1. Charles Frey, Shakespeare’s Vast Romance--The Play in Time
  2. Section VIII
    1. Operation of unseen powers
    2. Emotive curve of main plot toward exorcising ritual, curve of counterplot toward Bohemian revelations of Great Nature 2.2.60
    3. Storm as Leontes metnal state, gods frowning thunder, his recreating dream–rite of passage
    4. Direct address and involvement of audience, horror and humor, artifiiciality; play is broken wide open from imporsioning constriction–Tragicomedy
    5. Time as stasis and movement
    6. From death to life
    7. From new relation from past to future
    8. Authority to issue
  3. Section IX
    1. General
      1. Awakening faith is underlying theme and movement after faith has been lost–the fall
        1. Leontes earlier dream of unfaith–loss of faith, descent into nothing–loss of faith in wife leads to loss of faith in everything–[Winter Dance]
        2. Providential disguise and play vs. deadly serious artificer–
        3. metatheatrical elements include the audience
          1. "Me, in the name of time"–deliberate artificiality
            1. Time assures happy ending in advance
          2. Costuming and festivity and entertainment
          3. we participate in rather than just watch
          4. Audience sees its own reality as art
        4. Positive functions of disguise
          1. Disguise as mirror of character’s true attributes
            1. Florizel a swain, simple lover, she a goddess
            2. Camillo and Polixenes–strangers to Florizel and former lovers
            3. Florizel a renewed Leontes; Polixenes as reduplication of former Leontes
            4. Autolycus–a manipulator like Leontes, preying on society–Wolf and lion
          2. Clown and shepherd disguise the source of their wealth–the fairies
          3. Autolycus uses disguise to good end
    2. Unmasking of disguise as transcendant strategy to break up illusion and move to higher reality
      1. Festival scenes analogous structure to trial and statue scenes
        1. Each builds to radical unmasking occasioning a renewed search for order trust and hope, a re-creation–fresh resolve to do one’s part
          1. Audience brought to believe in Flor and Perd. Love in the face of Pollixenes’ threat–‘I mark your divorce’
            1. Cominbations of nature and art in Polix. Speech
            2. Perd.incorporation of myth–proserpina–and dance of wve–nature,
            3. Autolycus’ songs of true love
            4. Triangle of clown and mopsa and dorcas
          2. Obstacles and crises each time move lovers forward
            1. Both perdita and Florizel respond like Pualina, with great conviction–faith

      Despite his critique and scepticism, Autolycus’ schemes are always redemptive

    3. Rhythm of alernation of contrasts--hope and non hope–two four to three four
      1. In first part of play, two part rhythm of scenes
      2. Scene 4.1 echoes 1.1, 4.2 echoes 1.2
      3. Autolycus shows up as a third element in each of the exchanges, at 250 line intervals, even into 5.2, mediating between the claimns of Flor. and Polix. And with humor participates in both
      4. Clown and shpeherd are thrid father-son tension
    4. Persuasive harmony: interactions between visual and verbal presentaiton: dance and song
      1. baby is new invogorating perspective; movement in Bohemia is not rigid as in Sicilia--run around Bear
      2. circling of bear and ciricling of Autolycus
      3. innocence menaced by savgery becomes that much more precious
      4. Polixenes is bearlike in threatening Flor. Perd and Shep and Clown
        1. rages at love
      5. three threats: bear, Polixenes, Autolycus [vs. Shepherd and clown]
      6. general principle: threats bring out more vitality and commitment
      7. shift to pastoral includes the dance of winter and summer--fruition giving way to threat giving way to fruition--full cycle of human loss and gain.
  4. Section X
    1. Act 5 full of moments of silent visual recognition
      1. theme of seeing and believing vs. hearing and doubting in 5.2--a sight which was to be seen, cannot be spoke of
      2. were it but told should be hooted at/like an old tale; but it appears she lives
      3. creates desire in audience for seeing recognition
      4. entire play moves from verbality of Leontes to lyricism and colloquialism to hushed vision of statue scene
      5. quarrels are wordy, reconcilations are not
      6. from verbal tyrannies, solipsism, to fresh seeing, longing to make contact with others
      7. Dominant image of Leontes in greeting--outstretched arms, willingness to help, readiness to take correction, embracing
    2. Scene 5.2
      1. meeting of Leontes and Polixenes, recognition of Perdita moves from present, immediate past and then receding time--it arrives and recedes in imagined time
      2. the event goes from inner circle to gentlemen, to kingdom and balladmakers and autolycus and clown--radiating influence
      3. predictive focus on artifice that foster natural and humane values
        1. broken delivry to ballad makers to statue-like bystanders to Hermione statue
        2. preconditions theatre audience
        3. last marble metaphor in which art joins great creating nature
        4. wonder reaches apex and spills over into action
        5. Gentlemen parody nobles, S and C parody gentlemen, Autolycus parodies them, but is absorbed in the social web of wonder
  5. Section XI
    1. Preclimax in well modulated joys of previous scenes
      1. ending in people rushing off to prepare for finale
    2. recapitulative thrusts:
      1. unmasking of queen or princess, which now leads to positive conclusion
      2. Leontes comes to her house as a graceful descent
    3. Gallery is holy place of art, where statue has "a reality superior to onlookers"
      1. bystanders like playgoers as art experience catches up their spirits and makes them participate in play
      2. Camillo describes L's sorrows laid on not yet dry, like statue's
      3. spectators become stonelike like audience--actual aaudience in a play are stone compare to the life on stage
      4. audience gives Hermione ability to bless, become benign image of promised end,
    4. Animation--
      1. if you can behold it...what you can amke her do, I am content to look on
    5. Faith
      1. Faith: trust in Paulina, belief inprovidence, fidelity to vows of love, sincerity, uncritical confidence
      2. Addressed to Leontes, the community around him and the audience--supreme fiction is worth beholding
      3. Faith is something that must be awakened because it can fall asleep
        1. rhythm of awakening--a realization of the dream--awakening to a dream
      4. sign of awakening is stillness--paradoxically--audience implicated--perfect attention, on curtain and statue, silence conveys the unimpeachable transcendaence of art
      5. a joke is played on audience
      6. Hermione is awakening, so is audience--she's been marble
      7. 'tis time--statue into time
      8. music mediates between heaven and earth
      9. [lear's awakening]
      10. audience participates is didffiuclty of stillness
      11. sheer value of dear life
      12. hand touch--new waking Adam--she's warm...too hot, too hot...paddling palms
      13. gestural recapitualtion of of hands: waking and reconnecting
      14. audience also drawn in to the stir--the play stands played.