Literature Library study guide
The Winter’s Tale
Leontes destroys his family through baseless jealousy; sixteen years later, a new generation and a carefully staged wonder make reunion possible without erasing the losses.
- Literary form
- Play
- First published
- c. 1611; First Folio 1623
- Literary period
- English Renaissance / late romance
- Region / tradition
- England / Sicilia and Bohemia settings
- Original language
- English
What happens in this work?
King Leontes of Sicilia suddenly convinces himself that his pregnant wife Hermione has been unfaithful with his friend Polixenes, king of Bohemia. He orders Camillo to kill Polixenes, but Camillo warns him and escapes with him. Leontes imprisons Hermione, rejects the oracle that declares her innocent, and orders their newborn daughter abandoned. Their son Mamillius dies, Hermione is reported dead, and Leontes finally understands that his certainty has destroyed his family. The baby, Perdita, is left in Bohemia and raised by a Shepherd after Antigonus is killed by a bear.
Time appears onstage and moves the story forward sixteen years. Perdita has grown up without knowing her royal identity and loves Florizel, Polixenes’s son. When Polixenes angrily opposes their marriage, the young couple flees to Sicilia with Camillo’s help. There, Perdita’s identity is recognized, Leontes and Polixenes reconcile, and the families visit what seems to be a lifelike statue of Hermione kept by Paulina. The statue moves and Hermione embraces her daughter. Whether the event feels like miracle, concealment, or theatrical revelation, the ending restores Hermione and Perdita but not Mamillius or the lost years.
What was happening when it was written?
The play was probably written around 1611 and first printed in Shakespeare’s 1623 First Folio. It belongs to the group often called late romances because it combines severe loss, long separation, unlikely travel, pastoral comedy, recognition, and partial restoration. Shakespeare adapted the main story from Robert Greene’s prose romance Pandosto but changed its ending significantly. The famous movement from Sicilia to Bohemia also shifts genre and mood. Students should not treat the comic second half as proof that the tragic first half no longer matters.
Who matters, and why?
Leontes
Leontes turns suspicion into certainty with shocking speed. He reads ordinary friendship as proof and uses royal power to force his interpretation on everyone else. His long remorse matters, but the play asks whether sorrow can become repair when the people he harmed cannot recover the years he took.
Hermione
Hermione speaks with dignity at her trial and refuses to accept Leontes’s invented guilt. Her long absence gives other characters time to change. In the final scene, her attention moves first toward Perdita, emphasizing the mother-daughter loss that Leontes’s jealousy created.
Paulina
Paulina tells Leontes truths that flatterers avoid, protects Hermione’s memory, and manages the conditions of the final revelation. Her authority comes from loyal resistance rather than rank. She makes repentance active by refusing to let Leontes forget the specific people his choices harmed.
Perdita and Florizel
The young couple carries the play into a different future. Perdita combines royal identity with a shepherd’s upbringing, while Florizel resists his father’s command. Their love repeats the problem of parental opposition but creates a chance for the older generation to respond differently.
Big ideas to track
Jealousy turns interpretation into tyranny
Leontes does not lack evidence and then search honestly for it; he treats his own feeling as stronger than testimony, friendship, law, and an oracle. Because he is king, a private misreading becomes imprisonment, exile, death, and a damaged state.
Time permits change but does not erase loss
Sixteen years allow Perdita to grow, Leontes to repent, and broken relationships to meet again. Time enables restoration, yet Mamillius remains dead and Hermione and Perdita cannot regain their shared childhood. The happy ending therefore contains a permanent absence.
Art, faith, and theatrical wonder
The statue scene asks characters and spectators to accept an event before fully understanding its method. Sculpture appears to become life, but the scene is also openly managed by Paulina and performed in a theater. Wonder produces emotional truth without requiring one final explanation of the mechanism.
How the writing works
Radical genre shift
The first half resembles court tragedy, while Bohemia brings songs, disguises, young love, a festival, and comic theft. The shift does not merely provide relief. It lets a new social world and new generation imagine choices that Leontes’s closed court could not.
Time as a speaking chorus
Instead of hiding the sixteen-year gap, Shakespeare puts Time onstage to announce it. The device reminds audiences that theater can cross years instantly. It also asks them to judge whether emotional change across that gap feels earned by the evidence before and after it.
