A Click

- There was a click somewhen reading Cymbeline. I understood this play pretty good, at least it's been the most fun for me to read this semester.

- Recently we've returned from spring break, and I filled a couple hours of that time watching Rango. The main character, a Chameleon, is a playwriter. Though, mythologically, he's a Thespian. His character shows his improvisational abilities. Sometimes he's just awful at it, and it reminded me of A Midsummer Night's Dream in Act V. His innovative nuances and the other characters' connection to his addition makes it a story...of Thespians.

- I love the idea of being a Thespian; an actor who may inherit, employ, or become another person. Simple changes in ones appearance (may it be clothing, hairdo, fidgety hands, whatever) and/or persona potentially gives others the impression that they've not before met this newcomer. Newcomers are interesting. There are many newcomers in this play. Cloten, Iachimo, Imogen, Belarius, Guiderius, and Arviragus carry more than one role in this playwrite. In addition, tally three roles for Posthumous, there ‘bout. These people know how to act, even if when they don’t know they are acting.

- One of my favorite scenes, somewhen it may all clicked, is Act V, Scene V of Cymbeline. We’ll pick it up right when the king has found out that Cloten has been killed by Guiderius. A moment ago he was a hero, and now he’s the murderer of the heir apparent. I find this play more comic than tragic. The reader or audience figures that Guiderius (and Arviragus, same blood) are apparently pretty good dudes. It’s funny because King Cymbeline wanted Cloten to be king for an entire other sub-plot is talking to a purer heir apparent. (Think of Posthumous’s conundrum, too. Prior, convicted of murder and now a hero, yet he’s in disguise and and suppose to be in exile.) Guiderius is condemned by the King, but then people start speaking up. Imogen didn’t know that Cloten was the well-dressed headless man. Even when they actors are dead they never lose their method. Fidele’s no longer a boy, and now the three mountainmen find out that not only Fidele is a girl but also that she’s their sister. Posthumous has to open his mouth at this point, as well as Belarius. Now, it’s a happy ending as I see it.

Imogen can be with Posthumous, and they don’t even have to be top dogs. The king gets his wish because Posthumous doesn’t have to be king with Guiderius and Arviragus around. The forg-rotten Cloten is dead. I suppose the king did lose his pistol of a wife, but the king was stubborn and dumb at times. He probably wouldn’t allow Imogen to go out to a movie screening after 9:35. "But Daddy, I'll be home before midnight...No! I'm not going out with a boy!" Everything clicked. The characters are most definitely not the most enticing compared to some of the other plays (i.e. Lear, Falstaff, the Mechanical ensemble, Hamlet) because their dialogue is much easier to pin down. Nevertheless, the inherent and added characterizations along with revelations of true identities provide that mythological spin. Everyone is never who they appear. Things work out exactly as they're supposed to, in and if time.