Act 5, Scene 2 — The Winter's Tale

The argument Three gentlemen piece together the off-stage recognition of Perdita as Leontes's daughter, while Autolycus watches his chance at advancement slip away and the newly gentled Shepherd and Clown make their comic entrance.

Enter Autolycus and a Gentleman.

AUTOLYCUS

Beseech you, sir, were you present at this relation?

beseech you were you present at this relation?

FIRST GENTLEMAN

I was by at the opening of the fardel, heard the old shepherd deliver

the manner how he found it: whereupon, after a little amazedness, we

were all commanded out of the chamber; only this, methought I heard the

shepherd say he found the child.

I was by at the opening of the fardel, heard the old shepherd deliver the manner how he found it: whereupon, after a little amazedness, we were all commanded out of the chamber; only this, methought I heard the shepherd say he found the child.

i was by at the opening of the fardel heard the old shepherd deliver the manner how whereupon after a little amazedness

AUTOLYCUS

I would most gladly know the issue of it.

i would most gladly know the issue of it

FIRST GENTLEMAN

I make a broken delivery of the business; but the changes I perceived

in the king and Camillo were very notes of admiration. They seemed

almost, with staring on one another, to tear the cases of their eyes.

There was speech in their dumbness, language in their very gesture;

they looked as they had heard of a world ransomed, or one destroyed. A

notable passion of wonder appeared in them; but the wisest beholder,

that knew no more but seeing could not say if th’ importance were joy

or sorrow; but in the extremity of the one, it must needs be. Here

comes a gentleman that happily knows more.

I make a broken delivery of the business; but the changes I perceived in the king and Camillo were very notes of admiration. They seemed almost, with staring on one another, to tear the cases of their eyes. There was speech in their dumbness, language in their very gesture; they looked as they had heard of a world ransomed, or one destroyed. A notable passion of wonder appeared in them; but the wisest beholder, that knew no more but seeing could not say if th’ importance were joy or sorrow; but in the extremity of the one, it must needs be. Here comes a gentleman that happily knows more.

i make a broken delivery of the business but the changes i perceived in the king they seemed almost with staring on one another

"they looked as they had heard of a world ransomed, or one destroyed" One of the most compressed descriptions of overwhelming emotion in Shakespeare — the 'world ransomed' is Christian language (Christ ransoming humanity), set against total destruction. Joy and grief both feel like the end of everything.

Enter a Gentleman.

The news, Rogero?

SECOND GENTLEMAN

Nothing but bonfires: the oracle is fulfilled: the king’s daughter is

found: such a deal of wonder is broken out within this hour that

ballad-makers cannot be able to express it. Here comes the Lady

Paulina’s steward: he can deliver you more.

Nothing but bonfires: the oracle is fulfilled: the king’s daughter is found: such a deal of wonder is broken out within this hour that ballad-makers cannot be able to express it. Here comes the Lady Paulina’s steward: he can deliver you more.

Nothing but bonfires: the oracle is fulfilled: the king’s daughter is found: such a deal of wonder is broken out within this hour that ballad-makers can't be able to express it. Here comes the Lady Paulina’s steward: he can deliver you more.

nothing but bonfires the oracle is fulfilled the king’s daughter is found such a deal of wonder is broken out

Enter a third Gentleman.

How goes it now, sir? This news, which is called true, is so like an

old tale that the verity of it is in strong suspicion. Has the king

found his heir?

THIRD GENTLEMAN

Most true, if ever truth were pregnant by circumstance. That which you

hear you’ll swear you see, there is such unity in the proofs. The

mantle of Queen Hermione’s, her jewel about the neck of it, the letters

of Antigonus found with it, which they know to be his character; the

majesty of the creature in resemblance of the mother, the affection of

nobleness which nature shows above her breeding, and many other

evidences proclaim her with all certainty to be the king’s daughter.

Did you see the meeting of the two kings?

