The Carnival of Lost Emotions (VIDEO)

Back in March (2013), the Centre for the History of the Emotions at Queen Mary, University of London staged the first ever Carnival of Lost Emotions. Some details about that night can be found here.

The event was filmed, and this is the result. We hope you like it! Please share and repost as widely as you can to anybody who might be interested.

This project was supported by a Wellcome Trust Public Engagement with Neuroscience grant. Collaboration with the DANA Foundation (Brain Awareness Week), the National Co-ordinating Centre for Public Engagement and Bart’s Pathology Museum helped make the event what it was.

Any questions / enquiries about what the Carnival might do next, please email chris.millard [at] qmul.ac.uk

Leftovers

Clare Whistler is Leverhulme Artist in Residence at the Centre for the History of the Emotions during 2013-14. Here she offers a poetical digest of Steven Connor’s annual History of Emotions Lecture, delivered at Queen Mary on 9 October 2013. The text of Professor Connor’s talk is available here.

 Leftovers

Am I standing by the side of my emotions
Performing actions in the key of melancholy
A bundled together blur
At an angle to the world
Betrayed by my body
Coming into being
Between and within and between

Philosophy for life (and other sentences)

I’ll admit it, I was slightly nervous. I’d been invited to give a philosophy workshop in HMP Dumfries, a prison in west Scotland. Plummy-voiced and puny-framed Englishman that I am, I wasn’t sure what they’d make of me. Mincemeat, maybe. Anyway, I figured it was a low-security prison, otherwise they wouldn’t be inviting philosophers to give workshops, right?

Dumfries is a a squat concrete slab, circled with barbed wire and slits for windows. I was dropped off, buzzed in, and told to leave my bag, wallet, mobile and any valuables at the reception. Then the head of prison education came to meet me, he seemed a nice sort. I followed him through a locked door. And another. And another. He unlocked and then locked about ten doors in the space of 20 metres as we sank into the bowels of the building.

And then, abruptly, I was in a small room with some paintings and drawings on the walls. Inside were about ten men, all wearing orange and brown prison clothes. They were mainly white, English and Scottish, from their early 20s to 50s, with two youngish Pakistanis sitting together at the back, and a black guy with dreads on the right. I said hello, introduced myself, and they all did too. Then I launched into it, about how philosophy had helped me through depression, how it had inspired Albert Ellis to invent cognitive therapy, the Stoics’ idea that our emotions come from our beliefs or perspectives.

I asked, as I often do in these talks, for someone to suggest a moment recently that had upset them, so we could consider what beliefs or perspectives had led to the upset. Complete silence. Maybe it’s not something you admit publicly in prison – what gets to you. So one of the teachers jumped in and talked about how her brother wound her up.

Then I got onto the idea of focusing on what you can control rather than what you can’t. I told the story of Rhonda Cornum, how she had used Stoic techniques to cope with being a prisoner-of-war. ‘When you’re a prisoner, your guards control everything about your life, everything external anyway, except your thoughts and beliefs.’ That got their attention. Stoicism, after all, is very much a philosophy of finding inner freedom in external imprisonment – that’s why it’s inspired various inmates, from James Stockdale to Nelson Mandela.

By the end of the workshop, the front five people were sitting forward and engaged, and I’d got about half of the back row into it too, with two people apparently completely unphased by it all. It emerged that four of them had read my book, and they brought me copies to sign. The black guy told me he’d been about to begin a philosophy degree when he got arrested. He said to me, ‘I like what you’re doing, taking philosophy outside of academia’. I replied ‘if you can practice philosophy when life gives you a serious set-back, and you manage to cope, then you’re practicing at a much higher level than an academic writing in a journal’. I signed his book and wrote ‘Keep going’ in it.

Boethius in prison

We all shook hands. I was genuinely moved that ancient philosophy seemed to resonate in here, perhaps even more than in academia. I thanked them all for their contribution. ‘Well’, said one old fella, ‘you had a captive audience’. The rest of the class groaned – clearly an old joke. They asked what philosophy book I’d recommend for the library. I thought about suggesting Gramsci’s Prison Notebooks, but decided on Boethius’ Consolations of Philosophy, written while he was on death-row for a false accusation of treason.

Afterwards, I met Nikki Cameron, a teacher in Low Moss prison, near Glasgow. She’s set up a philosophy club in the prison, and she says it’s been hugely popular – it’s running every week now, twice on Fridays, and they get ten or so people sitting round discussing everything from happiness to nothingness to the nature of evil.

Her boss at Motherwell College (which runs further education courses in western Scottish prisons) had given her a copy of my book, and she was excited about the possibility of developing a course on ‘living the good life’, which teaches some CBT self-management tips within more ethical and reflective context of philosophy. ‘Inmates are often conspiracy theorists, and they’re very wary of anything that sounds like a behaviour-change programme’, she says. ‘But philosophy piques their interest and gets them thinking and asking questions.’

Nikki didn’t know of any other philosophy clubs in British prisons. Nor did I, but apparently there is at least one – Alan Smith has been teaching a philosophy class in prisons for 12 years, and has actually just brought out a book about it, called Her Majesty’s Prisoners. The Reader Organisation has also run reading groups in prisons, similar to the Changing Lives Through Literature programme in Texas. There is also something called The Epictetus Club run by Jeff Traylor in the Ohio Penitentiary. I know AA Long has taught classes on Stoic philosophy in San Quentin prison too (in many ways, he’s the Johnny Cash of Hellenistic ethics).

I asked if the Alpha course ran in Dumfries and Low Moss. Carol, one of the teachers at Dumfries, said: ‘Religion is often quite divisive in Scottish prisons. The first question people get asked is, ‘which football club do you support?’, which really means, ‘are you Protestant or Catholic?’ And your answer will decide whether they think of you as one of them or as the enemy. ‘It’s incredibly tribal in here’, Nikki adds. ‘That’s why philosophy brings something new – it gets people thinking for themselves, not just governed by tribal loyalties.’

Religious prison-courses have one advantage, however, which is that they can perhaps offer a form of community to inmates when they go back outside. Carol says: ‘We see a lot of people re-offending in November, so they can be inside over Christmas. This used to surprise me, and I once said ‘what could be worse than being in prison over Christmas?’ An inmate said to me, quick as a flash, ‘there are a lot worse places to be over Christmas than prison, like sitting on your own in a bed-sit.’

For some people, it seems, prison is the closest thing they have to a caring community, and it can be a less chaotic, dangerous and lonely place than the outside world. Could philosophy provide community for them? Perhaps prisons could link up with recovery colleges and other community charities, so that inmates have somewhere to go, socialise, feel listened to, and feed their minds. Perhaps universities could also link up to such colleges, so that there is a steady stream of volunteers prepared to share their knowledge.

I also wondered if philosophy / CBT helps with the really deep stuff, of helping people cope with their guilt or their sense of being unlovable. ‘I think it can’, said Nikki. ‘CBT teaches us that guilt is a destructive habit of thinking.’ But is it always? What if you’ve done something really bad?

I asked what sort of a prison Dumfries is, assuming it was a low-security prison for short sentences. ‘No, it’s a high security prison’, I was told. ‘The class was basically made up of [people who had committed serious crimes, I’m not allowed to tell you what]. They’re people that couldn’t safely be allowed in with the other prisoners.’

This was quite a shock to me. I’d shaken all their hands, even written ‘keep going’ in the front of one of their copies of my book. They had done that? And they were all deeply in denial, keeping the memories of their crimes locked up in the back of their mind, just as the abused often bury their memories out of their consciousness. Could philosophy really help people to confront what they had done? Could it shift their psyches at such a profound level?

And why should we help people who’d done something so awful, so damaging to other people’s lives? It’s not an easy question. I think one can do it for various reasons. One can do it because it seems a bit racy, a philosophy class in prison, with violent criminals, wow! I imagine that wears thin fairly quickly. One can do it because you believe philosophy can change people, even people with deeply-ingrained habits of destructive behaviour. Maybe.

Or you can do it because you believe they have souls too, that it’s worth a shot, and sometimes God can speak to people even through layers and layers of denial, abuse, addiction and sin, and liberate them. Is that possible? Or just another self-serving delusion?

