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Overview

The authoritative edition of The Winter’s Tale from The Folger Shakespeare Library, the trusted and widely used Shakespeare series for students and general readers, is now available as an ebook. Features include:


> The exact text of the printed book for easy cross-reference
> Hundreds of hypertext links for instant navigation
> Freshly edited text based on the best early printed version of the play
> Full explanatory notes conveniently placed on pages facing the text of the play
> Scene-by-scene plot summaries
> A key to famous lines and phrases
> An introduction to reading Shakespeare's language
> Illustrations from the Folger Shakespeare Library's vast holdings of rare books
> An essay by a leading Shakespeare scholar providing a modern perspective on the play

An abridged version of Shakespeare's play, in which a party of nobles is washed ashore on a mystical island, summoned by a former noble turned magician.

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Editorial Reviews

Publishers Weekly - Publisher's Weekly
Prospero-like in their artistry, Spirin's dazzling watercolors dominate this retelling of Shakespeare's final play. Shaped like altar panels fit for a Renaissance church or palace, the illustrations are romantic, regal and magical, richly interpreting the play's themes of betrayal, revenge and all-conquering love. A wispy ethereal air pervades island scenes, beautifully suggesting the atmosphere of enchantment, while Antonio and the King of Naples are pictured in brocade and velvet, the stench of power upon them. The other characters, too, are both otherworldly and very much flesh and blood. Especially well rendered is the monster Caliban, shown here as part man, part beast, part mythical creature, a sense of evil glee lighting his features. While this prose adaptation does not, of course, retain the full magic of the Bard's work, Beneduce nonetheless provides an intelligent, gripping story. Several passages from Shakespeare introduced at key points give a taste of the original. Symbols and small pictures integrated into the text further enhance the lavish presentation. All ages. (Mar.)
Children's Literature - Marilyn Courtot
The Tempest becomes accessible to children through the retelling skill of Bruce Coville and the glowing illustrations of Sanderson. This fairy tale of magic and love, demons and spirits, has much to attract today's children and to introduce them to the works of the master.
VOYA - Patti Sylvester Spencer
This edition of the play, part of the Oxford School Shakespeare series, presents Shakespeare's unabridged tragicomedy with thorough supplementary notes (parallel to script), vocabulary, and brief scene synopses. Scattered pen/ink sketches illustrate a few scenes. Large pages might make this paperback more reader-friendly than some. A lengthy commentary introducing the play could be useful to students already familiar with it. Following the text of the play, the editor discusses source material, demonstrating Shakespeare's use of borrowed ideas. Several paragraphs of criticism inform students how readers/viewers from Samuel Johnson (1765) to Harold C. Goddard (1951) viewed the play. Supplementary material includes a nineteenth century actress sharing ideas about working on the play with famed actor Macready, and a musical score for songs in the play. Ten pages titled Classwork and Examinations offer a variety of traditional teaching methods for instructors (discussion, character study, essays, etc.) The volume closes with a frank biographical sketch of Shakespeare, which admits to the dearth of facts and the necessary speculation. Illus. Source Notes. Chronology. VOYA Codes: 3Q 2P S (Readable without serious defects, For the YA with a special interest in the subject, Senior High-defined as grades 10 to 12).
Children's Literature - Rebecca Joseph
Shipwrecks, storms at sea, magicians, sorcerers, revenge, love, all these and more take place in Shakespeare's play The Tempest which John Escott brings to life for young people. Readers will come to understand Propsero, the former Duke of Milan, who was cast out to sea with his young daughter by Antonio. They arrived at a mysterious island filled with magical characters. Prospero causes a tempest that shipwrecks Antonio and his young son Ferdinand on the same island that has been Prospero and daughter Miranda's home. Through the pages of this beautiful adaptation, we watch Prospero take revenge, but in the end come to terms with his magic and those who had done him wrong. Accompanied with exquisite pictures of the different characters and the conflicts, The Tempest comes alive in this version.
VOYA - Roxy Ekstrom
This book is designed to help students read a play written in an English used 350 years ago-but the reader has to get to page 105 among the appendices to learn the book's intended audience. This information would have been more helpful as an introduction, instead of the offbeat one found here. The book's strength lies in its page-by-page notes that explain difficult words, archaic phrases, and historical/literary allusions. An occasional note may be more than the student wants, but most are useful without being dumbed-down. The notes are also helpfully placed alongside the text rather than at the bottom of the page, a feature students might like if they are not put off by the resultant double-column appearance.