Recognition and withheld information
Characters and audiences repeatedly know different amounts: Leontes misreads Hermione, Perdita does not know her birth, and the audience does not see the offstage recognition scene or Hermione’s hidden years. The play makes withheld knowledge dangerous in one half and wondrous in the other.
Moments to notice while you read
Act 1: Leontes becomes certain
What to notice: Look for the ordinary gestures Leontes converts into proof and the speed of his reasoning.
Why it matters: The scene shows jealousy as a way of reading, not evidence discovered. Royal power then makes that bad reading physically dangerous.
Act 3: Hermione’s trial and the oracle
What to notice: Carefully compare Hermione’s public defense, the oracle’s clear answer, and Leontes’s refusal to accept any correction.
Why it matters: Leontes receives the strongest possible opportunity to stop. His rejection makes the immediate deaths consequences of chosen certainty rather than unavoidable fate.
Act 3: abandonment in Bohemia
What to notice: Follow the abrupt mixture of Antigonus’s death, the Shepherd’s discovery, danger, and unexpected good fortune.
Why it matters: The tonal collision moves the play out of tragedy. Perdita’s survival begins a second story without cancelling the violence that brought her there.
Act 4: the sheep-shearing festival
What to notice: Notice Perdita’s precise language about flowers, class, nature, and art while the disguised Polixenes quietly watches her.
Why it matters: Her intelligence challenges assumptions about birth and upbringing. The festive setting also repeats parental control in a form the younger characters can escape.
Act 4: Polixenes threatens the lovers
What to notice: Closely compare Polixenes’s sudden anger with Leontes’s earlier abuse of both family and political authority in Sicilia.
Why it matters: The parallel tests whether the older generation has truly changed. Camillo’s new plan redirects the repeated conflict toward recognition rather than death.
Act 5: Hermione’s statue
What to notice: Track Paulina’s detailed instructions, Leontes’s responses, Hermione’s movement, and the family member she deliberately approaches first.
Why it matters: The scene makes restoration feel immediate while preserving questions about time and loss. Hermione’s embrace of Perdita centers a relationship missing for sixteen years.
Questions to test your understanding
Answer in your own words. Then point to a specific moment in the work that supports your answer.
- How does Leontes turn harmless evidence into a story of betrayal, and why can no one safely correct him?
- What is the difference between Leontes feeling remorse and actually repairing the damage he caused?
- Why does the play shift into pastoral comedy after Antigonus’s death instead of maintaining one tragic tone?
- How does Perdita’s upbringing complicate the court’s assumptions about noble birth and learned behavior?
- What does Polixenes repeat from Leontes’s earlier conduct, and what prevents the repetition from producing the same ending?
- What is restored in the statue scene, and what remains impossible to restore?
Public-domain reading edition
Full text
Reviewed public-domain reading editions are linked below. Line wording and numbering can vary by edition.
Act Iii
Enter Cleomenes and Dion.
CLEOMENES
The climate’s delicate; the air most sweet,
Fertile the isle, the temple much surpassing
The common praise it bears.
DION.
I shall report,
For most it caught me, the celestial habits
(Methinks I so should term them) and the reverence
Of the grave wearers. O, the sacrifice!
How ceremonious, solemn, and unearthly,
It was i’ th’ offering!
CLEOMENES
But of all, the burst
And the ear-deaf’ning voice o’ th’ oracle,
Kin to Jove’s thunder, so surprised my sense
That I was nothing.
DION.
If the event o’ th’ journey
Prove as successful to the queen,—O, be’t so!—
As it hath been to us rare, pleasant, speedy,
The time is worth the use on’t.
CLEOMENES
Great Apollo
Turn all to th’ best! These proclamations,
So forcing faults upon Hermione,
I little like.
DION.
The violent carriage of it
Will clear or end the business: when the oracle,
(Thus by Apollo’s great divine seal’d up)
Shall the contents discover, something rare
Even then will rush to knowledge. Go. Fresh horses!
And gracious be the issue!
[_Exeunt._]
SCENE II. The same. A Court of Justice.
Enter Leontes, Lords and Officers appear, properly seated.
LEONTES.
This sessions (to our great grief we pronounce)
Even pushes ’gainst our heart: the party tried
The daughter of a king, our wife, and one
Of us too much belov’d. Let us be clear’d
Of being tyrannous, since we so openly
Proceed in justice, which shall have due course,
Even to the guilt or the purgation.
