Shakespeare begins The Winter’s Tale with an emotional atmosphere of chill, then brings it to a joyous, scholar’s celestial finale. The transformation of what appears to be a dark-tragic journey into one that explores the complexities of the human experience is extraordinary, particularly when one considers that the play was derived exclusively from another author’s (Robert Greene’s) novel (published 1588). Although Greene’s work tells a story where the protagonist’s fate unfolds tragically, Shakespeare takes this material and creates an original piece of literature which not only provides a redemptive view of humanity through mercy and forgiveness but also provides a vision of how time can heal all things.
When one considers how Shakespeare reworked Greene’s source material into an entirely new literary format, it is important to recognise that he created an alternate version, both in form and content. In Greene’s version, the outcome is one of ultimate futility; in Shakespeare’s version, no one dies who does not deserve to die; rather, everyone has a chance or moment of redemption.
The title itself makes clear that the play is not based upon accurate representations of history (i.e., a play based upon history) but instead is about experiences of wonder, memory, and heightened emotions (also defined as “emotional hyperbole”). In this way, the work is half mythology (as in the case of folklore) and half philosophy.
In the heart of this intense drama, we observe a tortured Leontes, whose jealousy bursts forth with uncontrollable force. Shakespeare has created for us a king who is destroying his happiness as he confuses feelings of insecurity with reality, and we are struck by the speed at which this destruction is occurring throughout the course of the play. Against this dramatic collapse stands Hermione, a woman whose dignity is unequalled. When we witness her unjust trial, we see one of Shakespeare’s most painful depictions of the tragedy of injustice and how, through her calmness of spirit and dignity, she is able to believe in Apollo’s oracle. The oracle will not only vindicate Hermione by declaring the truth of her innocence, but in doing so, it will establish the ethical foundation upon which the plot of the play rests.
What will follow is perhaps one of the greatest spectacles ever produced by an author and artist, the statue scene. What appears to be an acting performance, an expression of the art of theatre, transforms into the emotional expression of a hero’s return and the ultimate triumph of an individual who demonstrates that perseverance and patience will always prevail over total despair. In addition to Hermione, Paulina also stands out during this scene—strong, faithful and quietly heroic—serving as the steady hand that maintains the ethical and moral fibre of the universe while everyone else is losing their direction.
The play has its fair share of grimness; however, it also contains many bright scenes set in the countryside with sheep, music, vibrant colours, and fanciful pranks. Perdita has a sense of beauty and grace, while Autolycus provides mischievous energy and humour for the show. These differences in characters are important to the theme of the play because they demonstrate how Shakespeare contrasts the royal tragedy with the rustic merriment to illustrate that redemption can be about forgiveness both seriously and lightly.
Overall, The Winter’s Tale is not only a play about jealousy but also about the persistence of things that endure beyond the experience of jealousy. The true power of this play lies in its ability to acknowledge the fact that mankind can destroy itself, but it also has a belief that something broken can be made whole again. It succeeds in invoking feelings of nostalgia and contemporary views on forgiveness being difficult, the ruthless nature of time, and the high cost of healing.