Most true, if ever truth were pregnant by circumstance. That which you hear you’ll swear you see, there is such unity in the proofs. The mantle of Queen Hermione’s, her jewel about the neck of it, the letters of Antigonus found with it, which they know to be his character; the majesty of the creature in resemblance of the mother, the affection of nobleness which nature shows above her breeding, and many other evidences proclaim her with all certainty to be the king’s daughter. Did you see the meeting of the two kings?

most true if ever truth were pregnant by circumstance that which you hear you’ll swear you see there is such unity in the proofs

↩ Callback to 3-3 The 'mantle of Queen Hermione's, her jewel about the neck of it, the letters of Antigonus' are the identifying documents Antigonus left with the baby in 3-3 — those tokens have done exactly what he hoped.

SECOND GENTLEMAN

No.

no don't know can't describe too much joy

THIRD GENTLEMAN

Then you have lost a sight which was to be seen, cannot be spoken of.

There might you have beheld one joy crown another, so and in such

manner that it seemed sorrow wept to take leave of them, for their joy

waded in tears. There was casting up of eyes, holding up of hands, with

countenance of such distraction that they were to be known by garment,

not by favour. Our king, being ready to leap out of himself for joy of

his found daughter, as if that joy were now become a loss, cries “O,

thy mother, thy mother!” then asks Bohemia forgiveness; then embraces

his son-in-law; then again worries he his daughter with clipping her;

now he thanks the old shepherd, which stands by like a weather-bitten

conduit of many kings’ reigns. I never heard of such another encounter,

which lames report to follow it, and undoes description to do it.

Then you have lost a sight which was to be seen, cannot be spoken of. There might you have beheld one joy crown another, so and in such manner that it seemed sorrow wept to take leave of them, for their joy waded in tears. There was casting up of eyes, holding up of hands, with countenance of such distraction that they were to be known by garment, not by favour. Our king, being ready to leap out of himself for joy of his found daughter, as if that joy were now become a loss, cries “O, your mother, your mother!” then asks Bohemia forgiveness; then embraces his son-in-law; then again worries he his daughter with clipping her; now he thanks the old shepherd, which stands by like a weather-bitten conduit of many kings’ reigns. I never heard of such another encounter, which lames report to follow it, and undoes description to do it.

Then you have lost a sight which was to be seen, can't be spoken of. There might you have beheld one joy crown another, so and in such manner that it seemed sorrow wept to take leave of them, for their joy waded in tears. There was casting up of eyes, holding up of hands, with countenance of such distraction that they were to be known by garment, not by favour. Our king, being ready to leap out of himself for joy of his found daughter, as if that joy were now become a loss, cries “O, your mother, your mother!” then asks Bohemia forgiveness; then embraces his son-in-law; then again worries he his daughter with clipping her; now he thanks the old shepherd, which stands by like a weather-bitten conduit of many kings’ reigns. I never heard of such another encounter, which lames report to follow it, and undoes description to do it.

then you have lost a sight which was to be seen cannot be spoken of there might you have beheld one joy crown another so and in such manner that it se

"which lames report to follow it, and undoes description to do it" Shakespeare is doing something unusual: acknowledging through a character that what just happened exceeds theatrical representation. The scene we are watching is explicitly about the scene we did not watch — the recognition that happened off-stage.

Why it matters This speech is the play's most explicit statement of its own limitation — the reunion that couldn't be shown on stage is instead described as undescribable, which paradoxically makes it feel more real than staging it would have.

SECOND GENTLEMAN

What, pray you, became of Antigonus, that carried hence the child?

pray you became of antigonus that carried hence the child?

THIRD GENTLEMAN

Like an old tale still, which will have matter to rehearse, though

credit be asleep and not an ear open. He was torn to pieces with a

bear: this avouches the shepherd’s son, who has not only his innocence,

which seems much, to justify him, but a handkerchief and rings of his

that Paulina knows.

Like an old tale still, which will have matter to rehearse, though credit be asleep and not an ear open. He was torn to pieces with a bear: this avouches the shepherd’s son, who has not only his innocence, which seems much, to justify him, but a handkerchief and rings of his that Paulina knows.

Like an old tale still, which will have matter to rehearse, though credit be asleep and not an ear open. He was torn to pieces with a bear: this avouches the shepherd’s son, who hasn't only his innocence, which seems much, to justify him, but a handkerchief and rings of his that Paulina knows.

like an old tale still which will have matter to rehearse though credit be asleep and not an ear open he was torn to pieces with a bear

🎭 Dramatic irony The gentleman says Antigonus 'was torn to pieces with a bear' — reported like a rumour. The audience knows from 3-3 this is exactly what happened, confirmed by the Clown who witnessed it.

