<I>Watership Down</I>

Total Page:16

File Type:pdf, Size:1020Kb

<I>Watership Down</I> Volume 13 Number 4 Article 23 6-15-1987 Watership Down:The Individual & Society Randy C. Welch Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Welch, Randy C. (1987) "Watership Down:The Individual & Society," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 13 : No. 4 , Article 23. Available at: https://dc.swosu.edu/mythlore/vol13/iss4/23 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Additional Keywords Adams, Richard. Watership Down—Social and political aspects This article is available in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: https://dc.swosu.edu/mythlore/vol13/iss4/23 Page 48 MYTHLORE 50: Summer 1987 Watership D own:The Individual & Society Randy C. Welch In Watership Down, Richard Adams weaves first discovering him - but that was to save a number of themes into the fabric of the the gull's lif e in order to benefit the whole story, one of the most pervasive being warren later by solving the crucial problem society's treatment of individual talents. of finding mates. The rest of the time, he Each of the four warrens that Adams describes holds the reins of power loosely, encouraging affects individuals in distinctly different d isc u ssio n and t o le r a t in g d is s e n t , and ways and only one, Watership Down, truly relying on persuasion and consensus formation appreciates and fosters the unique gifts of to arrive at group policies. He leads by its members. example, not force, as Blackberry te lls him: "You go in front and take the risks first." Hazel-rah incorporates this ethic as (Richard Adams, Watership Down. New York: part of his leadership style and therein lies Macmillan Publishing Company, Inc., 1972, p. his success. He relies on the talents of 137.) He is the first to begin digging the other rabbit»s when he knows his own to be Honeycomb and the first to forage insects to inferior. Unlike most leaders, he does not feed Kehaar. have a problem with pride or a runaway ego. When the initial embassy goes to Efrafra, Yet another of Hazel's personal traits Hazel readily concedes its leadership role to that makes him a good leader is his openness Holly, who is more impressive in appearance to change. The Threarah's conservatism led and as a speaker. He depends upon to his downfall while Hazel's open mind Blackberry's superior mind to devise a trick enhanced his success. Saving a mouse and a to fo il Woundwort, Bigwig's immense strength seagull was a revolutionary idea scorned by to defend the warren, and of course Fiver's ordinary rabbits, yet Hazel saw it as an in s ig h t to g iv e him d ir e c t io n . It is innovation which could benefit his community. significant that when Hazel deviated from As it proved, each rescue played an essential this policy, disaster ensued: ignoring r o le in e s t a b lis h in g and co n tin u in g the Fiver's warning against the Nuthanger raid warren. Without them there would have been nearly cost Hazel his life. no does and no early warning of Woundwort's sneak attack. Hazel was also willing to use Hazel is an organizer. Only he can keep innovations such as boats even though he did the rabbits together on their migration when not understand them. He was a pragmatic several times they would have scattered, such rabbit, adopting techniques old or new as as at the river crossing or in the common. long as they served the common good. His He directs the rabbits' activ ities because he approach was an eclectic one: copying has the courage to take the initiative. He Cowslip's great burrow and Woundwort's hole shows this early on by proposing the concealment practices as useful inventions recruitment of a large-scale departure from while rejecting the grimmer aspects'of both Sandleford rather than simply clearing off so c ie tie s. with a few friends. He does so out of a feeling of responsibility that if he is Such is the interplay of society and escaping a catastrophe, he must help others individual: Hazel's g ifts as a leader shaped to do so too. Responsibility, of course, the society of Watership Down, which in turn always marks a good leader. encouraged the expression of the individual gifts of its members. Without Hazel's Another mark of a good leader is his exceptional a b ilitie s, Watership Down and its protection of the weak. Early on Hazel rabbits would not have been exceptional resolves to protect the rights of the either. And i f his rabbits had not been smallest rabbits, Fiver and Pipkin, against a talented, Hazel's leadership would not