While the notes should be useful to students at any grade level, the appended material, both introductory and supplementary, is marked by style and vocabulary making it suitable only for the most advanced and/or interested high school or undergraduate students. Among the appendices is a modern poem with no explanation for its inclusion, and no identification of the poet whose poem does allude to the The Tempest. One gets the impression of a mountain of unrelated three-by-five cards being used, with no effort to bridge them together. A long appendix titled "Classwork and Examination," which is a collection of very good ideas for teachers, is strangely addressed to students.

The cover features a fine color photograph of Sweden's Max Von Sydow as Prospero and Rudi Davies as Miranda, but one wonders if a picture of the young lovers or Caliban the monster would have been more appealing to young readers. Students could make good use of this book by ignoring most of the scholarly appendages and using the excellent footnotes to elucidate one of the most enjoyable of Shakespeare's profound works. Illus. Charts. Source Notes. Further Reading. Chronology. Appendix.

VOYA Codes: 2Q 2P S (Better editing or work by the author might have warranted a 3Q, For the YA rea

Children's Literature - Susie Wilde
Shakespeare comes to picture books beautifully when Ann Beneduce retells the complex story of The Tempest in a way that's understandable to children. She's helped by the very classic looking illustrations of Gennady Spirin, who captures the magic of spirits and beasts.
Children's Literature - Uma Krishnaswami
With clever interplay of original dialogue and adapted text, the bard's immortal work is here transformed into a charming "once-upon-a-time" tale. Purists might bemoan the deletion of lines, verses, even whole scenes, but no one can complain that the spirit of the play has not been faithfully transmitted. It has been transmitted with grace and elegance, moreover, and with an acute perception of a young reader's capabilities. Spirin's illustrations are exquisite.
School Library Journal
Gr 3 Up-The play is set circa 1610. Spirin expands Beneduce's retelling by basing his lavish watercolors on Italian Renaissance paintings. Though the pages are carefully framed, highly ornate, and formally structured, there is plenty of leeway for individual imagination to make itself felt. Ariel is a decorative Renaissance angel. Caliban is given piscine characteristics and expressions that evoke the longing as much as the brutishness in his character. And the human characters have the complexity of portraits. Spirin's illustrations highlight the fantastic while Ruth Sanderson's landscapes for Bruce Coville's version of the play (Doubleday, 1994) focus on the effects of nature. Both are valid. Coville's simpler retelling is easier to follow. Beneduce, too, eliminates some of the subplots in order to avoid confusion, but her fuller text manages to incorporate most of the romantic, magical, and political elements. Within the main text, she modernizes the dialogue. This works smoothly for the most part, though it's hard to see how "What a wonderful new world I am about to enter..." is an improvement over "O brave new world..." A few passages of original text are set off in isolated frames, for a sense of the poetry. Readers and potential playgoers will need to see the play performed to experience the comic scenes of Caliban and his cronies. Brief appendixes explain the context in which the play was written and the reteller's choices and give an overview of Shakespeare's life. This is a case in which an acceptably graceful text plays a supporting role to the illustrations. They are worth the price of admission.-Sally Margolis, formerly at Deerfield Public Library, IL
Kirkus Reviews
Beneduce (A Weekend With Winslow Homer, 1993, etc.) retells Shakespeare's play in a text that reads like a fairy tale.

