The Broken Jug As an Experiment with Thomas Hobbes' Political Theory

The Delta

Volume 3 Issue 1 Article 9

Spring 2008

The Broken Jug as an Experiment with Thomas Hobbes' Political Theory

Mark Kasperczyk '10 Illinois Wesleyan University

Follow this and additional works at: https://digitalcommons.iwu.edu/delta

Recommended Citation Kasperczyk '10, Mark (2008) "The Broken Jug as an Experiment with Thomas Hobbes' Political Theory," The Delta: Vol. 3 : Iss. 1 , Article 9. Available at: https://digitalcommons.iwu.edu/delta/vol3/iss1/9

This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by faculty at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. Kasperczyk '10: The Broken Jug as an Experiment with Thomas Hobbes' Poli

The Broken Jug as an Experiment with Thomas Hobbes' (143). Thus, one person is made a sovereign Political Theory agreement between all others to offer part oU (namely, the right to self-government) so that Mark Kasperczyk peacefully, without quarrel. What makes a discussion of Hobbes ir Illinois Wesleyan University recently put on a production Broken Jug most interesting is his views on tr of The Broken Jug by John Banville. An amusing, ifraunchy, sovereign. For he states that the "subjects to; interpretation of the play, it provides a very dark picture of without his leave cast off monarchy and retur: humanity and society. Set in the middle of the nineteenth century a disunited multitude" (144) because the sub} in a town called Ballybog (in rural Ireland), it tells of the corrupt to obey the sovereign "as long and no longer Judge Adam who breaks a valuable jug while attempting to make by which he is able to protect them" (179). E sexual advances on Eve Reck, one of the townspeople. When the subjects should treat the sovereign as a powel case of the broken jug is brought to court, he attempts to blame men can be imagined to make it" (169). One Robert Temple, another townsperson. After all, the girl he stunning conclusions is that "nothing the sove; advanced on is the only person who sees him during the entire can do to a subject, on what pretense soever, incident, and she hesitates to blame Judge Adam because it would injustice or injury" because the subjects agree:: make others suspect him ofthe more heinous events that occurred authority (173). All these precautions when c that night; thus, he almost manages to escape. sovereign originate from Hobbes' fear ofana: As the discussion will show, the groundwork provided by major assumptions is that any form of govern Thomas Hobbes in his political theory has interesting implications being in a state of nature. for the situation in Ballybog; therefore, some explanation of his If Judge Adam is taken to be the sove theory is necessary. In Leviathan, Hobbes establishes that the state characters except Ball and Sir Walter are his of nature, which he understands to be any state without a common ideas of a political state become an interestin; power or sovereign, is a state of war in which there is "continual to consider the corruption prevalent in the pic fear and danger of violent death" and people's lives are "solitary, shown, The Broken Jug, both as written and ; poor, nasty, brutish, and short" (Hobbes 107). He elaborates on functions as an argument against Hobbes' COl three main types of quarrel within any anarchic state: "first, commonwealth as incontrovertibly better th~ competition; secondly, diffidence; thirdly, glory" (106). To escape production of The Broken Jug, in particular, : this situation, he explains, we form a commonwealth, which he problems with our own government and socii defines as "one person, ofwhose acts a great multitude, by mutual us to correct it. covenants one with another, have made themselves every one the The town of Ballybog is, more or less author, to the end he may use the strength and means of them all as all three types ofquarrel appear, and everyon he shall think expedient for their peace and common defense" concerned with only themselves. First otT, cc

