DOI article:
Laskowska-Hinz, Sabina: Who are our gods?: The iconographic, religious and cosmic commentary on William Shakespeare's The Tempest by Wojciech Siudmak (1978)
DOI Page / Citation link:https://doi.org/10.11588/diglit.59533#0054
WHO ARE OUR GODS? THE ICONOGRAPHIC, RELIGIOUS AND COSMIC COMMENTARY...
53
THE UNIVERSE A SPIRAL GALAXY AND PLANETS
Siudmak’s works - illustrations for and covers of science fictions books or graphics for the Nowa Fan-
tastyka magazine31 - as well as his poster for The Tempest, betray the designer’s fascination with astronomy,
astrophysics, the solar system and the space beyond.32 Setting aside the iconographic source featuring similar
positioning of the main figure, there is a single distinct element of Siudmak’s poster which calls for further
analysis. Above the black hole obliterating the chest and neck of the figure, one can see a luminous belt of
stars and further above a conspicuous shape of a spiral galaxy [Fig. 7], reminiscent of a cardinal’s cap or the
planet Saturn viewed from a distance.33
The motif of a spiral galaxy replacing or signifying Prospero’s head might encourage viewers to think of
the Prince as an aspiring mind of Renaissance science. Kott in Prospero s Staff notes that the play may be in-
terpreted in the context of the ground-breaking achievements of modem thinkers, philosophers, scientists and
artists because: “The great themes of the Renaissance will then be restored to The Tempest', those concerned
with the philosophical utopia; with the limits of experience; with man’s efforts to conquer the physical world;
with dangers threatening the moral order”.34 Consequently, Prospero’s mind is portrayed as lost in scientific
inquires, and dominated by the Prince’s longing for knowledge of the universe understood as cosmic space
rather than religious heaven.
The inclinations to solitude, intense relation with nature, the depth of scholarly inquiries, as well as the
visual similarity of “head-like” spiral galaxy to a cardinal’s cap [Fig. 9 and 10], bring to mind yet another
association of Prospero with a renowned figure of Christianity i.e. Saint Jerome (died in 420).35 The saint was
one of the fathers of the Church, a scholar, humanist and writer. Likewise, Shakespeare’s protagonist, in his
professional life Jerome was surrounded with books.36 Thus, the Saint is usually depicted in a space arranged
as a studiolo31 with an open book at hand [Fig. 10] - “[t]he book is a scholar’s emblem. In Jerome’s case it
refers to his numerous exegetical writings and Vulgate edition of the Bible.”38
The Prince of Milan and the saint might be said to share a few characteristics. Jerome was described as
a man of stubborn and choleric nature, violently opposing his enemies:39
while impressing all Rome by his personal holiness, learning and honesty, [Jerome] had also contrived to get himself
widely disliked; on the one hand by pagans whom he had fiercely condemned and on the other by people who were
offended by the saint’s harsh outspokenness and sarcastic wit.40
Similar to Saint Jerome, Prospero has the qualities of a devout thinker, an ambitious learner and charis-
matic teacher. However, with time he becomes acutely aware of “the misery and greatness of man.”41 Pros-
pero’s final if metaphorical rejection of knowledge - “books” - proves that in his view neither Caliban nor
the society in Milan would readily welcome his ideas. In this sense Prospero becomes a Renaissance thinker
31 New Fantastic [Nowa Fantastyka] is a Polish periodical devoted to science fiction and fantasy literature with numerous articles,
reviews, and short stories.
32 Siudmak’s art is usually described as magic realism - a trend that finds its origins in Dalie’s and Magritte’s surrealism. However,
“the artist himself prefers to operate under the banner of ‘fantastic hyper-realism’ which is also a more than accurate way to describe Siud-
mak’s [...] cosmic imagery.” To ‘Dune ’ and Beyond: The Interstellar Hyper-Realism of Wojciech Siudmak, 2017, https://dangerousminds.net/
comments/to_dune_and_beyond_the_interstellar_hyper-realism_of_wojciech_siudmak [accessed: 31.08.2020],
33 In the poster, the employment of space element such as the spiral galaxy might be regarded as a further reference to Andromeda as
both one of spiral galaxies and a beauty chained to a rock [Fig. 8]. As one of possible allusions, the reference draws the viewers’ attention to
female elements of Prospero’s nature and his maternal role in Miranda’s education.
34 Kott, Shakespeare Our Contemporary..., p. 242.
35 Surprisingly, Saint Jerome had never been appointed to cardinal position and the hat appearing in the saint’s depictions “is the
result of a mistaken interpretation of [his] life in the Middle Ages. He was never a cardinal, and the hat he wears is anachronistic, since this
type of hat only began to be worn by cardinals around 1252.” R. Giorgi, Saints in Art, ed. S. Zuffi, Los Angeles 2002, p. 180.
36 For a more elaborate discussion regarding Prospero’s library see, for instance, P. Phelan, Numbering “Prospero s Books ”, “Per-
forming Arts Journal”, 1992, vol. 14, No. 2, p. 43 or B.A. Mowat, Prospero’s Book, “Shakespeare Quarterly”, vol. 52, No. 1, pp. 1-33.
37 Studiolo was a carefully designed and decorated room where humanists would collect books, maps, documents as well as other
scientific instruments, precious objects and works of art - everything that characterised the owners’ taste and interests. S. Zuffi, Jak czytać
włoskie malarstwo renesansowe, trans, and ed. D. Folga-Januszewska, Kraków 2010, p. 40.
38 Giorgi, op. cit., p. 140.
39 For a more elaborate discussion regarding Saint Jerome see F.X. Murphy ed., A Monument to Saint Jerome: Essays on Some
Aspects of his Life, Works, and Influence, New York 1952.
