Showing posts with label jean brodie. Show all posts
Showing posts with label jean brodie. Show all posts

6 Jan 2021

Michel Tournier on Education 2: Erotic Religiosity

It is not enough to love the young; 
they must know that they are loved - St. Don Bosco
 
 
I. 
 
I closed part one of this post [click here] mourning the fact that only rarely in an age of remote learning do teachers and their students form those close bonds that were common when education was about initiation in the old aristocratic sense of the term (i.e. becoming a good human being and member of society), rather than instruction in the modern bourgeois sense (i.e., becoming someone with the skills and knowledge valued by employers).
 
Perhaps, I tentatively suggested, we need to radically rethink the question of education and reintroduce an element of erotic religiosity back into the classroom; whether this be modelled on classical Greek lines, Loyola's order of Jesuits, or even upon Lawrentian lines in terms of the democracy of touch, is something that would obviously have to be discussed carefully and at length [a].
 
 
II.
 
The French writer Michel Tournier seems to favour the Catholic model, if only because this is the one with which he is most familiar. 
 
In his autobiography [b], he tells us that the two schools that occupy a special place in his memory among the dozen or so he attended in the course of a "chaotic scholastic career" [47], were both religious institutions; Saint Erembert's in Saint-Germain-en-Laye and Saint Francis's School in Alençon. Each were far more successful than their secular counterparts "in preserving the initiatory aspects of education" [47].
 
Tournier explains what it was about Catholicism that particularly appealed to his youthful self and how this inclined him in later years towards the study of philosophy:
 
"The Catholic religion, with its rituals, holy days, theology, and mythology, served as a marvelous emotional counterweight to mathematics and the natural sciences, a counterweight without which the child or adolescent is afflicted by a sense of dryness and aridity. In any case, I cannot separate my memory of the theology [...] from the sumptuousness of ritual. Dunce that I was, I found in religious history and catechism an anticipation of what I later discovered in metaphysics: concrete speculation inextricably intertwined with powerful and brilliant imagery. For metaphysics is nothing other than the rigour of mathematics wedded to the richness of poetry." [47]   

Not that Tournier was smitten with other aspects of Catholicism: "I had little use for the bludgeon of dogma or for the zombie-like obedience and faith of the humble." [47] This is probably why he became a novelist and not a priest. He appreciated the fact that the Church initiated the child into a world that was both spiritual and sensual; a world that granted access to all - not just members of the nobility - to poetry, music, painting, sculpture, and architecture.

Alas, the institutionalised clergy also has another face, hideous, hypocritical, and hateful ...

"Having lost its temporal power, the Church signed on as handmaiden to the most constricted, conservative element of the bourgeoisie, whose interests and ideas it ardently adopted as its own. It continued to draw its teachings from the Gospel, but from the words of the Pharisees rather than those of Jesus. In other words, it began to preach respect for social hierarchies, money, and power as well as hatred of sexuality." [48-49] 

For Tournier, it's simple: in teaching a false morality (conservative and anti-erotic), the Church cannot possibly initiate the young into the good life. In a manner similar to D. H. Lawrence, he dreams of a Jesus fully resurrected in the flesh:
 
"Fear of the flesh has made the crucifix - a corpse nailed to two pieces of wood - the centre of Catholic worship in preference to all other Christian symbols [...] The Church has resolutely set its face against the dogma of resurrection in the flesh and attempts to ignore the fact that whenever Jesus encountered sexuality - even in the antisocial forms of prostitution and adultery - he defended it against the wrath of the Pharisees. [...] Prudes are ugly and impute their own ugliness to love, but when they spit on it, they spit on themselves. Loved and celebrated in those we love, the flesh is as radiant as that of Jesus on Mount Tabor." [49-50] [c]
 
Tournier continues:
 
"Sumptuous, subtle, and erotic - such is the initiatory Church of which I dream when I think back on how my childhood might have been. I thank my stars that the Church that actually raised me only partially betrayed that ideal." [50]
 
Sadly, those days are now remote - Tournier was born almost a hundred years ago (in 1924) - and secular education has pretty much triumphed:
 
"The revolution begun by the men of the Enlightenment is now complete. Emotional bonds, personal and possibly erotic relationships, pose no further danger of polluting the aseptic atmosphere of the classroom. Education, cleansed of every last vestige of initiation, has been reduced to nothing more than a dispenser of useful and saleable knowledge. Already computers are taking the place of teachers [...]" [50]     

But still the heart beats and the flesh quivers ... And tomorrow is another day ...

