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Shaw also makes Imogen a much more assertive figure, in line with his feminist views. He creates a scene in which
Iachimo confesses to Posthumus. Imogen recognises Posthumus's voice and actively uncovers his identity. After Posthumus repents, she continues to point out the immorality of his actions,
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scene in which
Jupiter descends from the heavens is also dropped. Shaw removes the implausible account of the British victory over the Roman legions, which in the original is achieved purely by the superhuman heroism of Posthumus, Polydore and Cadwal. He replaces it with a conversation in which the
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Shaw had expressed the standard
Victorian view of the play in 1896 when he wrote that it was "stagey trash of the lowest melodramatic order". After altering the ending, Shaw changed his mind about the bulk of the play, but remained convinced that the last act was a disaster, writing in 1946 that it
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Paradoxically Shaw offered his own alternative ending as challenge to producers to restore
Shakespeare's original, which had been crudely cut in many productions. The act is written in blank verse, but C.B. Young notes that there is "a violent change of tone from the fairy-tale and romantic
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Shaw removed many of the revelations that accumulate in the final act, cutting its length by more than half. He minimises the discovery that
Polydore and Cadwal are Imogen's long lost brothers. In the end they decide to return to rural life in Wales rather than join the royal court. The
177:
s last act reveals such features of
Shavian comedy as his typical treatment of exposition; his focus, not on the resolution of a situation, but on the response of the characters to that resolution; and broad comedy with a realistic base."
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had been ridiculed in the nineteenth century, but the play was just beginning to be reconsidered as an "experimental romance". Shaw was consciously engaging in a long tradition of rewriting
Shakespeare for modern values and tastes.
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and resents the suggestion that she should accept her husband back unconditionally, but in the end accepts that "I must go home and make the best of it, as other women must."
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atmosphere of the original acts to the
Shavian wit with a touch of cynicism, of the end." Bernard F. Dukore says that "Shaw's refinishing of
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The play was written "as a lark" after the committee of the
Shakespeare Memorial Theatre were looking for a way to market a staging of
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Romans discuss the possibility that the
Britons recalled Belarius, a general who "knew his job", to command their forces.
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110:. The drama follows from Shaw's longstanding need to reimagine Shakespeare's work, epitomised by his play
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was "one of the finest of Shakespeare's later plays" but "goes to pieces in the final act".
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as part of a plan to fund a memorial to Shakespeare. The ending of
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89 lines of the original play were retained in Shaw's version.
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The Intelligent Woman's Guide to Socialism and Capitalism
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in which he writes a new final act to Shakespeare's play
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Plays and musicals based on works by William Shakespeare
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The Adventures of the Black Girl in Her Search for God
230:Bernard Shaw, Playwright: Aspects of Shavian Drama
603:A Glimpse of the Domesticity of Franklyn Barnabas
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196:Fathers and Daughters in Shakespeare and Shaw
64:The phantasmogoric last act of Shakespeare's
232:, University of Missouri Press, 1973, p.212
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891:SHAW: The Annual of Bernard Shaw Studies
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659:The Simpleton of the Unexpected Isles
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638:How These Doctors Love One Another!
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701:In Good King Charles's Golden Days
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216:, Palgrave Macmillan, 2011, p.170.
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582:Annajanska, the Bolshevik Empress
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68:is replaced by more rational one
846:Charlotte Payne-Townshend (wife)
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463:The Shewing-Up of Blanco Posnet
393:Captain Brassbound's Conversion
877:George Bernard Shaw: His Plays
449:The Interlude at the Playhouse
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100:(1937) is a play-fragment by
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400:The Admirable Bashville
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763:Love Among the Artists
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512:Androcles and the Lion
484:The Glimpse of Reality
815:The Perfect Wagnerite
777:An Unsocial Socialist
568:Augustus Does His Bit
561:The Inca of Perusalem
884:Great Contemporaries
687:Cymbeline Refinished
442:The Doctor's Dilemma
386:Caesar and Cleopatra
372:The Devil's Disciple
113:Caesar and Cleopatra
97:Cymbeline Refinished
21:Cymbeline Refinished
631:Too True to Be Good
283:George Bernard Shaw
228:Bernard F. Dukore,
116:and his late squib
102:George Bernard Shaw
39:George Bernard Shaw
870:production history
729:Shakes versus Shav
596:Back to Methuselah
505:Fanny's First Play
365:You Never Can Tell
358:The Man of Destiny
119:Shakes versus Shav
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736:Why She Would Not
722:Farfetched Fables
673:The Millionairess
666:The Six of Calais
610:Jitta's Atonement
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53:Original language
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407:Man and Superman
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856:Shaw Theatre
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77:history play
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807:Non-fiction
491:Misalliance
920:1937 plays
914:Categories
756:Immaturity
617:Saint Joan
379:The Gadfly
182:References
175:Cymbeline'
35:Written by
533:Pygmalion
519:Overruled
243:Cymbeline
136:Cymbeline
132:Cymbeline
107:Cymbeline
66:Cymbeline
126:Creation
839:Related
351:Candida
86:Setting
61:Subject
56:English
747:Novels
694:Geneva
80:comedy
300:Plays
73:Genre
147:Plot
48:1937
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221:^
203:^
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868:(
275:e
268:t
261:v
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