The Winter's Tale eBook Ü The Winter's Epub /

The Winter's Tale You can find an alternative cover for this ISBN hereThe New Cambridge Shakespeare appeals to students worldwide for its uptodate scholarship and emphasis on performance The series features linebyline commentaries and textual notes on the plays and poems and an extensive introduction The Winter's Tale is one of Shakespeare's most varied, theatrically selfconscious, and emotionally wideranging plays Much of the play's copiousness inheres in its generic intermingling of tragedy, comedy, romance, pastoral, and the history play In addition to dates and sources, the introduction attends to iterative patterns, the nature and cause of Leontes' jealousy, the staging and meaning of the bear episode, and the thematic and structural implications of the figure of Time Special attention is paid to the ending and its tempered happiness Performance history is integrated throughout the introduction and commentary Appendices include the theatrical practice of doubling [KINDLE] ✽ I Blame The Scapegoats By John O& – theatrically selfconscious ➠ [Epub] ➚ Beneath the Earth By John Boyne ➪ – and emotionally wideranging plays Much of the play's copiousness inheres in its generic intermingling of tragedy ➶ [Read] ➲ Gagged By Richard Asplin ➾ – comedy ❴Download❵ ✤ Aristocrats Author Stella Tillyard – romance ❰PDF / Epub❯ ★ A Dark and Twisted Tide (Lacey Flint, Author Sharon J. Bolton – pastoral [KINDLE] ✽ Wild Horses (Saddle Club, Author Bonnie Bryant – and the history play In addition to dates and sources ❰Reading❯ ➺ At Sixes And Sevens Author Rosie Harris – the introduction attends to iterative patterns ✯ [BOOKS] ⚣ Save Rafe! (Middle School By James Patterson ✼ – the nature and cause of Leontes' jealousy ❰Download❯ ➻ The Hand That First Held Mine Author Maggie O& – the staging and meaning of the bear episode [Reading] ➼ Ghost Light By Joseph O& – and the thematic and structural implications of the figure of Time Special attention is paid to the ending and its tempered happiness Performance history is integrated throughout the introduction and commentary Appendices include the theatrical practice of doubling

10 thoughts on “The Winter's Tale

  1. Ahmad Sharabiani Ahmad Sharabiani says:

    The Winter's Tale, William Shakespeare
    The Winter's Tale is a play by William Shakespeare originally published in the First Folio of 1623. The main plot of The Winter's Tale is taken from Robert Greene's pastoral romance Pandosto, published in 1588.
    Shakespeare's changes to the plot are uncharacteristically slight, especially in light of the romance's undramatic nature, and Shakespeare's fidelity to it gives The Winter's Tale its most distinctive feature: the sixteen-year gap between the third and fourth acts.

    تاریخ نخستین خوانش نسخه اصلی: روز هفتم ماه اکتبر سال 2016 میلادی
    عنوان: حکایت زمستان؛ نویسنده: ویلیام شکسپیر؛

