set, and it is not known why Shakespeare used it in the play. Robert Nye noted that it was the closest seaport to Shakespeare's home town of Stratford-upon-Avon: "But if you marched due west from Stratford, looking neither to left nor to right, with the idea of running away to sea in your young head, then Milford Haven is the port you'd reach," a walk of about , about six days' journey, that the young Shakespeare might well have taken, or at least dreamed of taking. Marisa R. Cull notes its possible symbolism as the landing site of Henry Tudor, when he invaded England via Milford on 7 August 1485 on his way to deposing Richard III and establishing the Tudor dynasty. It may also reflect English anxiety about the loyalty of the Welsh and the possibility of future invasions at Milford. Criticism and interpretation Cymbeline was one of Shakespeare's more popular plays during the eighteenth century, though critics including Samuel Johnson took issue with its complex plot: William Hazlitt and John Keats, however, numbered it among their favourite plays. By the early twentieth century, the play had lost favour. Lytton Strachey found it "difficult to resist the conclusion that [Shakespeare] was getting bored himself. Bored with people, bored with real life, bored with drama, bored, in fact, with everything except poetry and poetical dreams." Harley Granville-Barker had similar views, saying that the play shows that Shakespeare was becoming a "wearied artist". Some have argued that the play parodies its own content. Harold Bloom says "Cymbeline, in my judgment, is partly a Shakespearean self-parody; many of his prior plays and characters are mocked by it." British identity Similarities between Cymbeline and historical accounts of the Roman Emperor Augustus have prompted critics to interpret the play as Shakespeare voicing support for the political motions of James I, who considered himself the "British Augustus." His political manoeuvres to unite Scotland with England and Wales as an empire mirror Augustus' Pax Romana. The play reinforces the Jacobean idea that Britain is the successor to the civilised virtue of ancient Rome, portraying the parochialism and isolationism of Cloten and the Queen as villainous. Other critics have resisted the idea that Cymbeline endorses James I's ideas about national identity, pointing to several characters' conflicted constructions of their geographic identities. For example, although Guiderius and Arviragus are the sons of Cymbeline, a British king raised in