This version emphasizes first the love story between Miranda and Ferdinand and then Prospero's forgiveness of his enemies. Some of the subplots have been eliminated (for reasons given in a careful author's note), but several songs and speeches have been folded into the story, much of which is told in dialogue. Spirin's beautiful watercolors are done in the manner of Renaissance paintings, even to the effect of old varnish affecting the tones. The scenes echo the narrative's focus on the enchantments of the play, presenting beasts worthy of Hieronymous Bosch and gentle spirits to rival the angels of Botticelli. This gorgeous picture book will be particularly useful in high school collections, for the story in the art sets the stage for this Renaissance drama. Recommended for public and school libraries: Not only does it work as a read-alone story but will prepare theatergoers for a performance of the full play.

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Product Details

  • ISBN-13: 9781451682564
  • Publisher: Simon & Schuster Adult Publishing Group
  • Publication date: 11/15/2011
  • Series: Folger Shakespeare Library Series
  • Sold by: SIMON & SCHUSTER
  • Format: eBook
  • Edition description: Annotated
  • Pages: 352
  • Sales rank: 611,073
  • File size: 14 MB
  • Note: This product may take a few minutes to download.

Meet the Author

Susan Snyder was formerly a scholar in residence at the Folger Shakespeare Library and a former Professor of English at Swarthmore College.

Deborah T. Curren-Aquino is Reader at the Folger Shakespeare Library, Washington DC.

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Read an Excerpt

Chapter One



Act 1 Scene 1 running scene 1


Enter Camillo and Archidamus

ARCHIDAMUS If you shall chance, Camillo, to visit Bohemia,

on the like occasion whereon my services are now on foot, you shall see, as I have said, great difference betwixt our Bohemia and your Sicilia.

CAMILLO I think this coming summer the King of Sicilia means to pay Bohemia the visitation which he justly owes him.

ARCHIDAMUS Wherein our entertainment shall shame us, we will be justified in our loves, for indeed-

CAMILLO Beseech you-

ARCHIDAMUS Verily, I speak it in the freedom of my knowledge: we cannot with such magnificence - in so rare - I know not what to say. We will give you sleepy drinks, that your senses, unintelligent of our insufficience, may, though they cannot praise us, as little accuse us.

CAMILLO You pay a great deal too dear for what's given freely.

ARCHIDAMUS Believe me, I speak as my understanding instructs me and as mine honesty puts it to utterance.

CAMILLO Sicilia cannot show himself over-kind to Bohemia. They were trained together in their childhoods and there rooted betwixt them then such an affection which cannot choose but branch now. Since their more mature dignities

and royal necessities made separation of their society,

their encounters, though not personal, have been royally attorneyed with interchange of gifts, letters, loving embassies, that they have seemed to be together, though absent, shook hands, as over a vast, and embraced, as it were, from the

ends of opposed winds. The heavens continue their loves.

ARCHIDAMUS I think there is not in the world either malice or matter to alter it. You have an unspeakable comfort of your young prince Mamillius: it is a gentleman of the greatest promise that ever came into my note.

CAMILLO I very well agree with you in the hopes of him: it is a gallant child; one that indeed physics the subject, makes old hearts fresh. They that went on crutches ere he was born desire yet their life to see him a man.

ARCHIDAMUS Would they else be content to die?

CAMILLO Yes; if there were no other excuse why they should desire to live.

ARCHIDAMUS If the king had no son, they would desire to live on crutches till he had one. Exeunt

Act 1 Scene 2 running scene 1 continues

Enter Leontes, Hermione, Mamillius, Polixenes, Camillo [and

Attendants]

POLIXENES Nine changes of the wat'ry star hath been

The shepherd's note since we have left our throne

Without a burden. Time as long again

Would be filled up, my brother, with our thanks.

And yet we should, for perpetuity,

Go hence in debt: and therefore, like a cipher,

Yet standing in rich place, I multiply

With one 'We thank you' many thousands moe

That go before it.

LEONTES Stay your thanks a while,

And pay them when you part.