Produce the prisoner.
OFFICER.
It is his highness’ pleasure that the queen
Appear in person here in court. Silence!
Hermione is brought in guarded; Paulina and Ladies attending.
LEONTES.
Read the indictment.
OFFICER.
[_Reads._] “Hermione, queen to the worthy Leontes, king of Sicilia,
thou art here accused and arraigned of high treason, in committing
adultery with Polixenes, king of Bohemia; and conspiring with Camillo
to take away the life of our sovereign lord the king, thy royal
husband: the pretence whereof being by circumstances partly laid open,
thou, Hermione, contrary to the faith and allegiance of a true subject,
didst counsel and aid them, for their better safety, to fly away by
night.”
HERMIONE.
Since what I am to say must be but that
Which contradicts my accusation, and
The testimony on my part no other
But what comes from myself, it shall scarce boot me
To say “Not guilty”. Mine integrity,
Being counted falsehood, shall, as I express it,
Be so receiv’d. But thus, if powers divine
Behold our human actions, as they do,
I doubt not, then, but innocence shall make
False accusation blush, and tyranny
Tremble at patience. You, my lord, best know,
Who least will seem to do so, my past life
Hath been as continent, as chaste, as true,
As I am now unhappy; which is more
Than history can pattern, though devis’d
And play’d to take spectators. For behold me,
A fellow of the royal bed, which owe
A moiety of the throne, a great king’s daughter,
The mother to a hopeful prince, here standing
To prate and talk for life and honour ’fore
Who please to come and hear. For life, I prize it
As I weigh grief, which I would spare. For honour,
’Tis a derivative from me to mine,
And only that I stand for. I appeal
To your own conscience, sir, before Polixenes
Came to your court, how I was in your grace,
How merited to be so; since he came,
With what encounter so uncurrent I
Have strain’d t’ appear thus: if one jot beyond
The bound of honour, or in act or will
That way inclining, harden’d be the hearts
Of all that hear me, and my near’st of kin
Cry fie upon my grave!
LEONTES.
I ne’er heard yet
That any of these bolder vices wanted
Less impudence to gainsay what they did
Than to perform it first.
HERMIONE.
That’s true enough;
Though ’tis a saying, sir, not due to me.
LEONTES.
You will not own it.
HERMIONE.
More than mistress of
Which comes to me in name of fault, I must not
At all acknowledge. For Polixenes,
With whom I am accus’d, I do confess
I lov’d him as in honour he requir’d,
With such a kind of love as might become
A lady like me; with a love even such,
So and no other, as yourself commanded:
Which not to have done, I think had been in me
Both disobedience and ingratitude
To you and toward your friend, whose love had spoke,
Ever since it could speak, from an infant, freely,
That it was yours. Now, for conspiracy,
I know not how it tastes, though it be dish’d
For me to try how: all I know of it
Is that Camillo was an honest man;
And why he left your court, the gods themselves,
Wotting no more than I, are ignorant.
LEONTES.
You knew of his departure, as you know
What you have underta’en to do in ’s absence.
HERMIONE.
Sir,
You speak a language that I understand not:
My life stands in the level of your dreams,
Which I’ll lay down.
LEONTES.
Your actions are my dreams.
You had a bastard by Polixenes,
And I but dream’d it. As you were past all shame
(Those of your fact are so) so past all truth,
Which to deny concerns more than avails; for as
Thy brat hath been cast out, like to itself,
No father owning it (which is, indeed,
More criminal in thee than it), so thou
Shalt feel our justice; in whose easiest passage
Look for no less than death.
HERMIONE.
Sir, spare your threats:
The bug which you would fright me with, I seek.
To me can life be no commodity.
The crown and comfort of my life, your favour,
I do give lost, for I do feel it gone,
But know not how it went. My second joy,
And first-fruits of my body, from his presence
I am barr’d, like one infectious. My third comfort,
Starr’d most unluckily, is from my breast,
(The innocent milk in its most innocent mouth)
Hal’d out to murder; myself on every post
Proclaim’d a strumpet; with immodest hatred
The child-bed privilege denied, which ’longs
To women of all fashion; lastly, hurried
Here to this place, i’ th’ open air, before
I have got strength of limit. Now, my liege,
Tell me what blessings I have here alive,
That I should fear to die. Therefore proceed.
