Themes: Jealousy in Othello.

The play is written by the most famous poet in the world William Shakespeare. He is known as romantic and comedy writer .Othello was written at probably 1604. Although winter’s tale is one of the last play written by Shakespeare but the theme (of jealousy) is not much different than Othello.

Jealousy as stated in the Oxford dictionary “feeling angry or unhappy because somebody you like or love is showing interest in somebody else: a jealous wife or husband.” Some try to find out the source of inspiration that William Shakespeare to write about romances. Not much is known about the love life of William Shakespeare, Several theories have been advanced by Shakespearean scholars and biographers, many involving a mysterious "dark-lady" to whom the bard seems to pine for in several of his sonnets. As the Shakespearean scholar Arthur Aches writes :

" I believe, from what I find in the Sonnets, that our poet's connection with [a] woman commenced at almost the same period as his acquaintance with Southampton, in about 1593, ... I believe, also , that he genuinely loved her, and fired with the passion and intensity of his love, produced in those years the marvelous rhapsodies of love in "Romeo and Juliet," ... and other of his love plays, which have so charmed the world, and still charm it, and shall continue to do so while the language lives. If ever a man lived who sounded the human heart to its depths, and gauged its heights, that man was Shakespeare, and such knowledge as he had, and shows us of life, may not attained by hearsay, nor at second hand.

http://www.cinetropic.com/shakespeare/life.html

The play Othello tells the story of Othello the Moor who marries Desdemona out of love, without Desdemona father approval. Jealous that Othello promoted Cassio instead of himself Iago, Othello trustee, lied to Othello to trigger jealousy in Othello thinking that his beloved wife Desdemona is having an affair with Cassio. In the end eaten by jealousy Othello killed his wife, only later to find out about Iago deceitful lies. In regret Othello kills himself.

In the play the theme of jealousy is not only evident in between Othello and Desdemona but in Iago to Cassio. At the end of his tale to Roderigo about how he was passed over for promotion to lieutenant, Iago displays his jealousy of Cassio. He says that Cassio, a "counter-caster"(1.1.31) has the job Iago wanted, while Iago has to keep on being "his Moorship's ancient " (1.1.33). A little later, Roderigo, who is desperately in love with Desdemona, expresses his jealousy of Othello's marriage to Desdemona by saying, "What a full fortune does the thick-lips owe, If he can carry't thus!" (1.1.66-67). Where Roderigo says "carry't thus" .

"Look to her, Moor, if thou hast eyes to see: She has deceived her father, and may thee" (1.3.292-293). Desdemona makes it clear that she loves and honors her husband, Brabantio remains bitter, and warns Othello that Desdemona may turn out to be a unfaithful.

Iago tells a series of lies about Desdemona, and manipulate Othello mind by saying that they may not be worth thinking about. He says, "I confess, it is my nature's plague , To spy into abuses, and oft my jealousy , Shapes faults that are not" (3.3.146-148). Here Iago uses the word "jealousy" in its general sense of "suspicion," but ambiguously he also speaks of himself.

Psychologically, Iago manipulate Othello thoughts to make Othello jealous, Iago warns Othello against jealousy:

“O, beware, my lord, of jealousy;It is the green-eyed monster which doth mock
The meat it feeds on; that cuckold lives in bliss Who, certain of his fate, loves not his wronger;
But, O, what damned minutes tells he o'erWho dotes, yet doubts, suspects, yet strongly loves! (3.3.165-170)

This speech not only a description of jealousy, it also shows insightful of its psychological manipulation. (reverse psychology).In comparison to all of this pain of suspicion and doubt, it's "bliss" to just be angry. Thus Iago tempts Othello to make the jump from suspicion to anger, without considering if the suspicion has any truth in it.

Iago's warnings against jealousy have the outcome that he was looking for: Othello denies that he is jealous. From Iago's point of view, this is a good sign, just as was Cassio's denial that he was drunk. Othello does not believe that he is the sort of person who can be jealous, because to him "to be once in doubt , Is once to be resolved" (3.3.179-180). He means that as soon as he is in doubt he will eliminate it.

It is Othello who is talk of jealousy; even as he's denying that he can be jealous. He says, "'Tis not to make me jealous, To say my wife is fair, feeds well, loves company, Is free of speech, sings, plays and dances well; Where virtue is, these are more virtuous"(3.3.183-186). An outgoing personality doesn't make a woman loose. But keep saying that he is not jealous Similarly, he says, "Nor from mine own weak merits will I draw, The smallest fear or doubt of her revolt; For she had eyes, and chose me" (3.3.187-189). Again, Othello is reconcile his thought by reminding himself that in front of her father and the world Desdemona proclaimed her choice, but if he were not jealous he would not have to remind himself that she chose him.

Othello says that he is untouchable by jealousy by declaring, "No, Iago; , I'll see before I doubt; when I doubt, prove; And on the proof, there is no more but this,-- Away at once with love or jealousy!" (3.3.189-192). Othello already has strong suspicions, not from seeing anything, but just from listening to Iago. But still, Othello is prepared to hear and believe whatever Iago says next. Othello believes that he's not the jealous type and he believes that Iago is his honest friend, so he believes that Iago couldn't be lying and he believes that he himself cannot be wrong. Shows the ego of man of rank.

Iago then uses more reverse psychology, telling Othello to "Look to your wife; observe her well with Cassio; , Wear your eye thus, not jealous nor secure" (3.3.197-198). Then Iago adds, "I would not have your free and noble nature, Out of self-bounty , be abused; look to't." (3.3.199-200). In other words, Othello shouldn't be jealous, but if he's not, Desdemona is likely to take advantage of him.

Desdemona can't find her handkerchief and she feels guilty, and she's put herself at ease by saying that "my noble Moor , Is true of mind and made of no such baseness , As jealous creatures are," because otherwise the loss of the handkerchief might be "enough , To put him to ill thinking" (3.2.26-29). Emilia seems to have a doubt about Othello not being jealous, but Desdemona says confidently, "I think the sun where he was born , Drew all such humours from him" (3.4.30-31). "Humours" were thought to control a person's temper. Desdemona is sure that Othello will be jealous.