    پایگاه اصلی این نمایشنامه، حکایت عاشقانه و روستایی «پیروزی زمان»، اثر: «رابرت گرین (1588 میلادی، چاپ دوم 1607 میلادی)» نویسنده هم دوره ی «شکسپیر» بوده است؛ اما تغییرات بسیاری در داستان «گرین» داده شده‌ است. از جمله ی این تغییرات می‌توان بر: زنده نگه داشته شدن ملکه مظلوم، حذف یک خواسته ناشایست شاه، و خودکشی نکردن شاه، در انتهای داستان؛ اشاره کرد. زنده شدن مجسمه ی ملکه، ممکن است از افسانه‌ های پیگمالیون، یا آلستیس یونان باستان، استخراج شده باشد. نمایشنامه ای کمدی، در پنج پرده، و دارای نوزده شخصیت، و تعدادی سیاهی لشکر است.؛ شخصیت‌های اصلی عبارت اند از: لئونتس: پادشاه جزیره سیسیل، دوست زمان کودکی و نوجوانی پولیکسینس؛ هرمیون: ملکه لئونتس، موجودی باارزش، صبور در سختی‌ها؛ پولیکسینس: پادشاه بوهیمیا و مهمان دربار شاه سیسیل؛ کامیلو: مشاور نیکوکار و قابل اعتماد لئونتس؛ پائولینا: بانوی نیک دربار، از ندیمه‌ های ملکه هرمیون؛ آنتیگونوس: شوهر پائولینا؛ مامیلیوس: فرزند شاه و ملکه سیسیل؛ کلئومینس؛ دیون؛ امیلیا؛ آرخیداموس؛ تایم؛ فلوریتزل؛ پردیتا؛ گله بان پیر؛ دلقک؛ موپسا؛ دورکارس؛ آتولیکوس؛ لردها؛ بانوان درباری؛ پیشکاران؛ زندانبانان؛ ماموران دادگاه‌های قضاوت؛ خدایان جنگل برای رقص؛ چوپانان و نگهبانان؛ محل وقوع حوادث نمایشنامه: جزیره سیسیل و بوهیمیا؛
    چکیده‌ ای از نمایشنامه: لئونتس با خشنودی تمام سرگرم پذیرایی از پولیکسینس پادشاه بوهیمیا و دوست زمان کودکی خویش است؛ ولی چون هرچه تعارف می‌کند نمی‌تواند مهمان خود را متقاعد سازد که تمام زمستان را نزد او بماند، از همسر خود خواهش می‌کند با اصرار موافقتش را جلب کند. وقتی ملکه به سهولت موافقت مهمان را کسب می‌کند، شک و تردید لئونتس برانگیخته می‌شود و به این خیال می‌افتد که باید بین این دو سَروسِری باشد. این احساس شک شاه به زودی به مشغله ی فکری شبانه روزی او بدل می‌شود، تا آنجا که به یکی از مشاوران وفادارش به نام کامیلو دستور می‌دهد پولیکسینس را مسموم کند؛ ولی کامیلو که به بیگناهی پولیکسینس ایمان دارد، او را از خطری که در کمینش است آگاه می‌کند و مقدمات فرار شبانه ی او را فراهم می‌سازد و خود نیز همراه او از دربار سیسیل می‌گریزد...؛ ا. شربیانی

  2. Lisa Lisa says:

    Something for Shakespeare In The Park, maybe?

    “Good my Lord, be cured of this diseased opinion, and betimes, for ‘tis most dangerous.”

    That is the well-meant advice Camillo gives the delusional King Leontes, whose whims and flawed imagination are about to destroy his family and his kingdom. Needless to say, the all-powerful king does not listen. The drama unfolds with predictably disastrous effects, as the most powerful person is at the same time the most self-indulgent, paranoid and mentally underdeveloped. His entourage, knowing the danger of speaking truth to power, resigns itself to the doctrine:

    “I dare not know, my Lord.”

    The main plot is one of jealousy and impulsive decisions, but there is a deeper, sadder truth underneath the raging king’s machinations.

    “A sad tale’s best for winter”, king Leontes’ young son tells his mother, before both become victims of the “tremor cordis” that deprives the king of his judgment.

    What happened?

    The king’s good friend Polixenes wants to leave after a stay at the court, and Leontes fails to convince him to prolong his visit. He therefore asks his wife, Hermione, to do her best to talk him into staying, and when she succeeds, he can’t believe it is due to her rhetorical skills. Instead, he believes that his friend and wife have an affair.

    As absurd as it may sound, Leontes perseveres in this position, to the point of charging Hermione with treason, while claiming to support a “just and open trial”.

    The justice and openness, however, turn into “fake news” and “alternative truths” when the oracle (the higher power of the law), does not confirm the king’s delusion, but frees his innocent wife of all accusations. Leontes overrides the law, acting according to his emotionally unstable mind, but with full executive power:

    “Your actions are my dreams. You
    Had a bastard by Polixenes
    And I but dreamed it. As you
    Were past all shame - Those
    Of your fact are so - so past
    All truth.”

    Reading this during the sad winter’s tale that is unfolding in our world of 2017, I feel almost nauseous. It is painful to see the bizarre misogyny that leads men in most of Shakespeare’s plays to destroy women’s and children’s lives because they can, despite often being ethically and intellectually as well as psychologically weaker than the Shakespearean women.

    They are however physically stronger and at the centre of executive power, and this is not something I can shrug off anymore, putting it under the heading “Something that people used to think over 400 years ago”.

    This is still very much the status quo in (too) many parts of the world.

    When Virginia Woolf imagined the career of a talented, fictional sister of Shakespeare’s, in her essay A Room of One's Own, she showed all the obstacles that the Shakespeare sister would have stumbled over to make her fail where her male counterpart succeeded, simply for being a woman. Had she shown the rhetorical skills of Hermione, men would have accused her of plagiarism, of adultery, or something else, maybe “unwomanly” behaviour.

