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!
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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
So. The Winter’s Tale.
As I say good-bye to this play, I’m grappling with a number of issues. Especially from a dramaturgical point of view…
Continue reading Exit. Pursued by a Tempest.
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
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
Is it any surprise that in the play with arguably the most famous stage direction ever, we find a down-tick in dialogue-based stage direction? Of course, nothing about The Winter’s Tale surprises me now…
Continue reading The Winter’s Tale: stage directions
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?
The Winter’s Tale
So here’s the numerical breakdown…
Continue reading The Winter’s Tale: by the numbers
OK, the mark of a good literary character is change, being different at the end of the play than from the beginning because of all s/he has been through. And we all see how Leontes is a repentant king at the end of The Winter’s Tale. Right?
I’m not so sure…
Continue reading Seriously, dude…really?
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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]
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
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)
Continue reading The Winter’s Tale: scattered opposites
In The Winter’s Tale, much like in Pericles (but not SO much like Cymbeline), we have a question of protagonist, hero. Who is this play about? If we’re talking main character here, then Leontes is probably your answer.
The numbers would seem to back that up…
Continue reading Who is this about, again?
[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
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