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The two brothers of Imogen, who had been hunting with their reputed father, Bellarius, were by this time returned home. Bellarius had given them the names of Polydore and Cadwal, and they knew no better, but supposed that Bellarius was their father; but the real names of these princes were Guiderius and Arviragus.
It will be found in the log of the ship, and signed by all the officers; and yet many of my readers will be inclined to reject this, and believe a considerable portion of the remainder of the composition to have been drawn from living characters; if so, they will be like the old woman. Cym. Guiderius had Upon his neck a mole, a sanguine star. Bel. This is he, Who hath upon him still that stamp.
When Imogen comes in disguise to their cave; when, with all the innocence of childhood, Guiderius and Arviragus form an impassioned friendship for the tender boy, in whom they neither suspect a female nor their own sister; when, on their return from the chase, they find her dead, then "sing her to the ground," and cover the grave with flowers: these scenes might give to the most deadened imagination a new life for poetry.
His sons, Guiderius and Arviragus, who made their appearance in Shakspeare's play of "Cymbeline," succeeded their father, and, refusing to pay tribute to the Romans, brought on another invasion. Guiderius was slain, but Arviragus afterward made terms with the Romans, and reigned prosperously many years.
Julius Caesar does not seem to have been here, in his invasion of Britain, but some of his troops must have passed through it; a plate from one of his standards, bearing his name and profile, having been found deep buried in a sand bed in this neighborhood; and here, within the first half century of Christendom, figured the brave descendants of Cassivelaunus, those noble sons of Cunobelin or Cymbeline, Guiderius and Arviragus, whom Shakespeare has so beautifully presented to us in his "Cymbeline." ...
The two Princes, Guiderius and Arviragus, both educated in the wilds, form a noble contrast to Miranda and Perdita. Shakspeare is fond of showing the superiority of the natural over the artificial. The whole runs thus: Yet nature is made better by no mean, But nature makes that mean: so, o'er that art Which you say adds to nature, is an art That nature makes.
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