    Men, in Shakespeare’s world, take what they want, when they need it, and think later:

    “I am a feather for each wind that blows”, King Leontes says.

    Of course he is punished for overthrowing the higher law of the oracle. Sixteen years - that gap of time - he has to expiate his rash behaviour, before the tragedy turns into comedy, and he deserves a second chance, reunited with his daughter, and with his wife, magically come alive again in an Pygmalionesque act of turning art into life.

    All’s Well That Ends Well, Shakespeare seems to say, and his cast walks off stage with the promise of filling in “the gap of time”, telling each other the stories of their lives during those miserable sixteen years of pain, until Leontes’ reason sets everything right again.

    I can’t help disagreeing. I see the tragedy unfolding with perfect clarity. I admire the accuracy with which Shakespeare depicted the folly of the powerful, surrounded by friends, but besieged by his own poisoned mind. I can see the helplessness and despair of women, children and servants who are without protection against this abuse. And I can see some kind of reconciliation at the end of the tunnel, after “a gap of time”. BUT!

    It is not all well that ends well. There is the sacrifice of the young son, who listened to his mother’s sad winter’s tale, not knowing that he had reached the premature winter of his own short life. And there is good-hearted Antigonus, who saves the baby girl Perdita, Leontes’ child, which he wants to see killed in the delusion that it is his friend’s bastard. Antigonus dies, earning long-lasting fame for his dramatic departure:

    “Exit, pursued by a bear!”

    Even if tyranny does not last, it is not acceptable to let mad, hormone-driven narcissistic old men exert power until time makes them more reasonable from within themselves.

    Whenever an environment is created where people feel “they dare not know”, with all that implies of actual (secret) knowledge, it has already gone too far, and something must be done, without “a gap of time”. Collective amnesia or ignorance is not an option!

    Unfortunately, Shakespeare’s first three acts, labelled tragedy, were more convincing and realistic than the last two, the comedy which needs a “deus ex machina” Pygmalion moment to force a happy end.

    What can be done? We can’t rely on Shakespeare’s genius to write a better ending to the tragedy of madness and power, can we?

    But he, as always, saw it clear and put it into unforgettable language!

    Recommended to: THE WORLD! (For we have more madmen - and women - than we can bear!)

    Exeo, pursued by a (night)mare!

  3. Bill Kerwin Bill Kerwin says:

    A masterpiece, demonstrating how grace redeems and love restores over time.

    This play features one of Shakespeare's most interesting psychological studies (Leontes) and two of his most charming heroines (Hermione and Perdita). Shakespeare's art has deepened to the point where he can deliberately choose an outrageously improbable denouement and present it in a way that makes his play more moving and richer symbolically than it would have been with a more probable conclusion.

  4. Madeline Madeline says:

    I decided not to do an abridged version of this play because, frankly, it's already so ridiculous that I can't improve on it. Instead, we here at Madeline Reviews Inc present a fictionalized account of an event that probably occured right before the writing of this (thankfully) little-known play. Enjoy:

    SCENE: a tavern in Renaissance London. CHRISTOPHER MARLOWE and BEN JONSON are sitting at the bar, already several ales into the morning. WILLIAM SHAKESPEARE enters, falls down, and then gets up and stumbles to the bar.