I’m completely new to the whole prison education thing, and I’m sure some of you have a lot more experience, so feel free to share your stories and ideas in the comments.

Violence, vomit, and hysteria: An interview with Rose Reynolds

One of the posters for the current RSC production of Titus Andronicus is an info-graphic of the play’s body-count.

Shakespeare’s first tragedy, revived by Michael Fentiman for the RSC this summer, is a story of blood, tears, rape, and entrails. From the opening scenes, in which Titus orders the ritual disembowelling of the Goth Queen Tamora’s son, the violence and revenge spiral out of control, culminating in Act 5 in a macabre cannibalistic feast in which Tamora (now Empress of Rome) unwittingly eats her own sons, the rapists of Titus’s daughter Lavinia, who has assisted in their butchery, collecting their blood in a kind of inverted eucharist. Throughout the play, hands, tongues, heads, and bowels are lopped, trimmed, and hewn. Lavinia is not only raped, but has her tongue and hands cut off by her assailants, Demetrius and Chiron.

The Most Lamentable Roman Tragedy of Titus Andronicus was first performed in the early 1590s. It was initially successful, but during the eighteenth and nineteenth centuries was thought to be so coarse, disgusting and violent that it could not have been by Shakespeare, and fell out of the repertoire. In the 1850s a bowdlerized version of the play was staged in England, rewritten to give greater prominence to the character of Aaron the Moor, as a vehicle for the celebrated black actor Ira Aldridge. A review at the time wrote: ‘Those who have read the play will remember that it contains many scenes not well suited for public representation. This objection has been overcome by judicious arrangement – nearly all the objectionable passages being expunged, and the poetical and beautiful ones, with which this play abounds, were retained in their integrity’.

The central event of the original play – the rape of Lavinia – was literally unstageable in the Victorian era, as Jonathan Bate has observed. It would be another hundred years before the unexpurgated original was successfully revived, by Peter Brook at Stratford, with Vivien Leigh playing Lavinia to Laurence Olivier’s Titus in 1955.

I became fascinated by Titus Andronicus in the course of researching the history of tears and weeping, and so I was excited when I learned that the play was being performed in this new production directed by Michael Fentiman at the RSC during 2013, featuring Stephen Boxer as Titus and Rose Reynolds, making her RSC debut, as Lavinia. The final scene in Fentiman’s production left me shaken and stunned. It is hard to describe its impact, but it is an extraordinary fusion of farce and tragedy – Stephen Boxer, playing Titus, cross-dressing as a jaunty French maid, oversees a bloodbath of a dinner party worthy of The Godfather or Reservoir Dogs – the audience is thrown into simultaneous convulsions of laughter and horror. 

Rose Reynolds as Lavinia in the 2013 RSC production of Titus Andronicus, directed by Michael Fentiman. Photograph by Simon Annand.

The relationship between Titus, deranged by grief, and his mutilated daughter is at the heart of the play, and the role of Lavinia is unusual and demanding – involving a great deal of acting but relatively few lines (since the character’s tongue is cut out at the end of Act 2). The discovery of Lavinia by her uncle, her subsequent encounter with her father, and her death at his hands at the climax of the play, were all moments that moved me to tears when I saw the performance and so I was particularly interested to know what Rose Reynolds thought about the demands of the role and the place of emotions in Shakespearean tragedy.

Rose very kindly agreed to share some of her thoughts on these topics in a Q&A for the History of Emotions Blog, discussing horror films, violence against women, breathing exercises, and the nature of hysteria…

Do you think the extremes of violence and black comedy in Titus Andronicus appeal to a modern audience raised on Tarantino and Scorcese?

The poster for ‘An American Werewolf in London’ (dir. John Landis, 1981)

Tarantino and Scorcese are masters of macabre. Django Unchained, The Departed, now cult classics, have glamorised violence and have made thrilling cinema by it but audiences’ fascination with blood-shed isn’t a new thing. Directors John Landis, Sam Raimi, George Romero and John Carpenter, godfathers of the horror genre, started a trend back in the seventies, eighties. Young people’s appetite and appreciation for horror over the past twenty years has grown considerably and to have a play like Titus Andronicus revived at such a time is very exciting.

What kind of research and preparation did you do to explore the darker side of your role, and what did you find most difficult about it?

I tried to work technically to achieve the darker sides to Lavinia. I thought that methodically imagining members of my family’s heads being cut off eight times a week would be exhausting and unsustainable. Of course to a certain extent I have to think such thoughts, for Lavinia these events do happen, but to know where Lavinia ends and I begin I concentrate on using various physical exercises.

Before a performance I spend a good portion of my warm up on my back with my legs in the air. It’s orthodox. I engage my stomach and thigh muscles and try to send my legs very slowly over my head. The tension created by engaging my stomach and leg muscles, as well as flexing my feet, sends a shudder through my body and my breath comes in short waves. It’s an unsettling, claustrophobic feeling, close to that of someone experiencing a panic attack. Because my time between being dragged off and my discovery is short and filled with costume and makeup changes I don’t have time to repeat this exercise before I go on stage. For a lot of the scenes in which I have to show emotion I try and remind myself how my body felt during that exercise. If my body and breath are working in tandem and I’m really listening to what’s being said to me, I trust my acting will follow!

Do you think that the figure of Lavinia has contemporary significance for women in the public eye, in that she is first sexualised and then silenced?

Absolutely. Throughout Titus, Lavinia is objectified by those around her, mainly her male counterparts: Titus, Saturninus, even Bassianus at one point says ‘…I am possessed of that is mine.’ When Lavinia does have a voice often she is not at liberty to use it. This is a recurring theme not just for women in the public eye but for women all over. In our production we very deliberately wanted to create a mash up of worlds, most specifically in our design of the play. You can see Christianity in the stained glass windows and Islam in our nuns’ hijab.

As part of my research for Lavinia I read Ayaan Hirsi Ali’s autobiographical book Infidel, which vividly describes Hirsi Ali’s youth in Somalia and Saudi Arabia, her subjection to female genital mutilation at a very young age and her later involvement in politics and women’s rights. Infidel is an honest, brave, book with Hirsi Ali’s voice loudly speaking out on behalf of Islamic women when at times she felt she couldn’t or shouldn’t. She was a huge inspiration for me in finding a voice for Lavinia.

When I saw Titus at the Swan, I looked around the audience to see whether other people were crying (or fainting or vomiting). Have you witnessed many extreme reactions to the performance?

We have. Lavinia’s entrance after her rape and mutilation is notorious for causing audience members to experience extreme reactions; this was notable in Lucy Bailey’s production at the Globe in 2006. In our production we have had people have to leave, vomit or faint and I’m told there are sick bags at the end of each row. This may be a rumour!

Traditionally, tragedy was thought to be a genre that inspired emotions of terror and pity. Do you think it should still fulfil those roles?

Yes, but there is also something very interesting in seeing strength and beauty in tragedy. One can feel sorry for Lavinia but she isn’t a victim, nor would I want an audience to perceive her as one. Her active strength in readapting to a new way of life is admirable. I think at first glance anything can seem ugly but when you look again you might see beauty. Every emotion has a counterpart and switching between two emotions on a hair pin or even experiencing two simultaneously is very interesting for an actor to explore. In hysteria there is both joy and great sadness.

You have previously played other tragic characters, including Medea, but are currently appearing in two comedies at the RSC alongside Titus. Which do you prefer?

That’s like being asked to choose which child I prefer! I have thoroughly enjoyed working on all three Swan productions and I’m very lucky to be working on such different material. A Mad World My Masters offers light relief after a Titus – I often feel like a swot rebel bunking off school – whereas Titus offers a cathartic release. You need to cry, sometimes and you also need to laugh until your stomach hurts. All three plays at the Swan this summer are in perfect balance which is why I don’t think I could ever pick. I need both tragedy and comedy in equal measure to be sustained not just as an actor but as an individual.

Rose Reynolds is appearing in Titus Andronicus, A Mad World My Masters, and Candide at the RSC, until the end of October.

You can read more from Rose Reynolds on her RSC blog, more about tears in Titus Andronicus in a previous post on this blog, and more about the current RSC production of TItus Andronicus at The Shakespeare Blog, including clips from a Q&A here and here.

