INTRO RECAP (skip this if you already read about Paulina): As I was starting to explore The Winter’s Tale, a couple of things really jumped out at me. One: haven’t we seen an awful lot of these characters and scenarios before? And two: can I think of another Shakespeare play with such purposefully powerful female characters? As our Artistic Director, Will, says – The Winter’s Tale may be Shakespeare’s first truly successful experimental piece. Pericles, which comes before, is “what everyone thinks of Shakespeare: it’s long, it’s boring, and nobody knows what’s going on.” And The Tempest, which comes after, might be one of the most perfect interweavings of comedy and drama.
There are echoes of ghosts of Shakespeare’s past in Paulina, Perdita, and Hermione – in how they identify themselves, and relate to Leontes (our…protagonist? Primary antagonist?). Yet the women of Winter’s Tale in so many ways seem to be more full crystallizations of some of those earlier characters. The Winter’s Tale feels like a mythic convergence of earlier themes, and there are clues throughout that it is an allegorical story set outside what we might consider reality. It’s a setting-in-stone kind of play (if you’ll pardon the pun).
There’s a lot to talk about there – for example, Time is personified as a character who introduces the second act – but I’m interested in exploring the central female characters and how they embody mythical statuses. In her book The Women of Will, Tina Packer of Shakespeare & Company points out that this play’s women “adhere to the ancient archetypes”: mother, virgin, witch. So that’s the framework I’m choosing to work through for this particular conversation.
PART TWO: PERDITA
Moving on to the wayward, banished Perdita – the virgin of the trio. She functions in a prodigal/redemptive daughter role for Leontes, perhaps similar to Marina in Pericles or Cordelia in King Lear. The Lear parallel interests me more, because many have