The Winter’s Tale is rich in messages to the Catholic audiences of Shakespeare’s time, but did not threaten his role as a public playwright in the company of the king, James I. Shakespeare was forced to do two things simultaneously throughout his career: remain a loyal subject, and write Catholic plays. The Winter’s Tale contains coded messages that gave hope to Catholics who suffered persecution. The king accuses his wife of infidelity and condemns the accused father to death. The king’s loyal servant, Camillo, warns the accused father and together they flee to Bohemia. Bohemia, at that time offered refuge to Catholics fleeing persecution. Pope Paul V (1605–1621) was born Camillo Borghese and was the reigning pope at the time of the production of this play. This is code but it is obvious. Camillo is the good servant working behind the scenes. This play is saying indirectly that the pope is in charge, trust him, he is doing what he can. Paulina, who defends the innocence of the queen, is based on Maudlin Brown who spoke out in defense of the Faith. The conflict at the start of the play concludes with reunion of all those who were separated.
Dr. White describes the comic novel Don Quixote as a great Catholic work, in fact the best-known Spanish novel ever. He proceeds with a dramatic reading of G. K. Chesterton’s poem, Lepanto, dealing with the great naval battle in which Cervantes, a devout Catholic, took part. Following Lepanto, Cervantes became, in essence, the lonely knight riding through Spain, always failing but never giving up. Out of this came Don Quixote, the first of a new literary genre: the modern novel. Dr. White closes his commentary by noting that Cervantes died on the same date as another of his literary heroes, William Shakespeare.
Dr. White opens by drawing a parallel between Don Quixote (part one) and King Lear, both of which he sees as great counter-reformation works. He describes the independent assertion of man as a strictly Protestant notion and goes on to detail how Lear and Don Quixote both go mad in their own ways. With his dramatic readings from several sections of the novel, and while introducing Sancho Panza, he demonstrates its episodic nature and the absence of a narrative plot line. Dr. White points out that though it’s a comedy, there is something sorrowful in the story. He closes with a brief Q and A session.
A curious aspect of Oedipus Rex is the audience knows the truth of the play because they know the myth of Oedipus. The hero is blind to the truth and must have is own pride crushed before he will admit to it. The audience must suffer with his struggle as he cites excuse after excuse to reject the truth. There is disorder throughout. His pride keeps him blind. The price he pays for his blindness is blindness. There must be blood to appease the gods. The Greeks had a measure of wisdom in their culture. They developed a sense of logic and reason. And in that sense they sought universal truth. The question that perplexed them was what was the use of the greatness of man if it all comes to death. This is the question that must be answered. Their gods hated death but were powerless against it. Great suffering must take placed before wisdom is acquired. Sophocles must have had a special grace when writing this play, for in it he comes close to profound truths. That is why this play remains timeless. It would not be until the Incarnation that man would know these answers.
Tragedy is a drama between a hero and metaphysical forces. Through a tragic flaw in their character they make a fatal mistake from which they never recover. They are destroyed, they are crushed. The hero is always someone of authority, of power. Part of the fear in watching their fall is that if they can fall, we all can fall. The mistake is suffered by many. When one falls, many fall. Oedipus is the first murder mystery. He is both the protagonist and the antagonist. He is the murder, the detective, the judge, the jury and the executioner. He wants the truth; he does not want the truth. He rejects the truth when he first learns of it and then slowly accepts it, until he has to make the final decision to mete out justice. He killed his father the king and married his mother and had children with her. He has broken natural law. Aristotle said that Oedipus Rex is the highest form of tragedy because it is so well constructed and so intelligently designed. The fact that it is sill produced on modern stages is testament to its durability, to its timeliness. It was first performed n 427 BC!
After the fall of Greek theater, the great philosophers began to talk about it to understand it, what it was, what it should be. Plato was suspicious of the arts. It was imitation twice removed, it was not real. Aristotle found value in theater. Art is a craft and can be learned and improved upon. Poetry has rules that must be followed for it to be art. Poetry sharpens our view of reality. The emotional life is part of human reality; it teaches what is there. Poetry also is more philosophical than history. History deals with actions. Poetry universalized truths. Finally, poetry encourages the emotions for the sake of catharsis. A plot well put together will arouse the proper emotions from which we can learn and purify. Implicit in this idea is that actions or stories that are badly put together and badly done are dangerous. There is a bad way of telling a story. There is good art and bad art. There are good stories and bad stories. The effect of the good is to enlighten and elevate; the effect of bad art is to shock and revolt, and descends into dirtiness. Aristotle tells us there is moral order to art.
