(Part 2) Hamlet as boy Jesus among Temple Elders: Historical-Artistic Background

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INDEX OF POSTS IN THIS SERIES:
https://pauladrianfried.blogspot.com/2023/01/index-hamlet-in-32-as-boy-jesus-lost.html
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Because of our past experience (in school, at performances, or even familiarity with past critical tradition), we may assume too quickly that we fully understand the possible meanings that we discover when we encounter a scene with an allusion in the Shakespeare text .

Often we also assume too quickly that we understand fully what is being alluded to and it's significance.

Reading more critical commentary on Shakespeare, or researching, or discussing a play, has the potential to jolt us out of our perhaps too-limiting assumptions about the text.

In the case of biblical allusions (as Stephen Greenblatt explores in Hamlet in Purgatory), looking at historical paintings and illustrations also has the potential to jolt us out of too-limiting assumptions and reveal helpful insights.

Some might say this "jolt" is like what Viktor Shklovsky describes as "defamiliarization," being nudged toward a fresh way of seeing something we assumed was completely familiar.

In this blog post, I consider a number of paintings depicting Luke 2:41-52, the tale of the boy Jesus among the Temple Elders. Hamlet alludes to this tale shortly after The Mousetrap (3.2.325-356).

If we are too confident that we understand the implications of Hamlet's strange allusion here to Luke 2, the paintings might jolt or judge us, offering fresh insights about how the allusion's "target" has been variously interpreted over centuries. (In other words, we need not only look to critical scholarship and traditional texts for such insights: Paintings, illustrations, stained glass windows, and religious rituals or liturgies can also offer insights.)

I also mention that this tale from Luke was included as one of the Joyful Mysteries of the Rosary, originating before Shakespeare's time. (I was raised Catholic, but am not a Rosary fan, so I didn't even know that before researching this post: a jolt for me.)

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In Hamlet 3.2.325-356, the Prince compares himself to the boy Jesus amazing the elders in the Temple (Luke 2:41-52).[1]

The tale has a rich history before and after Shakespeare, including (but not limited to) religious ritual, paintings, mosaics, and stained glass. Let’s glance at some of it.

Some identify the Luke tale as one of the "Sorrowful Mysteries" (his parents thought they had lost him), but today it is numbered among the five Joyful Mysteries. Edward Sri notes of the Rosary, “In the sixteenth century, the sets of five Joyful, five Sorrowful, and five Glorious Mysteries as we know them today began to emerge” [2], or during Shakespeare’s lifetime.

PAINTERS INTERPRET THE STORY VISUALLY according to their own time, culture, worldview and artistic traditions, including far more visual detail than the scripture text suggests.

Because older Bible translations identify Jesus as having been among “doctors” in the temple, many paintings are titled “Christ among the Doctors” (newer translations list them as “teachers”).

Many parts of Europe were interested in debate and rhetoric, so although the Bible tale doesn’t mention debate or disputation, some paintings are titled “Disputation with the Doctors” (such as that by Duccio di Buoninsegna, c.1308-1311).[3]

Some show the scene *before* Jesus’ parents arrive (top, second from left, Albrecht Dürer, 1506).[4]

The most dramatic of all of them shown here is by Paolo Veronese (c.1560, full painting much wider than detail shown).[5]

In the close-up of the (c.1635-1639) painting by Matthias Stom, the elder’s face showing most awe (perhaps the artist’s self-portrait) is barely seen in shadows behind the boy Jesus, eyes and mouth open, face dimly lit as if by (inner?) light (or) emanating from the back of Jesus’ head. See enhanced closeup [6]

and original.[7]

Some show Jesus’ parents arriving: See bottom, 1st from left

and 2nd from left.[8]

Some express emotions of elders through posture and hands. Others do also through eyes, complexion, and facial expression.

Although the gospel text does not hint at animosity of the elders toward Jesus, some paintings invite the viewer to imagine that while some listen intently[9]

or seem to dispute sincerely [10],

others are ugly or evil-looking [11]

haughty or malevolent [12],

or perhaps are gossiping, scheming, or making fun of the boy.[13]

The newest sampled here (1879, bottom R) is striking for how small the child is — and how far one elder will stoop so that he is on equal footing [14], humbling himself to listen to what the child has to say.

In subtle ways, paintings transcend the limits of the gospel text, even emphasizing the hostility of certain elders toward Jesus.

All of these images show that many in Europe have known this story, even if many don’t today.

The liberties Hamlet’s allusion takes are both similar to, and different from, any taken by these paintings.[15]

