The Characters – Abused Hermione Faithful Essay Example

suggests that Leontes, like Iago in Othello, is motivated by his own jealousy and suspicion without any external factors encouraging it. However, unlike Othello, Leontes consistently seeks confirmation of his wife's loyalty throughout the beginning of the play. In Act 1, Scene 2, he even interrogates his faithful subject Camillo about his spouse's actions with the question "Dids't thou note it?" What sets Leontes apart is that he is portrayed as genuinely sick - suffering from a mental illness that causes all-consuming doubt and jealousy.

While Leontes may be experiencing "madness," the female characters in the play provide comfort to the audience. Despite this, their roles are crucial as they add depth to the overall complexity of the story. For instance, Hermione is depicted as a dependable and empathetic wife and mother. Even though her husband doubts her character, Camillo refuses to remain passive when she's unjustly accused, declaring "I would not be a stander-by to hear my sovereign mistress clouded without my present vengeance taken" (Act 1, Scene 2).

Hermione's communication style with Polixenes in Act 1, Scene 2 contrasts greatly with her detached and concise language when conversing with Leontes. Despite Polixenes' refusal to stay in Sicilia, Hermione charmingly repeats his words and flirts with him, stating that a lady's "verily" is just as powerful as a lord's. She then questions whether he will be her prisoner or guest, emphasizing the phrase "you shall be" with sexual undertones.

Despite Hermione's ease of speech earlier in the scene, she becomes flustered and disjointed when talking to Leontes. She acknowledges her own speed and disorganization and attempts to refocus by saying "but to the goal." Additionally, Hermione's action

of taking Polixenes by the hand is seen as flirtatious but not intended to be malicious or unfaithful. In the end, Hermione is portrayed as a long-suffering victim whom both pitied and admired.

Perdita, the impeccable protagonist, possesses practicality, passion, nobility and realism along with intelligence and analytical skills shown in Act 4, Scene 4 with her quote, "The fairest flowers o'th' season are out carnations and streaked gillyvors, which some call nature's bastards; of that kind our rustic garden's barren, and I care not to get slips of them." This indicates her sophistication and maturity that surpass her age, as demonstrated by her warning to Florizel about the danger his position in the court poses despite her personal feelings.

Throughout her life, she is controlled by men without her awareness. From the start, her father abandons her as an infant to suffer along the coast. Even her lover Florizel unknowingly exhibits this "male domination" when he speaks of the gods that she represents, all of whom are infamous for imposing their will through the rape of innocent women, indirectly implying a darker double meaning.

The use of mythological characters like Zeus and Jupiter highlights the irony in their relationship, wherein they are in love but he maintains a superior position. The character of Perdita is also steeped in dramatic irony, with Polixenes acknowledging her beauty and highlighting how unsuitable it is for her to be kept away from court in Act 4, Scene 4.

Despite being the daughter of Sicilia and a princess, Pauline's persuasive skills are reminiscent of Lady Macbeth. Using tactics such as "the power of three," she convinces Leontes of Hermione's faithfulness, repeatedly stating "Good

queen, my lord, good queen, I say, good queen!" (Act 2, Scene 3).

As time passes, Leontes comes to accept Paulina's ideas and views, recognizing her as speaking truth and trusting her as his influential confidante and even mother-figure. While the other women in the play play important roles, they lack the same depth of character as Leontes, the autocratic King of Sicilia.

The speaker depicts Hermione as a "subject" and compares Leontes' character to James I, who was the ruler during the time of this Romance. During his reign, James I believed in the idea of Divine Right, which held that autocracy was the only legitimate form of government. Some analysts believe that Leontes' character may have been influenced by James I's friendship with Polixenes, King of Bohemia.

In the opening of the play, Leontes urges Polixenes to stay in court. However, it is Hermione who persuades Polixenes to remain in Sicilia. Sadly, Leontes becomes consumed by jealousy and fixates on Hermione. He blames women for causing men to be disloyal and dishonorable.

"There have been cuckolds before and many men today," says the character in Act 1, Scene 2. He directs all his anger towards Hermione and women in general. He finds solace in knowing that he is not alone in being deceived by women: "This thought is comforting, knowing that other men have suffered the same fate as I have - having their gates opened against their will. If all men who were betrayed by their wives were to despair, one-tenth of mankind would hang themselves."

(Act 1, Scene 2). According to critics such as Broadbent, Leontes' continuous disdain towards women may imply that he is

enamored with Polixenes and envious of his attention towards Hermione, who is supposed to be Leontes' guest. These homo-erotic undertones add complexity to his character and may partially explain why he views women as a threat. Additionally, Leontes' jealousy could stem from immaturity and selfishness, as he feels entitled to Polixenes' attention. However, Polixenes resists Leontes' demands and instead focuses on Hermione, whom Leontes considers his possession. As Harding notes, this quickly introduces an element of evil to the play.

