Copyright © (2009) JOHN HUDSON All Rights Reserved
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(1,ii,248) by Rosalind, and soon after Adam asks him “O my gentlemaster…wherefore are you gentle?”. On entering the forest, the Duke countersOrlando by saying “your gentleness shall force/ More than your force move us togentleness” (2,vii,103), and asks him to “sit down in gentleness” (2,vii,125). So itwould appear that Rosalind and Duke S. are both engaged in persuading theHebrew hero to renounce his strength and to become a pacifist ‘gentile’ Jesus. Atthe end of the play Orlando even quotes from Thomas a Kempis
The Imitation of Christ.
Although he
is strong enough to defeat a lion—in an echo of the labor of Hercules, but possibly also renouncing his Judean identity---
he goes into a cavewounded, in an allusion to the cave in which Jesus was buried. There he faints,and awakes, sending out a piece of cloth. It is referred to in two contrasting ways,first as a bloody “napkin” (4,iii, 92, 137,153) and then as a “handkerchief’ (4,iii,96& 5,ii.26). Only one other piece of clothing in the 17
th
century was widely knownboth as a ‘napkin’ and a ‘handkerchief’. This was one of the burial garments of Jesus, which the Geneva Bible translation called “the kerchief” and the Bishop’sBible called the “napkin” (John 20;7). So the playwright is using the words fromboth contemporary Bible translations to indicate the precise Biblical allusion andto continue the allegory of Orlando to Jesus.
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It also makes sense of the name heis given—a version of Roland the famous Christian hero from the
Song of Roland
, who dies abandoned, outstretched under a tree in the form of a cross.All of this establishes, within the overall schema of the play, that it is allegoricallyset in the first century, and that it concerns how the literary character of Jesuswas created by writers at the Court of the Flavian Caesars after the end of theRoman-Jewish war. It was part of their ‘good news of military victory’ or gospel,
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In
Othello
it becomes the handkerchief dyed with mummy.
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