Category Archives: The Winter’s Tale

The Tempest: sources? We don’t need no stinking sources!

We’ve already determined that The Tempest was all Shakespeare’s work, the writing of it–and the last one he did write solo. But what about where he pilfered the story? I mean, the Bard was also the Thief of Avon, as we’ve seen many, many times before.

So where’d he get this story?

Continue reading The Tempest: sources? We don’t need no stinking sources!

Podcast 159: The Winter’s Tale — Concept and Conclusion

[archive]

This week’s podcast concludes our two-month discussion of The Winter’s Tale. We’re going to discuss a possible directorial concept (or rather some dramaturgical issues) and a conclusion to the play.

Continue reading Podcast 159: The Winter’s Tale — Concept and Conclusion

Time enough at last

No. This title doesn’t mean that I can really get down to work on this blog full-time. Damn. It’s a reference to one of my favorite episodes of The Twilight Zone. But this post has nothing to do with breaking my reading glasses after finding all the books I want to read when I have (you know) time enough at last. No, this still has to do with The Winter’s Tale.

Continue reading Time enough at last

Wide gaps in casting

Earlier this month, when I attended the Wooden O Symposium, I was lucky enough to listen to Nicholas Brush, from the University of Central Oklahoma, present his paper on bromance in Romeo and Juliet, and how a back-to-back-line sequence there, using the phrases “gentlemen” and “very friend,” can be seen as a meta-textual allusion to an earlier play, The Two Gentlemen of Verona. It was fascinating (especially when another presenter pointed out the phrase “pure gold” appears in only two plays…those two plays). And of course, it got me thinking–not as straightforwardly as Nick but tangentially–about The Winter’s Tale.

Continue reading Wide gaps in casting

The Winter’s Tale: midpoint?

Using Professor Rodes’ midpoint theory, let’s take a look at The Winter’s Tale.

There are 2977 lines in in the play, which means the midpoint is at line 1489, or at Act Four, Scene Three, line 39. According to Dr. Rodes’ theory, you could find at this midpoint–or within twenty lines either way–a speech that perfectly sums up a major theme of the play (the 20-line leeway was to help remove the differences in prose line lengths between individual editions).

Continue reading The Winter’s Tale: midpoint?

Podcast 158: The Winter’s Tale — bawdy and videos [EXPLICIT]

[archive]

This week’s podcast continues our two-month discussion of The Winter’s Tale. We’re going to discuss bawdy in the play, then review some of the videos available.

Continue reading Podcast 158: The Winter’s Tale — bawdy and videos [EXPLICIT]

Indoor/Outdoor and out of my head

Yesterday, I talked a bit (and a bit scatteredly) on some of the dualities and opposites in The Winter’s Tale. One such subject was the idea that the first half of the play (save for the last, pivotal scene on the Bohemian seacoast) was in the Sicilian palace, and the fourth act (save for a first interlude in the Bohemian palace) was completely outdoors in the Bohemian midsummer, with the final act taking place back in Leontes’ palace. Civilization vs. Nature, court vs. rural. But I also noted that there was a fly in that particular ointment.

Here’s the fly…

Continue reading Indoor/Outdoor and out of my head

The Winter’s Tale: scattered opposites

In Shakespeare, you’re always going to find dichotomies, oppositions (you know, to be OR NOT to be), that’s not a question. Now, Macbeth is filled with verbal oppositions (so fair and foul a day, etc.). The Winter’s Tale, however, contains some incredible situational oppositions as well.

  • Court/Rural (civilization/nature || Sicilia/Bohemia)
  • Leontes/Polixenes
  • Death/Life
  • Artifice/Art

Continue reading The Winter’s Tale: scattered opposites

[EXPLICIT] Bawdiness in Winter: BYOD

[EXPLICIT CONTENT, ADULT LANGUAGE AND SOPHOMORIC SEX HUMOR AHEAD… SKIP IF EASILY OFFENDED.]

Eric Partridge, in his study of and dictionary for the bawdy in the Bard, Shakespeare’s Bawdy, has this to say about our play: “Cymbeline in many ways resembles The Winter’s Tale, which is slightly less bawdy but rather more sexual. They are of much the same quantitative order as All’s Well.” (Shakespeare’s Bawdy, Partridge, Eric. New York: Routledge Classics, 2001; page 58).

Well, All’s Well’s got some dirt, but isn’t that dirty. Cymbeline, pretty much the same…let’s see if Partridge is right.

Continue reading [EXPLICIT] Bawdiness in Winter: BYOD

Genre, pivots, and order: The Winter’s Tale

Now, I don’t know how long it’s been, but as long as I can remember, I’ve thought/been told that the order of the last few plays by Shakespeare, all romances, goes Cymbeline, The Winter’s Tale, and The Tempest (with the fourth romance, Pericles, preceding Cymbeline’s predecessor, Coriolanus). But now I’m discovering that there are some dissenting views.

Continue reading Genre, pivots, and order: The Winter’s Tale