Original: O rare instinct!
Modern: What amazing natural insight!

Original: When shall I hear all through? This fierce abridgment
Modern: When will I hear the whole story? This intense shortened version

Original: Hath to it circumstantial branches, which
Modern: Has many detailed parts to it, which

Original: Distinction should be rich in. Where? how liv’d you?
Modern: Should be told in full detail. Where did you live? How did you survive?

Original: And when came you to serve our Roman captive?
Modern: And when did you come to serve our Roman prisoner?

Original: How parted with your brothers? how first met them?
Modern: How were you separated from your brothers? How did you first meet them again?

Original: Why fled you from the court, and whither? These,
Modern: Why did you flee from the court, and where did you go? These questions,

Original: And your three motives to the battle, with
Modern: And your three reasons for joining the battle, along with

Original: I know not how much more, should be demanded,
Modern: I don’t know how much more, should all be asked,

Original: And all the other by-dependances,
Modern: And all the other related details,

Original: From chance to chance, but nor the time nor place
Modern: From one event to another, but neither the time nor the place

Original: Will serve our long inter’gatories. See,
Modern: Is right for our lengthy questioning. Look,

Original: Posthumus anchors upon Imogen,
Modern: Posthumus fixes his gaze on Imogen,

Original: And she, like harmless lightning, throws her eye
Modern: And she, like gentle lightning, casts her glance

Original: On him, her brothers, me, her master, hitting
Modern: On him, her brothers, me, her master, striking

Original: Each object with a joy: the counterchange
Modern: Each person with happiness: this exchange of looks

Original: Is severally in all. Let’s quit this ground,
Modern: Is happening between everyone. Let’s leave this place,

Original: And smoke the temple with our sacrifices.
Modern: And fill the temple with smoke from our offerings to the gods.

In Act 5, Scene 5 of “Cymbeline,” the final and longest scene of the play brings all the characters together at Cymbeline’s court for a grand resolution. The scene opens with Cymbeline, his captains, and Roman prisoners including Lucius, Iachimo, and the disguised Imogen (still dressed as the boy Fidele). Belarius, Guiderius, and Arviragus are also present, having distinguished themselves in battle. Cymbeline knights the three men for their valor, though he does not yet know their true identities. Cornelius enters to report the Queen’s death and her deathbed confession of her evil plots, including her plan to poison Cymbeline and place her son Cloten on the throne. Lucius pleads for mercy for his page Fidele, which Cymbeline grants, and Imogen (as Fidele) requests that Iachimo explain how he obtained the ring he wears—the very ring Posthumus gave her.

Iachimo confesses his entire deception, explaining how he tricked Posthumus into believing Imogen had been unfaithful by hiding in a trunk in her bedchamber and stealing evidence. Posthumus, overcome with remorse for having ordered Imogen’s death, reveals himself and strikes the boy Fidele (actually Imogen) when she approaches him. Pisanio administers what he believes is a restorative, and Imogen reveals her true identity. The reunited couple reconciles, and further revelations follow: Guiderius admits to killing Cloten, which would normally warrant execution, but Belarius reveals that Guiderius and Arviragus are actually Cymbeline’s long-lost sons, stolen in infancy. The soothsayer interprets earlier prophecies as fulfilled, Posthumus reveals that the poor soldier who helped save Cymbeline was himself, and Cymbeline pardons all offenders. The play concludes with Cymbeline agreeing to pay tribute to Rome and declaring peace, ordering sacrifices and celebrations throughout Britain.

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.