However, when Othello arrives, he asks Desdemona about the handkerchief, and then storms out, Emilia asks, "Is not this man jealous?" (3.4.99). Desdemona tries to convince herself that Othello is only upset by something that happened at work, but Emilia, unconvinced by Desdemona's reasoning, says diplomatically, "Pray heaven it be state-matters, as you think,And no conception nor no jealous toy, Concerning you." (3.4.155-157). A "toy" is a silly or stupid idea, and Emilia clearly thinks that Othello could be toying with the stupid idea that Desdemona is unfaithful to him. Desdemona replies, "Alas the day! I never gave him cause" (3.4.158), which gives Emilia the chance to remind her that jealousy doesn't need a cause; "It is a monster , Begot upon itself, born on itself" (3.4.161-162). Desdemona exclaims, "Heaven keep that monster from Othello's mind!" (3.4.163),

"I will be hang'd, if some eternal villain, Some busy and insinuating rogue, Some cogging , cozening slave, to get some office, , Have not devised this slander; I will be hang'd else" (4.2.130-133). Emilia says this after Othello calls Desdemona a whore and Emilia thinks she knows the reason. This describes Iago exactly, and it makes him uncomfortable. He says, "Fie, there is no such man; it is impossible" (4.2.134). However, Emilia knows better. She continues to denounce the unknown villain until Iago tells her to quiet down, which only inspires Emilia to say, "Some such squire he was , That turn'd your wit the seamy side without, And made you to suspect me with the Moor" (4.2.145-147). He shuts her up by saying, "You are a fool; go to" (4.2.148). "

Just before he commits suicide, Othello tells about how he wants to be remembered. He says he should be spoken of as "one not easily jealous, but being wrought , Perplex'd in the extreme" (5.2.345-346). The first half of the statement, that he was "one not easily jealous," was supported by Desdemona when she said, "I think the sun where he was born , Drew all such humours from him" (3.4.30-31). Still, it can be said that he was too easily made jealous. The second half of the statement seems beyond doubt. True that he was confused and tormented in to the extreme, and he views his puzzlement not as an excuse, but out of guilt he kills himself.

As a conclusion jealousy as the theme of the play Othello is very apparent. It can be found in almost every part of the scene. A monster that existed from love and insecurity, or simply because someone else has the upper hand as do Iago to Cassio. In the end, Desdemona, Othello and Emilia died because of the green eyed monster called jealousy.

Reference

http://www.sparknotes.com/shakespeare/othello

http://www.cinetropic.com/shakespeare/life.html

http://absoluteshakespeare.com/guides/othello/othello.html

M.R. Ridley. (1972) Othello. Methuen & Co Ltd London.

Jealousy, Honesty.Trust.

The play that I want to write on is Othello by William Shakespeare. This play is about the misplacement of trust that has been casted upon some people which lead to the downfall of man. The betrayal of trust is driven by the jealousy towards the main character’s achievements and stature.

The themes that I want to relate to the story are overlapping with each other which is the trust on one cannot be too malicious that it can be the downfall of your own self, jealousy is a very ill-driven motivation that will cast chaos towards one’s life and displacement of honesty can surely destroy a man’s life.

My one point is in the entanglement of three major points. The explanation would be done in a simple manner where we will see that a jealous individual that has been portrayed as honest and has been looked upon as someone who is trustworthy will lead to the downfall of the immediate friends and relatives.

In the play, we could see that Iago is the main villain in the story whereas Othello is the main character. It is said that Iago is jealous of Othello’s position and power in the Venice as he, Othello is a Moors and married to Desdemona, a daughter of a Venetican’s senator. He found that this should not be happening as he cannot see why and how is it possible for an intermarriage to happen. Below are a few lines from a dialogue that is said by Iago in first Scene first Act.

“...Against the Moor: for, I do know, the state,...Though I do hate him as I do hell-pains...I must show out a flag and sign of love,...”

Just based on the above quotation, it is already being included that Iago hates Othello but he needs to get Othello’s good side so he can instigate Othello towards his demise. Thus he masked himself with the word honesty and influenced everyone around him to loath Othello in any way possible. Besides that, he already pointed it out clearly that he hates Othello for his colour skin.

Each of everyone in the play has made a consensus within themselves that Iago is innocent, and a very honest person. He is someone who is modest and humble in front of Othello maybe due to the stature differences or he is trying to fool Othello. At the same time, he is acting very intelligent and more outspoken in front of Cassio and Iago. This implication is probably due to the fact that he is trying to instigate them to bring calamity in Othello’s life directly and indirectly. The alibi stating that Iago to be honest as a man can get was given out by Othello himself as they have been working together for as long as they can remember.

Based on that acclamation, he managed to sway everyone judgement of themselves and everyone around them easily. Thus, he gave doubt within them and paranoia between them.

“Yet, I persuade myself, to speak the truth”
(Act 2, Scene 3)

In addition to it, all of the characters in the play trust Iago’s word as if his word is an absolute truth. We can see it in many instances where people will go to Iago for advice and guidance. Iago has given out advices and suggestions to all of the characters in the play including Othello, Desdemona and even Emilia. Throughout the play, we will see Iago instigate everyone around him to do something that would cause at least a disturbance in Othello’s life. In Act 1, we can see that Iago developed Roderigo despise Othello and further complicate Othello’s life by making Brabantio rushed to Othello and ask for his’ daughter safe return. In Act 2, he instigated Cassio to be stripped out of his status and tried to make a scandal between Cassio and Desdemona. He managed to influence Othello in making him believe that Desdemona is having an affair with Cassio. One particular event that truly portrayed the absolute truth of Iago’ word when Othello and Desdemona confront each other. Othello believed in all his heart to what Iago had said that Desdemona is impure and untrustworthy even though Desdemona has claimed that it was not what he thought it is.

In conjunction to it, we can see that Iago even manipulated Emilia, his wife, a little by pulling a small trick. He persuaded Emilia steals the handkerchief that Othello gave to Desdemona so he can plot his malevolent plan towards the destruction of Othello.

Furthermore, we can interrelate all of the themes that I have stated into our own life as we also have needs and friends. We move ourselves because of motivation regardless whether it is positive or negative. We tend to compete with the people that we sometimes awe and respect. We tried to surpass everyone that is higher than us in the related field that we interested in using any ways possible. To survive in this world that people have said to be unjust, we need pillars and we will get it by having a bond of relationship with people; family and friend all the same. Thus, we invoke trust to make sure that we can depend on them in any way possible so we would not feel alone or fragile in the world.

To conclude, Othello play has multifarious themes that we also go through in real life.

