Florizel and Perdita: The Art of Love

Today’s discussion about the themes of clothing and disguise in Garrick’s “Florizel and Perdita” fascinated and prompted me to look for visual renditions or covers of the adaptation. In order to better understand or embrace several interpretations of Garrick’s message in emphasizing garments and clothing, we can take a closer look at the artistic choices and aesthetic freedom several artists exercised in recreating their image of Florizel and Perdita.

B. Pownall’s publication of “Florizel and Perdita” in 1783

The renowned symbol of “Florizel and Perdita”, this artistic depiction illustrates half of Florizel and half of Perdita, a line down the middle in order to mirror each other. This artistic decision of dedicating the piece to each lover 50-50 provokes the audience to compare the two in terms of both likeness and differences as they are pictured together as one figure consisting of two individual halves. In contrast, their separated entities create a sense of inevitable comparison. Pictured on the left, Florizel is dressed in medals and sashes, his clothing elaborate with laces and frills; there is no mistaking his high status of royalty and power as he stands stiffly with his collar starched and straightened. In the background is an elderly King crying, “Oh! My son, my son” and bemoaning his son’s fall into the arms of a lowly shepherd’s daughter. On the right side, Perdita appears homely in comparison as her garments are more revealing and no where near as elaborate or frilly. The caption in the background reads: “King of Cuckolds.” Although the intention or allusion of this caption is unclear, it can be interpreted as King Leontes who once believed that Hermione was an adulteress, carrying an affair with King Polixenes. In this case, this King of Cuckolds is King Leontes, the father of Perdita, unbeknownst to all until the happy ending. Therefore, although the two lovers are dressed differently based on their claimed social classes, their fathers in the background are two Kings of equal power and weight in the upper class. Consequently, this work of art juxtaposes Florizel as a member of royalty and Perdita as a member of the lower class while simultaneously exposing their true origins. Furthermore, the figure of Florizel in this picture is inspired by the Prince of Wales, later George IV of the United Kingdom and Perdita his mistress Mary Robinson. Echoing the coy theatricality of Mary Robinson in today’s discussion, this painting directly makes a reference to the scandal of the theater and the ironic reversal of Perdita’s role as, in this case, a lower class actress attempting to achieve royalty through her acting.

Joseph Durham’s “Florizel and Perdita” in 1870

Durham’s marble sculpture focuses solely on the theme of young love as the central focus. The specific poses of the two lovers draw inspiration from the sheep-shearing fest during which Florizel convinces Perdita to act as a cheerful hostess rather than dwell on the possible exposure of their forbidden love. His possessive grasp on her forearm and her dreamy yet obedient state illustrates their dynamic as a male figure of authority commanding a lower class female; however, their posture also connotes love and intimacy as their heads touch gently. In this sculpture, Perdita carries a bouquet of flowers which is a prop continuously mentioned in Garrick’s adaptation. Duham also chooses to dress the two in similar quality of clothing instead of juxtaposing their outward garments. Unlike Pownall’s drawing, Durham’s shifts the attention from their origins and class questions to the universal intimacy of true young love.

Mary Raphael’s “Florizel and Perdita”

Raphael’s oil painting of Florizel and Perdita is much more romantic in terms of settings and natural emotion in comparison to Pownall’s and Durham’s. Similar to Durham’s, this painting depicts Florizel’s grasp on Perdita’s hand and his gaze is also upon her. The posture of the two are completely relaxed as they merely enjoy each other’s company; without a hint of foreshadowing regarding the discovery of their love or Perdita’s constant anxiousness, the two lovers relax in what appears to be the gardens around the Shepherd’s house. In contrast to the garments of Florizel in previous depictions, this Florizel is dressed strangely like a peasant or a man of wilderness. Adorned in a fur coat and a peasant’s coarse hat, he is entirely immersed in his feelings of love and the romance of nature. Perdita is pictured with flowers in her hair while the two lovers are surrounded by the beauty of colorful flowers. Therefore, this painting chooses to focus on the theme of love and nature, the aesthetic aspect of Garrick’s love story, rather than class conflicts and the theme of clothing. In this, one can interpret the painting as the argument that love possesses the ability to transcend worldly possessions and material concerns.

In order to deconstruct Garrick’s intentions in emphasizing the role of clothing in social classes, an examination of these paintings and the artists’ aesthetic choices explores love juxtaposed against disguises and garments.