The final act of the play takes place back in Sicily, where the story began. The anticipation of the reunion of the daughter to her father and the two kings does not happen on stage, but off stage. The reason is that it is impossible to have two climatic scenes at the same time. The second reunion will suffer. But this is not the highpoint of the play. In the chapel where the final scene takes place, is a beautiful, almost life like statue of a woman. It is Hermione, the presumed dead wife of King Leontes. She moves. She comes to life. She is resurrected. It is magical. This is the only time in all of Shakespeare’s works that he withholds information from the audience. We are stunned. And the purpose of this moment is to bring us as close to heaven as possible and the day when we will all be resurrected to life and reunited with those we love. Christ taught us what we need to know to attain salvation through stories, through parables. It is in our nature to listen and learn. We are created with this. Listen to the Master, trust and obey.
Comedy, the conflict of the individual verses society, rules this fourth act. The story now shifts to Bohemia, and we get a sense that this is a simpler land, a land of peace and grace. This is a new world. This new land is protected in some manner, a place of small problems but not large destructive patterns. The infant daughter of Leontes and Herimone, Perdita, who was ordered by her father to be abandoned in the woods to die, was saved and is now 16 years old. She knows nothing of her parentage. She hasm become a woman filled with grace, like her mother Herimone. She has fallen in love with Prince Florizel, son of King Polixenes, and the father has refused the marriage. Camillio, now the good servant to Polixenes, but places loyalty to the truth above loyalty to man, spirits the young couple back to Sicily, knowing that Polixenes will follow. This is a marriage that can bring new life, new order. Purity that was lost is recovered. This act provides the transition needed from the derangement, despair and death of the first thee acts and sets the stage for the reunions and miracle of the last.
The first three acts of The Winter’s Tale contain the tragedy of the play. The final two acts, based on the principles of comedy, resolve the tragedy. King Leontes accuses his faithful wife Herimone and best friend King Polixenes of adultery. He flees to save his life and she is put on public trial. She stands firm in her defense; the king will hear none of it. Even a message from the oracle claiming her innocence does not set with the king: the oracle is wrong in the mind of the demented royal. Their son Mamillius has taken ill over his mother’s plight, and with the denial of the oracles decree, dies. His death represents the loss of grace. It is Leontes versus the truth, and he and his family and his kingdom will lose and suffer. Once the imagination becomes corrupt, man is capable of anything. Shakespeare is showing us in the short span of these first three acts what will take centuries for the world to reap as the consequences of denying the Roman Catholic Church. But this is a play of hope, and the final two acts resolve the damage done in the fist three.
In the character of Portia, Dr. White discerns a beautiful example of Catholic femininity. He discusses how Portia takes on the role of intercessor and peacemaker between the conflicting characters of the play, the theme of risking all for a beloved continued in her daring disguise and intervention in Antonio’s court case. Dr. White extends this theme to the deep friendship between Antonio and Bassiano, a friendship which makes Antonio willing even to die for his friend. Portia’s justly famous speech on “the quality of mercy” is explained clearly and in detail, and the third plot of Portia’s ring analyzed. Dr. White ends this lecture on the Christian comedy of The Merchant of Venice by tying it into to the spiritual world of a Christian, viewing the play’s ending as a vision of the Biblical Marriage Feast of Cana. His insight and clear explanation of the themes and elements of The Merchant of Venice are invaluable to a proper understanding and appreciation of Shakespeare’s genius.
This masterful exposition by Dr. White of The Merchant of Venice, one of Shakespeare’s most controversial comedies, shows the deep truths and lessons to be found in the three caskets of gold, silver, and lead which decide Portia’s husband; and the significant personalities of the men who choose each one. Dr. White shows that Portia’s father was not cruel in imposing this test on his daughter’s suitors, but, on the contrary, very wise indeed. Also covered is Shakespeare’s masterful weaving together of a total of three different, intertwining plots along with useful commentary on the nature of comedy itself. Dr. White discusses the stark differences between Shakespeare’s money-centered Venice and the music-filled fairytale of Belmont, where Portia resides, emphasizing that the women and men are unhappy because they are separated, and are meant to be together in families and society.
Concluding Part Two of his commentary on Macbeth, Dr. White continues his discussion of the poetic meter of the play’s most famous passage: “Tomorrow, and tomorrow, and tomorrow…” He describes it as a perfect example of meaning and sound coming together in a literary work and attributes it to Shakespeare’s genius; and makes reference to the same device being used in other of the poet’s plays such as Hamlet and Anthony and Cleopatra. An amazing exhibition, White says, coming from a writer with only an eighth-grade education.