Through his use of dark sexuality and foul language, Leontes conveys his disgust with intriguing imagery that ties sex and danger together. Shakespeare employs sexual double entendre, such as "I my green velvet coat, my dagger muzzled," in Leontes' speech to captivate the audience. Leontes also utilizes sexual imagery when he suggests that his wife has been unfaithful, stating "That little me thinks that she has been sluiced in's absence, and his pond fished by his next neighbour."

In Act 1, Scene 2, Leontes uses sexual and vulgar images to show his disdain for the alleged relationship between his Queen and Polixenes. Later, he realizes his mistakes and spends sixteen years repenting until he finds his wife and daughter. The intricate language patterns and use of complex imagery add depth and intrigue to Leontes' character, making him seem sexually frustrated but focused on his own insecurity rather than his wife or Polixenes.

Throughout the play, disease imagery is heavily utilized to convey the unsettling paranoia and unrest within Leontes' soul, exemplified by phrases like "Go rot!" (Leontes Act 1, Scene 2), "For his knowledge is not infected", and "ill ta'en suspicion". Later, Paulina describes his "healing"

as being medical, further highlighting Leontes' belief in Hermione's infidelity as a tangible medical issue.

According to critics, Leontes is depicted as suffering from a real condition known as "Morbid Jealousy" in the beginning of the play. This is apparent in his disrupted language, which is not typical of a King's customary speech, and is incomprehensible even to his own wife during his "madness." In Act 3, Scene 2, she exclaims, "He speaks in a language that I understand not." Leontes' speeches lack balance and intentionally confuse the audience by breaking the iambic pentameter, which is in contrast to the composed demeanor of characters like Camillo in Act 1, Scene 2.

The language used in Leontes' speech emphasizes his madness through alliteration, as seen in "But to be paddling palms and pinching fingers" (Act 1, Scene 2). The repetition of specific vowel sounds suggests that Leontes is controlled by the language rather than controlling it, as evidenced in "We must be neat, not neat but cleanly, captain and yet the steer" (Act 1, Scene 2). Leontes appears to have no filter, allowing the language to take complete control over him.

In Act 1, Scene 2, Leontes recalls his wedding vow, saying "I am yours forever" in what appears to be a gesture of claiming his territory. However, his speech is marked by confusion and a scattered use of possession, disease, and fishing imagery - for example, he says "His pond fished by his next neighbour" and "she is slippery!" in disjointed and detached speech that Bloom refers to as "Leontes' mad mutterings" when spoken aside. He also uses harsh and inappropriate religious imagery, such as saying

"How blest am I?" in Act 2, Scene 1. Ultimately, Leontes realizes that he would prefer not knowing if the queen was really having an affair.

The protagonist of "The Winter's Tale" experiences a frantic episode of jealousy. He claims that his mind was contaminated after perceiving a spider in his glass, stating "I have drunk, and seen the spider" (Act 2, Scene 1). Leontes' behavior is perplexing and seems to be driven by an overwhelming force. Pafford argues that Leontes should not be analyzed as an individual but rather as a symbol for jealousy, stating "he is more important as a vehicle and it is better to concentrate on his strange jealousy". Despite Leontes' unusual jealousy being the central theme of the play and the source of his mistakes, I disagree with Pafford's assertion as it diminishes Leontes' depth and nuance as a character. He represents a recognizable human experience.

Despite being a king, he consistently makes egregious and sometimes life-threatening errors. This suggests that the play's primary message highlights the possibility of human fallibility and the path to redemption. The play is divided into three distinct parts: Leontes' descent into insanity, his sorrowful journey towards redemption and the pastoral scenes that accompany it, and the final resolution. Essentially, Leontes serves as a "vehicle" that emphasizes the ability of time to transform individuals, regardless of their social status.

Shakespeare presents a distinctive portrayal of the character in the play to enable a deeper exploration of his anguished psyche. Through language, he develops a powerful yet tormented persona that ultimately experiences remorse and contrition. Irony pervades the character's traits, such as when he remarks to Hermione,

"Tis a pity that she's not honest," despite her obvious veracity and integrity. Significantly, Leontes occupies a pivotal position in the drama as he symbolizes the conceptual theme of time and its transformative effects.

Although the female characters are important in bringing different aspects of womankind to the play, my opinion differs from the given view as I believe that Leontes, a tortured and insecure King, is actually the most interesting character and represents human error.