But yet hear this: mistake me not: no life,
I prize it not a straw, but for mine honour,
Which I would free, if I shall be condemn’d
Upon surmises, all proofs sleeping else
But what your jealousies awake, I tell you
’Tis rigour, and not law. Your honours all,
I do refer me to the oracle:
Apollo be my judge!
FIRST LORD.
This your request
Is altogether just: therefore bring forth,
And in Apollo’s name, his oracle:
[_Exeunt certain Officers._]
HERMIONE.
The Emperor of Russia was my father.
O that he were alive, and here beholding
His daughter’s trial! that he did but see
The flatness of my misery; yet with eyes
Of pity, not revenge!
Enter Officers with Cleomenes and Dion.
OFFICER.
You here shall swear upon this sword of justice,
That you, Cleomenes and Dion, have
Been both at Delphos, and from thence have brought
This seal’d-up oracle, by the hand deliver’d
Of great Apollo’s priest; and that since then
You have not dared to break the holy seal,
Nor read the secrets in’t.
CLEOMENES, DION.
All this we swear.
LEONTES.
Break up the seals and read.
OFFICER.
[_Reads._] “Hermione is chaste; Polixenes blameless; Camillo a true
subject; Leontes a jealous tyrant; his innocent babe truly begotten;
and the king shall live without an heir, if that which is lost be not
found.”
LORDS
Now blessed be the great Apollo!
HERMIONE.
Praised!
LEONTES.
Hast thou read truth?
OFFICER.
Ay, my lord, even so
As it is here set down.
LEONTES.
There is no truth at all i’ th’ oracle:
The sessions shall proceed: this is mere falsehood.
Enter a Servant hastily.
SERVANT.
My lord the king, the king!
LEONTES.
What is the business?
SERVANT.
O sir, I shall be hated to report it.
The prince your son, with mere conceit and fear
Of the queen’s speed, is gone.
LEONTES.
How! gone?
SERVANT.
Is dead.
LEONTES.
Apollo’s angry, and the heavens themselves
Do strike at my injustice.
[_Hermione faints._]
How now there?
PAULINA.
This news is mortal to the queen. Look down
And see what death is doing.
LEONTES.
Take her hence:
Her heart is but o’ercharg’d; she will recover.
I have too much believ’d mine own suspicion.
Beseech you tenderly apply to her
Some remedies for life.
[_Exeunt Paulina and Ladies with Hermione._]
Apollo, pardon
My great profaneness ’gainst thine oracle!
I’ll reconcile me to Polixenes,
New woo my queen, recall the good Camillo,
Whom I proclaim a man of truth, of mercy;
For, being transported by my jealousies
To bloody thoughts and to revenge, I chose
Camillo for the minister to poison
My friend Polixenes: which had been done,
But that the good mind of Camillo tardied
My swift command, though I with death and with
Reward did threaten and encourage him,
Not doing it and being done. He, most humane
And fill’d with honour, to my kingly guest
Unclasp’d my practice, quit his fortunes here,
Which you knew great, and to the certain hazard
Of all incertainties himself commended,
No richer than his honour. How he glisters
Thorough my rust! And how his piety
Does my deeds make the blacker!
Enter Paulina.
PAULINA.
Woe the while!
O, cut my lace, lest my heart, cracking it,
Break too!
FIRST LORD.
What fit is this, good lady?
PAULINA.
What studied torments, tyrant, hast for me?
What wheels? racks? fires? what flaying? boiling
In leads or oils? What old or newer torture
Must I receive, whose every word deserves
To taste of thy most worst? Thy tyranny,
Together working with thy jealousies,
Fancies too weak for boys, too green and idle
For girls of nine. O, think what they have done,
And then run mad indeed, stark mad! for all
Thy by-gone fooleries were but spices of it.
That thou betray’dst Polixenes, ’twas nothing;
That did but show thee, of a fool, inconstant
And damnable ingrateful; nor was’t much
Thou wouldst have poison’d good Camillo’s honour,
To have him kill a king; poor trespasses,
More monstrous standing by: whereof I reckon
The casting forth to crows thy baby daughter,
To be or none or little, though a devil
Would have shed water out of fire ere done’t,
Nor is’t directly laid to thee the death
Of the young prince, whose honourable thoughts,
Thoughts high for one so tender, cleft the heart
That could conceive a gross and foolish sire
Blemish’d his gracious dam: this is not, no,
Laid to thy answer: but the last—O lords,
When I have said, cry Woe!—the queen, the queen,
The sweet’st, dear’st creature’s dead, and vengeance for’t
Not dropp’d down yet.