 

 

‘Voicemotion’ explained

Guy Dartnell is a Performance Artist and Film Maker with an interest in the links between voice, movement, and emotion, which he explores through his workshops. Here Guy explains the thinking behind the ‘voicemotion’ events he runs, the next of which will take place in Hastings on 19 October 2013.

Voicemotion aims to blend voice and movement together and through this enable people to access and embody emotional qualities in themselves. The work is derived from many influences – artistic, therapeutic and spiritual – and from study, research and collaborations I’ve undertaken over thirty years. It’s particularly influenced by the work of the Roy Hart Theatre and in keeping with their method, it has as much a self-developmental based aspect to it as it does a performance training based one.

Photo: David Ball

I don’t do much technical analysis of voice and movement production, I work more on developing instinct and self-observation. On the voice level no words are used only sounds. The fusion of voice and movement is achieved by using the energy of the emotions as both the fuel and glue driving and forging the vocal-physical dynamic. Via a series of group and individual processes, people explore and express the rhythms, patterns, peaks and troughs inherent within the emotional qualities that emerge within and around them. The emphasis is on emotional ebb and flow – that if one can be open to one’s feelings and not stand in their way, then the voice and the body flow naturally and easily together – the feeling aspect spontaneously informing the body what to do, side-stepping the more thinking and instructional aspects of the individual, which tend to ‘get in the way’.

I look at the speed, frequency and pitch of emotions, helping my participants to understand how these things can help or hinder emotional expression – how although somebody may feel something, they may find difficulty in expressing it, because of the particular flow and quality of voice or physicality they have adopted to express it. The adopted mode may be completely at odds to the nature of the feeling itself and may be acting unconsciously, being part of some chronic misalignment between feeling and expression going back even to childhood.

For instance, we look at how some emotional qualities require the lower reaches of the voice to access them, some the higher. How as a consequence of this the expression of certain emotional qualities may be denied or limited by the particular conditioning people have experienced throughout their lives (some collective, some self-imposed) that have reinforced certain vocal and physical stereotypes attached to their gender. We look at how some emotional qualities are legato or staccato in nature and that to ‘take a ride’ on your emotions as they emerge, you may need to adjust the speed and frequency at which you are willing to express yourself, so that you can channel the emotion rather than block it or struggle with it.

Photo: David Ball

To help people change this we spend time formally exploring different areas of sound/movement quality, getting people to try and allow their voices and bodies to operate in unison within these qualities. In this way they start to get an understanding of which qualities they most feel at home with and which they avoid, at the same time providing them with the means to start changing their relationship to those qualities, developing their connectedness and expressiveness in those areas which they are weakest, while broadening their existing strengths.

I work on the concept of outside and inside being aspects of the same thing – feeling something inside and transforming that into a vocal/physical quality on the outside, or taking a vocal/physical quality from the outside and allowing that to develop further and seep inwards, so that the emotional quality behind it can be discovered. This means that we do a lot of passing and sharing of emotions from person to person, to encourage people to re-discover qualities of themselves that they may have lost through their own habitual patterns of voice/body use – qualities that may be more immediately apparent in other people. Of course this also has the paradoxical effect of heightening people’s awareness of their own particular qualities too, through having them reflected back by others.

One of the consequences of the work is to make being emotional the norm within the room, thus rendering the expression of emotion ‘bland’. This takes away the attendant notion that expressing emotion is a ‘big deal’, and within this culture and atmosphere of commonplace emotional behaviour, individuals and the group find it easier to take risks. Because of this, it is as if the group is able to access what I sometimes call a collective ‘slush fund of emotions’ that seems to exist like a well, waiting to be drawn from and gushing forth in the service of anyone who wishes to drink from it.

I do not look at the content of emotions. I don’t seek to find out where the emotions people are expressing come from – for instance why they are angry or sad at any moment in time, or what the history of those feelings might be. People simply share in the commonality of their ability to experience and express emotions and witness them in others. If you like I am more concerned with people exploring how to ‘be’ an emotion than express it. There is a difference I feel – one is more universal than the other.

Because of this participants are encouraged and aided to reach the extremes of any emotional quality they inhabit, paradoxically discovering that at the furthest reaches of one emotion are the beginnings of another, possibly totally different in nature. In everyday life emotions are often short lived, constantly changing in the dance and dialogue created by people reacting and responding to one another and themselves. In the workshop we try to give space so that any particular emotion can have longer to live, allowing people to experience what the nature of any emotion could be outside the limitations and conventions of normal everyday interaction.

Finally the work is about ‘play’ and spontaneity. The improvisational element of the work is important; because the sense of delving into the unknown creates immediate and strong emotional impulses/states that the participants can work with. The improvisations, which are ‘guided’ involve transforming these impulses and states into patterns and rhythms, ‘playing’ with them and developing them into a “game” that could be shared with an audience, though not necessarily so. The further developments of the work depends on the needs of whatever groups or individuals I am working with, but in the past has involved extending Voicemotion to work on text, dance, music, fooling, video and physical and learning disabilities. One of my most recent collaborations Shaping Sounds 2 was with a deaf choreographer Chisato Minamimura and acoustic specialist Dr. Dirk Püschel, using visual acoustic technology form the aircraft and motor industries.A documentary about this work is available here.

Ann Taves on religious / ecstatic / special experiences

This year, I’ve started researching ecstatic experience, from a personal and an academic perspective. One of the highlights of my research has been encountering the work of Ann Taves, a religious studies academic at the University of California, Santa Barbara, and author of two fascinating books on this area: Fits, Trances and Visions: Experiencing Religion and Explaining Experience from John Wesley to William James (1999), and Religious Experience (Reconsidered): A Building Block Approach to the Study of Religion and Other Special Things (2010). I have previously blogged about how Taves is laying the groundwork for a more multidisciplinary approach to unusual experiences, which brings together the sciences and humanities. We subsequently got in touch, and I interviewed her for the Centre. Here’s our conversation:

How and why did you get interested in researching religious / special experiences?

It goes back to the late 80s.  When I was teaching Methodist history, I would discuss the unusual kinds of experiences that early Methodists had, but I didn’t know what to make of them. I was raised in a rationalist, secular family and didn’t have a way to make sense of such experiences. But in the late 80s a friend, who was having very unusual experiences of losing time, was diagnosed with multiple personality disorder. Her experience made me aware that our minds are capable of much more than I had ever imagined.

I took a leave of absence from teaching and spent a long time reading about multiple personality disorder.  During that period I came across a textbook [on MPD] that opened with a chapter on shamanism. All of a sudden I had this epiphany where I connected my friend’s unusual experiences with shamanistic experiences and with those 19th-century Methodists having out-of-body experiences.  I wasn’t equating them but seeing points of analogy that allowed me to set up a comparison between them . That move opened up an interdisciplinary space which I found tremendously exciting, and which in many ways has been fueling my research ever since.

Your work engages a lot with William James – did that engagement begin before writing Fits, Trances and Visions or during?

I’m pretty sure it was in the initial stages of working on Fits, Trances and Visions that his work became more important to me. It took me about ten years to write that book. The first five years were mucking around trying to figure out what I was going to write. In that period, I spent a lot of time with James, exploring the transatlantic connections.

So while you were writing Fits, Trances and Visions, there was a neo-Pentecostal ‘wave’ happening through various denominations, like the Toronto Blessing. Were you ever tempted to go and check out the modern descendants of fainting Methodists?

The Toronto Blessing, a neo-Pentecostal ‘outpouring’ in the late 1980s

Even though my training is more as a historian than an ethnographer, in my personal practice I’ve gone in and out of a lot of religious movements. In college, I was involved with some of the charismatic Protestant stuff. I wrote my senior thesis in college on the charismatic movement as it was hitting the Los Angeles area in the early 70s. Sometimes I sit back and think I’m an ethnographer who’s gone native way too many times.

So that must have been partly why you were interested in this area?

Yes. Also, as an undergrad, I was a religion major, planning to go to medical school, but also very interested in the psychology of religion.

So you were never a believer? I mean…you didn’t have a tendency towards supernatural attributions?