POLIXENES Sir, that's tomorrow.

I am questioned by my fears of what may chance

Or breed upon our absence, that may blow

No sneaping winds at home, to make us say

'This is put forth too truly'. Besides, I have stayed

To tire your royalty.

LEONTES We are tougher, brother,

Than you can put us to't.

POLIXENES No longer stay.

LEONTES One sev'nnight longer.

POLIXENES Very sooth, tomorrow.

LEONTES We'll part the time between's then, and in that

I'll no gainsaying.

POLIXENES Press me not, beseech you, so.

There is no tongue that moves, none, none i'th'world

So soon as yours could win me. So it should now,

Were there necessity in your request, although

'Twere needful I denied it. My affairs

Do even drag me homeward, which to hinder

Were in your love a whip to me, my stay

To you a charge and trouble. To save both,

Farewell, our brother.

LEONTES Tongue-tied, our queen? Speak you.

HERMIONE I had thought, sir, to have held my peace until

You had drawn oaths from him not to stay. You, sir,

Charge him too coldly. Tell him you are sure

All in Bohemia's well: this satisfaction

The bygone day proclaimed. Say this to him,

He's beat from his best ward.

LEONTES Well said, Hermione.

HERMIONE To tell, he longs to see his son, were strong.

But let him say so then, and let him go.

But let him swear so, and he shall not stay,

We'll thwack him hence with distaffs.-

Yet of your royal presence I'll adventure To Polixenes

The borrow of a week. When at Bohemia

You take my lord, I'll give him my commission

To let him there a month behind the gest

Prefixed for's parting.- Yet, good deed, Leontes,

I love thee not a jar o'th'clock behind

What lady she her lord.- You'll stay?

POLIXENES No, madam.

HERMIONE Nay, but you will?

POLIXENES I may not, verily.

HERMIONE Verily?

You put me off with limber vows. But I,

Though you would seek t'unsphere the stars with oaths,

Should yet say 'Sir, no going.' Verily,

You shall not go; a lady's 'Verily' is

As potent as a lord's. Will you go yet?

Force me to keep you as a prisoner,

Not like a guest: so you shall pay your fees

When you depart, and save your thanks. How say you?

My prisoner? Or my guest? By your dread 'Verily',

One of them you shall be.

POLIXENES Your guest, then, madam.

To be your prisoner should import offending,

Which is for me less easy to commit

Than you to punish.

HERMIONE Not your jailer, then,

But your kind hostess. Come, I'll question you

Of my lord's tricks and yours when you were boys.

You were pretty lordings then?

POLIXENES We were, fair queen,

Two lads that thought there was no more behind

But such a day tomorrow as today,

And to be boy eternal.

HERMIONE Was not my lord

The verier wag o'th'two?

POLIXENES We were as twinned lambs that did frisk i'th'sun,

And bleat the one at th'other. What we changed

Was innocence for innocence. We knew not

The doctrine of ill-doing, nor dreamed

That any did. Had we pursued that life,

And our weak spirits ne'er been higher reared

With stronger blood, we should have answered heaven

Boldly 'Not guilty', the imposition cleared

Hereditary ours.

HERMIONE By this we gather

You have tripped since.

POLIXENES O, my most sacred lady,

Temptations have since then been born to's. For

In those unfledged days was my wife a girl;

Your precious self had then not crossed the eyes

Of my young play-fellow.

HERMIONE Grace to boot!

Of this make no conclusion, lest you say

Your queen and I are devils. Yet go on.

Th'offences we have made you do we'll answer,

If you first sinned with us, and that with us

You did continue fault, and that you slipped not

With any but with us.

LEONTES Is he won yet?

HERMIONE He'll stay, my lord.

LEONTES At my request he would not.- Aside?

Hermione, my dearest, thou never spok'st

To better purpose.

HERMIONE Never?

LEONTES Never, but once.

HERMIONE What? Have I twice said well? When was't before?