https://pauladrianfried.blogspot.com/2023/02/hamlet-as-boy-jesus-among-temple-elders.html

~~~~~~~ NOTES:
[1] See Bible Gateway for this modern spelling version of the Geneva translation: https://www.biblegateway.com/passage/?search=Luke%202%3A41-52&version=GNV

See StudyBible.info for original spelling: https://studybible.info/Geneva/Luke%202:41-52

[2] Edward Sri, “The Origins of the Rosary,” Franciscan Spirit Blog, https://www.franciscanmedia.org/franciscan-spirit-blog/the-origins-of-the-rosary/

[3] COLLAGE IMAGE, TOP, FAR LEFT:
(all images cropped to focus on details of interest; links to full images below.)
I previously mentioned the “angels in the architecture” at the tops of columns in this image:

Disputation with the Doctors, c1308-1311, Duccio di Buoninsegna, Museo dell'Opera Metropolitana del Duomo. Public domain, via https://commons.wikimedia.org/wiki/File:Duccio_di_Buoninsegna_-_Disputation_with_the_Doctors_-_WGA06768.jpg

[4] COLLAGE IMAGE, TOP, SECOND FROM LEFT:

Note that the full original is much wider and more dramatic, like the boy Jesus center stage in a parliamentary debate.
Christ Among the Doctors (or, "The dispute with doctors in the temple"), circa 1560, Paolo Veronese. Museo del Prado. Public domain, via
https://commons.wikimedia.org/wiki/File:Disputa_con_los_doctores_(El_Veron%C3%A9s)_grande.jpg

[6] COLLAGE IMAGE, TOP, FAR RIGHT:
Edit/crop, enhanced detail of what may be a self-portrait of the artist:

Christ among the doctors, c1635-1639, Matthias Stom. Sotheby's New York of 27 January 2016 lot 30. Public domain, via
https://commons.wikimedia.org/wiki/File:Matthias_Stom_-_Christ_among_the_doctors.jpg

[7] FULLER IMAGE, TOP, FAR RIGHT:
Full image, without crop or enhancement, of

Christ among the doctors, c1635-1639, Matthias Stom. Sotheby's New York of 27 January 2016 lot 30. Public domain, via
https://commons.wikimedia.org/wiki/File:Matthias_Stom_-_Christ_among_the_doctors.jpg

[8] COLLAGE IMAGE, BOTTOM, FAR LEFT, Mary and Joseph arrive,
cropped to focus on details of interest:

Twelve-year-old Jesus teaching in the Temple, c.1750-1774, Christian Wilhelm Ernst Dietrich. National Museum in Kraków. Public domain, via
https://commons.wikimedia.org/wiki/File:Dietrich_Jesus_teaching_in_the_Temple.jpg

BOTTOM, SECOND FROM LEFT:
Notice how the heavens open to reveal bright, warm light in clouds:
This is stronger than the light on the official presiding in the temple, signifying God in heaven, unseen to the people portrayed in the painting.

Child Jesus in the Temple, c.1659-1660, Jan Steen. Kunstmuseum Basel. Public domain, via
https://commons.wikimedia.org/wiki/File:Jan_Steen_-_Child_Jesus_in_the_Temple.jpg

[9] See COLLAGE IMAGE, TOP, SECOND FROM LEFT, detail:
Notice man to the lower left of the boy Jesus, beard, hands on book.

Detail below from
Christ Among the Doctors, 1506, Albrecht Dürer. Thyssen-Bornemisza Museum.

Public domain, via
https://commons.wikimedia.org/wiki/File:Albrecht_D%C3%BCrer_-_Jesus_among_the_Doctors_-_Google_Art_Project.jpg

[10] COLLAGE IMAGE, BOTTOM, SECOND FROM RIGHT, detail below:
Notice bearded man in red headwear and pink robes, index finger raised toward the boy Jesus as if to make a point, and the boy with hands open, right hand pointing perhaps to the scripture in the old man’s hand. These two are the center of this image.

The Twelve-Year-Old Christ in the Temple, 1879; Ernst Zimmermann. BYU Museum of Art.

Public domain, via
https://magazine.byu.edu/article/devotion-in-the-details/

[11] See the man in white head-wear to the immediate right of the boy Jesus in
COLLAGE IMAGE, TOP, SECOND FROM LEFT, detail below:

Christ Among the Doctors, 1506, Albrecht Dürer. Thyssen-Bornemisza Museum. Public domain, via
https://commons.wikimedia.org/wiki/File:Albrecht_D%C3%BCrer_-_Jesus_among_the_Doctors_-_Google_Art_Project.jpg

[12] Haughty? See detail of the bald man (near top, left of center) above the man in red headwear, with his left hand raised to his ear, nose up, either haughty(?) or simply listening intently - with a frown.
The man below him (with dark beard, on the left) seems creepy: I would not trust him to babysit my children...
Detail below from

Detail below from
COLLAGE IMAGE, BOTTOM, SECOND FROM RIGHT,
The Twelve-Year-Old Christ in the Temple, 1879; Ernst Zimmermann. BYU Museum of Art.

Public domain, via
https://magazine.byu.edu/article/devotion-in-the-details/

[13] See the two men near the window or entry, above and to the right of the boy Jesus (crop detail below)

in
COLLAGE IMAGE, BOTTOM, SECOND FROM RIGHT,
The Twelve-Year-Old Christ in the Temple, 1879; Ernst Zimmermann. BYU Museum of Art. Public domain, via
https://magazine.byu.edu/article/devotion-in-the-details/
These images (notes11-13) may anticipate gospel claims of Jesus being opposed by temple authorities for the blasphemy,
but we should note that many scripture scholars believe Jesus was executed more under pressure from the authorities of the Roman occupation than from anything inherent in the Jewish faith;
and if opposed by religious authorities, these were sometimes puppets of Roman authorities.
- So Christians should not blame the Jews - certainly not all Jews - for the actions of a few Roman soldiers, Pilate, Herod, and a few of the temple priests who were Roman puppets.
- Nor should Christians blame all Jews for the alleged chanting of a bloodthirsty mob, eager to have Jesus suffer instead of Barabbas. Gospels are literary constructs meant to make points, not historical documents.
- Just as we should not blame all conservative Republicans for what a few in a mob did in Washington D.C. on January 6...

[14] COLLAGE IMAGE, BOTTOM, FAR RIGHT:

Notice how the child could be perhaps any child, not necessarily a divine child or Wunderkind...
- Some men welcome this child, perhaps manifesting what the gospel quotes Jesus as saying in Matt 18:1-5 about who is great, and what is necessary:
Be like a child (in what ways? wonder?) and welcome children.
Detail: Notice how the man with a hand on his beard has made his own head lower than that of the boy.

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(Part 2) Hamlet as boy Jesus among Temple Elders: Historical-Artistic Background

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