Love through the ages: Example answer and commentary 2
Below you will find an exemplar student response to a Section A question in the sample assessment materials, followed by an examiner commentary on the response.
Paper 1, Section A, band 5 answer
[Extract from The Winter's Tale, I. ii. 264-318]
'Paradoxically, texts often present jealousy as springing from the very deepest kind of love.'
In the light of this view, discuss how Shakespeare presents Leontes' feelings for Hermione in this extract and elsewhere in the play.
It could be said to some extent that the depth of Leontes' jealousy is matched only by the depth of his love for Hermione, however irrational that may seem. In his conversation with Camillo, the depth and intensity of his jealousy towards the relationship between Hermione and Polixenes is clearly demonstrated through both Shakespeare's use of language and contextual factors. Shakespeare has created, in the character of Leontes, a man who does not hesitate to belittle his wife, accusing her of being a woman of a promiscuous nature, describing her as a 'hobby-horse', which has connotations of being ridden and here has a sexual meaning. He also describes Polixenes as 'he that wears her like her medal', which objectifies her into something merely to be worn. The jealous nature of Leontes causes him to insult his wife, and Polixenes who he has loved until now as a life-long friend ('there rooted betwixt them such an affection which cannot chose but branch now').
A particular phrase used in this passage is the 'cuckold's horn', which was a common expression in the Jacobean era and refers to a man's fixation on being made a cuckold through his wife's having sex with another man, which Leontes later calls being 'a bed-swerver'. A large proportion of Shakespeare's audience would recognise that reference as a shameful thing to admit to. The idea that the woman in the relationship would have the upper hand and be more powerful than her husband would have been controversial and frowned upon in the patriarchal society in which The Winter's Tale is set, as well as in 17th century England. Leontes is afraid his reputation as King of Sicily will be damaged in this way, which increases his rage.
A technique that Shakespeare employs to demonstrate to the audience the depth of Leontes' feelings in this extract is the use of caesural pauses, with phrases such as 'man that does not think – My wife is slippery?' and 'If thou wilt confess – Or else be imprudently negative.' Such pauses reflect the speaker's aggression; he is so full of jealousy and anger that he cannot form complete or coherent sentences and must often add alternatives into phrases such as 'mute – or thought –' in order for them to make sense. Moreover, from a dramatic perspective this can easily be enhanced by the actor cast in the role of Leontes since much of the tone of this passage depends upon the way the actor speaks his lines and uses gestures and other movement, like pacing up and down or seizing Camillo's clothing and thrusting his face into his.
Shakespeare also conveys the intensity of Leontes' jealousy through the responses and reactions he gives to Camillo, supposedly Leontes' most trusted advisor, yet in the middle of the extract Leontes accuses Camillo of lying and claims to 'hate' him, calling him 'a gross lout' and 'a hovering temporizer'. This shows how Leontes is so fired up by his jealous suspicions that he would even believe a 'gentleman' of Camillo's formerly untarnished reputation would lie to him and eventually thinks he must be a 'false villain' and 'pandar' who has plotted with Polixenes against his life. Such extreme behaviour can only be explained by the sheer depth of feeling Leontes has for Hermione. This is a paradox. It seems the opposite of what you would expect from a man who loves his wife. Leontes resents the friendliness between Hermione and Polixenes. We have to think he loves his wife deeply because in the earlier part of Act 1 scene 2 he reminds her in front of the court how hard he had to woo her before she agreed to marry him and say 'I am yours for ever'. Such a strong love makes it difficult to believe in one's partner's treachery and to face the possibility of losing her. Leontes is vulnerable to his own worst imaginings and feelings. The depth of his love for Hermione is shown again in the final scenes of the play, first of all in his behaviour before her statue moves ('she was as tender As infancy and grace') and afterwards ('this is a match, And made between's by vows') where no jealousy interferes because the rage is all burnt out and replaced by sincere repentance for his unjust accusations. Leontes has realised the error of his ways, feeling 'more stone' than the statue itself, and almost worshipping Hermione who has 'such majesty of life' and 'a taste as sweet As any cordial comfort.' He openly wants to kiss the statue as a sign of his love.
On the other hand it could be said that it is Paulina who causes Leontes to reconsider his jealous actions and admit the error of his ways. Paulina's love for Hermione and her belief in the queen's innocence is in every way a match for Leontes' jealousy. When she appeals to him to acknowledge the terrible wrong he has done, Paulina uses much more delicate language than Camillo does. Camillo says that Leontes has a 'diseased opinion' and that his words have never been less becoming of him than now. Paulina, however, says that she will not call him a tyrant but that his actions are reminiscent of tyranny and will 'ignoble' him. This is an example of Paulina appealing to Leontes' own view of himself which is shown to the audience when he talks of being made a cuckold. It could be said that it is Leontes' realisation of the serious repercussions his actions will have on his reputation that makes him repent. This, however, does imply that his love for Hermione is not as strong as his jealousy because his mind is easily altered by the reminder of the damage to his status as king. Perhaps Paulina's platonic love for Hermione runs much deeper than Leontes' ever could. She certainly shows absolute devotion to 'her' Antigonus. In addition, it is only after Mamillius dies that Leontes truly begins to think about the evil of his actions. The death of his beloved son is a catalyst for his eventual redemption.
To answer the question, I would say that Leontes' love for Hermione is strong or deep enough to be the cause of his jealousy. They are both overwhelmingly powerful feelings and one 'springs from' the other because if you love someone so very much you are vulnerable to the fear of losing them. Strangely, it is as though jealousy is like the other side of the same coin as love. Although Leontes is temporarily blinded by an irrational anger (which is also directed towards his friend Polixenes and his loyal advisor Camillo) he soon realises what he has lost, and slowly regains his better nature in humility, and rediscovers his love for his wife who he thought was dead but is overjoyed to find is alive.
Examiner commentary
AO1 – Ideas are organised and almost always well-expressed. There is no slavish plodding through the extract from start to finish, but a confident, perceptive and wide-ranging exploration of the issues through argument or debate. The question is answered, and focus on the key words is sustained. Appropriate terms are used and technical accuracy is of a high standard. Just occasionally the style becomes awkward but this is work produced under the pressure of exam conditions.
AO2 – Assertions are supported with direct or indirect reference to the passage and, importantly, to other parts of the play. Attention is paid to the detail of the text, i.e. the words and actions of significant characters. Quotations are skilfully embedded, and often accompanied by perceptive explanation and/or analysis.
AO3 – Contextual material is used appositely to demonstrate the 'reception' of the play and the impact on audiences, including those of Shakespeare's time - e.g. the material on cuckolds - which frequently and genuinely enhances the argument.
AO4 – The representation of Leontes' passionate nature and consequent behaviour through the play - as it moves from love to suspicion to jealous rage to regret to penitence - is perceptively explored, and thereby connected to the broader representation of jealousy as a central issue of the 'love through the ages' theme.
AO5 – Alternative interpretations are investigated and expounded with understanding, assurance and some insight, evidence of a personal and well thought-out response to the play.
This is part of the Love through the ages resource package.