FIRST LORD.
The higher powers forbid!
PAULINA.
I say she’s dead: I’ll swear’t. If word nor oath
Prevail not, go and see: if you can bring
Tincture, or lustre, in her lip, her eye,
Heat outwardly or breath within, I’ll serve you
As I would do the gods. But, O thou tyrant!
Do not repent these things, for they are heavier
Than all thy woes can stir. Therefore betake thee
To nothing but despair. A thousand knees
Ten thousand years together, naked, fasting,
Upon a barren mountain, and still winter
In storm perpetual, could not move the gods
To look that way thou wert.
LEONTES.
Go on, go on:
Thou canst not speak too much; I have deserv’d
All tongues to talk their bitterest.
FIRST LORD.
Say no more:
Howe’er the business goes, you have made fault
I’ th’ boldness of your speech.
PAULINA.
I am sorry for ’t:
All faults I make, when I shall come to know them,
I do repent. Alas, I have show’d too much
The rashness of a woman: he is touch’d
To th’ noble heart. What’s gone and what’s past help,
Should be past grief. Do not receive affliction
At my petition; I beseech you, rather
Let me be punish’d, that have minded you
Of what you should forget. Now, good my liege,
Sir, royal sir, forgive a foolish woman:
The love I bore your queen—lo, fool again!
I’ll speak of her no more, nor of your children.
I’ll not remember you of my own lord,
Who is lost too. Take your patience to you,
And I’ll say nothing.
LEONTES.
Thou didst speak but well
When most the truth, which I receive much better
Than to be pitied of thee. Prithee, bring me
To the dead bodies of my queen and son:
One grave shall be for both. Upon them shall
The causes of their death appear, unto
Our shame perpetual. Once a day I’ll visit
The chapel where they lie, and tears shed there
Shall be my recreation. So long as nature
Will bear up with this exercise, so long
I daily vow to use it. Come, and lead me
To these sorrows.
[_Exeunt._]
SCENE III. Bohemia. A desert Country near the Sea.
Enter Antigonus with the Child and a Mariner.
ANTIGONUS.
Thou art perfect, then, our ship hath touch’d upon
The deserts of Bohemia?
MARINER.
Ay, my lord, and fear
We have landed in ill time: the skies look grimly,
And threaten present blusters. In my conscience,
The heavens with that we have in hand are angry,
And frown upon ’s.
ANTIGONUS.
Their sacred wills be done! Go, get aboard;
Look to thy bark: I’ll not be long before
I call upon thee.
MARINER.
Make your best haste, and go not
Too far i’ th’ land: ’tis like to be loud weather;
Besides, this place is famous for the creatures
Of prey that keep upon ’t.
ANTIGONUS.
Go thou away:
I’ll follow instantly.
MARINER.
I am glad at heart
To be so rid o’ th’ business.
[_Exit._]
ANTIGONUS.
Come, poor babe.
I have heard, but not believ’d, the spirits of the dead
May walk again: if such thing be, thy mother
Appear’d to me last night; for ne’er was dream
So like a waking. To me comes a creature,
Sometimes her head on one side, some another.
I never saw a vessel of like sorrow,
So fill’d and so becoming: in pure white robes,
Like very sanctity, she did approach
My cabin where I lay: thrice bow’d before me,
And, gasping to begin some speech, her eyes
Became two spouts. The fury spent, anon
Did this break from her: “Good Antigonus,
Since fate, against thy better disposition,
Hath made thy person for the thrower-out
Of my poor babe, according to thine oath,
Places remote enough are in Bohemia,
There weep, and leave it crying. And, for the babe
Is counted lost for ever, Perdita
I prithee call’t. For this ungentle business,
Put on thee by my lord, thou ne’er shalt see
Thy wife Paulina more.” And so, with shrieks,
She melted into air. Affrighted much,
I did in time collect myself and thought
This was so, and no slumber. Dreams are toys,
Yet for this once, yea, superstitiously,
I will be squar’d by this. I do believe
Hermione hath suffer’d death, and that
Apollo would, this being indeed the issue
Of King Polixenes, it should here be laid,
Either for life or death, upon the earth
Of its right father. Blossom, speed thee well! There lie; and there thy
character: there these;
[_Laying down the child and a bundle._]
Which may if fortune please, both breed thee, pretty,
And still rest thine. The storm begins: poor wretch,
That for thy mother’s fault art thus expos’d
To loss and what may follow! Weep I cannot,
But my heart bleeds, and most accurs’d am I
To be by oath enjoin’d to this. Farewell!
