The Winter's Tale: Graphic Planet Graphic Shakespeare available in Hardcover
- Pub. Date:
- Magic Wagon
About the Author
Mark Z. Muggli is Professor and Department Head of English at Luther College (Decorah, Iowa). His teaching, research, and publications have focused on creative nonfiction, theatre, Early Modern Europe, and Shakespeare, especially Shakespeare in performance. As the Luther College 2011-13 Jones Distinguished Professor in the Humanities, he developed the “Our Shakespeare” project (luther.edu/english/ourshakespeare).
Date of Death:2018
Place of Birth:Stratford-upon-Avon, United Kingdom
Place of Death:Stratford-upon-Avon, United Kingdom
Read an Excerpt
INTRODUCTION TO THE KITTREDGE EDITION
For the text of The Winter’s Tale our sole authority is the First Folio. In style and meter, tone and dramatic method, the play reveals itself as one of Shakespeare’s latest works. Perhaps it followed Cymbeline and preceded The Tempest.
On May 15, 1611, Simon Forman, astrologer and physician, saw The Winter’s Tale at the Globe. His summary of the plot, in his own handwriting, is still preserved. If either the bear (3.3.58) or the dance of satyrs (4.4.352) was suggested by Ben Jonson’s masque of Oberon, which was exhibited at court on the first day of that same year, the limits of composition are fixed with almost uncanny precision. The bear, however, is not a very trustworthy witness, even if Oberon’s chariot is drawn by two white bears. The evidence of the satyrs is more satisfactory, for three of Shakespeare’s “saltiers” had “danced before the king.” At all events, 1611 is a satisfactory date for The Winter’s Tale.
The source of the main plot is Robert Greene’s 1588 novel Pandosto: The Triumph of Time. Greene takes pains to describe the jealousy of Pandosto as to all intents and purposes insane. “A certain melancholy passion entering the mind of Pandosto drove him into sundry and doubtful [i.e. suspicious] thoughts.” These, “a long time smoothering in his stomach, began at last to kindle in his mind a secret mistrust, which increased by suspicion, grew at last to be a flaming jealousie, that so tormented him as he could take no rest.” These phrases accord with Shakespeare’s account of Leontes. He is not, as a modern critic has called him, “an irritable, suspicious, jealous-natured tyrant.” The whole atmosphere of the court—which is like a happy family—shows that he is no tyrant, and the perplexity of Hermione and Polixenes proves that he has never shown jealousy before. His paroxysm of jealous fury is virtually a fit of madness. It seizes him in a moment, and it releases him with equal suddenness. . . .
Table of Contents
TABLE OF CONTENTS
Introduction to the Kittredge Edition Introduction to the Focus Edition The Winter’s Tale How to Read The Winter’s Tale as Performance Timeline Topics for Discussion and Further Study Bibliography Filmography