My Part

STRICTLY NO COPYING! I'LL SUE YOU PLAGIARIZERS ;)

“Othello” is one of the most prominent works of William Shakespeare that was first performed in the earliest years of the 17^th century. “Othello” is considered as a much appreciated play because of the issues that have been depicted in the play that relate to the people of that particular era and - to a certain extent – profoundly related our era as well. There are multifarious themes that heavily influence the storyline of the play, such as the issue of race, friendship and betrayal, jealousy, honesty and pride.

            The issue of race can easily seen in “Othello”, and it somewhat brings us modern readers back into the 17^th century to have a look into how the Western society at that time perceive the people of the East, in other words, the others. In many cultures ranging from the East to West, a name is a person’s pride, and we call other people by their name to show our respect to them. By not referring a person by his name indicates that that person is somewhat of lower in status and undeserving of receiving the same level of respect from them, mainly the West. An example of this can be seen in Part I scene I, Iago, the villain of “Othello”, seems to degrade Othello by only referring him by the term “the Moor” several times as can be traced in line 39 and 57. Apart from that, Edward Said’s “Orientalism” has clearly touches on the issue of degenerating a human into smaller body parts. One can see that Iago seems to degenerate Othello into referring him by his body parts alone, not referring to him as a complete man. One can see an instance in line 66 where Rodrigo deems Othello as “thick-lips”. This act of degenerating Othello into body parts flamboyantly illustrates us that the Venetian society, primarily the whites, at that time felt they were superior in term of self-dignity and status than the Moors, or the blacks, or the entire Eastern world for that matter. The issue of race doesn’t only halt there. We can see the putrid descriptions of the Moors in “Othello” through the horrible words that Iago has put together in line 88 and 89;

“Even now, very now, an old black ram, Is tupping your white ewe; arise, arise,”

Apart from that, during the hearing at Othello’s compound yard, much to his surprised, Brabanzio was seemed to be very unpleased that his daughter, Desdemona, married Othello in secret. The instigation made by Rodrigo and Iago earlier further infuriate the enraged father into believing that Desdemona has been somewhat cursed by Othello using the dark magic to fall in love with him, (Part 1 Scene 3 line 60 – 61)

“She is abus’d, stol’n from me and corrupted, By spells and medicines, bought of mountebanks”

This further illustrates that the study of the dark arts are usually practiced by the Eastern community, indicating that the East are filled with evil and corrupted minds that often tempt to manipulate the West. This is absolutely absurd, and cannot be taken as a valid argument as the author that wrote “Othello” was from the West.

            Apart from the issue of race, the theme on friendship versus betrayal has also been placed in this play. Cassio is depicted as being extremely loyal towards Othello, while Iago is being depicted otherwise since the beginning of the play where he already started to instigate Rodrigo against Othello, (Part I Scene I). Othello, being a figure with power in the play, shows some sense of kinship with his fellow comrades, Cassio and Iago, primarily the latter one even though Iago has been masterminding devilish plots against his superior, Othello himself. Emilia is another character that strongly suggests that the theme of friendship exists in “Othello”. In Part 5 Scene 2 line 110 onwards, the bond that has been established by Emilia and Desdemona can be seen as Emilia is strictly grieved after seeing Desdemona dead on the bed. While she can easily cling to her husband, Iago, she chose to reveal the truth and this action acts as a primary enlightenment to those people presence, especially Othello, towards Iago’s misdoings, (Part 5, Scene 2). In addition to the issue of friendship, the issue of betrayal is indeed important as well, as it indirectly pinpoints us to different matters in Othello such as lust for power and greed. Iago furtively betrays Othello behind his back while plotting to raze Othello’s life because Iago did not receive the recognition that he thinks he deserves and this can be traced in line 7 to 30 in Part 1 Scene 1.

            Jealousy is another important theme that Shakespeare has centralized in “Othello”. Two main characters in this play implicitly help to reveal this theme in accordance to the plot and those two are Iago, and ironically, the main character, Othello, himself. Iago’s jealousy is sparked by his pride where he thinks he’s a better man than Michael Cassio (Part 1 Scene 1 line 20 – 25), while Othello’s jealousy is rooted from love, convinced that Cassio and Desdemona are romantically involved in a relationship where in truth both Desdemona and Cassio are working together on helping Cassio getting his position back in the army, (Part 4 Scene 1). In other words, Michael Cassio, is the root for the theme of jealousy for the play “Othello”. This is pretty interesting, as Cassio doesn’t know that he is the cause of jealousy for both the protagonist and the antagonist of the play. The theme of jealousy is being portrayed here because of its destructive nature. It doesn’t only affect one’s soul and emotions, but it also allows one to harm others physically. For example, because of Othello’s blind jealousy towards Desdemona and Cassio, it has caused Desdemona to lose her life in the hand of Othello, even after Desdemona innocently tried to plead not guilty to her husband’s accusations of her as being a whore (Part 4, Scene 3).

            In conclusion, there are many themes in Othello that deal with many issues that are still considered as relevant to our modern days such as the themes of race, friendship versus betrayal, jealousy, pride and honesty.

Doctor Faustus Text - Reading Pointers for sharper Insights

There are many versions and interpretations of the play, The Tragical History of Dr. Faustus, written by Christopher Marlowe in the late 1500s. The basic story, however, remains consistent throughout all the versions. The play is based on an old legend regarding Dr. Faustus, a man of knowledge and excessive pride, who sells his soul to the devil to gain power and knowledge of the universe.

Dr. Faustus is a drama, meaning that it was meant to be performed, rather than read as a novel. The following information will assist you in reading the play:

Marlowe was an English playwright, so the dialect is Elizabethan, which can be a challenge to read and comprehend. Sidebar notes and the glossary will be helpful in deciphering the text.

Latin words and phrases are used liberally, as was common during that time. Aside from the passages that seem to require the use of Latin (e.g., Catholic prayer), Marlowe seems to use Latin to emphasis a point. We have provided translations.

The play incorporates elements of comedy. While you are reading, take note of the comical scenes. Sometimes a comedic scene can provide a break from the intensity of the serious scene that precedes it, known as comic relief. Other times comedy is used to mask a serious or sensitive issue. Comedy is also used at face value purely for entertainment purposes.

Aside from Faustus and Mephistophilis, the characters in the play are flat—undeveloped, one-dimensional. It's possible that Marlowe did this to ensure that the focus stays on the main characters and to use the other characters as symbols (e.g., good, evil, politics, compassion, beauty, ignorance, etc.).