I prithee tell me. Cram's with praise, and make's

As fat as tame things. One good deed dying tongueless

Slaughters a thousand waiting upon that.

Our praises are our wages. You may ride's

With one soft kiss a thousand furlongs ere

With spur we heat an acre. But to th'goal:

My last good deed was to entreat his stay:

What was my first? It has an elder sister,

Or I mistake you - O, would her name were Grace! -

But once before I spoke to th'purpose: when?

Nay, let me have't: I long.

LEONTES Why, that was when

Three crabbèd months had soured themselves to death,

Ere I could make thee open thy white hand

And clap thyself my love; then didst thou utter

'I am yours for ever.'

HERMIONE 'Tis grace indeed.-

Why, lo you now, I have spoke to th'purpose twice: To Polixenes?

The one forever earned a royal husband;

Th'other for some while a friend. Takes Polixenes' hand

LEONTES Too hot, too hot! Aside

To mingle friendship far is mingling bloods.

I have tremor cordis on me: my heart dances,

But not for joy, not joy. This entertainment

May a free face put on, derive a liberty

From heartiness, from bounty, fertile bosom,

And well become the agent. 'T may, I grant.

But to be paddling palms and pinching fingers,

As now they are, and making practised smiles,

As in a looking-glass, and then to sigh, as 'twere

The mort o'th'deer - O, that is entertainment

My bosom likes not, nor my brows.- Mamillius,

Art thou my boy?

MAMILLIUS Ay, my good lord.

LEONTES I' fecks!

Why, that's my bawcock. What? Hast smutched thy nose?-

They say it is a copy out of mine.- Come, captain, Aside?

We must be neat; not neat, but cleanly, captain.

And yet the steer, the heifer and the calf

Are all called neat.- Still virginalling Aside

Upon his palm?- How now, you wanton calf!

Art thou my calf?

MAMILLIUS Yes, if you will, my lord.

LEONTES Thou want'st a rough pash and the shoots that I have

To be full like me.- Yet they say we are Aside?

Almost as like as eggs; women say so,

That will say anything. But were they false

As o'er-dyed blacks, as wind, as waters, false

As dice are to be wished by one that fixes

No bourn 'twixt his and mine, yet were it true

To say this boy were like me.- Come, sir page, To Mamillius

Look on me with your welkin eye. Sweet villain!

Most dear'st, my collop! Can thy dam, may't be

Affection?- Thy intention stabs the centre. Aside?

Thou dost make possible things not so held,

Communicat'st with dreams - how can this be? -

With what's unreal thou coactive art,

And fellow'st nothing. Then 'tis very credent

Thou mayst co-join with something, and thou dost,

And that beyond commission, and I find it,

And that to the infection of my brains

And hard'ning of my brows.

POLIXENES What means Sicilia?

HERMIONE He something seems unsettled.

POLIXENES How, my lord?

LEONTES What cheer? How is't with you, best brother?

HERMIONE You look as if you held a brow of much distraction.

Are you moved, my lord?

LEONTES No, in good earnest.-

How sometimes nature will betray its folly, Aside?

Its tenderness, and make itself a pastime

To harder bosoms!- Looking on the lines

Of my boy's face, methoughts I did recoil

Twenty-three years, and saw myself unbreeched,

In my green velvet coat; my dagger muzzled,

Lest it should bite its master, and so prove,

As ornaments oft do, too dangerous.

How like, methought, I then was to this kernel,

This squash, this gentleman.- Mine honest friend, To Mamillius

Will you take eggs for money?

MAMILLIUS No, my lord, I'll fight.

LEONTES You will? Why, happy man be's dole! My brother,

Are you so fond of your young prince as we

Do seem to be of ours?

POLIXENES If at home, sir,

He's all my exercise, my mirth, my matter;

Now my sworn friend and then mine enemy;

My parasite, my soldier, statesman, all.

He makes a July's day short as December,

And with his varying childness cures in me

Thoughts that would thick my blood.