    WILLIAM SHAKESPEARE: Guys, I just got the best idea EVER for a play.
    CHRISTOPHER MARLOWE: That’s great Bill...hang on, why are your eyes so red? Jesus, have you been at the opium den AGAIN?
    BEN JONSON: Seriously dude, twice a day is plenty.
    SHAKESPEARE: SHUT UP AND LISTEN. Okay, so there’s this king, right, and he thinks his wife is cheating on him, but she’s really not, but he doesn’t know that, so he puts her on trial and she dies – I’m not sure how yet, I’ll work it out later - and then...
    MARLOWE: Um, Bill, I think you already did that one.
    SHAKESPEARE: No, this one is DIFFERENT, because it’s a million times cooler. Anyway, there’s gonna be a witch -
    JONSON: Did that already, too
    SHAKESPEARE: - and siblings getting separated -
    MARLOWE: Several times.
    SHAKESPEARE: - and then there’s gonna be a bear attack, and then at the end, a statue COMES TO LIFE.
    *long, awkward silence*
    MARLOWE: Well, that sounds...different.
    JONSON: Bill, I gotta be honest, I don’t think people are gonna go for this one. Why don’t you just write another history play?
    SHAKESPEARE: Oh yeah, like I’m going to take writing advice from YOU, Jonson.
    MARLOWE: Oh god, here he goes.
    SHAKESPEARE: Honestly, you call yourself a writer? Don't make me laugh, kid. I invented the word “eyeball”, did you know that? Eyeball. What the fuck have YOU done?
    MARLOWE: Listen, Bill, he just meant that...
    SHAKESPEARE: And YOU! Thinking you’re so great just because you wrote some play about a guy who summons the devil – which was totally my idea first! “Was this the face that launched a thousand ships and burnt the topless towers of Illium.” *spits on the ground* Great line, genius. Like anyone’s even going to remember that piece of shit ten years from now.
    JONSON: William, cut it out. You’re going to get us kicked out, AGAIN.
    SHAKESPEARE: He’s a spy, you know. He works for the fucking MAN. NARC!
    MARLOWE: God damn it, Bill, keep your mouth shut. Do you want me to get stabbed to death?
    SHAKESPEARE: Ah, fuck you all. I’m going to be more famous than either of you, just wait and see!
    JONSON: Not the way you’re going. I bet in a hundred years people won’t even be sure if you actually ever EXISTED.
    SHAKESPEARE: Oh, go to hell, Jonson. *falls down*
    MARLOWE: Come on, let’s get him to the doctor. A few leeches should cure what ails him.
    SHAKESPEARE: Hey, did I ever tell you guys about the time I nailed Viola de Lesseps?
    JONSON: You’re so full of shit, dude.

    and SCENE.

    ps: just fyi, in case anyone tries to show off how smart they are and points out that Marlowe wasn't alive when Shakespeare wrote The Winter's Tale, I will seriously slap you. Over the INTERNET.

  5. Dolors Dolors says:

    “A sad tale’s best for winter”

    An incredible potpourri of comedy, tragedy and fantasy that once again defies categorization. Dramatic realism comes through in the form of an obsessively jealous king, reminiscent of well-known Othello, the complex relationships between parents and children, as in King Lear or Hamlet, mystical resonance in Greek legends that contemplate sculptures turning into human beings, recalling the Christian concept of resurrection, and a lush, floral poetry that evokes the romanticism of the classic pastorals. All these apparently discordant features, which would easily create a muddled hotchpotch nine out of ten times, converge into an exuberant tale in the hands of the Bard.

    Hermione and Paulina have joined the list of my favorite female characters by Shakespeare, particularly the last one, who speaks her mind in front of the king and remains loyal to the queen, even when she is unjustly punished by chance in the form of an exotic bear that has a brief appearance in the middle of Act 3. Even Perdita, who like Miranda in The Tempest is presented as a nothing more than a beautiful maiden of a marriageable age, is surrounded by a sensuous aura that charms and bewitches the reader with the musical cadence of her soliloquies.

    Leaving the supernatural elements aside and the not so cohesive presentation in terms of action, time or location, Shakespeare appeals to the redeeming power of virtue and repentance to have a second opportunity to mend past mistakes, elevating art and love to cathartic forces that can perform miracles, the lost can be found again and be given a warm embrace back home, even in the coldest of winters.

    “What’s gone, and what’s past help,
    Should be past grief.”

  6. Cecily Cecily says:

    Image of Dench and Branagh, 2016:

    Reviews of audio books count, so I guess watching a play should, too. Perhaps more so, as that was the author's intended medium.

    I saw a stage production of The Winter's Tale a few days after finishing Jeanette Winterson's modern novelisation, The Gap of Time, which I reviewed HERE.

    My mother tells me I saw the play in my late teens, but I have no memory of it. My knowledge of the plot was from Winterson's summary and then her adaptation.

    I enjoyed the play, but it was odder than I expected (I see now that it's usually categorised as one of the problem plays because it is both tragedy and comedy). Many of the key events happen off-stage (e.g. deaths), though it does have the famous stage direction, “Exit, pursued by bear”.

    Somehow, it worked, though.

    1. Royal Tragedy

    Act one establishes a happy family and a happy court, before things rapidly disintegrate through the tragic and alarming madness of the King Leontes, obsessed by the lie that his pregnant wife’s baby is that of his childhood friend.

    The steadfastness of his wife is admirable and moving, though it perhaps stretches credulity. Or maybe I’m just not as hopeful, loving, or forgiving as Hermione. Nevertheless, those are entirely positive attributes.