Marlowe's Dr. Faustus, is a product of the Renaissance—a time of rebirth from the Medieval period. As you read Dr. Faustus, note the following characteristics of the Renaissance that are reflected in the story:

explosive growth of knowledge

improvement in literacy across the classes

the rise of Renaissance Individualism, which encouraged people to better themselves and pursue personal fulfillment

a lessening of the power of the Catholic Church due to the Protestant Reformation, which created political changes and conflicts

the belief and the practice of magic despite of advances in science

Marlowe uses many allusions in the play. Note that the allusions illuminate the transitional nature of the Renaissance—the blending old beliefs with new ideas and knowledge. Look for these allusions throughout the play and consider the purpose of their usage:

Biblical stories

figures and stories in Greek mythology

famous writers, poets, physicians, alchemists, and magicians from antiquity

Spanish rule

The primary motif of the play is the conflict between good and evil. There are, however, other motifs that permeate the story of Dr. Faustus:

Knowledge and Power—Knowledge is powerful, especially during the Renaissance when knowledge was becoming more accessible to people, allowing them to improve their status in life. Knowledge and power can be used to help others or for personal gain. Faustus's motivation for pursuing knowledge and power, the method he uses to obtain them, and the consequences of his actions form the crux of the play.

Old Testament vs. New Testament—between the two, there is a difference in how God is viewed regarding the concept of sin and redemption. In the Old Testament, God punishes sinners. In the New Testament, God is forgiving. Faustus's view of sin is based on a misinterpretation of Jerome's Bible; this is a major factor in the decisions he makes.

Christian beliefs vs. the practice of magic—People of that time were very religious and quite superstitious. How does the lure of magic affect the various characters in the play? In particular, note how the “religious” characters respond to magic.

The duality of humans—There are elements of good and bad in all of us. As the play unfolds, Faustus struggles internally with this duality, and it creates doubt about the choices he's made. Each of us has personality traits that have the power to affect the balance of our nature. Faustus is not inherently evil, but his excessive pride, greed, selfishness, and weakness of character cloud his judgment, causing him to make poor decisions. As you read the play, be aware of the moments where Faustus struggles with duality.

After reading both the biography of Christopher Marlowe and The Tragical History of Dr. Faustus, you may find interesting parallels between Marlowe and Faustus.


Taken from

http://www.enotes.com/faustus-text/reading-pointers

Character Profile of Doctor Faustus

Faustus- The main character of the story. Once a brilliant scholar and professor at Wittenberg, his interest in the dark arts and necromancy lead him to a deal with Lucifer. In this pact, he surrenders his soul for twenty-four years of luxury and power on earth. Self-doubt, repentance and fear gnaw his soul frequently throughout the play, but it is not until the very end that he realizes the folly of his actions.

Valdes Cornelius- Friends of Faustus. Infamous for practicing magic and sorcery, they persuade him to join them in studying necromancy.

Wagner- Servant to Faustus. He is faithful to Faustus till the end and receives all of his money and property.

Mephostophilis-The principal devil that lured Faustus into selling his soul. As part of the deal between Lucifer and Faustus, Mephostophilis acted as Faustus's servant for twenty-four years, granting his every wish.

Lucifer- Monarch of hell. He is delighted to receive Faustus's once devout soul into his dominions in exchange for twenty-four years of luxurious life.

Beelzebub-Assistant devil to Lucifer.

Good Angel Evil Angel- They frequently accompany Faustus and advise him on a course of action. They represent the struggle between good and evil in his soul.

The Seven Deadly Sins- Appear at Lucifer's command before Faustus for his entertainment.

Clown/Robin-Acts as a servant for Wagner, interested in the dark arts; Mephostophilis punishes him by giving him an ape's face.

Dick- Stableboy that Mephostophilis turns into a dog because he stole Faustus's magic book.

Rafe- Dick's partner in crime; similarly punished by Mephostophilis.

Vintner-Innocent witness to Dick, Rafe Robin's devilish mischief.

Carter- Faustus tricks this man by eating all of his hay for only three farthings.

Chorus- Acts as narrator and interpreter of the story for the audience.

The Pope- Faustus plays tricks on this "proud" Pope by releasing a political prisoner right under his nose.

Bruno-Political/religious prisoner that Faustus releases to cause mischief in Rome; later becomes Pope in Germany.

Raymond, King of Hungary- Assistant to the Pope; fooled by Faustus and Mephostophilis.

Charles, the German Emperor- Greatly entertained by Faustus; commands to see various spirits.

Martino, Frederick Benvolio- Officers at the Emperor's court; they are severely punished by the devils for scoffing at Faustus's magical powers and attempting to kill him.

Duke Duchess of Vanholt- Guests entertained by Faustus.

Old Man- Devout Christian who pleads with Faustus to save his soul; serves as a foil against Faustus's sin-loving ways.

Spirits in the shapes of Alexander the Great, Darius, Paramour and Helen of Troy- Summoned by Faustus to entertain his guests.

Scholars, soldiers, devils, courtiers, cardinals, monks, cupids, saxony


Taken from

http://www.novelguide.com/doctorfaustus/metaphoranalysis.html

Summary of Doctor Faustus

Doctor Faustus, a talented German scholar at Wittenburg, rails against the limits of human knowledge. He has learned everything he can learn, or so he thinks, from the conventional academic disciplines. All of these things have left him unsatisfied, so now he turns to magic. A Good Angle and an Evil Angel arrive, representing Faustus' choice between Christian conscience and the path to damnation. The former advises him to leave off this pursuit of magic, and the latter tempts him. From two fellow scholars, Valdes and Cornelius, Faustus learns the fundamentals of the black arts. He thrills at the power he will have, and the great feats he'll perform. He summons the devil Mephostophilis. They flesh out the terms of their agreement, with Mephostophilis representing Lucifer. Faustus will sell his soul, in exchange for twenty-four years of power, with Mephostophilis as servant to his every whim.