LEONTES So stands this squire

Officed with me. We two will walk, my lord,

And leave you to your graver steps.- Hermione,

How thou lovest us, show in our brother's welcome.

Let what is dear in Sicily be cheap.

Next to thyself and my young rover, he's

Apparent to my heart.

HERMIONE If you would seek us,

We are yours i'th'garden: shall's attend you there?

LEONTES To your own bents dispose you: you'll be found,

Be you beneath the sky.- I am angling now, Aside

Though you perceive me not how I give line.

Go to, go to!

How she holds up the neb, the bill to him!

And arms her with the boldness of a wife

To her allowing husband!

[Exeunt Polixenes, Hermione and Attendants]

Gone already?

Inch-thick, knee-deep, o'er head and ears a forked one!-

Go, play, boy, play. Thy mother plays, and I

Play too, but so disgraced a part, whose issue

Will hiss me to my grave. Contempt and clamour

Will be my knell. Go play, boy, play.- There have been,

Or I am much deceived, cuckolds ere now.

And many a man there is, even at this present,

Now while I speak this, holds his wife by th'arm,

That little thinks she has been sluiced in's absence

And his pond fished by his next neighbour, by

Sir Smile, his neighbour. Nay, there's comfort in't

Whiles other men have gates and those gates opened,

As mine, against their will. Should all despair

That have revolted wives, the tenth of mankind

Would hang themselves. Physic for't there's none:

It is a bawdy planet, that will strike

Where 'tis predominant; and 'tis powerful, think it,

From east, west, north and south. Be it concluded,

No barricado for a belly. Know't,

It will let in and out the enemy

With bag and baggage. Many thousand on's

Have the disease, and feel't not.- How now, boy?

MAMILLIUS I am like you, they say.

LEONTES Why that's some comfort. What, Camillo there?

CAMILLO Ay, my good lord. Comes forward

LEONTES Go play, Mamillius, thou'rt an honest man.-

[Exit Mamillius]

Camillo, this great sir will yet stay longer.

CAMILLO You had much ado to make his anchor hold:

When you cast out, it still came home.

LEONTES Didst note it?

CAMILLO He would not stay at your petitions, made

His business more material.

LEONTES Didst perceive it?-

They're here with me already, whisp'ring, rounding Aside

'Sicilia is a so-forth.' 'Tis far gone

When I shall gust it last.- How came't, Camillo, To Camillo

That he did stay?

CAMILLO At the good queen's entreaty.

LEONTES At the queen's be't. 'Good' should be pertinent,

But so it is, it is not. Was this taken

By any understanding pate but thine?

For thy conceit is soaking, will draw in

More than the common blocks. Not noted, is't,

But of the finer natures? By some severals

Of head-piece extraordinary? Lower messes

Perchance are to this business purblind? Say.

CAMILLO Business, my lord? I think most understand

Bohemia stays here longer.

LEONTES Ha?

CAMILLO Stays here longer.

LEONTES Ay, but why?

CAMILLO To satisfy your highness and the entreaties

Of our most gracious mistress.

LEONTES Satisfy?

Th'entreaties of your mistress? Satisfy?

Let that suffice. I have trusted thee, Camillo,

With all the nearest things to my heart, as well

My chamber-councils, wherein, priest-like, thou

Hast cleansed my bosom, I from thee departed

Thy penitent reformed. But we have been

Deceived in thy integrity, deceived

In that which seems so.

CAMILLO Be it forbid, my lord!

LEONTES To bide upon't, thou art not honest: or,

If thou inclin'st that way, thou art a coward,

Which hoxes honesty behind, restraining

From course required: or else thou must be counted

A servant grafted in my serious trust

And therein negligent: or else a fool

That see'st a game played home, the rich stake drawn,

And tak'st it all for jest.

