Tim Randell suggests that “Winter Dreams” should be regarded as “one of modernism’s crowning achievements” because in it Fitzgerald “achieves a dialectical metafiction that grasps the production of capitalist ideology within class relations and print culture, including the forms of literary modernism.” He argues that the story's form demonstrates that modernism's concern with a "‘lack of communal meaning’ and ‘inescapable subjectivity’ are false epistemological problems” because "[Fitzgerald's] metafiction identifies ruling class interests as the collective origin of meaning and ‘reality’ for the entire social body” and "conveys the possibility of counter, collective meanings within the dialectic of class antagonism.” 
In Sicilia, Leontes—still in mourning after all this time—greets the son of his old friend effusively. Florizel pretends to be on a diplomatic mission from his father, but his cover is blown when Polixenes and Camillo, too, arrive in Sicilia. What happens next is told to us by gentlemen of the Sicilian court: the Shepherd tells everyone his story of how Perdita was found, and Leontes realizes that she is his daughter, leading to general rejoicing. The entire company then goes to Paulina's house in the country, where a statue of Hermione has been recently finished. The sight of his wife's form makes Leontes distraught, but then, to everyone's amazement, the statue comes to life—it is Hermione, restored to life. As the play ends, Paulina and Camillo are engaged, and the whole company celebrates the miracle.