King Cymbeline Research Paper

Furthermore, it this unclearly structured plot line, littered with minor genre specific elements that facilitate both comedy and revenge tragedy characteristics and that make the overall genre of Cymbeline troublesome to identify. Some examples of these minor genre specific elements are revenge, murder and dead bodies, and disguises. First, the component of revenge is notably inactive to the point of near obscurity within this alleged revenge tragedy. The development of King Cymbeline sending Belarius into exile, for which Belarius seeks his vengeance through the abduction of the King’s two infant sons, Guiderius and Arviragus, is the play’s truest form of revenge. This display of revenge, however, seems to occur entirely before the play’s storyline actually begins. The audience is not present for this act of revenge. As well, towards the end of the play, the position surrounding Belarius’ act of revenge is strikingly easily absolved. It is, for these reasons, completely passive and seemingly not as trifling as the other plotlines within the play, which suppresses the appearance of Shakespeare’s use of revenge altogether.
Another perplexing element that muddles the audience’s perspective
Imogen does not fixate on Posthumus’ distrust and false accusations for she has chosen to seemingly change personas in order to prove her love for her husband which helps to constructs a less tragic storyline. Perhaps some of Imogen’s anger and resentment gets lost in the adaptation from character to character and what holds true all along is her perseverance and devotion to her husband, which, in contrast, makes for a more comedic and romantic plot