The day frowns more and more. Thou’rt like to have
A lullaby too rough. I never saw
The heavens so dim by day. A savage clamour!
Well may I get aboard! This is the chase:
I am gone for ever.
[_Exit, pursued by a bear._]
Enter an old Shepherd.
SHEPHERD.
I would there were no age between ten and three-and-twenty, or that
youth would sleep out the rest; for there is nothing in the between but
getting wenches with child, wronging the ancientry, stealing,
fighting—Hark you now! Would any but these boiled brains of nineteen
and two-and-twenty hunt this weather? They have scared away two of my
best sheep, which I fear the wolf will sooner find than the master: if
anywhere I have them, ’tis by the sea-side, browsing of ivy. Good luck,
an ’t be thy will, what have we here?
[_Taking up the child._]
Mercy on ’s, a bairn! A very pretty bairn! A boy or a child, I wonder?
A pretty one; a very pretty one. Sure, some scape. Though I am not
bookish, yet I can read waiting-gentlewoman in the scape. This has
been some stair-work, some trunk-work, some behind-door-work. They
were warmer that got this than the poor thing is here. I’ll take it up
for pity: yet I’ll tarry till my son come; he halloed but even now.
Whoa-ho-hoa!
Enter Clown.
CLOWN.
Hilloa, loa!
SHEPHERD.
What, art so near? If thou’lt see a thing to talk on when thou art dead
and rotten, come hither. What ail’st thou, man?
CLOWN.
I have seen two such sights, by sea and by land! But I am not to say it
is a sea, for it is now the sky: betwixt the firmament and it, you
cannot thrust a bodkin’s point.
SHEPHERD.
Why, boy, how is it?
CLOWN.
I would you did but see how it chafes, how it rages, how it takes up
the shore! But that’s not to the point. O, the most piteous cry of the
poor souls! sometimes to see ’em, and not to see ’em. Now the ship
boring the moon with her mainmast, and anon swallowed with yest and
froth, as you’d thrust a cork into a hogshead. And then for the land
service, to see how the bear tore out his shoulder-bone, how he cried
to me for help, and said his name was Antigonus, a nobleman. But to
make an end of the ship, to see how the sea flap-dragon’d it: but
first, how the poor souls roared, and the sea mocked them, and how the
poor gentleman roared, and the bear mocked him, both roaring louder
than the sea or weather.
SHEPHERD.
Name of mercy, when was this, boy?
CLOWN.
Now, now. I have not winked since I saw these sights: the men are not
yet cold under water, nor the bear half dined on the gentleman. He’s at
it now.
SHEPHERD.
Would I had been by to have helped the old man!
CLOWN.
I would you had been by the ship side, to have helped her: there your
charity would have lacked footing.
SHEPHERD.
Heavy matters, heavy matters! But look thee here, boy. Now bless
thyself: thou met’st with things dying, I with things new-born. Here’s
a sight for thee. Look thee, a bearing-cloth for a squire’s child! Look
thee here; take up, take up, boy; open’t. So, let’s see. It was told me
I should be rich by the fairies. This is some changeling: open’t.
What’s within, boy?
CLOWN.
You’re a made old man. If the sins of your youth are forgiven you,
you’re well to live. Gold! all gold!
SHEPHERD.
This is fairy gold, boy, and ’twill prove so. Up with it, keep it
close: home, home, the next way. We are lucky, boy, and to be so still
requires nothing but secrecy. Let my sheep go: come, good boy, the next
way home.
CLOWN.
Go you the next way with your findings. I’ll go see if the bear be gone
from the gentleman, and how much he hath eaten. They are never curst
but when they are hungry: if there be any of him left, I’ll bury it.
SHEPHERD.
That’s a good deed. If thou mayest discern by that which is left of him
what he is, fetch me to th’ sight of him.
CLOWN.
Marry, will I; and you shall help to put him i’ th’ ground.
SHEPHERD.
’Tis a lucky day, boy, and we’ll do good deeds on ’t.
[_Exeunt._]