Once upon a Time Rewatch 1.6, "The Shepherd"

Read the previous entry in the series here.
Read the next entry in the series here.

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1.6, "The Shepherd"

Written by Andrew Chambliss and Ian Goldberg
Directed by Victor Nelli

Synopsis

Doesn't look bad, actually...
Image taken from the episode, used for commentary

After a recapitulation of the series premise and the title card, David Nolan returns to his putative home in Storybrooke. He and Kathryn confer about it, and David betrays a lack of memory as he is led into a surprise party and introduced around. The party proceeds, with Henry continuing to propound his ideas about the true identities of the town's residents. David asks about Mary Margaret as Regina presses Kathryn, who does not know how to handle matters. Meanwhile, David wanders out of his party and finds his way to Mary Margaret in town. He pursues her, and she seeks to demur in favor of his present marriage; he avers his choice of her as a beloved, and she refuses him again.

So it's that kind of party...
Image taken from the episode, used for commentary.

Back in the Enchanted Forest, melee proceeds, to applause from an assembled royal delegation. The victor is praised and tasked with slaying a dragon in exchange for a supply of gold generated by the touch of one of the present kings--Midas. Details of the arrangement ensue, as do preparations for assault on the dragon--and the erstwhile victor is slain amid boasting of the victory.

The other king, whose son had been the victor, attends the body in a chamber with a round table. The body is borne out, and plans to replace the slain are made--involving Rumpelstiltskin. The two confer, arriving at a new deal that provides a duplicate heir. Said heir is a shepherd.

In Storybrooke, Emma confers with Mary Margaret about David. Emma advises against Mary Margaret pursuing a relationship with him. David, meanwhile, attempts to reconstruct his memories with Kathryn as he looks over photos from their life before; he ineptly reacts to her marital advances.

In the Enchanted Forest, or near it, the shepherd gathers in a sheep as his mother returns from market and notes an advantageous marriage prospect. He deflects it in favor of wedding for love, and Rumpelstilstkin arrives to strike a deal. Revelations of old dealings are made, and the shepherd resists the notion of accompanying Rumpelstiltskin to the king's assistance.

Or it's this kind of party...
Image taken from the episode, used for commentary.

In Storybrooke, Regina confronts Mary Margaret about Kathryn and David. She warns her away from David; David has left Kathryn, and Regina advises Mary Margaret against further engagement with him.

In the Enchanted Forest, the shepherd makes ready to face the dragon, uncertain of himself and his position. He is advised of his intended role, and the expedition against the dragon proceeds. The ruin it has caused is shown in some detail, and the putative hero is bidden remain in place as others proceed and melee begins--going badly for those who have gone ahead. The shepherd rushes in to assist as he can, which is little enough against the dragon, given his lack of training--but with some cunning and luck, the shepherd emerges victorious.

In Storybrooke, David approaches Mary Margaret. She again tries to deflect him, to push him away, and he refuses, pressing her for acceptance. The sheriff asks Emma to cover a night shift until interrupted by Mary Margaret, who rushes in to seek advice. And David considers matters.

She looks thrilled. Who wouldn't be?
Image taken from the episode, used for commentary.

Back in the Enchanted Forest, the shepherd is lauded. Midas offers his daughter, Abigail's, hand in marriage to the shepherd. After some protestation--taken as humilitas--the offer is accepted.

Once again, my inner Hank Hill...
Image taken from the episode, used for commentary.

In Storybrooke, Regina confronts David, seeking to persuade him back to Kathryn. She gives him directions to his intended goal and sends him on his way--somewhere other than he had intended, away from where Mary Margaret awaits him. But he calls in at Gold's pawn shop, where Gold gives him better directions, and parts of his memory begin to return, to Gold's amusement.

Back in the Enchanted Forest, the shepherd returns to his mother, victorious. She exults in his return, but he tells her he cannot return, being obliged instead to wed Abigail under threat of death--and his mother's death--from the king. In tears, she gives him a ring which she says true love follows, which ring is on Mary Margaret's finger as David finally reaches her. He announces what he remembers to Mary Margaret, noting that he remains confused about his current feelings. She rebukes him for his folly and leaves in tears.

Later, Emma sees a shadowy figure leaping from a window and gives chase. Said figure is the sheriff absconding from Regina's home after an assignation. In disgust, she sends the sheriff on her rounds--and David returns to Kathryn, his memories returning. They confer about the status of their relationship, David noting the need to work and his willingness to do that work--much as he had done with her in the Enchanted Forest. And Mary Margaret begins to find comfort elsewhere.

Discussion

Several points come to mind for me in the episode. One is the bit about the victorious son being slain amid boasting. I find myself put in mind of the Malorian Sir Kay, about whom I've done...some work. And, if I may borrow from Shiloh Carroll's excellent work, well, this comes to mind. I forget my chronologies, so I don't know which example's earlier, but they do certainly both speak to a theme, and it does seem to be one that suits neomedievalist works well enough.

A second, related, is the decidedly Arthurian twin-story--not so much because of the twinning, but because of the backhanded approach to the Beaumains / La Cote Male Tayle type involved. The Fair Unknown would seem to apply, at least in part, here; the heroism seems to be inborn, though there is no exalted lineage on display as yet.

The greatest of the points that come to mind has to do with the adulterous impulses David has in Storybrooke. The whole courtly love trope commonly associated with chivalric romance--and which is attested at least in part by Andreas Capellanus, thus giving it an "authentically medieval" imprimatur--hinges on adultery, on nobles philandering about with more and less success. The perils of such are amply attested, of course; the later parts of Malory offer the example clearest to my mind, although there are certainly others to be found, and penalties for violations of sexual ethics are noted in medieval English law and literature (one example among many is here). Even aside from "true love" moving to the fore, the actions of Prince Charming David seem consistent with the behavior expected of medieval/ist nobility (and, indeed, people in power in most times and places); it's something that the series evidently gets right.