70 71

Published by Digital Commons @ IWU, 2008 1 The Delta, Vol. 3 [2008], Iss. 1, Art. 9

r Jug as an Experiment with Thomas Hobbes' (143). Thus, one person is made a sovereign by the mutual Political Theory agreement between all others to offer part oftheir natural rights (namely, the right to self-government) so that all may live Mark Kasperczyk peacefully, without quarrel. What makes a discussion of Hobbes in the context ofThe Wesleyan University recently put on a production Broken Jug most interesting is his views on treatment of the !yg by John Banville. An amusing, ifraunchy, sovereign. For he states that the "subjects to a monarch cannot fthe play, it provides a very dark picture of without his leave cast off monarchy and return to the confusion of ooiety. Set in the middle ofthe nineteenth century a disunited multitude" (144) because the subjects remain obligated IBallybog (in rural Ireland), it tells ofthe corrupt to obey the sovereign "as long and no longer than the power lasts 10 breaks a valuable jug while attempting to make by which he is able to protect them" (179). He even says that the ; on Eve Reck, one ofthe townspeople. When the subjects should treat the sovereign as a power "as great as possibly :enjug is brought to court, he attempts to blame men can be imagined to make it" (169). One of Hobbes' more another townsperson. After all, the girl he stunning conclusions is that "nothing the sovereign representative the only person who sees him during the entire can do to a subject, on what pretense soever, can properly be calle( e hesitates to blame Judge Adam because it would injustice or injury" because the subjects agreed to make him the :pect him ofthe more heinous events that occurred authority (173). All these precautions when dealing with the he almost manages to escape. sovereign originate from Hobbes' fear of anarchy, for one of his iscussion will show, the groundwork provided by major assumptions is that any form of government is better than ; in his political theory has interesting implications being in a state of nature. in Ballybog; therefore, some explanation of his If Judge Adam is taken to be the sovereign and all other ary. In Leviathan, Hobbes establishes that the state characters except Ball and Sir Walter are his subjects, Hobbes' I he understands to be any state without a common ideas ofa political state become an interesting model from which :ign, is a state ofwar in which there is "continual to consider the corruption prevalent in the play. As shall be ofviolent death" and people's lives are "solitary, shown, The Broken Jug, both as written and as performed, tish, and short" (Hobbes 107). He elaborates on functions as an argument against Hobbes' conception of a ; ofquarrel within any anarchic state: "first, commonwealth as incontrovertibly better than anarchy, and the :ondly, diffidence; thirdly, glory" (106). To escape production ofThe Broken Jug, in particular, forces us to notice the : explains, we form a commonwealth, which he problems with our own government and society and then instructs person, ofwhose acts a great multitude, by mutual us to correct it. 'ith another, have made themselves every one the The town ofBallybog is, more or less, an anarchic state, fOJ d he may use the strength and means ofthem all as all three types ofquarrel appear, and everyone appears to be :pedient for their peace and common defense" concerned with only themselves. First off, competition is present

70 71

https://digitalcommons.iwu.edu/delta/vol3/iss1/9 2 Kasperczyk '10: The Broken Jug as an Experiment with Thomas Hobbes' Poli