In a comic relief scene, we learn that Faustus' servant Wagner has gleaned some magic learning. He uses it to convince Robin the Clown to be his servant.
Before the time comes to sign the contract, Faustus has misgivings, but he puts them aside. Mephostophilis returns, and Faustus signs away his soul, writing with his own blood. The words "Homo fuge" ("Fly, man) appear on his arm, and Faustus is seized by fear. Mephostophilis distracts him with a dance of devils. Faustus requests a wife, a demand Mephostophilis denies, but he does give Faustus books full of knowledge.
Some time has passed. Faustus curses Mephostophilis for depriving him of heaven, although he has seen many wonders. He manages to torment Mephostophilis, he can't stomach mention of God, and the devil flees. The Good Angel and Evil Angel arrive again. The Good Angel tells him to repent, and the Evil Angel tells him to stick to his wicked ways. Lucifer, Belzebub, and Mephostophilis return, to intimidate Faustus. He is cowed by them, and agrees to speak and think no more of God. They delight him with a pageant of the Seven Deadly Sins, and then Lucifer promises to show Faustus hell. Meanwhile, Robin the Clown has gotten one of Faustus' magic books.
Faustus has explored the heavens and the earth from a chariot drawn by dragons, and is now flying to Rome, where the feast honoring St. Peter is about to be celebrated. Mephostophilis and Faustus wait for the Pope, depicted as an arrogant, decidedly unholy man. They play a series of tricks, by using magic to disguise themselves and make themselves invisible, before leaving.
The Chorus returns to tell us that Faustus returns home, where his vast knowledge of astronomy and his abilities earn him wide renown. Meanwhile, Robin the Clown has also learned magic, and uses it to impress his friend Rafe and summon Mephostophilis, who doesn't seem too happy to be called.
At the court of Charles V, Faustus performs illusions that delight the Emperor. He also humiliates a knight named Benvolio. When Benvolio and his friends try to avenge the humiliation, Faustus has his devils hurt them and cruelly transform them, so that horns grow on their heads.
Faustus swindles a Horse-courser, and when the Horse-courser returns, Faustus plays a frightening trick on him. Faustus then goes off to serve the Duke of Vanholt. Robin the Clown, his friend Dick, the Horse-courser, and a Carter all meet. They all have been swindled or hurt by Faustus' magic. They go off to the court of the Duke to settle scores with Faustus.
Faustus entertains the Duke and Duchess with petty illusions, before Robin the Clown and his band of ruffians arrives. Faustus toys with them, besting them with magic, to the delight of the Duke and Duchess.
Faustus' twenty-four years are running out. Wagner tells the audience that he thinks Faustus prepares for death. He has made his will, leaving all to Wagner. But even as death approaches, Faustus spends his days feasting and drinking with the other students. For the delight of his fellow scholars, Faustus summons a spirit to take the shape of Helen of Troy. Later, an Old Man enters, warning Faustus to repent. Faustus opts for pleasure instead, and asks Mephostophilis to bring Helen of Troy to him, to be his love and comfort during these last days. Mephostophilis readily agrees.
Later, Faustus tells his scholar friends that he is damned, and that his power came at the price of his soul. Concerned, the Scholars exit, leaving Faustus to meet his fate.
As the hour approaches, Mephostophilis taunts Faustus. Faustus blames Mephostophilis for his damnation, and the devil proudly takes credit for it. The Good and Evil Angel arrive, and the Good Angel abandons Faustus. The gates of Hell open. The Evil Angel taunts Faustus, naming the horrible tortures seen there.
The Clock strikes eleven. Faustus gives a final, frenzied monologue, regretting his choices. At midnight the devils enter. As Faustus begs God and the devil for mercy, the devils drag him away. Later, the Scholar friends find Faustus' body, torn to pieces.
Epilogue. The Chorus emphasizes that Faustus is gone, his once-great potential wasted. The Chorus warns the audience to remember his fall, and the lessons it offers.

Taken from

http://www.gradesaver.com/dr-faustus/study-guide/short-summary/

Dr Faustus - Biography of Christopher Marlowe

Biography

Christopher Marlowe was an innovative writer who was alternately considered an atheist and a devout Christian. His plays reflect this extraordinary diversity in his beliefs and morals and his inquisitive mind. Marlowe introduced moral thinking in his plays and was considered to be a man deeply concerned with religion, suffering and evil. He was born in 1564 in Canterbury, the same year as Shakespeare. Although he was the son of a shoemaker, Marlowe was a brilliant scholar. He attended King's School in Canterbury and later Corpus Christi College in Cambridge.

He was awarded a scholarship during his college years, but the grant was meant for men interested in priesthood. Quite apparently, Marlowe must have drastically changed his career plans after college. After earning his B.A. and M.A degrees he became a spy for Queen Elizabeth's government. At twenty-three Marlowe came to London and associated with other recent university graduates who survived by writing plays and pamphlets.

Marlowe had several brushes with the law and was accused of making scandalous and seditious speeches. He got into a street fight and landed in jail. A few days before the case was to be heard, Marlowe spent the day with some shady acquaintances. Many scholars believe that he died instantly at the age of twenty-nine from a two-inch dagger wound inflicted above the eye during a fight about the bill at a tavern on that day. Theories about his death are still circulated.

Although his life was short, Marlowe did succeed in publishing seven dramatic poems that were tragedies, including Doctor Faustus. His heroes are usually "overreachers," men who are self-driven by greed and ambition. They fail to recognize their responsibility to God and their fellow creatures. Many scholars believe that Marlowe's dramatic style showed Shakespeare what was possible in dramatic poetry and greatly influenced him.

Doctor Faustus is based on an old German folktale. The real John Faust, or Faustus, was a travelling magician who died about 1540. After death, he became a legendary figure. People attributed his skills as a magician to a pact that he had made with the devil. Marlowe transformed this tale into an ambitious scholar at Wittenberg who sells his soul to the devil to satiate his thirst for power and knowledge. Marlowe's audiences firmly believed in the existence of the devil, which made the play all the more tragic and horrific.


Taken from

http://www.novelguide.com/doctorfaustus/biography.html

Wrapping up The Winter's Tale

"Merry or sad shall't be?
As merry as you will.

A sad tale's best for winter...

Well, as we already discussed all the main issues and important features in the play, now let us discover some interesting facts and information added in the play's trivia.

• Some critics believe that Leontes's jealous behavior toward Hermione in The Winter’s Tale is a thinly veiled allegory about King Henry VIII’s second wife, Anne Boleyn, who was beheaded after being tried and convicted of adultery in 1536. (Source: Stephen Orgel, Introduction to The Winter’s Tale.Oxford World’s Classics 1996 edition.)

• The Winter’s Tale teaches us that mouth bling was pretty popular in Shakespeare’s day. When Autolycus pretends to be a nobleman in Act 4, Scene 4, the Clown remarks that Autolycus must be rich because “the picking [gold toothpick] on’s teeth” is so fancy.

• What’s Up With the Title? - The term “winter’s tale” isn’t used a whole lot in the 21st century, but in Shakespeare’s day, everyone knew that a “winter’s tale” was the kind of story one might tell in order to pass the time on a long winter evening. Like a fairy tale, a winter’s tale may be entertaining, but it doesn’t have a whole lot of credibility.

