Men in a Losing Game: The Flaws of Early Modern Masculinity in The Winter’s Tale
The ultimate cause of tragedy in Shakespeare’s The Winter’s Tale is Leontes’ fantasy about Hermione’s infidelity. The tragic spiral of events found in Acts 2 and 3 are direct results of the tyrannical and delusional Leontes. After misreading one exchange between his best friend Polixenes and his wife Hermione, he comes to the firm conclusion that his wife is having an affair and his children are illegitimate. Within a few short scenes, this character the audience hardly knows becomes a mad, bloodthirsty man. From this point, Leontes no longer listens to reason and violently destroys his legacy and family.
While the audience does not see or know Leontes before the events of the play, this sudden jealousy and madness must stem from somewhere. As a wealthy, powerful man with a healthy heir and strong kingdom, one wonders what lead to this explosive character change. However, his dialogue while accusing Hermione exposes his misguided ego. Here the audience sees a juxtaposition between his attempts to be an all-powerful male figure with his fragile ego and sense of manhood. After he accuses Hermione and she responds reasonably, instead of backing down, he only becomes more enraged, saying:
LEONTES. No; if I mistake
In those foundations which I build upon,
The centre is not big enough to bear
A schoolboy’s top (Shakespeare 2.1.100-3)
This highlights his inflated ego and delusional sense of self. He is basing his entire accusation on one exchange between Hermione and Polixenes, yet he claims that if he is wrong the Earth is not big enough to play on. If the Earth is too small for even a child to spin a top on then nothing is true or trustworthy. Leontes’ inflates his false belief to the point of being something comparable with the size and realities of the cosmic world. When he says “in those foundations which I build upon”, the audience understands that the basis for his charge is practically hearsay and completely his own interpretation of an exchange (2.1.101). This statement showcases the complete lack of reality Leontes is living in and the fantasy that he is now forcing his servants and family to suffer through.
His confidence cracks however as Leontes’ only rebuttal to his wife’s eloquent pleas of her innocence is to ask the court, “Shall I be heard?” (2.1.115). This impatient power grab highlights just how little sway he has over his own guards and court. Even the people he’s in charge of would rather listen to what Hermione has to say than Leontes’ orders. This outburst highlights how Leontes is often insecure and unsure of himself, yet unable to admit that he could possibly be wrong. He is so caught up in trying to be this strong, powerful male figure who demands respect that he destroys everything he once held dear.
In contrast to Leontes’ dogmatic, insecure barking, Hermione is calm, calculated, and commanding. Even as she goes to prison, she speaks with dignity. In response to Leontes’ belief that his accusation is as central to existence as the size of the Earth, Hermione looks to the cosmos saying, “There’s some ill planet reigns: I must be patient till the heavens looks with an aspect more favourable” (2.1.105-107). Instead of bowing to the charges of her husband, Hermione waits on the movement of the heavens and the cosmos to carry out justice and truth. Unlike her husband, Hermione is aware she is not at the center of the universe and handles her dire situation with political savvy. She looks past her mad husband to the lords, saying, “Beseech you all, my lords, with thoughts so qualified as your charities shall best instruct you, measure me” (2.1. 112-113). Once again, Hermione takes the authority away from Leontes and gives it to someone else. She does not plead with Leontes to carry out justice, but instead the lords. In contrast to Leontes, Hermione focuses on truth, reason, and justice, while her husband is so lost in his own fantasy he has no grasp of any virtue. She even notes how her response to this accusation is distinctive from the average woman, saying, “I am not prone to weeping, as our sex commonly are” (2.1.108-9). She highlights her own strength and stability, commanding the respect of those watching her. While Hermione outshines her societal expectations, Leontes embodies female stereotypes by being incredibly emotional and volatile.
These ideas of masculinity and feminity, specifically the fragility and faults of masculinity in The Winter’s Tale connect with other scenes in the play. The dramatic exchange in Act 1 scene 1 that begins Leontes’ tragic spiral showcases his thought process and the sudden onslaught of jealousy and passion within him. This section highlights more of Leontes’ inner dialogue, as well as shows the nuances of his relationship with Hermione and Polixenes. Another scene of note is Act 3 scene 2 where Hermione’s and Leontes’ court performances again distinguish their character and relationship from their gender and status. Finally, Act 4 scene 4 showcases the dynamic between and characters of Florizel and Perdita. Contrasting with Leontes and Hermione, Florizel and Perdita highlight an ideal gender dynamic where both parties are eloquent and certain of themselves. Florizel’s character imparticular contrasts with Leontes as, instead of feeling threatened by the prowess of the woman he loves, Florizel embraces the strengths of Perdita and pursues her all the more for it.
This power struggle between Hermione and Leontes fuels the beginning parts of the play and highlight an exploration of the faults of early modern masculinity in The Winter’s Tale.