in both the written play and the production: At one point in the first comes in and Lynch sees his wounds: WI play, Maggie, the maid, brings in some black pudding and says to pleads Lynch to not make him appear suspicic Judge Adam "ifyour tenants got a sniff/ Ofthis there'd be a riot in who is coming to inspect the courtroom later t the town" (Banville 22); and in the production, Judge Adam tosses right next to Lynch, holding her and attemptin a wheel ofcheese to some starving townspeople, to entertain during the rest ofthe conversation both Judge himselfwith their fighting. Hunger, then, is a major source of attempt to stay apart from each other on stage. competition and catalyzes fighting, even if it happens mostly apart naturally distrust each other, but when necesst from the main action. are willing to pretend to trust each other. Thi~ Diffidence also appears repeatedly within the play and diffidence is also present. production. For Hobbes, diffidence means a state of distrust Glory, specifically reputation, is the th between all people as a result ofthe lack oflaws and the constant According to Hobbes, everyone desires a gooc fighting or possibility of fighting and competition in the state of when someone's reputation is slandered, the p nature. In the first scene ofthe play, Judge Adam alleges he cut up "extort a greater value from his contemners b:,. his head by falling, and Lynch, his clerk, replies by asking, "A real others by the example" (Hobbes 106). This is. fall?" (11). This is an immediate display ofdistrust between the Reck attempts, for when her jug breaks and E" two characters; furthermore, it causes the viewers or readers to was just pottery, Martha responds, "Do you kr doubt the trustworthiness ofJudge Adam, the sovereign of jug, my girl? / Only your reputation, that was. Ballybog. Another example present in both the play and the an obvious need for compensation, for she iffil production is the practice ofrundale, for it is an excellent Robert Temple and tries to make him the exan representative ofthe struggle for dominance over all others that can regain her (and her daughter's) respect am Hobbes claims is caused by diffidence. After Toby Reck, Martha's Temple's response to this accusation is to blar deceased husband, bought Willie Temple's land, he "Threw out the Byrne, a beggar who often comes to the Reck!: sitting tenants, every one, / Broke up the fields and leased them out ordeal becomes a struggle to throw the blame in parcels / No bigger than a bloody postage stamp" (59). Toby avoid or repair damage to the various characte Reck thus earned his own wealth by subduing others, for he not process ofrepairing her reputation is a major t only displaced Willie Temple but also made the plots too small to Martha's character, which we see from the las be useful. Evidence ofdiffidence in the production also comes play: "Here, wait now, what about my broken from the characters' blocking, for throughout most ofthe play the follows that, since Martha's obsession with rei characters space themselves evenly out so that no two characters pushes the plot along and eventually allows Si (excluding Robert and his father Willie Temple, and to a lesser ofJudge Adam, reputation is not just present \ extent Eve and her mother Martha Reck, who trust each other and also a large part of character motivation (at Ie<: therefore remain together) position themselves near each other. An plot development. example ofthis is in the beginning ofthe play when Judge Adam Thus, according to Hobbes' theory, Ba

72 73

Published by Digital Commons @ IWU, 2008 3 The Delta, Vol. 3 [2008], Iss. 1, Art. 9

tten play and the production: At one point in the first comes in and Lynch sees his wounds: While Judge Adam :he maid, brings in some black pudding and says to pleads Lynch to not make him appear suspicious to Sir Walter, f your tenants got a sniff/ Ofthis there'd be a riot in who is coming to inspect the courtroom later that day, he stands lville 22); and in the production, Judge Adam tosses right next to Lynch, holding her and attempting to be friendly; yet ~se to some starving townspeople, to entertain during the rest ofthe conversation both Judge Adam and Lynch leir fighting. Hunger, then, is a major source of attempt to stay apart from each other on stage. That is, they d catalyzes fighting, even if it happens mostly apart naturally distrust each other, but when necessity is involved, they action. are willing to pretend to trust each other. This indicates that nee also appears repeatedly within the play and diffidence is also present. Ir Hobbes, diffidence means a state ofdistrust Glory, specifically reputation, is the third cause offighting. >ple as a result ofthe lack oflaws and the constant According to Hobbes, everyone desires a good reputation, and sibility of fighting and competition in the state of when someone's reputation is slandered, the person attempts to fIrSt scene ofthe play, Judge Adam alleges he cut up "extort a greater value from his contemners by damage and from ling, and Lynch, his clerk, replies by asking, "A real others by the example" (Hobbes 106). This is exactly what Martha is is an immediate display ofdistrust between the Reck attempts, for when her jug breaks and Eve comments that it furthermore, it causes the viewers or readers to was just pottery, Martha responds, "Do you know what was in that 1V0rthiness ofJudge Adam, the sovereign of jug, my girl? / Only your reputation, that was all" (35). Martha ha~ 'ther example present in both the play and the an obvious need for compensation, for she immediately blames Ie practice ofrundale, for it is an excellent Robert Temple and tries to make him the example by which she >fthe struggle for dominance over all others that can regain her (and her daughter's) respect and reputation. Robert is caused by diffidence. After Toby Reck, Martha's Temple's response to this accusation is to blame the Cobbler lIld, bought Willie Temple's land, he "Threw out the Byrne, a beggar who often comes to the Recks for food. The every one, / Broke up the fields and leased them out ordeal becomes a struggle to throw the blame at others and thereby bigger than a bloody postage stamp" (59). Toby avoid or repair damage to the various characters' reputations. The ~d his own wealth by subduing others, for he not process ofrepairing her reputation is a major motivation of Willie Temple but also made the plots too small to Martha's character, which we see from the last line ofthe written lence ofdiffidence in the production also comes play: "Here, wait now, what about my broken jug ... 1"(84). It :ters' blocking, for throughout most ofthe play the follows that, since Martha's obsession with reputation in large part e themselves evenly out so that no two characters pushes the plot along and eventually allows Sir Walter to dispose ~rt and his father Willie Temple, and to a lesser ofJudge Adam, reputation is not just present within the play, but her mother Martha Reck, who trust each other and also a large part of character motivation (at least for Martha) and 0 n together) position themselves near each other. An plot development. ,is in the beginning ofthe play when Judge Adam Thus, according to Hobbes' theory, Ballybog exists as an

