Showing posts with label judas. Show all posts
Showing posts with label judas. Show all posts

2 Jun 2019

In Praise of Denial

Mike Brennan: Denial 
(Acrylic on canvas, 24" x 30")

It will surprise no one to discover that Shakespeare is the most oft-quoted of all English writers.

Whilst it's probably impossible even for literary scholars to definitively say what his greatest lines are, the good people at No Sweat Shakespeare have kindly provided a list of 50 famous quotes, beginning with To be, or not to be and ending with What light through yonder window breaks.*

It's not the worst list in the world, but it's hardly an imaginative or controversial selection. And, what's more, it doesn't include my own favourite line from Shakespeare: I know thee not, old man ...

This line, from Act 5 Scene 5 of Henry IV, Part 2, has particular resonance to me at this time and deserves much greater critical attention, because the need to deny - our elders, our loved ones, our teachers, our leaders, and, ultimately, ourselves - is an absolutely crucial requirement in the process of becoming what one is.** 

Prince Hal, upon assuming the crown and becoming king, knew it; Zarathustra, who instructs his followers that they must ultimately lose all masters and learn to hate their friends, knew it; and even Jesus, who accepted the kiss from Judas and predicted Peter's triple denial, knew it.

Indeed, Christ himself denied his own mother, when he notoriously put the question to her: Woman, what have I to do with thee? As a reader of Lawrence, I have long viewed this remark made to Mary as a sign of failure. But now - in the position of a long term, full-time carer for an elderly mother with dementia - I'm rather more sympathetic.

That is to say, I'm tempted - in order to preserve my own health and sanity - to turn my back and walk away, because too much love and loyalty to another, or to the past, can be deadly and anyone who wishes to live and fulfil their own destiny has to offer a seemingly cruel denial of someone or something at sometime or other, regardless of the consequences or the pain caused.  

We deny and must deny, says Nietzsche, because something in us wants to live and affirm itself.

There is even, we might suggest, an existential imperative to sell out (i.e., to compromise one's integrity and betray one's principles); not necessarily for personal gain, but in order to leap into the future and carry forward the banner of life. A creative individual must repudiate the familiarity of the past (including old relationships) if he or she is to adventure onward into the unknown.

But this isn't easy: far easier to martyr oneself and to shrivel away inside an old life; a victim of that moral poison and great depressant called pity.  


Notes
 
* Readers interested in the full list of quotes provided by No Sweat Shakespeare should click here.

** Obviously, I'm not talking about denial here in psychological terms, i.e., as a coping mechanism used to avoid confronting an emotionally disturbing truth, or denialism in the political sense of denying historical or scientific fact.

The line from Jesus can be found in John 2:1-5 and the line from Nietzsche in The Gay Science, IV. 307.


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.