have bully like Bigwig. When Strawberry first been successful. joins the troupe, Hazel protects him against the others' hostility until he can establish In contrast, General Woundwort was a his own niche. He does so again with very effective leader but not a good one, Groundsel and the other surrendered since he benefited neither the commonwealth Efrafrans. nor the individual growth of his subjects. To be sure, he gave them protection and long Hazel's concern for all individuals lives, but their lives were without freedom, under his authority manifests itself again in excitement, or fulfillment and on the whole his attention to their injuries. He takes it seemed without purpose. Woundwort was more upon him self to remove Pipkin's thorn and interested in rabbits as a quantitative clean Buckthorn's and Holly's wounds. He measure of his success as a leader, while cares not only about his community's social Hazel chose a qualitative scale of how happy, health but its physical health as well. free, and compatible his rabbits were. Hazel's rule is lax and tolerant, Woundwort, like Hazel, was an organizer, allowing his rabbits great personal freedom. but he carried this propensity to extremes Only once does he coerce his subjects - and organized every facet of a rabbit's life, forcing them to dig a burrow for Kehaar after whereas Hazel organized rabbits only on a MYTHLORE 50: Summer 1987 Page 49 temporary basis to meet some pressing need and it either discouraged or warped like building a shelter. Woundwort was individual talents towards this goal. obsessed w ith c o n tr o l and determ ined Leadership was one stifled talent since, as precisely when and how a rabbit could eat, Fiver pointed out, a leader must keep his sleep, pass hraka, or show his nose above p eople from death and the ra b b its had ground. His system of o ff ic e r s , se n tr ie s, willingly accepted death in return for and runners was remarkably efficient and prosperity and did not want anyone to lead reveals his talents as an administrator. His them back to san ity and l i f e . Cowslip and courage was unquestionable as he demonstrated his rabbits attacked Holly's survivors for by fighting elil without hesitation, their association with Hazel, since Hazel had including taking on a dog after being torn up led Strawberry and his own folk away from the by Bigw ig. And though he was a fr a id of warren after revealing its folly. Leaders Bigwig and his supposedly greater Chief who could see the truth and act on it were to Rabbit, Woundwort was doggedly determined to be crushed at a ll costs; even asking "Where?" defeat them when other rabbits wanted to run hinted at the warren's awful truth and such away. Using his courage, Woundwort led by inquiry was also stifled automatically. example as well as by coercive administration. Other talents were encouraged in perverted forms to glorify the warren and Yet whatever his talents, he was a mask its folly. The rabbits were proud of bureaucrat gone wrong. Hazel's g if t s made their mosaics and singing and dancing even Watership Down a healthy society while though these were unnatural for rabbits. Woundwort's s t if le d Efrafra. Individual Their wisest folk and visionaries were so abilities at t'he pinnacle of a power twisted by the warren's dark secret and their hierarchy are crucial in determining how own moral sellout to materialism that they other individuals behave. Woundwort found, used their talents to justify and exalt the but perhaps never admitted to himself, that warren, not denounce it. Only Fiver, an coercion and oppression breed good servants outsider, could use his insight to see but not good leaders.
Recommended publications
  • RICHARD ADAMS' MYTHMAKING in WATERSHIP DOWN and SHARDIK by Edgar L
    Volume 5 Number 2 Article 3 10-15-1978 The Shaman as Hero and Spiritual Leader: Richard Adams’ Mythmaking in Watership Down and Shardik Edgar L. Chapman Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Chapman, Edgar L. (1978) "The Shaman as Hero and Spiritual Leader: Richard Adams’ Mythmaking in Watership Down and Shardik," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 5 : No. 2 , Article 3. Available at: https://dc.swosu.edu/mythlore/vol5/iss2/3 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Focuses mainly on Shardik, calling it “a demanding novel which explores the possible ways of responding to the emergence of the transcendental and mythic into ordinary existence.” With Watership Down, it justifies the importance of intuition, mystical, and transcendental experience.