72 73

https://digitalcommons.iwu.edu/delta/vol3/iss1/9 4 Kasperczyk '10: The Broken Jug as an Experiment with Thomas Hobbes' Poli

anarchic state because of the presence of the three types ofquarrel. contrast between the hard work ofthe subject1 But according to his same theory, Ballybog is also a hearted jigs of Judge Adam, Ball, and Sir Wal commonwealth because of the presence of a sovereign, Judge Furthermore, Judge Adam has the abil Adam. It is quite clear that within the town of Ballybog Judge subjects; therefore, he can justly remain sover Adam acts as the sovereign, for when Eve begins to name Judge according to Hobbes' theory. Judge Adam cle Adam as the culprit responsible for breaking the jug, Sir Walter to end his subjects' starvation, for he feeds SiJ intervenes with this: portion of food in both the play and the produ Be quiet, now, this is a court of law; already mentioned, throws a wheel of cheese 1 I cannot allow anarchy to rule. townspeople, thus demonstrating that he coul< The man's a rogue, but also he's ajudge; ifhe used the food stores responsibly. Indeed It is the bench that we must recognize, and not the says outright to Ball, "He's starving them" (2' man. (80, Banville's emphasis) then, is not that Judge Adam lacks the power 1 This agrees very well with Hobbes' view that it is unjust to accuse subjects; rather, he is choosing not to for his c the sovereign of misdeeds. Thus Judge Adam is the sovereign of] The production has two other powerful images ofJudge town exists in a state ofanarchy; this conflict! Adam as a sovereign. The first is that ofJudge Adam as a assumption that a commonwealth is always be conductor: Near the end, Judge Adam, standing on a chair with his Ballybog is a commonwealth that is effectivel back to the audience, announces the court's sentence and even worse than one because to form the com condemns Robert Temple as the fiend who broke Martha Reck's townspeople had to forfeit their right to self-g jug, while all the other characters, gathered around the judge in a Therefore, both the written and performed vel half-circle, listen and react to the sentence. The image is Jug demonstrate that ifthe sovereign ofa corr incredibly similar to that ofan orchestra conductor, for Judge or selfish, the subjects could easily return to 1 Adam even uses his gavel as a conducting wand. The other anarchic state; with regard to the viewer or re; image-though more of an action--eomes during the song that the playa cautionary tale about the dangers of fre characters sing while changing the stage from bedroom to right of self-government to a single person (0, courtroom: The first verse ofthe song is, "Lads and lasses, to your which Hobbes also mentions) for the promise places, up the middle and down again." During the song, Judge The production, in addition to present Adam, Ball, and Sir Walter dance while all the other characters play to the audience, forces the viewers to COl change the set. That is, Judge Adam's subjects are the only with their own government. It does this thrOt characters who are working, for Sir Walter and Ball reside outside breaking ofthe fourth wall. For example, the of Ballybog and thus cannot be treated as Judge Adam's stage is almost completely reserved for inters subordinates. The first verse is therefore ironically inappropriate, audience: It is where Lynch gives the social a for it create~ an imperative for acting as one should and creates a background of the story in the beginning oftl

