scene of cascading crisis — every pillar of the court has cracked at once. Cymbeline is barely holding together, threatening his most loyal servant out of sheer helplessness. Pisanio's closing lines are among the most quietly dignified in the play: a good man in an impossible position, choosing honesty over self-preservation and trusting that time will sort what he cannot. The audience, knowing far more than Cymbeline does, feels the irony of watching a king rage at the one man who is telling the truth.
If this happened today…
Imagine a CEO whose company is simultaneously dealing with a PR crisis, a missing executive, a family member in the hospital, and a hostile acquisition announcement — all on the same Monday morning. He calls his most trusted PA into the office and screams at her because she doesn't know where the missing executive is. She calmly says she wasn't involved and offers her resignation. He doesn't fire her — he needs her. She walks out, phones a friend, and says: 'I don't know what's going on, but I'm going to keep showing up and do my job and hope it becomes clear.' That's Pisanio.