Cymbeline

A few things that struck me about Cymbeline:

The very elaborate double-plot going on, where some key figures can be offstage for acts at a time. We don't even learn of the two brothers' fates until the play is halfway over! Structurally, it's not classical at all, and I can imagine why Ben Jonson wouldn't like it. I still did though.

Imogen and her disguising as a man. It's pretty fascinating with what ease she does so, and then how the people who encounter her nearly see through it, and make much of her being a pretty youth. One even says something to the effect of, "If you were a woman, I'd keep you." *facepalm*

More humoral language, not to any great effect, except that I did notice that women have a tendency to be described as slippery only when they are really virtuous. To call someone slippery (this happens also in The Winter's Tale) seems to damn the speaker's intentions more than the one indicated.

Cloten is hilarious. He's such a fop, and doesn't realize it. His beheading is unsurprising. Also, as villains go, the queen is actually pretty masterful. But she still dies of grief with her son, which indicates that she isn't all bad.

And there's so much about people's natures manifesting themselves despite lacking any knowledge of lineage (Guiderius, Arviragus) that I really rolled my eyes. In this way, it really had a sort of fairy-tale quality to it.

Oh, and jealousy. Posthumus's bargain... he was so quickly turned into doubt once the proofs became dire enough, even when the friends around him recognized otherwise. There's something here that can also be read into The Winter's Tale and Othello. Why all the jealous husbands?