Things to consider while reading The Winter’s Tale
The Winter’s Tale is indisputably one of the oddest of Shakespeare’s plays. I have always seen it as a kind of foil to Romeo and Juliet, which effectively starts off in a comic mode, and takes a sharp turn for the tragic about halfway through — at the death of Mercutio. This one works the other way around. It begins in a bleak, oppressive tragedy, and by the end of the third act things are grim and dark. Then, suddenly everything is reversed, almost whimsically, and the result is what is sometimes labeled as a comedy, but sometimes as a romance.
A narrative retelling of The Winter’s Tale from Tales from Shakespeare by Charles and Mary Lamb is linked here at the Eldritch Press Site.
Here is the Royal Shakespeare Company’s page on The Winter’s Tale, showing some of the play’s production history with the company.
Here is the Shakespeare Birthplace Trust’s page on The Winter’s Tale, containing information and cast lists from many of the Royal Shakespeare Company’s productions of the play.
Here’s a summary of The Winter’s Tale on film.
The Winter’s Tale and what has come before
The Winter’s Tale clearly differs markedly from a work like The Comedy of Errors, in that it is rooted in the soil of genuine tragedy, and draws very little of its humor from farce or comical misunderstandings.
The Dramatic Unities
Aristotle in his Poetics laid down a concept that plays should be controlled by three unities: unity of plot, unity of time, and unity of place. The unity of plot merely means that the story should be about one thing, rather than many. Unity of time means that it happens “in real time” — without intervening gaps taking place. Unity of place refers to the idea that the play takes place in a single location.
Themes that emerge in the play (only a few of the many)
Problems in the play
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