Why would “Shakespeare” write the flawed play “Cymbeline” at the end of his career? The answer is that he didn’t – Instead, it appears to be one of Oxford’s earliest works … and it’s Reason No. 69 why he was the author

Cymbeline, King of Britaine was one of the eighteen plays in the First Folio of 1623 that had not previously been published.  It was placed at the end, as the final entry in the book; and orthodox scholars figure that Will Shakspere of Stratford must have written it a few years before 1611, when someone described a performance.  Their problem, however, has been trying to explain why Cymbeline appears to be the work of a younger playwright still learning his craft.

Cymbeline-Shakespeare-William-9781903436028“His old skill in uniting a number of narrative strands to form one master plot seems to have deserted him,” Oscar James Campbell wrote in 1966, but the criticism had begun much earlier – as when, for example, Samuel Johnson blustered in 1765:  “To remark the folly of the fiction, the absurdity of the conduct, the confusion of the names and manners of different times, and the impossibility of the events in any system of life, were to waste criticism upon unresisting imbecility, upon faults too evident for detection, and too gross for aggravation.”

“No one will rank Cymbeline with the greater plays,” Harley Granville-Barker wrote in Prefaces to Shakespeare, 1927-1947.  “It is not conceived greatly, it is full of imperfections.  But it has merits all its own; and one turns to it from Othello, or King Lear, or Antony and Cleopatra, as one turns from a masterly painting to, say, a fine piece of tapestry, from commanding beauty to more recondite charm.”

If these gentlemen could have dropped their late dating of Cymbeline, they would have recognized that this play had preceded those masterpieces of literary and dramatic maturity.  They would have seen that it contains flashes of greatness-to-come while providing “what is wholly absent in traditional biographies of the Bard: evidence of youthful endeavor, the elusive juvenilia,”as Kevin Gilvary writes in Dating Shakespeare’s Plays.

Eva Turner Clark suggested in 1930 that Cymbeline was “no other than the Court drama of December 28, 1578, listed on that date in the Court Revels as The Cruelty of a Stepmother” – which takes us back more than thirty years to when Edward de Vere, seventeenth Earl of Oxford was twenty-eight and becoming intensely involved with playwrights, play companies and plays.

Oxford had returned to England a few years earlier after traveling to Italy.  In 1571 he had married the daughter of William Cecil Lord Burghley, the most powerful man in England and the man by whom he had been brought up as a royal ward.  In Italy he learned his wife was pregnant and that there were rumors she had been unfaithful.  Upon his return to England in 1576 he angrily refused to acknowledge his wife or the baby daughter.  In 1581 he was sent to the Tower, after confessing his conversion to Catholicism, but later was released and reconciled with Burghley and his wife.

The Cruelty of a Stepmother of 1578 appears to have been an early version of a play that Oxford revised in 1582 into Cymbeline (with final revisions in about 1590).  And here is Gilvary’s account of the play’s tragic-comic story of Posthumous:

“Cymbeline describes the travels of a youth to Italy; a youth brought up by the most powerful man in the country, whose daughter he married; a youth who, while away in Italy, is persuaded that his wife has been unfaithful and whom he wishes dead; a youth whose spiritual sympathies are with Rome; a youth imprisoned on his return for loyalties to Rome; a youth who later sought and received forgiveness from his maligned wife and his outraged father-in-law.”

Sounds familiar!

The Greek Translation Dedicated to Oxford in  1569

The Greek Translation Dedicated to Oxford in
1569

An important source of Cymbeline is the romance Aethiopica or An Aethiopian History as translated from the Greek of Herliodorus in 1569 by Thomas Underdowne, who dedicated it to Edward de Vere.  The earl was then nineteen and apparently going beyond good taste in “matters of learning,” as Underdowne put it, explaining that for a nobleman “to be too much addicted that way, I think it is not good.”  It appears, however, that Oxford was very much addicted to learning.

“Close examination reveals that Cymbeline was probably influenced by the Aethiopica and was perhaps even a conscious imitation of that of that romance,” writes C. Gesner in Shakespeare and the Greek Romance (1970).  The translation of this Greek romance dedicated to Oxford was reprinted in 1577, when he may well have decided to use its story for a play.  He also would have used the first edition of Raphael Holinshed’s The Chronicles of England, Scotland and Ireland in 1577, wherein all the source material for Cymbeline was available to him.

But there’s much more evidence that Cymbeline originated from Oxford’s pen in 1578 — for example, the bizarre chapter of the Elizabethan reign during the 1570s when the Queen carried on a long courtship with Hercule Francois, Duke of Alencon of France – an episode providing perfect contemporary stuff for a political allegory, which will be the next Reason to believe Edward de Vere wrote the works of “Shakespeare.”

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