    [Show full text]
  • The Aeneid with Rabbits
    The Aeneid with Rabbits: Children's Fantasy as Modern Epic by Hannah Parry A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington 2016 Acknowledgements Sincere thanks are owed to Geoff Miles and Harry Ricketts, for their insightful supervision of this thesis. Thanks to Geoff also for his previous supervision of my MA thesis and of the 489 Research Paper which began my academic interest in tracking modern fantasy back to classical epic. He must be thoroughly sick of reading drafts of my writing by now, but has never once showed it, and has always been helpful, enthusiastic and kind. For talking to me about Tolkien, Old English and Old Norse, lending me a whole box of books, and inviting me to spend countless Wednesday evenings at their house with the Norse Reading Group, I would like to thank Christine Franzen and Robert Easting. I'd also like to thank the English department staff and postgraduates of Victoria University of Wellington, for their interest and support throughout, and for being some of the nicest people it has been my privilege to meet. Victoria University of Wellington provided financial support for this thesis through the Victoria University Doctoral Scholarship, for which I am very grateful. For access to letters, notebooks and manuscripts pertaining to Rosemary Sutcliff, Philip Pullman, and C.S. Lewis, I would like to thank the Seven Stories National Centre for Children's Books in Newcastle-upon-Tyne, and Oxford University. Finally, thanks to my parents, William and Lynette Parry, for fostering my love of books, and to my sister, Sarah Parry, for her patience, intelligence, insight, and many terrific conversations about all things literary and fantastical.
    [Show full text]
  • A Symphonic Discussion of the Animal in Richard Adams' Watership Down
    Centre for Languages and Literature English Studies A Symphonic Discussion of the Animal in Richard Adams’ Watership Down Elisabeth Kynaston ENGX54 Degree project in English Literature Spring 2020 Centre for Languages and Literature Lund University Supervisor: Cecilia Wadsö-Lecaros Abstract The purpose of this essay is to suggest a new reading of Richard Adams’ Watership Down (1972) by adopting the recently new discipline of Animal Studies. Adams follows a long tradition of talking animals in literature, which still to this day, is an important part of the English literary canon. Throughout this essay, I shall focus on several aspects of the novel. I will look at the anthropomorphized animals and examine how the animals are portrayed in the text. I will seek to offer a structural analysis of Adams’ novel using the structure of the symphony. The essay offers a background discussion of Animal Studies as a theoretical discipline. In addition, the background will provide the reader with a description of how and why the structure of the symphony can function as a method to analyse Adams’ novel. The analysis has been divided into five parts where Jakob von Uexküll’s and Mario Ortiz-Robles’ research will serve as a basis for my discussion as I seek to provide a deeper understanding of how our perception of the animal in literature affects our idea of the animal in our human society. Table of Contents 1. Introduction 2. Background 3. First Movement – The Journey 1. Theme One – “Nature/Rabbit” 2. Theme Two – The Human 3. The Rabbit as a Subject 4.
    [Show full text]
  • Translating Watership Down
    Brouwer 4140001 Translating Watership Down Emily Brouwer 4140001 BA Thesis Engelse Taal en Cultuur Supervisor: Anniek Kool MA Second Reader: Onno Kosters April 2016 1 Brouwer 4140001 Table of Contents 1. Abstract 3 2. Introduction 4 3. Theoretical Framework: Analysis 7 a. Pragmatic Problems b. Linguistic Problems 8 c. Culture-Specific Problems d. Text-Specific Problems 9 4. Translation & Footnotes 14 Text A Text B 18 5. Comparing Translations 19 6. Conclusion 22 7. Bibliography 23 8. Source Text & Shuchart’s Translation 25 Appendix A – Excerpt Chapter 1: The Notice Board (page 15-19) Appendix B – Excerpt Chapter 23: Kehaar (page 199-201) 27 Appendix C – Excerpt Hoofdstuk 1: Het mededelingenbord (page 9-11) 28 Appendix D – Excerpt Hoofdstuk 23: Kehaar (page 186-187) 30 2 Brouwer 4140001 1. Abstract This thesis analyses the major issues that occur when translating Richard Adams’ Watership Down (1972) into Dutch by categorising them into Christiane Nord’s four categories of translation problems. The focus lies on text-specific problems, such as the rabbit language Lapine, the use of eye dialect, the names of the characters in the novel, and the religious elements. Two passages of the novel have been translated into Dutch accompanied by footnotes, which explain certain choices and different options for the chosen translation. After that, a brief comparison is made between the already existing translation by Max Shuchart and the translation made for this thesis. 3 Brouwer 4140001 2. Introduction Watership Down was Richard Adams’ first novel. It was published by Rex Collings Limited in 1972 after having been rejected by several other publishers.
