Cloten


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Cloten

spurned but persistent lover of Imogen. [Br. Lit.: Cymbeline]
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It begins with the meeting of an emotional Innogen, the daughter of Cymbeline, who has secretly married her lover Posthumus only to see him banished as her mother would rather she marry the Duke's son Cloten.
(36) The benign renaissance transvaluation of the wild man fails to affect this character, more a radicalized reemergence of the usurping villain--Richard III or Cloten in Cymbeline--than a wild man in its own right.
The latter include the Foucauldian notions of tyrannical excess visited on the body of the subject, the metonymic links between usurping the head of state and decapitation, and the capacity of the mutilated or dismembered body to trouble a play's generic stability, as in Cymbeline, for instance, when the bathos surrounding Cloten's beheading and Imogen's subsequent confusion enacts the play's flirting with full-on tragedy.
Shakespeare's references to mirrors reflect the early modern duality: according to Lear's Fool, no woman is exempt from vanity when using a mirror: "For there was never yet fair woman but she made mouths in a glass" (3.2.35-36), and mirrors are frequently associated with deception: "glass-fac'd" flatterers haunt Timon (1.1.58), lovers serve as the beloved's flattering mirror in As You Like It, and Cymbeline's Cloten reaches new depths of self-deception when he claims "it is not vainglory for a man and his glass to confer in his own chamber" (4.1.7-9).
The cast include Sophie Khan Levy as the feisty Innogen, Adam Youssefbeygi (Sherrudin Khan, Cornelius), Nicholas Gauci (Cymbeline, Cloten) and Liz Jadav (Malika, Bharti, Bela).
In "Cymbeline," young Posthumus (Daniel Jos Molina) is secretly married to Imogen (Dawn-Lyen Gardner), daughter of King Cymbeline - although she, in turn, has been promised by her father to Cloten, the foppish son of the evil queen.
They enthusiastically approve Posthumus' personality, contrasting it to that of Cloten, the Queen's son.
(88) So it is that all groups of musicians called on to entertain in Shakespeare's plays do so on a casual basis: 'Sneak's Noise' in 2 Henry IV, Cassio's attempt at a serenade, those Peter sends away in Romeo and Juliet, those brought by Thurio to woo Silvia in Two Gentlemen of Verona, and those used by Cloten in Cymbeline, together with the players and their recorders in Hamlet.
(26) In All's Well, though friendship collapses between Parolles and Bertram, there is no real question of sexual rivalry involved; in Cymbeline, Posthumus and Cloten may be rivals for Imogen, but their conflict is never foregrounded--indeed, they never meet.
Hamilton argues that Shakespeare refutes this claim by likening Cloten to the Antichrist and by having Guiderius behead him in Cymbeline (146).
Cloten. Sister George (25)--but only with Rucker directing.
A similar idea is found in Cymbeline, where Lucius says of the headless Cloten, "The ruin speaks that sometime / It was a worthy building" (4.2.354-55), and in The Duchess of Malfi, where the Duchess asks "who do I look like now?" and Cariola replies "like some reverend monument / Whose ruins are even pitied" (4.2.30, 33-34).