FIRST GENTLEMAN

What became of his bark and his followers?

what became of his bark and his followers?

THIRD GENTLEMAN

Wrecked the same instant of their master’s death, and in the view of

the shepherd: so that all the instruments which aided to expose the

child were even then lost when it was found. But O, the noble combat

that ’twixt joy and sorrow was fought in Paulina! She had one eye

declined for the loss of her husband, another elevated that the oracle

was fulfilled. She lifted the princess from the earth, and so locks her

in embracing, as if she would pin her to her heart, that she might no

more be in danger of losing.

Wrecked the same instant of their master’s death, and in the view of the shepherd: so that all the instruments which aided to expose the child were even then lost when it was found. But O, the noble combat that ’twixt joy and sorrow was fought in Paulina! She had one eye declined for the loss of her husband, another elevated that the oracle was fulfilled. She lifted the princess from the earth, and so locks her in embracing, as if she would pin her to her heart, that she might no more be in danger of losing.

wrecked the same instant of their master’s death and in the view of the shepherd so that all the instruments which aided to

FIRST GENTLEMAN

The dignity of this act was worth the audience of kings and princes;

for by such was it acted.

The dignity of this act was worth the audience of kings and princes; for by such was it acted.

the dignity of this act was worth the for by such was it acted

THIRD GENTLEMAN

One of the prettiest touches of all, and that which angled for mine

eyes (caught the water, though not the fish) was, when at the relation

of the queen’s death (with the manner how she came to it bravely

confessed and lamented by the king) how attentiveness wounded his

daughter; till, from one sign of dolour to another, she did, with an

“Alas,” I would fain say, bleed tears, for I am sure my heart wept

blood. Who was most marble there changed colour; some swooned, all

sorrowed: if all the world could have seen it, the woe had been

universal.

One of the prettiest touches of all, and that which angled for mine eyes (caught the water, though not the fish) was, when at the relation of the queen’s death (with the manner how she came to it bravely confessed and lamented by the king) how attentiveness wounded his daughter; till, from one sign of dolour to another, she did, with an “Alas,” I would fain say, bleed tears, for I am sure my heart wept blood. Who was most marble there changed colour; some swooned, all sorrowed: if all the world could have seen it, the woe had been universal.

One of the prettiest touches of all, and that which angled for mine eyes (caught the water, though not the fish) was, when at the relation of the queen’s death (with the manner how she came to it bravely confessed and lamented by the king) how attentiveness wounded his daughter; till, from one sign of dolour to another, she did, with an “Alas,” I would fain say, bleed tears, for I'm sure my heart wept blood. Who was most marble there changed colour; some swooned, all sorrowed: if all the world could have seen it, the woe had been universal.

one of the prettiest touches of all and that which angled for mine eyes (caught though not the fish) was when at the relation of the queen’s death

FIRST GENTLEMAN

Are they returned to the court?

are they returned to the court?

THIRD GENTLEMAN

No: the princess hearing of her mother’s statue, which is in the

keeping of Paulina,—a piece many years in doing and now newly performed

by that rare Italian master, Julio Romano, who, had he himself

eternity, and could put breath into his work, would beguile Nature of

her custom, so perfectly he is her ape: he so near to Hermione hath

done Hermione that they say one would speak to her and stand in hope of

answer. Thither with all greediness of affection are they gone, and

there they intend to sup.

No: the princess hearing of her mother’s statue, which is in the keeping of Paulina,—a piece many years in doing and now newly performed by that rare Italian master, Julio Romano, who, had he himself eternity, and could put breath into his work, would beguile Nature of her custom, so perfectly he is her ape: he so near to Hermione has done Hermione that they say one would speak to her and stand in hope of answer. there with all greediness of affection are they gone, and there they intend to sup.

the princess hearing of her mother’s statue which is in the keeping of paulina —a piece many years in doing and now

"Julio Romano" The only real historical person named in any Shakespeare play. Giulio Romano was a painter and architect who worked in Mantua. Shakespeare invents his role as sculptor here — Romano never made sculptures. The anachronism places the play in a timeless fairy-tale world where specific names make the impossible feel credible.