    [Show full text]
  • Military Wives
    MILITARY WIVES PRODUCTION NOTES INTRODUCTION The inspirational story of friendship, love, and support on the home front. A group of women come together as their partners serve in Afghanistan. Together they form the very first military wives choir, helping each other through some of life’s most difficult moments and also becoming a media sensation and global movement in the process. Peter Cattaneo (The Full Monty) directs Oscar® Nominee and BAFTA® Winner Kristin Scott Thomas (Darkest Hour) and BAFTA® Nominee Sharon Horgan (Catastrophe) in this feel good crowd-pleaser. MILITARY WIVES stars Kristin Scott Thomas, Sharon Horgan, Greg Wise (A Private War) and Jason Flemyng (Lock, Stock and Two Smoking Barrels). Rounding out the cast and playing the military wives are Emma Lowndes (Downton Abbey), Gaby French (Victoria), Lara Rossi (Robin Hood), Amy James-Kelly (Safe) and India Ria Amarteifio (Line of Duty). Co-written by BIFA award-winner Rachel Tunnard (Adult Life Skills) and award-winning writer Rosanne Flynn (Crossbones, Meconium) MILITARY WIVES is produced by Rory Aitken and Ben Pugh of 42 and Piers Tempest for Tempo Productions. Josh Varney is the executive producer for 42 and Emma Willis and Hana Carter for Twenty Twenty TV. Also, executive producing are Rene Besson, Orlando Wood, Jo Bamford, Josh Horsfield, Emma Berkofsky, Stephen Spence, Liz Gallacher, Hugo Grumbar, Tim Haslam, Peter Touche and Zygi Kamasa. MILITARY WIVES was shot on location for six weeks around London and Yorkshire at the end of 2018 and will be distributed by Lionsgate in the UK. Embankment Films arranged the financing and is handling International sales, co-representing the USA with CAA.
    [Show full text]
  • Oxford University: Two Centuries of Magical History
    Gould Senior/Undergraduate Trinity Oxford University: Two Centuries of Magical History I grew up in Pittsburgh, the second son of two parents with three jobs. By day, my dad worked at a steel company and my mom ran a travel agency. At night, the two of them would trudge upstairs to the attic, where they would answer emails for the children’s camp that they ran every summer in Upstate New York. Because they were so busy, they hired a live-in nanny, a British woman with blonde hair and bad teeth by the name of Louise Paige. Weezy, as I liked to call her, cared about me like I was her own son, and turned every outing into a story. “If you stick your gum to that tree, you’ll grow a gum tree,” she told me at the park. “That flower just told me the most interesting thing,” she said at the conservatory. “That looks like the vulture that ate Prometheus’ liver,” she said at the aviary. I think it’s because I loved Louise that I fell in love with imagination, and her homeland, England, which I imagined as a rainy, matronly country where everyone baked and it was always Christmas. Louise encouraged these interests, pulling out fantasy books set in England during our weekly trips to the library. It was Phillip Pullman’s His Dark Materials trilogy—given to me by Louise for my seventh birthday—that further streamlined my interest into a passion for Oxford-based fantasy. During the fall semester of my junior year of college, I had the opportunity to study abroad at St.
