Here is the line-by-line paraphrase of Imogen’s monologue from Cymbeline:

Original: Who? thy lord? that is my lord, Leonatus.
Modern: Who? Your lord? You mean my lord, Leonatus.

Original: O! learn’d indeed were that astronomer
Modern: Oh, how wise that astronomer would be

Original: That knew the stars as I his characters;
Modern: Who could read the stars as well as I can read his handwriting;

Original: He’d lay the future open. You good gods,
Modern: He could reveal the future. You kind gods,

Original: Let what is here contain’d relish of love,
Modern: Let what’s written in this letter be full of love,

Original: Of my lord’s health, of his content, yet not
Modern: News of my lord’s health and happiness, but not

Original: That we two are asunder; let that grieve him,–
Modern: That we two are apart; let that sadden him,–

Original: Some griefs are med’cinable; that is one of them,
Modern: Some sorrows can heal us; that’s one of them,

Original: For it doth physic love,–of his content,
Modern: Because it makes love stronger,–news of his happiness,

Original: All but in that! Good wax, thy leave. Bless’d be
Modern: In everything except being apart! Good wax seal, let me break you. Blessed are

Original: You bees that make these locks of counsel! Lovers
Modern: You bees that make this wax that seals secrets! Lovers

Original: And men in dangerous bonds pray not alike;
Modern: And men in dangerous situations don’t pray the same way;

Original: Though forfeiters you cast in prison, yet
Modern: Though you put lawbreakers in prison, yet

Original: You clasp young Cupid’s tables. Good news, gods!
Modern: You protect love letters. Good news, gods!

Original: O! for a horse with wings! Hear’st thou, Pisanio?
Modern: Oh, if only I had a flying horse! Do you hear me, Pisanio?

Original: He is at Milford-Haven; read, and tell me
Modern: He’s at Milford-Haven; read this, and tell me

Original: How far ‘tis thither. If one of mean affairs
Modern: How far it is to get there. If someone with ordinary business

Original: May plod it in a week, why may not I
Modern: Can trudge there in a week, why can’t I

Original: Glide thither in a day? Then, true Pisanio,–
Modern: Glide there in a day? Then, faithful Pisanio,–

Original: Who long’st, like me, to see thy lord; who long’st,–
Modern: Who longs, like me, to see your master; who longs,–

Original: O! let me ‘bate,–but not like me; yet long’st,
Modern: Oh, let me take that back,–but not like me; yet you do long,

Original: But in a fainter kind:–O! not like me,
Modern: But in a weaker way:–Oh, not like me,

Original: For mine’s beyond beyond; say, and speak thick;–
Modern: Because mine is beyond all measure; tell me, and speak quickly;–

Original: Love’s counsellor should fill the bores of hearing,
Modern: Love’s messenger should fill our ears completely,

Original: To the smothering of the sense,–how far it is
Modern: Until we’re overwhelmed with information,–how far it is

Original: To this same blessed Milford; and, by the way,
Modern: To this blessed Milford; and while we’re at it,

Original: Tell me how Wales was made so happy as
Modern: Tell me how Wales became so fortunate as

Original: T’ inherit such a haven; but, first of all,
Modern: To have such a harbor; but, first of all,

Original: How we may steal from hence, and, for the gap
Modern: How we can sneak away from here, and for the time

Original: That we shall make in time, from our hencegoing
Modern: That we’ll be missing, from when we leave

Original: And our return, to excuse; but first, how get hence.
Modern: Until we return, what excuse to give; but first, how to get away.

Original: Why should excuse be born or ere begot?
Modern: Why should I worry about excuses before I even need them?

Original: We’ll talk of that hereafter. Prithee, speak,
Modern: We’ll discuss that later. Please, tell me,

Original: How many score of miles may we well ride
Modern: How many miles can we travel

Original: ‘Twixt hour and hour?
Modern: In an hour’s time?

In Act III, Scene ii of Cymbeline, Pisanio receives a letter from his master Posthumus instructing him to kill Imogen, whom Posthumus believes has been unfaithful with Iachimo. The letter commands Pisanio to lure Imogen away from court under the pretense of meeting Posthumus at Milford Haven in Wales, and then to murder her there. Pisanio is horrified by these instructions, knowing Imogen to be virtuous and loyal, and struggles with his conflicting duties to his master and to protecting an innocent woman.

When Imogen arrives, eager and excited about the prospect of reuniting with her husband, Pisanio shows her Posthumus’s letter. Imogen is devastated to learn of her husband’s belief in her infidelity and his order for her death. Initially despairing and asking Pisanio to carry out the murder, she then resolves to disguise herself as a young man and seek service with the Roman general Lucius, who is expected to land at Milford Haven. Pisanio provides her with male clothing and gives her a drug (unknowingly a sleeping potion rather than poison) that he received from the Queen, believing it to be medicine. He instructs Imogen on how to conduct herself in her male disguise and sends her on her way to Wales.

Cymbeline tells the story of King Cymbeline of Britain, whose daughter Imogen secretly marries Posthumus Leonatus against her father’s wishes. Cymbeline banishes Posthumus to Rome, where he boasts of Imogen’s virtue and fidelity. The cunning Iachimo wagers that he can seduce Imogen and prove her unfaithful. When his direct attempts fail, Iachimo hides in a trunk in Imogen’s bedchamber, emerges while she sleeps, and steals her bracelet while noting intimate details of her body and room.

Returning to Rome with his false evidence, Iachimo convinces Posthumus that Imogen has been unfaithful. Enraged, Posthumus orders his servant Pisanio to kill Imogen. Instead, Pisanio reveals the plot to Imogen and helps her escape by disguising her as a young man named Fidele. She flees to the Welsh mountains, where she unknowingly encounters her long-lost brothers, Guiderius and Arviragus, who were kidnapped as infants and raised by the banished lord Belarius.

Meanwhile, Cymbeline’s evil Queen (Imogen’s stepmother) plots to poison Imogen and place her own son Cloten on the throne. Cloten pursues Imogen to Wales, where Guiderius kills him in combat. The Queen’s physician Cornelius has secretly given her a sleeping potion instead of poison, but when Imogen takes it believing it to be medicine, she falls into a death-like sleep beside Cloten’s headless corpse, whom she mistakes for Posthumus upon awakening.

The play culminates when Roman forces invade Britain. During the battle, the disguised Imogen serves the Romans while her unknown brothers and Belarius fight for Britain. After Britain’s victory, all deceptions are revealed: Iachimo confesses his lies, the Queen dies after admitting her evil plots, Imogen’s true identity and virtue are established, the royal brothers are restored to their father, and Posthumus and Imogen are reunited. Cymbeline makes peace with Rome and pardons all offenders.