The theme of tyranny, so central (as we have seen in two recent issues of Moreana) to the writings and the experience of Thomas More, is hardly less central to the plays and the memory of William Shakespeare. This centrality appears not so much in the plays of his Elizabethan period as in those of the subsequent Jacobean period, especially in the final romances by way of warming up to his presentation of the historical romance of Henry VIII. There, however, the tyranny of the king, though notably emphasized by Sir Walter Raleigh in his contemporaneous History of the World, is strangely muted, as also is his un-Shakespearian character, but it comes out strongly in the two preceding romances of The Winter’s Tale and Cymbeline, once we read them, as they require us to read them, as “topical allegories”. Then, to the characters of the jealous Leontes and the wrathful Cymbeline, we may add the threatening personality of Antiochus at the beginning of Pericles, as yet another figure (based on a widespread rumour) of the quintessential tyranny of Henry VIII. At the same time, this figure of the victimizer calls to be qualified by the complementary figure of the victim, the heroine in these romances, not only Hermione and Perdita, Thaisa and Marina, and Imogen, but even or especially in Desdemona as victimized by her jealous husband Othello. Then, in the above mentioned “topical allegory” of these Jacobean plays, she stands as well for the ideal of the Virgin Mary as for the memory of Catholic England at the heart of the dramatist.