SECOND GENTLEMAN

I thought she had some great matter there in hand; for she hath

privately twice or thrice a day, ever since the death of Hermione,

visited that removed house. Shall we thither, and with our company

piece the rejoicing?

I thought she had some great matter there in hand; for she has privately twice or thrice a day, ever since the death of Hermione, visited that removed house. Shall we there, and with our company piece the rejoicing?

i thought she had some great matter there in hand for she has privately twice or thrice a day ever since the death of hermione visited that removed ho

FIRST GENTLEMAN

Who would be thence that has the benefit of access? Every wink of an

eye some new grace will be born. Our absence makes us unthrifty to our

knowledge. Let’s along.

Who would be thence that has the benefit of access? Every wink of an eye some new grace will be born. Our absence makes us unthrifty to our knowledge. Let’s along.

who would be thence that has the benefit our absence makes us unthrifty to our knowledge let’s along

[_Exeunt Gentlemen._]

AUTOLYCUS

Now, had I not the dash of my former life in me, would preferment drop

on my head. I brought the old man and his son aboard the prince; told

him I heard them talk of a fardel and I know not what. But he at that

time over-fond of the shepherd’s daughter (so he then took her to be),

who began to be much sea-sick, and himself little better, extremity of

weather continuing, this mystery remained undiscover’d. But ’tis all

one to me; for had I been the finder-out of this secret, it would not

have relish’d among my other discredits.

Now, had I not the dash of my former life in me, would preferment drop on my head. I brought the old man and his son aboard the prince; told him I heard them talk of a fardel and I know not what. But he at that time over-fond of the shepherd’s daughter (so he then took her to be), who began to be much sea-sick, and himself little better, extremity of weather continuing, this mystery remained undiscover’d. But ’tis all one to me; for had I been the finder-out of this secret, it would not have relish’d among my other discredits.

had i not the dash of my former life in me would preferment drop on my head i brought the old man and his son

Enter Shepherd and Clown.

Here come those I have done good to against my will, and already

appearing in the blossoms of their fortune.

SHEPHERD

Come, boy; I am past more children, but thy sons and daughters will be

all gentlemen born.

Come, boy; I am past more children, but your sons and daughters will be all gentlemen born.

Come, boy; I'm past more children, but your sons and daughters will be all gentlemen born.

i am past more children but your sons and daughters will be all

CLOWN

You are well met, sir. You denied to fight with me this other day,

because I was no gentleman born. See you these clothes? Say you see

them not and think me still no gentleman born: you were best say these

robes are not gentlemen born. Give me the lie, do; and try whether I am

not now a gentleman born.

You are well met, sir. You denied to fight with me this other day, because I was no gentleman born. See you these clothes? Say you see them not and think me still no gentleman born: you were best say these robes are not gentlemen born. Give me the lie, do; and try whether I am not now a gentleman born.

you are well met you denied to fight with me this other day because i was no gentleman born

AUTOLYCUS

I know you are now, sir, a gentleman born.

I know you're now, sir, a gentleman born.

i know you are now a gentleman born

CLOWN

Ay, and have been so any time these four hours.

and have been so any time these four hours

SHEPHERD

And so have I, boy!

and so have i

CLOWN

So you have: but I was a gentleman born before my father; for the

king’s son took me by the hand and called me brother; and then the two

kings called my father brother; and then the prince, my brother, and

the princess, my sister, called my father father; and so we wept; and

there was the first gentleman-like tears that ever we shed.

So you have: but I was a gentleman born before my father; for the king’s son took me by the hand and called me brother; and then the two kings called my father brother; and then the prince, my brother, and the princess, my sister, called my father father; and so we wept; and there was the first gentleman-like tears that ever we shed.

so you have but i was a gentleman born before my father for the king’s son took me by the and then the two kings called my father brother

SHEPHERD

We may live, son, to shed many more.

we may live to shed many more

CLOWN

Ay; or else ’twere hard luck, being in so preposterous estate as we

are.

Ay; or else ’twere hard luck, being in so preposterous estate as we are.

or else ’twere hard luck being in so preposterous estate as we are

"so preposterous estate as we are" The Clown means 'prosperous' — 'preposterous' means the opposite. This is Shakespeare's signal that social elevation does not confer the vocabulary of gentility overnight.

