Shakespeare's First Folio |
As noted in the previous post, many interpreters have argued
that the Prodigal Son story, which permeated so many aspects of culture during
this era, influenced a number of Shakespeare’s plays in significant ways. The
first scene of As You Like It, for
example, utilizes the Prodigal Son parable in a powerful way in an exchange
between two brothers who are at odds with each other over an inheritance:
Orlando and his older brother Oliver. Their father had passed away, and the
older brother Oliver had received the vast bulk of the inheritance, whereas
Orlando received a mere one thousand crowns. Although Oliver was supposed to
provide for Oliver’s education, he only does so far their other brother,
Jacques, and instead keeps Orlando “rustically at home” (i.e., like a peasant,
not like the nobleman he is). Orlando complains that his brother takes better
care of his animals than he does his brother, and Orlando “begins to mutiny against
this servitude” (1.1.1-24). When Oliver arrives, the bickering starts in
earnest. Orlando exclaims to his (1.1.43) brother: “Shall I keep your hogs and
eat husks with them? What prodigal portion have I spent that I should come to
such penury?” (1.1.36-38). The use of “husks” suggests that Shakespeare here
was dependent on the Geneva Bible (most of the other contemporary translations
use “cods” instead of “husks”; Shaheen 1999: 216). The dispute turns violent
(1.1.51-54), and Orlando once again alludes to the parable by stating this Oliver
must either allow Orlando to “train” to become a gentleman or give him “the
poor allottery my father left me by testament; with that I will go buy my
fortunes” (1.1.69-72). Oliver retorts that the dispensing of the inheritance
would do little good: “And what wilt thou do? Beg when that is spent?”
(1.1.73).
As Susan Snyder and others have demonstrated, King Lear is also permeated with echoes
of the Prodigal Son parable, both in its primary plot (with Lear and his
daughters Cordelia, Goneril, and Regan) and in its subplot (with the Earl of
Gloucester and Edgar, his son, and Edmund, his illegitimate son). The story
itself is dependent upon earlier works, such as the anonymous play, The True Chronicle History of King Leir
(ca. 1605), but Shakespeare incorporated a number of biblical references not
found in his sources and, it seems, a story that in many respects parallels
that of the Prodigal Son:
The protagonist starts by rejecting
the one who loves him most [i.e.,, Lear rejects Cordelia], embarks on a
reckless course which brings him eventually to suffering and want—and,
paradoxically, to the self-knowledge he lacked before—and finally is received
and forgiven by the rejected one (Snyder 1979 362-3).
Although specific allusions in the play to the text of the
Prodigal Son parable are sparse (e.g., Lear “hoveling” with swine may not be a
specific reference; 4.7.39), many other broad parallels are evident as well,
such as the premature granting of an inheritance and the resulting drama of
broken family relationships—and the restoration of some (for more details, see
Snyder 1979).
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