Well, I entered into a lot of things. I have a great capacity for ‘as if-ness’. I can try things out and see what it’s like from the inside. I’ve never fully stayed in one thing and my secular upbringing seems somewhat intact. I don’t know. I don’t fit categories very well.

I guess I just mean, those sort of ecstatic movements still happen, don’t they, so I wondered if you’re curious about contemporary ecstatic movements.

Absolutely. For example, I’ve had long conversations with Jeff Kripal, a scholar of religion at Rice University. He had a very crucial kind of awakening experience – he might call it a Kundalini experience – when he was studying in India. He’s written a whole series of books in which that experience keeps cropping up. As a result of that experience, he’s a big advocate of religious studies scholars paying more attention to unusual experiences and to the possibility of the paranormal. He wrote a history of Esalen, and he’s doing a conference next month bringing together anthropologists of the paranormal where we’ll be discussing how to study such experiences, which a lot of the participants have had to one degree or another. [Kripal is the key-note speaker at a Queen Mary conference on altered states of consciousness in November, by the way.]

In Religious Experience (Reconsidered) you suggest we need to drop James’ term ‘religious experience’ and talk about ‘special experiences’ instead. Why?

When we use the phrase ‘religious experience’ we give the impression that there is some kind of experience out there which is always and stably understood as religious. One of the things I became convinced of working on Fits, Trances and Visions is that experiences are unstable both in terms of how they’re understood and the shape of the experience over time. These things are highly malleable. They change as people interact with them, think about what they mean and try to work with them. If people feel they’ve been in contact with something, they may want to interact with the presence. As they try to interact with it, it may take on more distinct form, it may start to say things. Channellers for example often start out seeing something, then internalize it so they become a bodily channel and the entity speaks through them. Experiences can morph over time. Interaction with others over time is crucial to understanding them.

And of course, unusual and ecstatic experiences don’t just happen in religious contexts or with religious attributions. In contemporary culture, for example, there is an overlap between unusual experiences people might consider as religious, and unusual experiences people might consider as aesthetic – my last blog post was about unusual experiences in art galleries, and I’m also fascinated in how ecstatic experiences once found in, say, a Methodist camp-meeting might now be found in a rave or rock festival. 

Yes, it’s one of those distinctions  we make culturally that we need to move beyond, if we want to work comparatively and across cultures and traditions. We can’t go in with a rigid idea of what’s a religious experience, what’s an aesthetic experience and so on. You should check out the anthropologist Graham St John’s work on psy-trance festivals, by the way.

A scence from a psy-trance festival – image by Sam Rowelsky: http://www.flickr.com/photos/rowelsky/

One thing I’ve noticed is some atheist and humanist thinkers want to reclaim spiritual experience and say ‘this isn’t just for religious people, we also feel awe, ecstasy, wonder and a sense of the numinous’. For example, the atheist Sam Harris is writing a book about spirituality and ecstasy, and he suggests he can feel the same emotion without the same belief or dogma…or even, somehow, without any dogma. I interviewed Brian Eno recently and he argued something similar regarding ecstatic experience (that one can have the emotion without any appraisal). I’m interested in whether one can have an emotional experience without any supporting belief.

I think that’s an important question. If Sam Harris is going to say ‘I’m having an experience of awe and it doesn’t have anything to do with God’, that’s a different kind of experience from someone who says ‘I have an experience of awe and I know this is about God’.  Context and interpretation matter. For scholarly purposes, though, we can recognize the basic shape or character that an experience has at a given point in time and identify features that experiences share in common.  This allows us to set up comparisons based on the perceived similarity, and then go on to explore the differences.

I suppose lots of people often have ecstatic moments, and for some people those moments just happen and life goes on, while other people try to integrate them into some kind of overbelief.

And in addition, we see others who try to recreate it and get back to it. Within practice traditions, people often seek to cultivate or reproduce a certain kind of experience that they grant a lot of significance.

There are interesting questions around the politics of experience – who controls the interpretation or classification of them into valid or invalid, and who controls access to triggers of ecstasy like drugs. For example, you’ve quoted Barbara Newman’s work on medieval female mystics and the Church’s wary attitude towards them.

Yes, I wasn’t able to elaborate it much in that book.

But in Fits, Trances and Visions there are great stories like the one about the white male preacher sent out to the African-American church, who tries to get them all to calm down and stop dancing, so they just wait for him to leave before getting happy again.

Yes. Part of what I’m trying to do in Religious Experience is lay out a method for comparing experiences that have some feature in common. Then as we can explore the different things that people do with experiences and the way they develop them (or not) over time.  In analyzing that we shouldn’t just focus on the individual who has the experience, but on the individual and their interactions with other people and how they interactively assess it. A lot of the time, when people have these unusual experiences they don’t know what to make of them. So they turn to people they’re close to or people who they think have some kind of expertise – that could be a psychiatrist, a minister, a Muslim dream-interpreter, or a paranormal investigator, for example.

It’s ongoing, isn’t it. It’s not like you brand one interpretation on it forever – your interpretation can change over the years.

Bill Barnard talks about an experience had when he was 13 or so. At the time, he didn’t know what to make of it and kept quiet about it, because it felt really special and he didn’t want people to dismiss it. It wasn’t until he was in college, studying Eastern mystical traditions that he thought ‘oh that’s what it was’. I’ve come across that sort of retrospective interpretations a number of times.

Do you think there’s a bias in academia towards naturalistic explanations of unusual experiences?  Can academics bring more paranormal or supernatural explanations into the conversation, or is that frowned upon?

A portrait of Charcot at work in Salpetriere hospital. Ecstatic experiences can be frowned upon in academia.

Sometimes. Within the study of religion, there’s some tension between those who come out of religious traditions and take an explicitly theological approach, and scholars who take a strictly naturalistic approach. The American Academy of Religion, which is the largest body of scholars of religion in the world, is known for being a mix of both kinds of approaches. Some people think scholars should study religion from a strictly scientific and naturalistic point of view; others resist that.

Is there much interdisciplinary work happening between the sciences and humanities on religious / unusual / special experience?

There are a number of things going on. Wesley Wildman, Patrick McNamara and other scholars at Boston University are doing some good interdisciplinary work on religious experience, with a bit more emphasis on the philosophical side of things – they seem to be making the argument that these experiences get us in touch with experiences of the real that are really real. There’s also the anthropologist Tanya Luhrmann’s work – she and I share a lot of interests in common. Her work illustrates the new bridges that some of us are trying to create between ethnographic research and field experimentation. The Templeton Foundation now is putting out calls for research along these lines. [Another interesting collaboration, by the by, is Adam Zeman and Oliver Davies’ work here in the UK, and the ongoing project on Spirituality at the RSA.]

What do you think of ‘neuro-theology’?

My sense is that it’s been overly popularised. There has been some good research trying to look at neural correlates of different kinds of experiences, but often when it gets written up for a more general audience, it winds up making claims that are way too broad and don’t have a lot of nuance or sophistication.

In Fits, Trances and Visions, you look at various kinds of involuntary experiences, like trances, and how William James, Janet, Myers and others explained them through the concept of the unconscious. Are psychologists still looking at those experiences now, and how do they explain them, if not with reference to the unconscious?

There’s a group of people, including Jeff Kripal, who are interested in the paranormal. And they would argue, and I agree with them, that leaving the paranormal out of conversations about unusual experiences is not a good move. It was very much part of the turn-of-the-century conversations – the Society of Psychical Research was open to a whole range of explanations. That’s one strand of research that hasn’t been well integrated into religious studies or into psychology. One of the articles I’ve been working on is about the International Congresses of Psychology at the turn of the century, where academics were arguing about what experimental psychology was going to be, and formalising the shape of the discipline. I argue that the emergence of the psychology of religion was premised on a narrow definition of psychology and of religion, which excluded the occult, the paranormal, and magic. Doing that ruled out a whole range of phenomena which absolutely should be in the picture. What I’m doing by talking about experiences deemed unusual or special is trying to get all of that stuff back in the picture.

But are you saying the only way to think about involuntary experiences like trances is to bring in the paranormal?

