Watership Down, The Essay

Watership Down

By: Michaela Blaser

For: Mr. Murray

ENG4UE-02

October 17, 2008

Watership Down by Richard Adams is a compelling story of a band of rabbits that endure a long and perilous journey for miles across unknown land in search of a better life. But before the story continues and the journey becomes more defined as the reader moves from one chapter to the next, a quotation (or epigraph, if you’re inclined to better diction) is given to inform the reader of the general direction and tone that the chapter is bound to take. Watership Down is built successfully around many epigraphs that foreshadow the direction each chapter will take and identify the seriousness of the actions that will be taken, as well as integrate into the story a level of literary depth and credibility.

The epigraphs at the beginning of each chapter summarize (mostly in just one line) what will happen in the chapter that follows.

“Never in his life had he seen a river before – this sleek, sinuous, full-bodied animal… All was a-shake and a-shiver – glints and gleams and sparkles, rustle and swirl, chatter and bubble.” (Adams, 296)

Before even taking a glance at the first line of the chapter subsequent to this epigraph from The Wind in the Willows (by Kenneth Grahame), it is obvious that the band of rabbits will approach a river and be completely overwhelmed by its characteristics.

“Peering through the plant-clumps, they could catch glimpses of the smooth, glittering river, evidently much wider and swifter than the Enborne… they felt the apprehension and doubt of those who have come unawares upon some awe-inspiring place, where they themselves are paltry fellows of no account.” (Adams, 298)

Coming from a dry environment in a wooded field, the rabbits were “uneasy and confused… each hoping not to see in the others the nervousness he felt in himself.” (Adams, 299) This is, however, an understandable situation as the largest body of flowing water that they have seen is the Enborne, which is described as being no bigger than a small brook. Among summarizing the chapter, the epigraphs might even (in some cases) foreshadow a major turning point or conflict in the chapter, if not the whole novel.

“His face was that of one who has undergone a long journey.” (Adams, 147)

In the case of this epigraph from The Epic of Gilgamesh, the new warren is reminded of their past when it comes back to haunt them. In the chapter following this small quotation, the rabbits must battle through the newly stirred-up emotion of what really happened after they ran away from their home (news brought from the close-to-death captain of defense from their home-warren). That someone as strong as Captain Holly had been almost destroyed beyond repair, and who looked as if his journey had been lengthy, was enough to impact the rabbits in a way that would later strengthen their defenses and forever change the way they looked at the world and lived in it.

As well as summarizing the subsequent chapter, the epigraphs do well in suggesting the seriousness of each chapter in terms of the strength of the action that will take place.

“The centurion… commanded that they which could swim should cast themselves first into the sea and get to land. And the rest, some on boards and some on broken pieces of ship. And so it came to pass, that they escaped all safe to land.” (Adams, 44)

It is apparent that the chapter introduced by this epigraph must be one with ample action and suspense. And so it is, as the chapter successfully illustrates a riverblock (pardon the pun) that the rabbits barely overcome during their great escape. As the refugees flee for safety, they must pass over a small river. This would not be such a great deal if they were not already tired from the day’s running. It is only in this desperate time that the rabbits take the desperate measure of going against the habits of a normal rabbit to actually push those that are too weak across the water.

“The piece of wood, hardly bigger than a large rhubarb leaf, was lightly aground. Blackberry almost drove Pipkin on to it with his claws… [the board] drifted out a few feet into the pool… [and] moved slowly across the pool and grounded on the opposite side.” (Adams, 48-49)

So as is evident, this chapter is both serious and has a great deal of action within it. Among other such epigraphs is the following from The Pilgrim’s Progress by John Bunyan:

“Timorous answered, that they… had got up that difficult place: but, said he, the further we go, the more danger we meet with; wherefore we turned, and are going back again.” (Adams, 55)

The minute conflict in the chapter that follows this paragraph is enough to bring on a seriousness and extremity of action that is important to the story and its direction. This action is not physical as the previous example, but nevertheless important. It is during this chapter that particular rabbits second-guess their initial decision to flee back to their home (note that this occurs before they find out what happened at their home).

“‘How can you go back through all we’ve come through?’ replied Hazel. ‘And probably get killed for wounding an Owsla officer [during our escape], if you ever do get back?’” (Adams, 61-62)

It is up to Hazel, the leader of the new warren, to help them see that there is just as much danger in going back as there is in moving forward (if not more danger in going back).

At most, the epigraphs at the beginning of each chapter of Watership Down show that the author, Richard Adams, went to great lengths to incorporate various forms of literature to add to the depth and credibility of this novel. Examples of the various forms of literary sources of the epigraphs seen throughout the novel include plays, poems, biblical verses, music lyrics, and even royal letters, the majority of which are exemplified in different languages. Not only do they add credibility and depth to the novel, but they set the tone of the chapter that they precede. For example, a chapter headed by such a quote as from Plato’s Euthyphro is more than likely going to contain an inquisitive or intellectual tone.

“You will be sure to prove that the act is unjust and hateful to the gods? Yes, indeed, Socrates; at least, if they will listen to me.” (Adams, 411)

What follows this epigraph is a chapter where Hazel’s authority is questioned as a raiding party from an enemy warren sets out to destroy Hazel and his home. Not only does this chapter have an inquisitive tone, but it manages to hold the logical setting in place as the warren quickly considers its defenses:

“‘Get the holes filled in! Get everyone underground! There’s not a moment to lose!’” (Adams, 415)

Another example of a credible epigraph is Aeschylus’ Agamemnon. This excerpt does well in setting the dramatic tone of the chapter, as it is the first glimpse of the oppressive danger that is to come.

“CHORUS: Why do you cry out thus, unless at some vision of horror?

CASSANDRA: The house reeks of death and dripping blood.

CHORUS: How so? ‘Tis but the odour of the altar sacrifice.

CASSANDRA: The stench is like a breath from the tomb.” (Adams, 15)

In this chapter, Fiver, a rabbit with a sixth sense for danger, has a vision of his burrow and the surrounding field covered in blood. The epigraph most definitely communicates the dramatic establishing of the setting and the story.

In conclusion, Richard Adam’s extensive uses of epigraphs in his novel Watership Down contribute greatly to the story as a whole. Not only do the epigraphs summarize key points in the novel, but they help a great deal in identifying the seriousness and strength of action to be taken, as well as add literary depth and credibility to the novel as a whole.

Bibliography:

Adams, Richard. Watership Down. London: Puffin Books, 1973.