Adam Cohen writes in depth about moments of internal wonder in The Tempest. When Miranda first sees Alonso and the others, she is awestruck by their very existence; they are completely new to her. These men in turn experience their own sense of wonder when Miranda and Ferdinand are discovered playing chess together. Alonso in particular had been convinced that his son was dead.¹ The audience, in contrast, Cohen speculates, would not have had the same experience of wonder as the characters, having been privy to Prospero's machinations throughout the play. Instead, any wonder on the part of the audience would have been external and manifested itself in their reaction to the special effects of the disappearing banquet or to the actions of fantastic creatures such as Caliban and Ariel. The Winter's Tale provides an analogous division of wonder experiences, though in this play the audience knows little more than do the characters. They are at the mercy of Paulina as the stage manager. As Cohen observes, she constructs a theatrical wonder when she reveals the living statue of Hermione while carefully treading the line between magic and miracles.² The characters are free to gape at the pseudoresurrection; while subject to real-life concerns about heresy and witchcraft, the audience requires an eventual explanation of the deception.