 
Notes
 
[a] I am aware of the danger that initiation can collapse into indoctrination and that models of pedagogy that flirt with ideals of pederasty can often serve as an apologetics for the sexual abuse of minors. In replacing modern teachers with tutors and mentors who care about more than exam results, we don't want to end up appointing orgres to the classroom (or even dangerous women like Miss Brodie). 
      On the other hand, if you banish the warm and magical aspect of education entirely from the official curriculum and prohibit all forms of amorous relations in the classroom, then you can be certain they will develop elsewhere and often in guises you wouldn't anticipate.    
         
[b] Michel Tournier, The Wind Spirit, trans. Arthur Goldhammer, (Collins, 1989). All page references given in the post refer to this work. 
 
[c] As Deleuze notes: "A certain number of 'visionaries' have opposed Christ as an amorous person to Christianity as a mortuary enterprise." See 'Nietzsche and St. Paul, Lawrence and John of Patmos', in Essays Critical and Clinical, trans. Daniel W. Smith and Michael A. Greco, (Verso, 1998), p. 37.  


19 Oct 2018

Notes on the Brodie Set

The Brodie Set: the crème de la crème of 
Marcia Blaine School 


Although reduced in number in Ronald Neame's film adaptation of Muriel Spark's novel, the composite characters who make up the cinematic version of the Brodie Set remain the crème de la crème ...


I. Jenny: the Sexy One

Jenny - played by Diane Grayson - is the natural beauty of the group; a Rose by any other name. She possesses instinct, but no insight and is, according to Miss Brodie, like a heroine in a novel by Mr. D. H. Lawrence, with a profile of deceptive purity and a willingness to cartwheel on command, primitive and free.

Thus it is that Jenny will one day be famous for sex; destined - in Miss Brodie's mind - to become Teddy Lloyd's lover and not merely his model. But Jenny is of no real interest to the randy art master and Miss Brodie's fantasy of her erotic value and Nietzschean potential to rise above the common moral code is woefully mistaken.

Jenny is, in fact, just an ordinary girl; more a pint of semi-skimmed milk than crème de la crème. She wants to be happy, like her parents; people who have sexual intercourse in the marital bed, lights off but nightclothes on, and don't have primes like Miss Brodie.    


II. Monica: the Plain One

Monica - played by Shirley Steedman - was good at maths and quick of temper. And although a rather histrionic child, easily moved to tears by poetry and tales of lost love, Miss Brodie ultimately thought her to possess very little soul. It is also Monica whom she initially suspects of betraying her.

Personally, however, I like Monica very much: she seems to me the sort of girl one might have a lot of fun with; always happy to go places and to do things. 


III. Mary McGregor: that Silly, Stupid Girl

Ah, Mary McGregor - played by Jane Carr - is the most malleable of the four girls, thus her attraction for Miss Brodie. Slow-witted and stuttering, she is bullied by one and all, meekly bearing the blame for everything that goes wrong. Sadly, as Sandy rather cruelly says: She died a fool.


IV. Sandy: the Clever Little Cat 

Sandy - played by Pamela Franklin (with such brilliance that she won a BAFTA for her performance) - is Miss Brodie's confidante. And thus, of course, best able to put a stop to her ... 

Miss Brodie thinks Sandy dependable, but far from her prime: it's a fatal misjudgement. For by the age of seventeen, Sandy has developed into a young woman of great insight and sexual precocity; something that Teddy Lloyd is quick to recognise and exploit, happily taking her as his mistress.

Miss Brodie also thinks Sandy would make a great spy. But Sandy is ultimately an assassin who regards her former mentor as a ridiculous woman. She also comes to understand the Brodie Set as an essentially micro-fascist formation; faithful to their leader and expected to serve, suffer and sacrifice.

Sandy clearly loves Miss Brodie and was closer to her than any of the other girls. But that's why she has to one day go too far and betray her; for we reward our great teachers not with loyalty, but by losing them so that we can at last become ourselves.

Judas was the greatest of disciples. And Sandy was the greatest member of the Brodie Set: the clever little cat that got the cream and learned how to kill without concern.   


Read: Muriel Spark, The Prime of Miss Jean Brodie, (Macmillan, 1961).

Watch: The Prime of Miss Jean Brodie (1969), dir. Ronald Neame, written by Jay Presson Allen, starring Maggie Smith in her Academy Award winning prime.

To view the original trailer for the above film, click here.