The Winter’s Tale, originally grouped with the comedies and then with the late romances, is two Shakespeare plays in one, encompassing almost everything our poet could do: three acts of tense tragic drama rife with characteristically Shakespearean dark depth psychology that literally flowers into a pastoral comedy of young love and miraculous reunions, Othello shading into A Midsummer Night’s Dream. It also appears to come late enough in the oeuvre, generally seen as preceding The Tempest, that it feels summative, valedictory, the poet’s near-final statement on his art, his complex benediction on what Act 4’s somewhat anachronistic chorus calls “th’ argument of Time.”