Frederick Myers

Let me put it this way. Pierre Janet was Charcot’s assistant, while Frederick Myers worked with William James. Both used the unconscious to explain hypnotic or trance states. But Janet and Myers had different views of the unconscious. Janet saw it as naturalistic, and viewed his patients’ secondary selves as  strictly psychopathological. Myers had a view of the unconscious as the source of both subnormal experiences but also potentially an opening for supernormal or paranormal experiences – including insights or communications that came from beyond the self. James himself left the question open by adopting Myers’ definition of the unconscious, which didn’t have a clear outer boundary. Our experiences didn’t necessarily end with ‘the natural’, in his view. James liked that ambiguity.

That’s interesting. One of the things that Rhodri Hayward of our Centre looked at, in his book Resisting History: Religious Transcendence and the Invention of the Unconscious (2007), is how the disciplines of history and psychology were committed to a model of the self as closed, naturalistic and mortal, and how Myers and others challenged that model – perhaps the self is not closed, not naturalistic, and not mortal.

Yes. There’s a book called Irreducible Mind: Towards A Psychology for the 21st Century. It’s written by a group of psychologists who are all interested in a psychology that incorporates the paranormal – they dedicate the book to Frederick Myers, and to Mike Murphy, one of the founders of Esalen. These are the psychologists and anthropologists trying to resist reducing mind simply to naturalistic psychology. Don’t misinterpret me – I don’t necessarily share all their views, but I’m interested in them.

Could you tell us about the book you’re working on now?

Sure, it’s called Revelatory Events, and I’m working on four case studies – Joseph Smith and the early days of Mormonism, Alcoholics Anonymous, and two channellers – Helen Schucman who scribed A Course In Miracles, and Jane Roberts who channelled an entity known as Seth. What I’m interested in is the role of unusual experiences in the emergence of all four of these movements.

I’m also interested in how Bill W, the founder of AA, was liberated from alcoholism by a religious vision he had while tripping on belladonna. I wrote an article about it in Wired, in fact.

I decided to put AA in towards the end, because I think it will make an interesting comparison to Mormonism. Mormonism plays up Joseph Smith’s experiences, and make him the sole prophet, whereas with Bill Wilson, his experience is downplayed, and actually became a stumbling block for those who were worried that to be in AA they needed to have a sudden, dramatic experience such as Bill’s. So AA very quickly made it clear that such an experience wasn’t necessary.

AA seems to me the kind of religious movement that William James would really approve of, in terms of being not too dogmatic while also helping relieve a lot of human suffering. 

Absolutely. And I also want to mention just finally some of the new work we’re doing. It was interesting that in your blog post on ‘the new science of religious experience’ you mentioned both my work and the work of Dr Emmanuelle Peters at Kings. We’ve just recently got in touch with Peters’ team, who have done some great work on appraisal, and how people appraise unusual experiences. We think that the tools they have developed will be very useful for looking at how appraisals can lead to new religious and spiritual movements.

Peters’ team has also done interesting work on the prevalence of out-of-ordinary experience in the general population, and on how community support groups like Hearing Voices or the Spiritual Crisis Network can help people make sense of those experiences, often more constructively than clinical psychiatrists.

You might also be interested in a project on Durham called Hearing the Voice. Think about Tanya Luhrmann’s work on how the practice of prayer shapes your inner voice, your self-talk. It would be interesting to look at that and compare it to other contexts where people consciously shape and cultivate their inner self-talk, like sport for example. I’m interested in the extent to which sports people are involved in training their inner voice, almost like ascetic monks. They talk to themselves constantly.

Yes. Mike Murphy of Esalen is very big on unusual experiences in sport – one of his books is called Golf in the Kingdom. The Esalen research centre is another place that’s very interested in the intersection of all these things.

And also I guess Mihayli Cziksentmihayli has looked at absorption states or ‘flow’ in creativity, in religion and in sports.

Yes. We have to get out of our boxes because whatever we’re talking about here cuts across a lot of territories.

Yes. It gets tricky though – as you say in Fits, Trances and Visions, ‘the study of religious experience opens up into the study of everything’. There’s no outer boundary!

Exactly.

Unusual experiences in art galleries

Jeanette Winterson was walking through Amsterdam ‘one snowy Christmas, when the weather had turned the canals into oblongs of ice’. She says: ‘I was wandering happily, alone, playing the flaneur, when I passed a little gallery and in the moment passing saw a painting that had more power to stop me than I had power to walk on…What was I to do, standing hesitant, my heart flooded away?…I fled down the road and into a bookshop.’

Winterson was, in a way, possessed by that painting (she doesn’t tell us what painting it was). She received a shock, a jolt, and her inner turmoil was such ‘that I could only find a kind of peace by attempting to determine the size of the problem…I had fallen in love, and had no language.’

Many people have, like Winterson, felt a powerful, even ecstatic response to works of art (Winterson recounts her experience in an interesting little book called Art Objects: Essays in Ecstasy and Effrontery). Someone’s even done a survey on it – in 1961, the BBC broadcaster Marghanita Laski asked various people whether they’d ever felt ecstasy, when, and how often. Most replied that they had, not very often, most frequently during sex, walking in nature, or when listening to music, but several ecstatic experiences had also been ‘triggered’ by works of art – one mentioned Mantegna’s Agony in the Garden (pictured below), another, Giorgioni’s Tempest.

Art as ecstatic gateway

The idea that art could be an ecstatic gateway to an altered state of consciousness (divine or otherwise) probably goes back all the way back to the cave paintings found in France and Spain, made some 40,000 years ago – although as there weren’t art historians back then we can’t be sure how our ancestors reacted. Art as divine portal was a deeply controversial idea in early Christianity. The Byzantine church in the 7th to 9th centuries swung from seeing icon-worship as a crucial part of liturgy, to seeing it as heathen or even demonic – didn’t the Bible warn repeatedly not to worship graven images? This dispute was one of the reasons the Roman papacy broke free from Byzantine influence.

Ultimately, both the Byzantine and Roman churches decided that images of God were not always heathen – after all, Christ himself is described as an ‘Imago Dei’. And so, based on the interpretation of one phrase in the Bible, Christian culture took a different route to Jewish and Islamic culture and the way was open for the flowering of western art.

In the modern era, when religious faith started to fade in the light of the scientific revolution, people still looked to art to lift them out of the mundane. The idea of art as ecstatic gateway was particularly popular with a group of artists and thinkers in New York in the 1960s, called the Society for the Arts, Religion and Contemporary Culture. Their members included the mythologist James Campbell; Alfred Barr, the first director of the Museum of Modern Art; the art historian Jane Dillenberger; and Paul Tillich, the theologian and art critic.

Tillich served as a chaplain in the trenches of the First World War. At the end of the war, he went to the Kaiser Friedrich Museum, and saw Botticelli’s Madonna with Singing Angels. He said:

Gazing up at it, I felt a state approaching ecstasy. In the beauty of the painting there was Beauty itself. It shone through the colors of the paint as the light of day shines through the stained glass windows of a medieval church. As I stood there, bathed in the beauty its painter had envisioned so long ago, something of the divine source of all things came through to me. I turned away shaken.

Tillich and other members of the ARC hoped modern artists like Jackson Pollock and Mark Rothko could give contemporary viewers portals out of the mundane and into the heart of things – although sometimes, as in the works of Rothko, people felt like a portal was opened only to show there is nothing there.

Art as transporter

What do I mean by saying works of art can be ecstatic gateways? It can easily get slightly wafty when one talks about ecstasy, one’s meaning gets obscured in clouds of incense – but then, if you could describe it exactly, it’s probably not a very ecstatic experience. Let me try to paint some broad strokes of explanation.

There’s an idea in folk myths, which reappears in modern romances by people like CS Lewis, Philip Pullman and JK Rowling, that certain objects have magical properties – they can transport you out of one place or reality and into another. According to one way of thinking, works of art can sometimes do that too. They can suddenly zap you into an alternate reality, without you necessarily consenting.

The ecstatic place that people reach – the clearing, the Zone, the Black Lodge – is described in quite similar ways. Binary opposites are no longer felt as opposite. People feel a sense of eternity and transience at the same time – like when you look on a sunset, and feel it’s an eternal moment, but also ephemeral. People feel a sense of the particular and also the universal, like Walt Whitman seeing the cosmos in a leaf of grass. People feel a sense of the perfection of the cosmos, and also its imperfection and suffering.They feel both taken out of their body, and also somehow more deeply in it than ever. Binary opposites, normally held in tension, briefly collapse into one another, and this collapse feels like grace.