    [Show full text]
  • ROD CHISHOLM Editor
    For all bookings, please call 020 3143 5769 or email Nasreen ROD CHISHOLM Editor Skills Avid Media Composer, Premiere Pro, After Effects, Interplay, Shotgun (shot tracking) Credits Holby City - Assistant Editor TV Series, BBC 1 – BBC Drama following the professional and personal lives of the doctors and nurses at Holby City Hospital. Unannounced Feature Film - 1st Assistant Editor Feature Film - Illumination Entertainment / Universal Studios Animated family film. Also whilst at Illumination, I assisted on Minions 2: Rise of Gru, during busy periods and cover. Brexit - Assistant Editor TV Movie, Channel 4 - House Productions / HBO Director: Toby Haynes , Editor: Matthew Cannings Dramatisation of the events leading up to Brexit, staring Benedict Cumberbatch. Watership Down - First Assistant Editor 4 x 60, BBC1 - BBC / Netflix Director: Noam Murro, Editor: Andrew Walton Animated Drama. Re-imagining of Richard Adams novel, starring James McAvoy and Nicholas Hoult. Macarooned - Editor Short Film – RTE / Irish Film Board Directors: Alan Short & Seamus Malone Animated comedy. Mac is marooned on an empty island, just out of reach from a lush paradise. BBC Worldwide - Assistant Editor Editing on air trails, promos, support materials and online content for Doctor Who, Top Gear, BBC Food, BBC Natural History Unit, BBC Music and BBC Science 1 | Rod Chisholm – Hyper Media Limited For all bookings, please call 020 3143 5769 or email Nasreen BBC Motion Gallery – Post - Production Operator Edited beauty reels to sell footage from the archive. Ingesting materials from archives which would include a wealth of formats from digital to analogue tapes to film scans and conforming and encoding them for clients.
    [Show full text]
  • Unreliability and the Animal Narrator in Richard Adams's the Plague Dogs
    humanities Article Unreliability and the Animal Narrator in Richard Adams’s The Plague Dogs Anja Höing Institute of English and American Studies, University of Osnabrück, 49074 Osnabrück, Germany; [email protected] Academic Editor: Joela Jacobs Received: 20 December 2016; Accepted: 6 March 2017; Published: 8 March 2017 Abstract: Richard Adams’s talking animal story The Plague Dogs (1978), with its deeply genre-atypical mode of narration, offers a multiplicity of avenues to explore the literary animal as animal. The story draws much of its power from the psychological complexity and related unreliability of both canine narrators, two research lab escapees gone feral. Both the terrier Snitter and the black mongrel Rowf are mentally ill and experience a highly subjective, part-fantastic world. In episodes of zero focalization, a sarcastic voice comments on the plot from the off, aggressively attacking a thoroughly anthropocentric superstructure the protagonists themselves are oblivious of, and presenting all that is normally constructed as “rational” in the implied reader’s world as a carnivalesque farce. Combining these equally unreliable narratives, The Plague Dogs creates a unique mixture of what Phelan (2007) calls “estranging” and “bonding” unreliability and brings to light the devastating consequences of anthropocentrism. The Plague Dogs not only defamiliarizes a genre usually committed to conventional means of storytelling, but the dominant Western conception of the status of animals in the world, showing that once we start to read the animal as animal, this sets into motion an avalanche of other concepts in need of re-reading, among them the very ones making up the fundamental pillars of Western societies’ anthropocentric self-conception.
    [Show full text]
  • Society and Foundation NEWSLETTER AUGUST 2019 Message from the Headmaster, Giles Tollit
    Society and Foundation NEWSLETTER AUGUST 2019 Message from the Headmaster, Giles Tollit As we end the school year, I am delighted to share with you all the good news from Horris Hill, and there is plenty of it. As ever, academic results have been excellent and once again all our Leavers passed to their target schools: entry to these schools is ever more competitive and our results in Scholarship, Common Entrance and Winchester Entrance papers are outstanding. As well as an academic Exhibition to Winchester, one boy was awarded a Music Exhibition and three earned Sports Scholarships. Horris Hill has always encouraged boys to develop all aspects of their potential and I am delighted that the sport is at a high level here, as well as our traditional strengths in the classroom and in the Music school. Having ex-England player Nick Compton coaching the 1st XI cricketers this season was an added boost! I am delighted to announce that the fundraising target for the new theatre has been reached and that work has now started in its construction. By Summer 2020, Horris Hill boys, and, we very much hope, members of the local community, will be on stage in a state-of-the-art resource for this fundamental area of education. The other big development is that in September we welcome twenty boys into the Lower School, which is for boys aged 4 to 8. Those of you who recall the Greenhill Pre-Prep will know that these year groups are not completely new to Horris Hill, but the Lower School will be boys-only and its opening represents an important evolution for the school.