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Table of Contents

Preface vii
Plan of the Work ix
The Winter's Tale: Text, Textual Notes, and Commentary 1
Appendix
Irregular, Doubtful, and Emended Accidentals in F1 567
Unadopted Conjectures 569
The Text
Authenticity 586
The 1623 Version of The Winter's Tale 586
The F1 Copy 590
Crane's Copy 598
Crane's Reliability 600
The Printer's Reliability 601
Subsequent Early Editions 601
The Date of Composition
External Evidence 602
Internal Evidence 609
Summary 615
Sources
Primary Source
Pandosto 616
Shakespeare's Use of Pandosto 656
General Indebtedness 656
Genre 668
Characters 670
Other Sources
Robert Greene's Cony-Catching Pamphlets 672
The Second and last Part of Conny-catching 673
The Thirde and last Part of Conny-catching 673
Francis Sabie's Poems 674
The Fissher-mans Tale 674
Flora's Fortune 675
Possible Sources, Analogues, and Imitations 680
Criticism
General Assessments 702
Genre 717
Themes and Significance 728
Time's Mutability 728
Nature (and Art) 730
Repentance and Renewal 738
Drame a Clef 742
Technique 745
Structure 745
Language and Style 753
Characters 761
Antigonus 761
Autolycus 762
Camillo 768
Florizel 770
Hermione 771
Leontes 775
Mamillius 785
Paulina 786
Perdita 792
Polixenes 796
Shepherd and Clown 797
The Winter's Tale on the Stage
Performances 798
Staging the Bear and Time 816
Screen and Sound Recordings 818
The Text on the Stage 819
The Versions 819
Reshaping the Text 826
Cuts 826
Substitutions, Transpositions, and Additions 840
Music in the Winter's Tale 851
Bibliography 875
Index 933
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First Chapter

HERMIONE, Queen of Sicilia
MAMILLIUS, their son
PERDITA, their daughter

POLIXENES, King of BOHEMIA
FLORIZELL, his son

CAMILLO, a courtier, friend to Leontes and then to Polixenes ANTIGONUS, a Sicilian courtier
PAULINA, his wife and lady-in-waiting to Hermione
CLEOMENES courtier in Sicilia
DION courtier in Sicilia
EMILIA, a lady-in-waiting to Hermione

SHEPHERD, foster father to Perdita
SHEPHERD'S SON
AUTOLYCUS, former servant to Florizell, now a rogue ARCHIDAMUS, a Bohemian courtier

TIME, as Chorus

TWO LADIES attending on Hermione
LORDS, SERVANTS, and GENTLEMEN attending on Leontes
An OFFICER of the court
A MARINER
A JAILER
MOPSA shepherdess in Bohemia
DORCAS shepherdess in Bohemia

SERVANT to the Shepherd

SHEPHERDS and SHEPHERDESSES
Twelve COUNTRYMEN disguised as satyrs


ACT 1

Scene 1
Enter Camillo and Archidamus.

ARCHIDAMUS If you shall chance, Camillo, to visit Bohemia on the like occasion whereon my services are now on foot, you shall see, as I have said, great difference betwixt our Bohemia and your Sicilia.

CAMILLO I think this coming summer the King of Sicilia means to pay Bohemia the visitation which he justly owes him.

ARCHIDAMUS Wherein our entertainment shall shame us; we will be justified in our loves. For indeed --

CAMILLO Beseech you --

ARCHIDAMUS Verily, I speak it in the freedom of my knowledge. We cannot with such magnificence -- in so rare -- I know not what to say. We will give you sleepy drinks, that your senses, unintelligent of our insufficience, may, though they cannot praise us, as little accuse us.

CAMILLO You pay a great deal too dear for what's given freely.

ARCHIDAMUS Believe me, I speak as my understanding instructs me and as mine honesty puts it to utterance.

CAMILLO Sicilia cannot show himself over kind to Bohemia. They were trained together in their childhoods, and there rooted betwixt them then such an affection which cannot choose but branch now. Since their more mature dignities and royal necessities made separation of their society, their encounters, though not personal, hath been royally attorneyed with interchange of gifts, letters, loving embassies, that they have seemed to be together though absent, shook hands as over a vast, and embraced as it were from the ends of opposed winds. The heavens continue their loves.