But if the place people go is the same (and it may not be, it’s hard to tell), the gateways by which they get there are different. There is no predictable algorithm of ecstasy, no sure-fire mechanical formula. Colour and light are obviously important, and paintings that are radical in their depiction of light (by Renoir, Monet, Turner or Bellini) are often mentioned as ecstatic triggers. But it’s not predictable.

The reason it’s not predictable is that such moments are encounters between two people – the artist and the viewer – in a particular time and place. The viewer comes to the moment with their history, their cultural expectations, their emotions, and wherever they happen to be that day. And they encounter the artist, their history, their emotions and cultural expectations. Sometimes there will be no spark, and the object is merely an inanimate object on the wall. But sometimes, very rarely, the object shimmers with immanence and a gateway opens. There is a moment of communication, of telepathy – which literally means feeling at a distance. You look into the artist’s mind, and something there also looks into you.

Art as transformer

Such moments can change your life. Art is a transformer. Think of Rilke, in the Louvre, looking on a sculpture of Apollo and seeming to hear a voice saying ‘You must change your life’. My favourite example of this is David Esterly, who I met last year. He was an young academic studying Plotinus at Cambridge, when he happened to walk down Piccadilly with his girlfriend. On a whim, she took him into St James’ Church, to see the altar reredos by the 18th century wood-carver Grinling Gibbons. Esterly stood in front of it, feeling a tingling in the palms and a sense like he is absorbing the work with mind and body, even that he is making it himself.

 

He comes away thinking perhaps he will write an academic book on Gibbons, but then decides the best way to understand the master is to imitate him, so he teaches himself wood carving, and eventually becomes one of the greatest wood-carvers working today. When there is a fire at Hampton Court and some of Gibbons’ work is damaged (a fire that Esterly saw in nightmares weeks before the event), he is brought over to restore the work. He tells this story, by the way, in his beautiful book, The Lost Carving, which came out this year.

Let The Right One In

Art can possess you, transport you, transform you. Our selves are more porous than the Enlightenment would like to imagine. So you’d better be careful that you that you don’t become possessed by an image that leads you to death (this is basically the story of Alfred Hitchcock’s Vertigo).

Today, in the age of mechanical reproduction, we are bombarded by images, invaded by them, every moment of the day, and we often have very little psychic protection against them. Karl Marx spoke of the fetishism of the commodity in capitalism – a commodity is ‘transcendent’, ‘mystical’, ‘abounding in metaphysical subtleties and theological niceties’. In our economy, a million commodities seeks to possess us with their glamour, often by aping the religious iconography of the past.

Andy Warhol recognised this early on, having grown up going to a Byzantine Catholic church every weekend in Pittsburgh. He recognized that capitalist icons like Marilyn Monroe played a role in our culture once played by icons of Jesus and the Madonna. But do modern icons lead us outside of ourselves, to a richer and more expanded life, or do they close us in on ourselves and lead us to spiritual death?

Modern urban life is such a hypnotic spectacle. To walk through London is to have one’s attention pulled in a million different directions at once. Bus stops wink, shop signs follow us with their eyes. On Facebook, the ads look into you and know your secret desires and habits. After a few minutes online or walking down Oxford Street, I feel have squandered all attention and agency, and my brain lies fizzing like an overwrought computer. I begin to see the point of the monastic cowl, or the modern hoodie – to restrict the inflow of imagery, so that you are not entirely benumbed and can preserve your attention for those images that really matter.

*******

Here’s some further reading / listening on this topic:

Here’s a piece on ‘Stendhal Syndrome‘, or the condition of being emotionally and physically overwhelmed by too much / too beautiful art.

The art historian James Elkins wrote a whole book on people being reduced to tears by art-works, called Pictures and Tears. Here’s a chapter of it, where he talks about his own powerful reaction to Bellini’s Ecstasy of St Francis, and how he feels becoming an academic divorced him from his emotions.

Thomas Dixon, director of the Centre for the History of the Emotions, did a radio programme a while back about crying, which included a visit to see Rothko’s paintings, which often reduce people to tears.

And here’s a rare occurrence – a viewer actually making an art-work cry.

Here’s Jane Dillenberger, one of the key members of the ARC, talking about Andy Warhol’s work.

And here is a fine lecture that Rowan Williams gave on icons and theology, at the Royal Academy.

Have any of you had ecstatic / knee-trembling / eye-watering experiences in front of a work of art? I’d love to hear about it in the comments!

Inside Broadmoor

Jade Shepherd has recently completed her PhD on male patients in Victorian Broadmoor at the Queen Mary Centre for the History of the Emotions, and is one of the interviewees in a new Channel 5 series, ‘Inside Broadmoor’. Here she writes about her research, and reflects on the continuing fascination of Broadmoor.

This year marks the 150th anniversary of Broadmoor Criminal Lunatic Asylum (now Broadmoor Hospital). Since its establishment, there has been a morbid curiosity towards the asylum and its patients, and there remains considerable public interest today. In the 1940s, members of the public could attend plays put on by Broadmoor’s patients; they sold out every year. This practice has stopped, but in the twenty-first century Steve Hennessy wrote a series of plays about nineteenth and twentieth-century Broadmoor which, by his own account, were extremely popular.[i] Fiction and non-fiction books about the hospital written by Pat McGrath, Simon Winchester, Mark Stevens and Marjorie Wallace also remain popular and feed public demand for stories involving crime, insanity and Broadmoor.[ii] There is also scholarly interest in Broadmoor. A number of publications, written almost exclusively by former psychiatrists and psychotherapists, have been produced detailing the workings of the institution and the treatment of patients in the twentieth century.[iii] Historian Jonathan Andrews has written about the asylum’s female child-murderers, and my PhD thesis examines the crimes, trials and lives of men in Victorian Broadmoor.[iv]

This year has seen a surge of interest in the hospital, in part because of the recent revelation that during the 1980s the late Jimmy Saville visited and abused patients at the hospital after being granted access to its wards, but also because of its sesquicentennial. I was recently interviewed for ‘Inside Broadmoor’, a two-part documentary airing on Channel 5 exploring the history of the hospital. Afterwards, I had two thoughts: why is there still interest in Broadmoor today, and how and why have representations of the institution changed since the nineteenth century?

As in the nineteenth century when cases involving crime and insanity were widely reported, the twentieth and twenty-first century media have fed popular interest in criminal lunacy cases. In May 2011 a father was acquitted for the murder of his six-month-old daughter after the jury accepted he had been suffering from male post-natal depression. There have also been a number of reported cases of infanticidal mothers. Unlike in the nineteenth century when such cases could end up in Broadmoor,[vii] these men and women are sometimes free to go home. Cases garnering international attention also feed public interest in insanity, murder and crime. The trial of Anders Breivik, the Norwegian man found insane after he massacred sixty-nine youths in 2011, was televised and received extensive press attention. There is some public interest regarding where these people are detained and there remains intrigue towards Broadmoor.

There is arguably a more negative image of Broadmoor in the public imagination today than there was in the nineteenth century when the asylum was the recipient of positive press reports, and when some patients wrote to the press and to their families detailing their comfortable and enjoyable lives in the asylum. In 1867 the Illustrated London News published a complimentary report on the asylum’s regime alongside images of an orderly female dormitory, a male patient playing the violin in his clean, single room, and male patients sitting in a day room enjoying a variety of activities and amusements surrounded by artwork

The Broadmoor Criminal Lunatic Asylum’, Illustrated London News, 24 August 1867, p. 208.