• Everyone knows that Bohemia is completely landlocked, but Shakespeare either didn’t know or didn’t care. At the beginning of Act 3, Scene 3, Antigonus asks “Thou art perfect then, our ship hath touch'd upon / The deserts of Bohemia?” (3.3.1)

The tale's Tone & Genre.

Take a story's temperature by studying its tone.

Is it hopeful? Cynical? Snarky? Playful?

Well, let's see...

Tone: Dark and then Joyous

The first three acts, set in the Sicilian court, are dark and claustrophobic. This is mostly the result of Leontes’s jealousy and tyranny, which pretty much dominates the first half of the play. Of course, this is no big surprise, given that King Leontes throws his wife in prison, plots the death of his best friend, throws his infant daughter away, and basically causes the premature death of his young son.

The play’s tone shifts dramatically as the setting shifts to Bohemia (sixteen years in the future), where the summer sheep-shearing festival is underway and the love between Perdita and Florizel blossoms. The festive mood briefly darkens when Polixenes threatens the young couple’s happiness but the heavy mood begins to lift almost as soon as the Bohemian cast makes its way over to the Sicilian court (where Leontes and his kingdom have been suffering for sixteen years). After the revelation of Perdita’s true identity and the miraculous “resurrection” of Hermione, the atmosphere turns joyous, as family and friends are reunited and the promise of marriage looms in the future.

Genre: Tragi-comedy

The Winter’s Tale is often called a “problem play” because it defies traditional categories of genre. Many Shakespeare critics settle on calling The Winter’s Tale a “tragic-comedy” because the first three acts of the play feel much like a mini tragedy (compare it, for example, to Hamlet or Othello) and the play’s second half resembles a “comedy.”

In the first three acts, Leontes is overcome by wild jealousy (a fatal flaw) and his tyranny causes profound suffering and the destruction of his family, which ultimately threatens to destroy the health of his kingdom. These are the hallmarks of Shakespearean tragedy. Yet, The Winter’s Tale, like Shakespeare’s comedies has a decidedly happy ending – families are reconciled, a marriage is promised, and social order is restored

Romance and Fairy Tale

Many critics also refer to The Winter’s Tale as a “romance” (because it shares features with “medieval romance,”) Shakespeare’s “romance” plays (The Winter’s Tale, Pericles, Cymbeline,) were all written at the end of Big Willie’s career and involve the following features:

• loss and recovery (like Perdita’s reunification with her family),
  
• a wandering journey (think of Perdita’s travels to Bohemia and back to Sicily and Leontes’s journey toward forgiveness)
• elements of magic and the fantastic (Hermione’s miraculous resurrection, for example).
  

If you’re thinking that all of this sounds a lot like a fairy tale, you’re absolutely right – fairy tales, which are notorious for being implausible and fantastical, share a lot in common with “romance” stories.

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“THE WINTER’S TALE”

Short Summary

King Leontes of Sicilia begs his childhood friend, King Polixenes of Bohemia, to extend his visit to Sicilia. Polixenes protests that he has been away from his kingdom for nine months, but after Leontes's pregnant wife, Hermione, pleads with him he relents and agrees to stay a little longer. Leontes, meanwhile, has become possessed with jealousy--convinced that Polixenes and Hermione are lovers, he orders his loyal retainer, Camillo, to poison the Bohemian king. Instead, Camillo warns Polixenes of what is afoot, and the two men flee Sicilia immediately.

Furious at their escape, Leontes now publicly accuses his wife of infidelity, and declares that the child she is bearing must be illegitimate. He throws her in prison, over the protests of his nobles, and sends to the Oracle of Delphi for what he is sure will be confirmation of his suspicions. Meanwhile, the queen gives birth to a girl, and her loyal friend Paulina brings the baby to the king, in the hopes that the sight of the child will soften his heart. He only grows angrier, however, and orders Paulina's husband, Lord Antigonus, to take the child and abandon it in some desolate place. While Antigonus is gone, the answer comes from Delphi--Hermione and Polixenes are innocent, and Leontes will have no heir until his lost daughter is found. As this news is revealed, word comes that Leontes's son, Mamillius, has died of a wasting sickness brought on by the accusations against his mother. Hermione, meanwhile, falls in a swoon, and is carried away by Paulina, who subsequently reports the queen's death to her heartbroken and repentant husband.

Antigonus, meanwhile abandons the baby on the Bohemian coast, reporting that Hermione appeared to him in a dream and bade him name the girl Perdita and leave gold and other tokens on her person. Shortly thereafter, Antigonus is killed by a bear, and Perdita is raised by a kindly Shepherd. Sixteen years pass, and the son of Polixenes, Prince Florizel, falls in love with Perdita. His father and Camillo attend a sheepshearing in disguise and watch as Florizel and Perdita are betrothed--then, tearing off the disguise, Polixenes intervenes and orders his son never to see the Shepherd's daughter again. With the aid of Camillo, however, who longs to see his native land again, Florizel and Perdita take ship for Sicilia, after using the clothes of a local rogue, Autolycus, as a disguise. They are joined in their voyage by the Shepherd and his son, a Clown, who are directed there by Autolycus.

In Sicilia, Leontes--still in mourning after all this time--greets the son of his old friend effusively. Florizel pretends to be on a diplomatic mission from his father, but his cover is blown when Polixenes and Camillo, too, arrive in Sicilia. What happens next is told to us by gentlemen of the Sicilian court: the Shepherd tells everyone his story of how Perdita was found, and Leontes realizes that she is his daughter, leading to general rejoicing. The entire company then goes to Paulina's house in the country, where a statue of Hermione has been recently finished. The sight of his wife's form makes Leontes distraught, but then, to everyone's amazement, the statue comes to life--it is Hermione, restored to life. As the play ends, Paulina and Camillo are engaged, and the whole company celebrates the miracle.

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Themes

The themes of The Winter's Tale are similar to the themes in Shakespeare's three other final plays: The Tempest, Cymbeline and Pericles. All these plays are known as romances.

Youth and Age
One theme is the power of youth to regenerate age. For example, it is the young people, Perdita and Florizel, who effect the reconciliation between the old kings, Leontes and Polixenes. This theme is struck in the very first scene, in which Camillo comments that young Mamilius is such a promising prince that he makes "old hearts fresh." (See also Polixenes' comments, Act 1, scene 2, lines 170-71.) Mamilius of course does not live to fulfill his promise, but Perdita does. There is a sense of human life renewing itself through the cycle of generations.