AUTOLYCUS

I humbly beseech you, sir, to pardon me all the faults I have committed

to your worship, and to give me your good report to the prince my

master.

I humbly beseech you, sir, to pardon me all the faults I have committed to your worship, and to give me your good report to the prince my master.

i humbly beseech you to pardon me all the faults i have and to give me your good report to

SHEPHERD

Prithee, son, do; for we must be gentle, now we are gentlemen.

please, son, do; for we must be gentle, now we are gentlemen.

please for we must be gentle

CLOWN

Thou wilt amend thy life?

you wilt amend your life?

AUTOLYCUS

Ay, an it like your good worship.

an it like your good worship

CLOWN

Give me thy hand: I will swear to the prince thou art as honest a true

fellow as any is in Bohemia.

Give me your hand: I will swear to the prince you art as honest a true fellow as any is in Bohemia.

give me your hand i will swear to the prince you art

SHEPHERD

You may say it, but not swear it.

you may say it but not swear it

CLOWN

Not swear it, now I am a gentleman? Let boors and franklins say it,

I’ll swear it.

Not swear it, now I am a gentleman? Let boors and franklins say it, I’ll swear it.

Not swear it, now I'm a gentleman? Let boors and franklins say it, I’ll swear it.

not swear it now i am a gentleman? let boors and i’ll swear it

SHEPHERD

How if it be false, son?

how if it be false

CLOWN

If it be ne’er so false, a true gentleman may swear it in the behalf of

his friend. And I’ll swear to the prince thou art a tall fellow of thy

hands and that thou wilt not be drunk; but I know thou art no tall

fellow of thy hands and that thou wilt be drunk: but I’ll swear it; and

I would thou wouldst be a tall fellow of thy hands.

If it be ne’er so false, a true gentleman may swear it in the behalf of his friend. And I’ll swear to the prince you art a tall fellow of your hands and that you wilt not be drunk; but I know you art no tall fellow of your hands and that you wilt be drunk: but I’ll swear it; and I would you would be a tall fellow of your hands.

if it be ne’er so false a true gentleman may swear it in the and i’ll swear to the prince you art but i know you art no tall fellow

AUTOLYCUS

I will prove so, sir, to my power.

i will prove so to my power

CLOWN

Ay, by any means, prove a tall fellow: if I do not wonder how thou

dar’st venture to be drunk, not being a tall fellow, trust me not.

Hark! the kings and the princes, our kindred, are going to see the

queen’s picture. Come, follow us: we’ll be thy good masters.

Ay, by any means, prove a tall fellow: if I do not wonder how you dar’st venture to be drunk, not being a tall fellow, trust me not. Hark! the kings and the princes, our kindred, are going to see the queen’s picture. Come, follow us: we’ll be your good masters.

Ay, by any means, prove a tall fellow: if I don't wonder how you dar’st venture to be drunk, not being a tall fellow, trust me not. Hark! the kings and the princes, our kindred, are going to see the queen’s picture. Come, follow us: we’ll be your good masters.

by any means prove a tall fellow if i do not wonder how you dar’st

[_Exeunt._]

The Reckoning

Shakespeare makes a bold structural choice here: the reunion that the whole play has been building toward happens off-stage, reported to us second-hand by gentlemen who couldn't quite see everything. This keeps the emotional climax — Leontes meeting his daughter — preserved for the statue scene instead. What we get instead is something equally valuable: a scene about language straining against experience, about how human beings tell each other things too large to hold. The Clown's new gentlemanly pretensions at the end arrive like a valve releasing pressure — comedy to let the audience breathe before 5-3.

If this happened today…

You're a friend waiting outside the hospital. Three nurses emerge in sequence, each one giving you a little more of the story — the first was in the room briefly before they were asked to leave, the second heard through the door, the third was there for most of it. They talk over each other, comparing notes. Someone famous was involved. There were tears. It was impossible to describe. Then the person you've been waiting for walks out wearing brand-new expensive clothes, tells you they're basically royalty now, and asks you to vouch for their new character. It's absurd and true at the same time.

Continue to 5.3 →