    More problematic, are the unpalatable, immoral, and illegal actions demanded of some, under the guise of loyalty to their king. Zimbardo’s infamous Stanford Prison experiment and Milgram’s obedience experiments came to mind.

    Death comes to the court, and profound loss in addition to that.

    2. Bucolic Comedy

    The second act fast forwards sixteen years to a lively sheep-shearing festival, young love vetoed, and some comic routines from a pickpocket/peddler, amongst others.

    The more subtle theme (emphasised far more strongly in Winterson’s version) is about the goodness that can be found in ordinary people – selfless love, whether of an adult for a foundling, or between young people, not thinking of wealth or social position (or their lack of).

    3. Revelations, Resolution, Redemption?

    It ends with revelations, resolution, and a transformation that might be magic, an hallucination, or a straightforward trick.


    A happy ending that is another reason why this is no tragedy. But it is strange.

  7. Khush Khush says:

    This is a story of male friendship. We have the king of Sicily, Leontes, and the king of Bohemia, Polixenes indulging their fondness for each other. From the very outset, we see how these two friends socialize and enjoy the pleasures of being together. Even if they both have wives in tow (however, Prolixness is visiting Leontes without his queen), it is still a queer friendship. For instance, they both are kings, but Polixenes have the time to spend nine months with Leontes. Conventionally, this would have made more sense, had he actually been in love with the Leontes' queen, Hermione. But this is not the case, he is in the kingdom of Sicily only because of Leontes. Their bond is unique; it is based on loyalty, concern, and tenderness for each.

    Clearly, in those times, it must have been difficult for men, especially for noblemen– more so for the Kings– to love other men the way they could keep any number of women. But there must be a way, there must have been spaces where homosexual-urges could find nourishment. This is not to suggest that the kings in the play are sexually involved, but to say that their friendship has a distinct flavor of same-sex love to it.

    After spending nine months together, Polixenes wants to return to his kingdom. (Such a long stay in the case of a king was itself odd. One would have understood such a carefree, long sojourn if they were both poets, or at least one of them was). One wonders how could Polixenes stay such a long time with Leontes. Who looked after his kingdom, his queen?

    Now when he wants to leave, Leontes does not want him to go. As if being a king, having a wonderful queen Hermione and all the pleasures that come with it are not enough for Leontes, as if his life would be less on his friend's departure. Even after having him for long, Leontes is not sated. He begs Polixenes to extend his stay. These pleadings are the pleadings of a lover. When his pleadings do not work, Leontes involves his wife and asks her to intervene and implore Prolixenes to prolong his stay. This works, but finally, this has severe consequences. Leontes turns suspicious and wonders how come Prolixenes agreed so readily to stay on the requests of the queen and ignored his pleas.

    These freakish thoughts tinged with jealousy again tell us about the dynamics of his relationship with Prolixenes. He becomes furious less like a friend, more like a spurned lover– whose love interest has somehow ditched him by giving in to the beseechings of Hermione; something that is withheld from him. In reality, Polixenes might have been moved by the queen's request to stay; as if her asking him validates, in some fundamental way, his friendship with Leontes (Sadly, such a possibility never occurred to Leontes, in his passion and blinded involvement, he could not see it).

    However, once the jealousy and doubt emerge, they cloud Leontes' mind entirely, and he commits atrocities of the most ignoble kind. But the play, at last, ends happily. The unmistakable hints of same-sex love (if not an outright homosexual relationship) that we see in the first few acts are finally subsumed in the final act. The Princess meets his Prince, The King his Queen, and somewhere in the background, 'a male friendship' is restored. In other words, the straight narrative exerts itself in the final act and takes center stage, whereas the unruly male friendship is pushed to the margins.

  8. Alex Alex says:

    Exit, pursued by a bear is the most famous stage direction in literature. It comes here in Winter's Tale, at the end of Act III, and it's famous because it's funny.

    And the really funny thing is it's been a hella dark play until this moment. What happened is King Leontes has become suddenly and irrationally convinced that his wife is cheating on him (like Othello, with some Lear), so he thinks his infant daughter isn't his, so he orders her exposed in the wilderness to die, and the guy who drops her off, Antigonus, immediately gets chased off screen by the bear. It's conceivable that Shakespeare used a real bear. Antigonus (view spoiler)[dies, by the way, the bear gets him. (hide spoiler)]

  9. da AL da AL says:

    The BBC does an amazing job with this audiobook. As for the story, I really wish the king had gotten far more of comeuppance for his bad behavior.