Forgiveness and Reconciliation
The importance of forgiveness and reconciliation is another theme in the last plays of Shakespeare. Hermoine forgives Leontes the wrong he inflicted on her, and they are finally reconciled. Polixenes forgives Leontes. Leontes must also try to forgive himself.

Supernatural Intervention
Supernatural or improbable events often feature in the Shakespearean romances. In The Winter's Tale, the god Apollo intervenes, through the oracle, when Leontes is blind to the truth and bent on injustice. The "resurrection" of Hermoine is also presented as a supernatural event, a miracle. Paulina is anxious to avoid any implication that she is bringing Hermoine back to life by the use of magical arts. Shakespeare's concern is not to produce a trick by magic, but to demonstrate in a symbolic way the power of life to regenerate itself.

Nobility of Woman
Another theme of the romances, prominent in The Winter's Tale, is the nobility, purity and resoluteness of woman. These qualities are embodied in Hermoine, who is not only beyond reproach in her duties as queen, but also endures false accusation and condemnation with great dignity. Paulina is steadfast, loyal and persistent, and Perdita is the embodiment of the innocent regenerative power of nature. In no other play by Shakespeare does he present as many women of such admirable qualities. They stand in contrast to the appalling conduct of Leontes and, in Act 4, of Polixenes, who performs a function similar to that of Leontes in the first two acts. Man's belligerence and even madness is therefore contrasted with woman's quiet strength.

Nature and the Perpetual Renewal of Life
Perhaps the main theme is the triumph of life, as expressed through nature's perpetual powers of renewal. This is the "great creating nature" (Act 4, scene 4, line 89) that is shown in all its variety in the great sheep-shearing scene. The rhythms of nature are reflected in the structure of the play. The first three acts are tragic (decay; winter), the last two comic (rebirth and growth; summer). The two moods meet in the Old Shepherd, as he discovers the babe Perdita at the same time that Clown witnesses the death of Antigonus: "Now bless thyself: thou met'st with things dying, I with things new-born" (Act 3, scene 3, lines 112-13). The structure of the play suggests that human life will be healed by nature and time, just as spring always returns to the earth. What time takes away it will ultimately restore. The miraculous return of Hermoine (no one ever explains where she has been all those years) is simply part of the symbolic message that life has infinite restorative powers. Just as Perdita can be found, so can Hermoine be restored.

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Symbolism, Imagery & Allegory

Twinned Lambs

Polixenes’s description of his childhood friendship with Leontes is probably the most famous example of imagery in The Winter’s Tale. According to Polixenes, when they played together as innocent young boys, they were like “twinn’d lambs that did frisk i’ the sun,” which is a very sweet way to describe the innocence and joy of a carefree childhood friendship between two boys. It also implies that Polixenes and Leontes were so close that they were practically identical (“twinn’d”). By the way, this is also a simile, which compares one thing directly to another. As in, the boys were like lambs.
So, you’re probably thinking, “Aww, what a sweet way for Polixenes to talk about his best childhood bud.” Well, we might want to rethink this because Polixenes’s lovely description of the nearly identical boys gives way to something darker:
We were as twinn'd lambs that did frisk i' the sun,
And bleat the one at the other: what we changed
Was innocence for innocence; we knew not
The doctrine of ill-doing, nor dream'd
That any did.
Had we pursued that life,
And our weak spirits ne'er been higher rear'd
With stronger blood, we should have answer'd heaven
Boldly 'not guilty;' the imposition clear'd
Hereditary ours. (1.2.10)
What’s interesting is that Polixenes claims that he and Leontes would not even have been “guilty” of original sin ifthey had remained young and innocent. Note: The doctrine of “ill doing” (a.k.a. “original sin”) is the idea that all human beings are born tainted because Adam and Eve sinned in the Garden of Eden, according to the Bible’s book of Genesis. In other words, Polixenes suggests that he and Leontes would have remained totally innocent if they hadn’t grown up to become interested in sex (“stronger blood” means “sexual passion”) and girls (like Hermione and Polixenes’s wife). This implies that sexual relationships with women mark the end of childhood and are probably the reason why Polixenes and Leontes aren’t as close as they once were.

The Bear

If you’re like us, you were probably completely blown away when that bear ran out and chased Antigonus across the stage before devouring the poor guy (3.3). Yep, that’s pretty random alright, and to tell you the truth, we’re not quite sure what to make of it (except to say that Shakespeare obviously has a sense of humor). So, let’s think about this for a minute by reviewing some popular interpretations of the incident:
Option 1: Lots of people think that Antigonus gets mauled by a bear because he’s just done a really horrible thing – dumped off baby Perdita in the middle of nowhere. It certainly seems reasonable to assume that Antigonus suffers from bad karma. On the one hand, however, we could also point out that Leontes has got some pretty bad karma too but he’s never mauled by a wild animal.
Option 2: Leontes’s bad behavior brings us to our second option. According to some critics, the bear is a symbol of Leontes’s wrath, which means that Antigonus isn’t so much a villain as a victim. He’s bullied into ditching Perdita by Leontes and the bear mauling is just another version of Antigonus being attacked by a ferocious figure.
Option 3: Alternatively, some literary critics have pointed out that the whole bear mauling incident seems to echo fertility rites myths. As literary critic Jean E. Howard tells us in her introduction to the Norton edition of the play (2008), these kinds of fertility rites usually involve some poor old guy being sacrificed in order to usher in the spring season (think “out with the old and in with the new”) and bring about some sort of sexual fulfillment.
Option 4: The bear mauling isn’t symbolic of anything. It’s just Shakespeare’s way of having fun and making reference to a popular sixteenth- and seventeenth-century blood sport (bear baiting – when bears are chained up and set upon by a pack of dogs). Bear baiting took place in the same neighborhood as Shakespeare’s plays and there are references to it all over his work, so this definitely seems like a good option.
Option 5: What? You don’t like any of these theories? That’s fine by us. Let us know what you come up with!

The Seasons

Winter

We discuss this in “Setting,” but it’s worth mentioning here as well. The first half of The Winter’s Tale is set in King Leontes’s Sicilian court during the cold winter months. We know that it’s winter, by the way, because Mammilius tells his mother “A sad tale's best for winter” (2.1.7) after she asks him for a story. The frigid season seems completely appropriate in a court where Leontes’s cold-hearted behavior destroys his family and brings about the worst kind of suffering imaginable.