74 75

Published by Digital Commons @ IWU, 2008 5 The Delta, Vol. 3 [2008], Iss. 1, Art. 9

because ofthe presence ofthe three types ofquarrel. contrast between the hard work ofthe subjects and the light to his same theory, Ballybog is also a hearted jigs of Judge Adam, Ball, and Sir Walter. II because ofthe presence ofa sovereign, Judge Furthermore, Judge Adam has the ability to protect his lite clear that within the town of Ballybog Judge subjects; therefore, he can justly remain sovereign of Ballybog, he sovereign, for when Eve begins to name Judge according to Hobbes' theory. Judge Adam clearly has the ability ulprit responsible for breaking the jug, Sir Walter to end his subjects' starvation, for he feeds Sir Walter a large 1 this: portion of food in both the play and the production; he also, as Be quiet, now, this is a court of law; already mentioned, throws a wheel of cheese to some starving I cannot allow anarchy to rule. townspeople, thus demonstrating that he could probably feed them The man's a rogue, but also he's ajudge; ifhe used the food stores responsibly. Indeed, at one point, Lynch It is the bench that we must recognize, and not the says outright to Ball, "He's starving them" (27). The situation, ville's emphasis) then, is not that Judge Adam lacks the power to protect his ry well with Hobbes' view that it is unjust to accuse subjects; rather, he is choosing not to for his own purposes. )fmisdeeds. Thus Judge Adam is the sovereign of Ballybog, and the xiuction has two other powerful images of Judge town exists in a state ofanarchy; this conflicts with Hobbes' ereign. The first is that of Judge Adam as a assumption that a commonwealth is always better than anarchy, fOJ ar the end, Judge Adam, standing on a chair with his Ballybog is a commonwealth that is effectively an anarchy, maybe lience, announces the court's sentence and even worse than one because to form the commonwealth, the lert Temple as the fiend who broke Martha Reck's townspeople had to forfeit their right to self-governance. he other characters, gathered around the judge in a Therefore, both the written and performed versions ofThe Broken en and react to the sentence. The image is ,rng demonstrate that ifthe sovereign ofa commonwealth is corrup ilar to that of an orchestra conductor, for Judge or selfish, the subjects could easily return to living within an es his gavel as a conducting wand. The other anarchic state; with regard to the viewer or reader, this makes the II more of an action--eomes during the song that the playa cautionary tale about the dangers of freely transferring one'~ ~ while changing the stage from bedroom to right ofself-government to a single person (or assembly ofpeople, e first verse ofthe song is, "Lads and lasses, to your which Hobbes also mentions) for the promise ofprotection. middle and down again." During the song, Judge The production, in addition to presenting the ideas in the ld Sir Walter dance while all the other characters play to the audience, forces the viewers to confront the problems That is, Judge Adam's subjects are the only with their own government. It does this through its continuous I are working, for Sir Walter and Ball reside outside breaking ofthe fourth wall. For example, the front center ofthe ,d thus cannot be treated as Judge Adam's stage is almost completely reserved for interactions with the The first verse is therefore ironically inappropriate, audience: It is where Lynch gives the social and historical 1 imperative for acting as one should and creates a background of the story in the beginning ofthe production; where

74 75

https://digitalcommons.iwu.edu/delta/vol3/iss1/9 6 Kasperczyk '10: The Broken Jug as an Experiment with Thomas Hobbes' Poli