ARCHIDAMUS I think there is not in the world either malice or matter to alter it. You have an unspeakable comfort of your young Prince Mamillius. It is a gentleman of the greatest promise that ever came into my note.

CAMILLO I very well agree with you in the hopes of him. It is a gallant child -- one that indeed physics the subject, makes old hearts fresh. They that went on crutches ere he was born desire yet their life to see him a man.

ARCHIDAMUS Would they else be content to die?

CAMILLO Yes, if there were no other excuse why they should desire to live.

ARCHIDAMUS If the King had no son, they would desire to five on crutches till he had one.

They exit.

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Customer Reviews

Average Rating 4.5
( 31 )
Rating Distribution

5 Star

(18)

4 Star

(7)

3 Star

(3)

2 Star

(2)

1 Star

(1)

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See All Sort by: Showing 1 – 20 of 32 Customer Reviews
  • Anonymous

    Posted August 25, 2001

    After the fair tale ends.

    It begins as the perfect ending to a fairy tale. Everyone is in love, and is living happily ever after. And then jealousy begins its evil spin. The king accuses his wife of being unfaithful and orders her to be put to death. Will the king realize the error of his ways before it is too late?

    2 out of 2 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted March 16, 2009

    Not your typical Shakespeare

    I've heard this work described as The Bard's most mature work and I've had the privilege of seeing it performed lived. I'm not sure I would describe it as "mature," however there is an element of something that makes "The Winter's Tale" stand out from his other works. It's not a straight comedy, nor is it exactly a tragedy. There are issues Shakespeare touches on, very real, very human, very relatable issues that bring this work to a different level. The wordcraft is just as masterful as anything Shakespeare has done, perhaps a little more, which makes it a little hard to follow completely; at times I found myself re-reading passages in order to understand all of it. I would recommend this play only if you have read a great deal of Shakespeare.

    1 out of 2 people found this review helpful.

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  • Anonymous

    Posted September 28, 2004

    One of Shakespeare's best

    This play is absolutely brilliant! Despite its facade of being set in a fantasy land, the emotions behind the characters are very realistic. There is even humor embeded in all the drama and anguish, most especially played out in the 'begger' Autolycus. A must read for all who love drama.

    1 out of 1 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted December 5, 2014

    Kyle

    where do you live

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted November 9, 2014

    Sami to rick

    Ok. So umm... she says. (Shes shy, no one has ever shown interest in her and she doesnt have a good past.

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted November 2, 2014

    Bella

    The pale girl with raven black hair walks in

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted November 2, 2014

    HEY

    Is this the college rp?

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted November 2, 2014

    Nadie

    She looks around curiously.

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted November 2, 2014

    Jace

    Walks in

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted October 30, 2014

    Annabeth

    She walks* in wearing a gray shirt with a Hershey Kiss on it, leggings with different candy bars pictured on them and Jolly Rancher earrings.
    -*walks is meaning walking on crutches

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted October 30, 2014

    Can i join

    Please

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted October 25, 2014

    Cris

    Theres two one here and one somewhere else

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted October 25, 2014

    0 out of 1 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted December 5, 2014

    Chloe

    Michigan

    0 out of 1 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted October 25, 2014

    Alex is a girl

    Just sayin...

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted January 10, 2013

    No text was provided for this review.

  • Anonymous

    Posted December 2, 2012

    No text was provided for this review.

  • Anonymous

    Posted October 2, 2010

    No text was provided for this review.

  • Anonymous

    Posted November 5, 2009

    No text was provided for this review.

  • Anonymous

    Posted October 27, 2008

    No text was provided for this review.

See All Sort by: Showing 1 – 20 of 32 Customer Reviews

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