Spring/Summer

In the second half of the play (which occurs sixteen years later), the Sicilian winter gives way to the Bohemian countryside during the spring or summer (it’s not entirely clear). The spring and summer seasons, as we know, are frequently associated with life and renewal and life (especially because they come on the heels of the cold and harsh winter months). Fittingly, Bohemia is a festive world that’s full of youthful spirit and possibility. This is where we meet the lovely young Perdita, who resembles Flora, goddess of flowers. Bohemia is also where Florizel’s and Perdita’s young love blossoms and just about anything seems possible, especially during the colorful sheep-shearing festival.
When the young Bohemian cast (Florizel and Perdita) travel to Sicily in Act 5, the “cold” Sicilian landscape is dramatically altered. Leontes says, “Welcome hither, / As is the spring to the earth […] The blessed gods / Purge all infection from the air / Whilst you / Do climate here” (5.1.13-15). Leontes, whose been suffering a winter-like existence in Sicily for sixteen long years, suggests that Florizel’s presence is like the arrival of spring after a long, cold, harsh winter. What’s more, Florizel and Perdita’s youthful presence seems to have a healing effect on the king and his ailing court, which never really recovered from the deaths of Hermione and Mammilius and the loss of baby Perdita. So, we might say that Florizel and Perdita bring with them the spirit of spring/summer and inject the play with love, warmth, and the spirit of forgiveness.
Psst. The BBC’s made-for-TV production of The Winter’s Tale (1981) uses some great sets and props to play up the whole winter/summer dichotomy. This could make for a cool essay topic…

Time

At the beginning of Act 4, Time, a winged figure with an hourglass, appears on stage. Time is an allegory. (An allegory is a kind of extended metaphor that’s weaved throughout a poem or play in which objects, persons, and actions stand for another meaning. In this case, Time stands for, well, time.) Because Time announces that the play has fast-forwarded sixteen years into the future and tells us that the setting has changed from Sicily to Bohemia, where Perdita has grown up, Time is also acting the part of a Chorus (kind of like a narrator).
During his speech, Time apologizes to the audience for all of this: “Impute it not a crime / To me or my swift passage, that I slide / O'er sixteen years and leave the growth untried / Of that wide gap” (4.1.1). Translation: “Don’t be mad that the play has skipped ahead sixteen years.” Why is Time apologizing? Well, flash forwards and major setting changes were a big no-no on the English stage in Shakespeare’s day because they disregarded the “classical unities” (of time, place, and action), a set of literary rules that said all plays should have the following features: 1) the action should take place within a 24 hour time span; 2) the action should take place in one geographical place/setting; 3) the play should have one main plot and no sub-plots. The Winter’s Tale pretty clearly breaks all of these rules (as did many other Shakespeare plays).

Hermione’s Statue

The statue of Hermione is one of the most controversial issues in the play. By the time Paulina invites everyone to see Hermione’s life-like statue in the play’s final act, Hermione has been presumed dead for the past sixteen years. (Remember, Paulina announces that she’s died of a broken heart back at 3.2.3). This is why everyone (especially Leontes and Perdita) is so shocked to see that an artist has created such a realistic and stunning statue. (The artists even seem to have taken into account how Hermione would have aged over the years.) Everyone is even more shocked and amazed when Paulina calls for some dramatic music and says “Tis time. Descend. Be stone no more” (5.3.11) and Hermione (who is very much alive) steps down from the pedestal and gives Leontes a hug. Clearly, this is a pretty dramatic and moving scene, for the characters and the audience.
The problem is this: it’s not entirely clear if Hermione is somehow brought back from the dead, or if she’s been alive the whole time. Some critics argue that Hermione is magically and miraculously resurrected when her long lost daughter (Perdita) returns to her. Others argue that Paulina just hid Hermione away for sixteen years so that 1) Leontes wouldn’t hurt her and 2) she could teach Leontes a lesson. There’s enough evidence in the play to argue either way. So, what do you think? Is this magic, or is it just Paulina’s parlor trick?

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The entire play can be referred to this webpage.

Winter's tale:Characters
Leontes - The King of Sicilia, and the childhood friend of the Bohemian King Polixenes. He is gripped by jealous fantasies, which convince him that Polixenes has been having an affair with his wife, Hermione; his jealousy leads to the destruction of his family.
Hermione - The virtuous and beautiful Queen of Sicilia. Falsely accused of infidelity by her husband, Leontes, she apparently dies of grief just after being vindicated by the Oracle of Delphi, but is restored to life at the play's close.
Perdita - The daughter of Leontes and Hermione. Because her father believes her to be illegitimate, she is abandoned as a baby on the coast of Bohemia, and brought up by a Shepherd. Unaware of her royal lineage, she falls in love with the Bohemian Prince Florizel.
Polixenes - The King of Bohemia, and Leontes's boyhood friend. He is falsely accused of having an affair with Leontes's wife, and barely escapes Sicilia with his life. Much later in life, he sees his only son fall in love with a lowly Shepherd's daughter--who is, in fact, a Sicilian princess.
Florizel - Polixenes's only son and heir; he falls in love with Perdita, unaware of her royal ancestry, and defies his father by eloping with her.
Camillo - An honest Sicilian nobleman, he refuses to follow Leontes's order to poison Polixenes, deciding instead to flee Sicily and enter the Bohemian King's service.
Paulina - A noblewoman of Sicily, she is fierce in her defense of Hermione's virtue, and unrelenting in her condemnation of Leontes after Hermione's death. She is also the agent of the (apparently) dead Queen's resurrection.
Autolycus - A roguish peddler, vagabond, and pickpocket; he steals the Clown's purse and does a great deal of pilfering at the Shepherd's sheepshearing, but ends by assisting in Perdita and Florizel's escape.
Shepherd - An old and honorable sheep-tender, he finds Perdita as a baby and raises her as his own daughter.
Antigonus - Paulina's husband, and also a loyal defender of Hermione. He is given the unfortunate task of abandoning the baby Perdita on the Bohemian coast.
Clown - The Shepherd's buffoonish son, and Perdita's adopted brother.
Mamillius - The young prince of Sicilia, Leontes and Hermione's son. He dies, perhaps of grief, after his father wrongly imprisons his mother.
Cleomenes - A lord of Sicilia, sent to Delphi to ask the Oracle about Hermione's guilt.
Dion - A Sicilian lord, he accompanies Cleomenes to Delphi.
Emilia - One of Hermione's ladies-in-waiting.
Archidamus - A lord of Bohemia.
source:http://www.sparknotes.com/shakespeare/winterstale/characters.html