Today, a cloud of mystery and fear surrounds Broadmoor, with only the scandals and escapes making the headlines, such as that of John Straffen who, in April 1952, escaped and murdered a five-year-old girl.[x] All we know about the hospital today is that it is home to only the most dangerous mentally ill male offenders; those who pose an ongoing threat to society. This is unlike in the nineteenth century when, although Broadmoor was home to primarily murderers, it also held fraudsters and duck thieves, and women as well as men. It might be that the hospital’s population affects how we view it, but it is more likely that the fact we know so little of what goes on inside the institution feeds curiosity and breeds sensation and horror. This was also sometimes the case in the nineteenth century. In 1879, a friend of the wife of one patient expressed her concern to the Superintendent that the woman wanted to visit her husband at the insistence of her ‘pig-headed old mother-in-law’ who had arranged a trip to Broadmoor ‘as a sort of holiday jaunt.’ She could only imagine one reason why she wanted to visit the asylum: ‘I believe the lower classes as a rule like a feast of horrors.’[xi] Indeed, members of the public who knew little or nothing about asylum life were seemingly sometimes judgemental, fearful and disgusted at the thought of Broadmoor. It was viewed ‘in the light of a Bastille […] desecrated by […] popular odium.’[xii] Those familiar with the asylum’s regime, such as staff members, patients’ families, and some patients themselves, sometimes viewed the institution more positively. One patient wrote to his sister:

It is a splendid block of buildings […] pleasantly situated, has an extensive view and is very healthy […] [W]e have three doctors who visit us every day, and the patients spend most of their time […] exercising in the gardens, reading the daily papers, monthly periodicals etc, there is also a well selected library […] a cricket club, billiards, cards and other amusements. In the wintertime we have entertainments given by the patients, such as plays, singing, etc. [We] have a good brass band which gives selections of music every Monday evening during the summer months on the terrace opposite the chapel.

We have good food, plenty of clean clothes, good beds and bedding, and every comfort that one need expect are treat with kindness by the officials placed over us, [and we] have free conversation among the other patients.[xiii]

I suspect that one aim of ‘Inside Broadmoor’ is to question some of the myths surrounding Broadmoor and to debunk any disgust and fear felt towards the hospital. My own research suggests that some of the apparent ill-feeling towards Broadmoor (felt today towards the Victorian asylum and the modern-day hospital) is misplaced: Victorian Broadmoor was not and never has been a prison, it was not necessarily terrifying, its patients were not chained up in cells and left alone, and they did not fear the Superintendent, as has been suggested.[xiv] Rather, as was the case in all Victorian asylums, moral treatment, under which patients were provided with amusements and employment and in which seclusion and restraints were limited or never used, was implemented at Broadmoor.[xv] It was stipulated in the asylum’s Rules that patients had to be treated with ‘kindness and forbearance.’[xvi] By their own accounts some patients enjoyed the activities and occupations provided for them, they made friends and were on good terms with Broadmoor’s staff.[xvii] Some patients openly admitted to enjoying their time at Broadmoor, so much that they readmitted themselves following their release or transfer to a private asylum.[xviii]

Reading the research of Susanne Dell and Graham Robertson, it is possible to gauge some understanding of patients’ experiences in the early 1980s. A comparison of their findings to my own suggests that despite the changing face of Broadmoor and new modes of treatment over the twentieth century, patients’ subjective experiences were similar in both the 1980s and the Victorian period.[xix] Like their nineteenth-century counterparts, some twentieth-century patients said that they enjoyed the educational opportunities afforded to them.[xx] Others valued the companionship of the other patients; some believed they had ‘an easy life’ because they did not have to work and were fed regular meals; and others enjoyed the facilities provided for them, in particular the sport grounds.[xxi] For some, just as in the nineteenth century, Broadmoor was a place of refuge and recovery.[xxii]

Despite the efforts of ‘Inside Broadmoor’ and its vast array of contributors (historians, psychiatrists, authors, archivists and actors) it seems unlikely that any more light will be shed on recent and current hospital life any time soon. The West London Mental Health Trust, under which Broadmoor is run, has closed access to many records concerning the asylum after the nineteenth century (and many records from the nineteenth century). We know very little, for instance, about Broadmoor between 1900 and the First World War or about modern-day hospital life. Of course, we can access the published official reports from the hospital, and the accounts of Ronald Rae Mowat, Murray Cox, Susanne Dell and Graham Roberston on the crimes, treatment and experiences of some patients in the mid-late twentieth century are invaluable, but the intricate details of the lives of the staff and patients inside Broadmoor’s walls, particularly in the twenty-first century, remain a mystery. I imagine this mystery will continue to feed popular and scholarly interest in Broadmoor for many years to come.

You can read more about Jade’s research in her recent (open access) article in the Journal of Victorian Culture, ‘One of the Best Fathers until He Went Out of His Mind’: Paternal Child-Murder, 1864–1900


[i] Steve Hennessy, Lullabies of Broadmoor: A Broadmoor Quartet (London: Oberon Books, 2011).

[ii] Marjorie Wallace, The Silent Twins: A Harrowing True Story of Sisters Locked in a Shocking Childhood Pact (Vintage, 1996). Patrick McGrath, whose father was superintendent of Broadmoor in the twentieth century, wrote a novel allegedly based on his experiences growing up at the asylum, Asylum (London: Penguin Books, 1997); Simon Winchester, The Surgeon of Crowthorne: A Tale of Murder, Madness and the Oxford English Dictionary (London: Penguin Books, 1999); Mark Stevens, Broadmoor Revealed: Victorian Crime and the Lunatic Asylum (Barnsley: Pen and Sword Social History, 2013).

[iii] D. A. Black, Broadmoor Interacts: Criminal Insanity Revisited (London: Barry Rose Law Publishers Ltd., 2003); Murray Cox, Shakespeare Comes to Broadmoor: The Actors are Come Hither – the Performance of Tragedy in a Secure Psychiatric Hospital (Jessica Kingsley Publishers, 1992); Susan Dell and Graham Robertson, Sentenced to Hospital: Offenders in Broadmoor (Oxford: Oxford University Press, 1988); Harvey Gordon, Broadmoor (London: Psychology News Press, 2012); Ronald Rae Mowat, Morbid Jealousy and Murder: A Psychiatric Study of Morbidly Jealous Murderers at Broadmoor (London: Tavistock Publications, 1966. Some patients wrote about their time in twentieth century Broadmoor. John Edward Allen wrote about his escape from the institution, Inside Broadmoor (London: W. H. Allen, 1952). Also, F. P. Thompson, Bound For Broadmoor (London: Hodder & Stoughton, 1972) and Back From Broadmoor (London: Mowbrays, 1974); Warmark, Guilty but Insane: A Broadmoor Autobiography (London: Chapman and Hall, 1939).

[iv] Jonathan Andrews, ‘The Boundaries of Her Majesty’s Pleasure: Discharging Child-Murderers from Broadmoor and Perth Criminal Lunatic Department c. 1860-1920’, in Infanticide: Historical Perspectives on Child Murder and Concealment, 1550-2000, ed. by Mark Jackson (Aldershot: Ashgate Publishing, 2002), pp. 216-48. For the construction of Broadmoor, Deborah Weiner, ‘“This Coy and Secluded Dwelling”: Broadmoor Asylum for the Criminally Insane’, in Madness, Architecture and the Built Environment, ed. by Leslie Topp, James E. Moran and Jonathan Andrews (New York and London: Routledge, 2007), pp. 131-148.

[vii] Jade Shepherd, ‘“One of the best fathers until he went out of his mind”: Paternal Child-Murder, 1864-1900’, Journal of Victorian Culture, 18:1 (2013), 17-35.

[viii] http://www.independent.co.uk/news/world/europe/breivik-to-dispute-insane-ruling-7619305.html [accessed 17 September 2013].

[ix] ‘The Broadmoor Criminal Lunatic Asylum’, Illustrated London News, 24 August 1867, p. 208.

[x] ‘Obituary: John Straffen’, http://www.theguardian.com/news/2007/nov/22/guardianobituaries.obituaries [accessed 25 September 2013]

[xi] BRO, D/H14/D2/2/1/918/17, letter to William Orange.

[xii] W. D. Hood quoted in David Nicolson, ‘A Chapter in the History of Criminal Lunacy in England’, Journal of Mental Science, 23 (July 1877), 165-185 (p. 176).

[xiii] BRO, D/H14/D2/2/1/1116, letter, 10 August 1883.

[xiv] Simon Winchester, The Surgeon of Crowthorne: A Tale of Murder, Madness and the Oxford English Dictionary (London: Penguin Books, 1999), p. 105.

