Contemporary Analogues of Paulina’s Magic in William Shakespeare’s The Winter’s Tale
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Commentators of William Shakespeare’s The Winter's Tale regularly assume that the spectators’ cognitive vantage is reduced to that of the dramatic characters in the final scene of the play that stages the revitalization of the supposedly dead queen. I challenge this assumption of a naïve audience by drawing attention to affinities between the Paulina of the final scene and the impostor witches in Thomas Middleton’s and Ben Jonson’s cony-catching comedies. I show how the magicians in all three plays engage their clients in their respective venture by means of a strategy of tantalization, threatening to refuse their service on the pretext of dreaded legal persecution. An awareness of the affinities between Paulina and the con men would have considerably conditioned the original audience’s receptivity to the play’s ending, affording the spectators a decisive cognitive advantage over the on-stage audience about the true nature of the life-like “statue” of Hermione.
Abstract
Commentators of William Shakespeare’s The Winter's Tale regularly assume that the spectators’ cognitive vantage is reduced to that of the dramatic characters in the final scene of the play that stages the revitalization of the supposedly dead queen. I challenge this assumption of a naïve audience by drawing attention to affinities between the Paulina of the final scene and the impostor witches in Thomas Middleton’s and Ben Jonson’s cony-catching comedies. I show how the magicians in all three plays engage their clients in their respective venture by means of a strategy of tantalization, threatening to refuse their service on the pretext of dreaded legal persecution. An awareness of the affinities between Paulina and the con men would have considerably conditioned the original audience’s receptivity to the play’s ending, affording the spectators a decisive cognitive advantage over the on-stage audience about the true nature of the life-like “statue” of Hermione.
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