40 A. Butler, Butler’s Lives of the Saints. Concise Edition, ed. M. Walsh, San Francisco 1759, p. 309.
41 Kott, Shakespeare Our Contemporary..., p. 259.
53
THE UNIVERSE A SPIRAL GALAXY AND PLANETS
Siudmak’s works - illustrations for and covers of science fictions books or graphics for the Nowa Fan-
tastyka magazine31 - as well as his poster for The Tempest, betray the designer’s fascination with astronomy,
astrophysics, the solar system and the space beyond.32 Setting aside the iconographic source featuring similar
positioning of the main figure, there is a single distinct element of Siudmak’s poster which calls for further
analysis. Above the black hole obliterating the chest and neck of the figure, one can see a luminous belt of
stars and further above a conspicuous shape of a spiral galaxy [Fig. 7], reminiscent of a cardinal’s cap or the
planet Saturn viewed from a distance.33
The motif of a spiral galaxy replacing or signifying Prospero’s head might encourage viewers to think of
the Prince as an aspiring mind of Renaissance science. Kott in Prospero s Staff notes that the play may be in-
terpreted in the context of the ground-breaking achievements of modem thinkers, philosophers, scientists and
artists because: “The great themes of the Renaissance will then be restored to The Tempest', those concerned
with the philosophical utopia; with the limits of experience; with man’s efforts to conquer the physical world;
with dangers threatening the moral order”.34 Consequently, Prospero’s mind is portrayed as lost in scientific
inquires, and dominated by the Prince’s longing for knowledge of the universe understood as cosmic space
rather than religious heaven.
The inclinations to solitude, intense relation with nature, the depth of scholarly inquiries, as well as the
visual similarity of “head-like” spiral galaxy to a cardinal’s cap [Fig. 9 and 10], bring to mind yet another
association of Prospero with a renowned figure of Christianity i.e. Saint Jerome (died in 420).35 The saint was
one of the fathers of the Church, a scholar, humanist and writer. Likewise, Shakespeare’s protagonist, in his
professional life Jerome was surrounded with books.36 Thus, the Saint is usually depicted in a space arranged
as a studiolo31 with an open book at hand [Fig. 10] - “[t]he book is a scholar’s emblem. In Jerome’s case it
refers to his numerous exegetical writings and Vulgate edition of the Bible.”38
The Prince of Milan and the saint might be said to share a few characteristics. Jerome was described as
a man of stubborn and choleric nature, violently opposing his enemies:39
while impressing all Rome by his personal holiness, learning and honesty, [Jerome] had also contrived to get himself
widely disliked; on the one hand by pagans whom he had fiercely condemned and on the other by people who were
offended by the saint’s harsh outspokenness and sarcastic wit.40
Similar to Saint Jerome, Prospero has the qualities of a devout thinker, an ambitious learner and charis-
matic teacher. However, with time he becomes acutely aware of “the misery and greatness of man.”41 Pros-
pero’s final if metaphorical rejection of knowledge - “books” - proves that in his view neither Caliban nor
the society in Milan would readily welcome his ideas. In this sense Prospero becomes a Renaissance thinker
31 New Fantastic [Nowa Fantastyka] is a Polish periodical devoted to science fiction and fantasy literature with numerous articles,
reviews, and short stories.
32 Siudmak’s art is usually described as magic realism - a trend that finds its origins in Dalie’s and Magritte’s surrealism. However,
“the artist himself prefers to operate under the banner of ‘fantastic hyper-realism’ which is also a more than accurate way to describe Siud-
mak’s [...] cosmic imagery.” To ‘Dune ’ and Beyond: The Interstellar Hyper-Realism of Wojciech Siudmak, 2017, https://dangerousminds.net/
comments/to_dune_and_beyond_the_interstellar_hyper-realism_of_wojciech_siudmak [accessed: 31.08.2020],
33 In the poster, the employment of space element such as the spiral galaxy might be regarded as a further reference to Andromeda as
both one of spiral galaxies and a beauty chained to a rock [Fig. 8]. As one of possible allusions, the reference draws the viewers’ attention to
female elements of Prospero’s nature and his maternal role in Miranda’s education.
34 Kott, Shakespeare Our Contemporary..., p. 242.
35 Surprisingly, Saint Jerome had never been appointed to cardinal position and the hat appearing in the saint’s depictions “is the
result of a mistaken interpretation of [his] life in the Middle Ages. He was never a cardinal, and the hat he wears is anachronistic, since this
type of hat only began to be worn by cardinals around 1252.” R. Giorgi, Saints in Art, ed. S. Zuffi, Los Angeles 2002, p. 180.
36 For a more elaborate discussion regarding Prospero’s library see, for instance, P. Phelan, Numbering “Prospero s Books ”, “Per-
forming Arts Journal”, 1992, vol. 14, No. 2, p. 43 or B.A. Mowat, Prospero’s Book, “Shakespeare Quarterly”, vol. 52, No. 1, pp. 1-33.
37 Studiolo was a carefully designed and decorated room where humanists would collect books, maps, documents as well as other
scientific instruments, precious objects and works of art - everything that characterised the owners’ taste and interests. S. Zuffi, Jak czytać
włoskie malarstwo renesansowe, trans, and ed. D. Folga-Januszewska, Kraków 2010, p. 40.
38 Giorgi, op. cit., p. 140.
39 For a more elaborate discussion regarding Saint Jerome see F.X. Murphy ed., A Monument to Saint Jerome: Essays on Some
Aspects of his Life, Works, and Influence, New York 1952.
40 A. Butler, Butler’s Lives of the Saints. Concise Edition, ed. M. Walsh, San Francisco 1759, p. 309.
41 Kott, Shakespeare Our Contemporary..., p. 259.