SOURCE: “The Marriage Topos in Cymbeline: Shakespeare's Variations on a Classical Theme,” in English Literary Renaissance, Vol. 19, No. 1, Winter, 1989, pp. 94-117.

In the following essay, Simonds studies Shakespeare's variations on the familiar Renaissance marriage theme in Cymbeline, and examines the significance of those variations in terms of contemporary politics and Protestant theology.

Perhaps the most emotionally satisfying stage image in Shakespeare's Cymbeline occurs in Act 5, scene 5, where it elicits from Posthumus the best poetry in the entire play: “Hang there like fruit, my soul, / Till the tree die” (5.5.263-64).¹ This is, of course, the moment when a joyful Imogen flings her arms about the neck of her long-lost husband, who at last returns her loving embrace. Although such reunions occur elsewhere in Shakespeare's canon, this one is unusual for the haunting beauty of Posthumus' words, which are often quoted but—to my knowledge—have never been fully explained...