Ruhr-Universität Bochum
Autolycus’ failed attempt at social mobility
in The Winter’s Tale
Defne Jule Mutlu
Shakespeare’s Late Romances: “The Winter’s Tale” and “The Tempest”
Jan Mosch
Due to: 01.04.2022
, 2
Table of Contents
Introduction ....................................................................................................................... 3
Tudor morality .................................................................................................................. 3
Shakespeare’s The Winter’s Tale during James I.’s reign ................................................ 5
Early Modern world view in England-The Chain of Being .............................................. 6
Autolycus’ performance in The Winter’s Tale.................................................................. 7
Conclusion ...................................................................................................................... 14
Bibliography.................................................................................................................... 15
, 3
Introduction
Shakespeare’s The Winter’s Tale is one of his late Romances: Cymbeline, The Winter’s
Tale and The Tempest (Pitcher 1), whose plot like every other play of his, covers a huge
variety of themes and motifs and is product of an experienced writer of different
dramatic genres, who wished to experiment with boundaries set by renown exemplary
works and mix elements of drama together. As a reference for the main plot of The
Winter’s Tale, Shakespeare used mainly Robert Greene’s prose work Pandosto:the
Triumph of Time (1588). As Baker notes, “Greene’s work singularly lacks the element
of reconciliation so noteworthy in Shakespeare’s adaptation […]” (Baker 136).
Pandosto, King of Bohemia, kills himself and remains a tyrant until the end, there is no
character development, instead, only time seems to change (Pitcher 96f.). Shakespeare
adapted the original source, substituting chance as the main driver of eventful change
for Fortune and the Divine order that must be restored at the end. Although the play is a
reflection of contemporary historic development, adaption of moral values as presented
in English drama, and of course, experienced writing, only a few decades after its debut
performance, the play had been long neglected by critics. Just recently, in the late
twentieth century did it again position itself as worthy of serious attention (Baker 136).
In this paper, I will focus on the character Autolycus, who has been composed under the
influence of Tudor morality and the claim of Divinity by monarchs in Early Modern
England, especially during the time of composition of the play under king James I.
Autolycus’ failed attempts of social mobility restrengthen those beliefs and make him
an involuntary instrument for power demonstration. First, I will introduce shortly the
relevant moral and historical context in which I will set my thesis. Afterwards, I will
analyze selectively and in chronological order, the parts of the play which I believe to
showcase the truth of my argument.
Tudor morality
The Tudor morality plays are defined as “an English dramatic form, popular from the
late 15th to the mid-16th century, primarily characterized by its use of allegory to
convey a moral lesson” (Kingsley-Smith). Instead of complex, ambiguous, individual
characters we were confronted with abstract generalizations of conceptual ideas, for
Autolycus’ failed attempt at social mobility
in The Winter’s Tale
Defne Jule Mutlu
Shakespeare’s Late Romances: “The Winter’s Tale” and “The Tempest”
Jan Mosch
Due to: 01.04.2022
, 2
Table of Contents
Introduction ....................................................................................................................... 3
Tudor morality .................................................................................................................. 3
Shakespeare’s The Winter’s Tale during James I.’s reign ................................................ 5
Early Modern world view in England-The Chain of Being .............................................. 6
Autolycus’ performance in The Winter’s Tale.................................................................. 7
Conclusion ...................................................................................................................... 14
Bibliography.................................................................................................................... 15
, 3
Introduction
Shakespeare’s The Winter’s Tale is one of his late Romances: Cymbeline, The Winter’s
Tale and The Tempest (Pitcher 1), whose plot like every other play of his, covers a huge
variety of themes and motifs and is product of an experienced writer of different
dramatic genres, who wished to experiment with boundaries set by renown exemplary
works and mix elements of drama together. As a reference for the main plot of The
Winter’s Tale, Shakespeare used mainly Robert Greene’s prose work Pandosto:the
Triumph of Time (1588). As Baker notes, “Greene’s work singularly lacks the element
of reconciliation so noteworthy in Shakespeare’s adaptation […]” (Baker 136).
Pandosto, King of Bohemia, kills himself and remains a tyrant until the end, there is no
character development, instead, only time seems to change (Pitcher 96f.). Shakespeare
adapted the original source, substituting chance as the main driver of eventful change
for Fortune and the Divine order that must be restored at the end. Although the play is a
reflection of contemporary historic development, adaption of moral values as presented
in English drama, and of course, experienced writing, only a few decades after its debut
performance, the play had been long neglected by critics. Just recently, in the late
twentieth century did it again position itself as worthy of serious attention (Baker 136).
In this paper, I will focus on the character Autolycus, who has been composed under the
influence of Tudor morality and the claim of Divinity by monarchs in Early Modern
England, especially during the time of composition of the play under king James I.
Autolycus’ failed attempts of social mobility restrengthen those beliefs and make him
an involuntary instrument for power demonstration. First, I will introduce shortly the
relevant moral and historical context in which I will set my thesis. Afterwards, I will
analyze selectively and in chronological order, the parts of the play which I believe to
showcase the truth of my argument.
Tudor morality
The Tudor morality plays are defined as “an English dramatic form, popular from the
late 15th to the mid-16th century, primarily characterized by its use of allegory to
convey a moral lesson” (Kingsley-Smith). Instead of complex, ambiguous, individual
characters we were confronted with abstract generalizations of conceptual ideas, for
