Imogen, on the other hand, is a brilliant part, and it justly became a favorite of actresses and audiences in succeeding centuries. Shakespeare's first cross-dressed woman since Viola, and the first and only woman disguised as a boy in one of his Jacobean plays, Imogen resembles both the inventive, disguised heroines of the comedies (Rosalind, Viola, Portia) and also the virtuous and muselike Marina, a quintessential figure of the romance genre. Like Marina, Imogen is described repeatedly in images of divinity.