    [Show full text]
  • The Tolkien Tradition
    Volume 11 Number 1 Article 5 Summer 7-15-1984 The Tolkien Tradition Diana Paxson Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Paxson, Diana (1984) "The Tolkien Tradition," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 11 : No. 1 , Article 5. Available at: https://dc.swosu.edu/mythlore/vol11/iss1/5 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Analyzes what makes a fantasy “in the Tolkien tradition” and applies this definition ot a number of contemporary fantasy authors, including Ursula Le Guin, Richard Adams, Lloyd Alexander, and Stephen R. Donaldson. Additional Keywords Fantasy—Characteristics; Fantasy literature—Influence of J.R.R. olkien;T Tolkien, J.R.R.—Influence on fantasy literature This article is available in Mythlore: A Journal of J.R.R.
    [Show full text]
  • The Language of the Unconscious in Richard Adams's Watership Down
    The Birth of Self and Society: The Language of the Unconscious in Richard Adams's Watership Down Marc D. Baldwin, Hillsborough Community College In Richard Adams's Watership Down,1 a "family" of rabbits, suddenly and traumatically displaced from their homes by the development of the land, must search the surrounding countryside for a new "warren." In order to survive their democratic pilgrimage from innocence to experience, their mythic search for a brave new world, their initiation into humanhood, so to speak, the rabbits have to learn the signs and signifiers of humanity's world, the discourse of humanity's dealings. As a dynamic organism, the little band of rabbits grows in size and savvy, ultimately surviving through a combination of their innate instincts and the emerging self-knowledge derived from their anthropomorphic authorization. Adams's rabbits symbolize the individuation of the self as it attains actualization through language. This thrilling adventure story of rabbits fighting for their survival corre­ sponds to the dual quest of conscious beings for social and psychic identity within the cosmological scheme of things. During a seemingly peaceful late afternoon sil- flay (feeding), a little psychic rabbit named Rver, upon seeing a sign that a real es­ tate developer posted in the field, envisions the ground soaked with blood and warns Hazel, his older and larger friend, that imminent doom approaches. Al­ though the signpost of man and its attendant horrific visions for Fiver prompt their flight, all those who leave the Sandleford warren are displeased and dis­ placed and ready to leave regardless. A totalitarian state, Sandleford imposes its order and meaning upon everyone there While it may have been designed to pro­ tect them from the dangers of man and elil (predators), the cloistered warren denies them freedom, free will, and the opportunity for self-fulfillment and self-con­ sciousness.
    [Show full text]
  • Is Watership Down Just a Book About Bunnies?? on the Surface, Yes, but As Is the Case in All Allegories, It Is QUITE Possible Th
    Is Watership Down just a book about bunnies?? On the surface, yes, but as is the case in all allegories, it is QUITE possible that Richard Adams was discussing more than a rabbit tale. Watership Down tells the story of a group of rabbits who are forced from their warren. In this story, Hazel (who is NOT a girl), our protagonist, has a little brother named Fiver (his name is pronounced “five- er”…like the number five). Fiver has horrific — and as later events prove, accurate — visions of the destruction of their home warren at Sandleford, but Hazel can't convince their Chief Rabbit to pay attention to his “crazy” brother, so he persuades a few of his friends to join him in leaving their homes to escape. Of note are Bigwig, one of the community's Owsla (a sort of Royal Guard), and Blackberry, who is, by the standards of their tribe, a mechanical genius. For instance, he is the only rabbit to even come close to understanding basic physics... like, for instance, "floating on water." Caution is a way of life for these rabbits because death is a moment-to-moment possibility. They can't count past four because they only have four paws. They have their own words for everything (check the glossary in the back of the book!) and they don’t understand things like cars or trains, which they think are just HUGE animals. They don't understand visual art, or human speech, or any of the strange things humans do. Only Blackberry, Fiver, and Hazel can really "think outside the hutch," so to speak.
    [Show full text]