  10. Bonnie Bonnie says:

    Abridged version: (inspired by Madeline's great abridged versions)

    Act I
    LEONTES, KING OF SICILY: You are my bestest friend since childhood, Polixenes!
    POLIXENES, KING OF BOHEMIA: You are my bestest friend too, Leontes! But it’s been 9 months and, y’know, I need to get home to my kingdom and son and all.
    KING LEONTES: NOOOOOO. I need you in my life! Stay, stay!
    QUEEN HERMIONE: I agree with my husband.
    KING POLIXENES: Well, shucks, fine, I’ll stay a little longer.
    CAMILLO: Wait, what?
    KING LEONTES: Kill Polixenes! The only reason he’s staying is because of the queen! They’re totally doing it behind my back!
    CAMILLO: Hey, Polixenes, you might want to skiddaddle. Leontes is in a killing mood.
    KING POLIXENES: Yeah, I’m just going to bounce. Queen Hermione should totally be okay. Laters!

    Act II
    NOBLES: What?
    *Queen Hermione goes to jail and gives birth*
    ANTIGONUS: Yeah, I’m going to have to say no to that one.
    ANTIGONUS: That I can do.

    Act III
    QUEEN HERMIONE: I’m innocent!
    APOLLO'S ORACLE: The queen’s innocent. Polixenes is innocent. King Leontes is a tyrant.
    SERVANT: Your son died!
    KING LEONTES: Apollo is totes angry I accused him of lying! My bad! My wife is totally innocent.
    *Queen Hermione dies of grief*
    ANTIGONUS: Baby-abandoning time! Well, my job’s done so I guess I’m going to be killed off.
    *Exit, pursued by a bear* [actual stage direction!]
    SHEPHERD: Ooh, a baby! And gold! Shiny!

    Act IV
    TIME: Sixteen years pass! Whee! King Leontes’ daughter, Perdita, is raised by the shepherd and grows up pretty. King Polixenes’ son, Florizel, grows up a romantic.
    FLORIZEL: I love you!
    PERDITA: I love you more!
    FLORIZEL: Let’s get married!
    KING POLIXENES *in disguise*: What would your father say about this?
    Florizel: There’s a reason I’m not telling him.
    KING POLIXENES: *takes off disguise* Darn straight there’s a reason! Death to the Shepherd! Mauling for Perdita! Disinheritance if you ever speak of the shepherd’s daughter again!
    FLORIZEL: That is so unfair! I don’t want to be the stupid king of your stupid kingdom anyway! We’re going to elope!
    *Perdita and Florizel run off to King Leontes’ court*

    Act V
    KING LEONTES: My dead wife was the most perfect, angelic, saint-like woman ever!
    *Perdita and Florizel arrive*
    FLORIZEL: I am totally not eloping with a shepherdess.
    KING LEONTES: Aww, what a sweet couple.
    LORD: Florizel’s father is here. And Florizel is totally eloping with a shepherdess.
    KING LEONTES: Let’s go talk to your father, Florizel.
    FLORIZEL: Aw man.
    RANDOM EXTRAS: King Leontes’ finding out Perdita was his lost daughter and reuniting with her was so touching. Too bad the audience couldn’t see it! We’ll just talk about how the Shepherd showed up and revealed Perdita’s true heritage and King Leontes and King Polixenes became friends again and now Perdita and Florizel can get married and everyone cried from happiness.
    PERDITA: Let's all go see my mother’s statue!
    QUEEN HERMIONE'S STATUE: I came to life! Or maybe I was never dead and was just pretending to be a statue! Who knows! Happy endings all around!

    Actual review: This is one of the more cracked-out Shakespeare plays I've read, what with the random bear-chasing (and devouring!) and the maybe-statue-coming-to-life/maybe-Hermione-just-pretending-to-be-a-statue thing. I didn't like King Leonte's random wife-accusing. At least Othello was convinced by the devious Iago that his wife was cheating. King Leontes came up with his insane troll logic by himself. I also tend to have a problem with Shakespeare's comedies in general. I think they can be hilarious when performed, but they really rely on good comedic timing/acting that just does not translate when you're reading it by yourself. I was intrigued by the unrepentant rogue Autolycus (cut from the abridged version) because he revels in his badness. I think a good actor could make him incredibly fun.

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