Martha explains to the audience the extreme historical and Judge Adam's failure to respond appropriatel~ ancestral importance of her jug; where Bridget Temple sits to starvation. Together, these moments suggest· finally make Judge Adam the accused for breaking the jug. All incident in Ballybog happened 150 years ago three times, the characters speak facing the audience, and Ireland, the situation is similar to the one we ~ sometimes directly to the audience (in Lynch's case). This Ballybog's is far more severe. Ofcourse, the involves the viewer in the characters' struggles to escape the evidence for the production as incitement to p anguish caused by Judge Adam's corruption and the consequent from director Sven Miller's notes in the progr degeneration of Ballybog into an anarchic state, and makes the fear driven portrait of human behavior and inl audience pity or sympathize with the characters on stage. and outrageous mirror ofsome ofthe prevalel One ofthe powerful implications ofthis connection behavior and contract today." That is, Miller between the audience and the characters on stage is that we also by the state of nature as analogous to many Cl become Judge Adam's subjects and therefore possible victims to problems in the U.S. and presumably eIsewht:: his corruption. This is made manifest when Judge Adam, after audience that their current government is leac being accused of the breaking ofthe jug outright, climbs into the degeneration of their commonwealth, possibl: audience and frightens one or two members and anyone nearby by state, the production hopes to convince the at: yelling at them and then running away, out of the theatre. Thus, such a miserable state from forming by partie the audience transitions from sympathizing with the suffering governmental decisions, whether through vot townspeople to actually being one of the victims. This causes the activism or any other appropriate action the a audience members to realize that the effectively anarchic state created by the corrupt government ofBallybog could easily become their problem as well. Indeed, the play pushes this further by asserting that the United States is currently in an analogous situation. This becomes apparent upon consideration of the many allusions to modern times. For example, in the first moments ofthe production when Lynch is explaining the time period of the play, she quizzes the audience on the year in which the play is set; the answer is 1846, and the audience is thus assured that this happened a long time ago. But by deliberately coughing the word "Katrina" upon mentioning the corrupt government ofIreland, Lynch also brings to mind the embarrassing response ofthe American government to the effects ofHurricane Katrina-which can be read as a choice not to respo?d appropriately, despite the ability to do so, much like

76 77

Published by Digital Commons @ IWU, 2008 7 The Delta, Vol. 3 [2008], Iss. 1, Art. 9

ns to the audience the extreme historical and Judge Adam's failure to respond appropriately to Ballybog's )rtance of her jug; where Bridget Temple sits to starvation. Together, these moments suggest that although this udge Adam the accused for breaking the jug. All incident in Ballybog happened 150 years ago in a small town in e characters speak facing the audience, and Ireland, the situation is similar to the one we are facing, even if ectly to the audience (in Lynch's case). This Ballybog's is far more severe. Ofcourse, the most compelling iewer in the characters' struggles to escape the evidence for the production as incitement to political action comes ~ by Judge Adam's corruption and the consequent from director Sven Miller's notes in the program: "We believe this )fBallybog into an anarchic state, and makes the fear driven portrait of human behavior and interaction is a funny ~r sympathize with the characters on stage. and outrageous mirror ofsome ofthe prevalent conditions ofsocia .the powerful implications ofthis connection behavior and contract today." That is, Miller sees the fear caused Idience and the characters on stage is that we also by the state of nature as analogous to many current political Adam's subjects and therefore possible victims to problems in the u.s. and presumably elsewhere. By showing the . This is made manifest when Judge Adam, after audience that their current government is leading them toward of the breaking ofthe jug outright, climbs into the degeneration of their commonwealth, possibly into a anarchic Tightens one or two members and anyone nearby by state, the production hopes to convince the audience to prevent 1 and then running away, out of the theatre. Thus, such a miserable state from forming by participating in 'ansitions from sympathizing with the suffering governmental decisions, whether through voting or political ) actually being one of the victims. This causes the activism or any other appropriate action the audience could take. bers to realize that the effectively anarchic state corrupt government ofBallybog could easily lroblem as well. l the play pushes this further by asserting that the s currently in an analogous situation. This becomes consideration ofthe many allusions to modem mple, in the first moments ofthe production when ining the time period ofthe play, she quizzes the e year in which the play is set; the answer is 1846, ce is thus assured that this happened a long time :liberately coughing the word "Katrina" upon : corrupt government ofIreland, Lynch also brings lbarrassing response ofthe American government to lurricane Katrina-which can be read as a choice appropriately, despite the ability to do so, much like

76 77

https://digitalcommons.iwu.edu/delta/vol3/iss1/9 8 --- Kasperczyk '10: The Broken Jug as an Experiment with Thomas Hobbes' Poli

Works Cited

Banville, John. The Broken Jug. Loughcrew, Ireland: Gallery, 1994. Hobbes, Thomas. Leviathan. Ed. Herbert W. Schneider. New York: Macmillan, 1958.

Published by Digital Commons @ IWU, 2008 9