Thomas Watson (bishop of Lincoln) - Absalom

Absalom

In response to his oath of allegiance to Henry VIII, Watson wrote an unpublished five-act play. The play, written in Latin verse and completed at around 1540, was based on Absalom's revolt against his father David described in the Old Testament. The manuscript was hidden and lost until it was rediscovered among 16th century humanist manuscripts in the British Museum in 1963.

Absalom was written "in trew imitation" of a classical tragedy, but with a contemporary twist. In language and style it imitates Aristotle, Horace or Seneca, and yet in content the biblical story merges with events taking place all around. The story begins with a prince quarrelling with his father. The issue concerns his brother and their relationship with a princess. Absalom demands a particular ruling from his father, but David cannot comply. Absalom decides to act in defiance of his father, and David censures him. Absalom flies into a rage, and furiously begins to undermine and then deny his father’s authority.

Absalom's subjects are dismayed, but forced to take sides. Innocent people are involved. Absalom resorts to decrees, threats, intimidation and executions. Although he has qualms of conscience, he overcomes them as opposition melts before his onslaught. With no father to restrain him, he can now do whatever he wishes.

The chorus in Absalom identifies David as God's elect, "Son of Jesse", and anointed ruler of Israel. He unites diverse tribes into one people. He is their focus of unity with undisputed authority. He is holy and pious with a prayer always on his lips. He wants to help Absalom, but he cannot. He is full of love for his prodigal son. The chorus is not uncritical of David’s weaknesses, but reveres his divine office as "Holy Father" of God's people.

Similarly, the chorus sees Absalom as David's once-devoted son. He had always honoured and obeyed his father according to the divine precepts. But now, if hisevery whim is not granted, he flies into a rage. Even his ministers go in fear, giving in to him in all things. But, warns the chorus, his unbridled pride will be his downfall.

In Absalom, David presides over Old Jerusalem as the pope presides over New Jerusalem. The beloved son rebels against his father, launches his attack, overthrows him, and usurps his place. David refuses to retaliate, allowing time for Absalom to return to his senses and seek reconciliation. But Absalom sees his father's hesitation not as love, but as weakness.

In Watson’s play, Absalom sacks David's temples in the territories he controls. He expels their guardians, loots their possessions, and destroys their altars. There is no mention of temples in the Old Testament story, but what Watson describes parallels the Dissolution and plundering of the monasteries, guilds, shrines and chantry chapels. Absalom is destroying David's last footholds, filling his treasury, funding his rebellion, and securing his own position. He vows there will be no reconciliation.

By Act IV those closest to Absalom are dismayed by his ferocity. He turns on these too, as Henry turned on Wolsey, Fisher, More and Cromwell. But opposition appears on two fronts. The disenchanted are converting back to David and joining those who had gone into hiding. And allies of David abroad are raising an army. No longer knowing whom he can trust, Absalom ruthlessly hunts down those loyal to David.

While the first four acts of Absalom looked at parallels in what had happened so far, the fifth looked to parallels in the future. Presumably, what happened to Absalom would happen to Henry. There would be a final battle. As victory went to David, it would inevitably go to the pope. As David resumed his appointed role over God's people, so would the pope. As Absalom's revolt amounted to nothing, nor would Henry's! Watson's message, then, is one of patience and total confidence in the ultimate victory of the pope.