[xv] William Orange, Reports of the Superintendent and Chaplain of Broadmoor Criminal Lunatic Asylum for the Year 1873 (London: George E. Eyre and William Spottiswoode, 1874), pp. 2-3.

[xvi] Rules for the Guidance of Officers, Attendants, and Servants of Broadmoor Criminal Lunatic Asylum (London: Ford and Tilt, 1869), p. 3.

[xvii] For example, BRO, D/H14/D2/2/1/975/30, memorandum; D/H14/D2/2/1/729/5, letter to William Orange; D/H14/D2/2/1/975/13, letter to William Orange.

[xviii] For example see the case of John Wendover, D/H14/D2/2/1/1074.

[xix] For the treatment of patients in the twentieth century, Black, Broadmoor, p. 127; Gordon, Broadmoor, p. 148.

[xx] Victorian patients were taught how to read and write. In the twentieth century, patients could take GCSES, A Levels and Degrees.

[xxi] Dell and Robertson, Sentenced, p. 39.

[xxii] Ibid., pp. 32. 39. 96.

Excrementitious humours: Crying and not crying in Titus Andronicus

Dr Thomas Dixon is the Director of the Centre for the History of the Emotions at Queen Mary, University of London. Here he writes about the representations of tears and weeping in Shakespeare’s first tragedy.

I have been researching the history of crying for several years. This interest started back in 2009 when I was invited to an event on Darwin and the emotions and began thinking again, for the first time in ages, about The Expression of the Emotions in Man and Animals (1872). This is a surprising and striking book in many ways, including its emphasis on the purposelessness of emotional expressions, and its pioneering use of research questionnaires and photographs. But what caught my attention in 2009 was the chapter on ‘Special Expressions in Man: Suffering and Weeping’, including the assertion that ‘Englishmen rarely cry, except under the pressure of the acutest grief; whereas in some parts of the Continent the men shed tears much more readily and freely.’

My attempt to position those three simple words of Darwin’s – ‘Englishmen rarely cry’ – in the longer histories of science, emotion, and national identity, has now led me back to Shakespeare, and to a play currently being revived by the RSC. The Lamentable Roman Tragedy of Titus Andronicus, to give it its full title, was first performed in 1594 and it serves as a microcosm of early modern weeping, understood as a kind of performance, a work of nature, and an outward token of inner states.

The play is a revenge tragedy of astonishing violence: bowels, limbs, heads, hands and tongues are lopped and hewn. Virtually all the protagonists end up dead – many of them in a final blood-soaked show-down in which Titus kills his only daughter, the defiled Lavinia, who has been raped and mutilated by Queen Tamora’s sons, whom Titus now serves in a pie to their mother, before being promptly killed by the emperor, who is in turn killed by Titus’s remaining son Lucius. There is much sorrow and plenty of weeping – although not during the final scenes of tearless and pitiless revenge. The play is a very useful one for my purposes, as its writing, performance and reception can be used to explore medical ideas about the body and mind, as well as the histories of tragedy, Stoicism, religion, and morality.

As performed on the London stage in 1594, Lavinia would have been portrayed by a boy-actor and not a woman. We do not know whether he produced tears himself, but it is likely that some of the audience would have been moved to tears by this spectacle. And this reinforces the strangeness of weeping as something simultaneously the acme of emotional sincerity and the height of theatrical fakery. Tears of sorrow shed by the audience in sympathy with a young boy in good health pretending to be a mutilated woman in the midst of a horrific family revenge in ancient Rome might be interpreted as evidence of admirable powers sympathy or of a pathological susceptibility to dangerous, false and unreal passions, as anti-theatrical polemicists claimed.

Weeping was indeed an act, and yet at the same time a work of nature – something elemental, which came easily to children and women because they were more under the sway of the passionate parts of nature, and more naturally moist. Weeping, for early moderns, was like urinating, sweating, or vomiting. It was an ‘expression’ in the literal sense of a squeezing out or excretion. We can trace our own ideas about weeping as a kind of ‘emotional incontinence’ back to this humoural view of the body, according to which tears were a kind of ‘excrement’ – a liquid distilled from the blood, spirits, humours or vapours, produced by the heart or brain, and pressed out through the eyes.

For the English clergyman and physician, Timothy Bright, writing his Treatise on Melancholy in 1586, tears were ‘the brain’s thinnest and most liquide excrement’. Robert Burton, in his Anatomy of Melancholy, in 1621, described sweat and tears within a similar humoural system, in which the principle humours, or fluid parts of the body were blood, phlegm, choler and melancholy. ‘To these humours,’ he noted,  ‘you may add serum, which is the matter of urine, and those excrementitious humours of the third concoction, sweat and tears.’ René Descartes, in his 1649 treatise on The Passions of the Soul, treated tears and sweat together too: as the products of vapours issuing from the body. For Descartes, weeping was a kind of sweating from the eyes. Only after the 1660s did anatomists, following Nicholas Steno, teach that tears were produced by the lachrymal glands.

The scenes in Titus Andronicus in which tears flow volubly like forces of nature, connect with this sense of bodily overflow. Shakespeare identifies human tears with all the seasons and all the waterworks of nature – streams, rivers, and oceans; showers, storms and life-giving rain. Lavinia and Titus at different points refer to their ‘tributary tears’ of mourning – alluding simultaneously to tributes to the dead and to natural rivulets. Lavinia is described as a pure spring, muddied by her rape, and Titus’s grandson is described both as a ‘tender sapling’ and a ‘tender spring’ – tender in the sense both of youthful and moist. Titus tells the boy, ‘thou art made of tears’.

Titus’s depicts his own tears as forces of nature, describing himself as the sea and the earth; Lavinia as the sky (or ‘welkin’) and wind.

When heaven doth weep, doth not the earth o’erflow?
If the winds rage, doth not the sea wax mad,
Threatening the welkin with his big-swollen face?
And wilt thou have a reason for this coil?
I am the sea; hark, how her sighs do blow!
She is the weeping welkin, I the earth:
Then must my sea be moved with her sighs;
Then must my earth with her continual tears
Become a deluge, overflow’d and drown’d;
For why my bowels cannot hide her woes,
But like a drunkard must I vomit them.

That final image of vomiting out woes reinforces the understanding of tears as a voiding of bodily waste. This moment is the high water mark of Titus’s epic, meteorological, humoural, natural weeping. And it is part of a literary tradition of tears that continued into the seventeenth century – including religious texts by Catholics, Puritans and Anglicans. In the latter category John Donne’s 1623 sermon on the text ‘Jesus Wept’, George Herbert’s 1633 poem ‘Grief’, and the 1646 devotional work by John Featley, pictured below,  entitled A Fountain of Teares (1646) are notable examples.

Herbert’s poem on grief starts:

O Who will give me tears? Come all ye springs,
Dwell in my head & eyes: come clouds, & rain:
My grief hath need of all the watry things,
That nature hath produc’d.

And in Descartes’s treatise on the passions of the soul we find a physical rationale for the identification of tears with natural aquatic processes. For Descartes weeping and raining are not just metaphorically but literally the same thing; both are instance of vapours, in the body or in the air, being converted into water – as rain or as tears, respectively. This occurred when the vapours were more abundant and less agitated than usual. So, when weeping eyes are described as ‘rainy’ in Titus Andronicus, Descartes, at least, would not have read that as a metaphor. Renaissance bodies were weather systems, with their vapours, humours, and liquors, flowing like tributaries, amassing like oceans, and falling like rain.

We can also gain an insight into the meanings of Titus’s tears by turning to medical texts of the period. Bright’s treatise on melancholy, which Shakespeare may have read, was published a few years before the play was first performed. Here we learn something interesting about the cessation as well as the production of tears. Learned Elizabethans had religious, philosophical, medical, and political reasons to be afraid of excesses of passion, including sorrow, and we can read Titus Andronicus as a reflection on the dangers of excessive weeping, as well as on the monstrosity of those who do not weep.

Tears are repeatedly shown, in the play, to impair the functions of the rational mind. On more than one occasion tears choke or interrupt an attempt at articulate speech. Tears are signs and symptoms of strong passions, themselves widely conceived as diseases of the soul.  The Roman Catholic writer Thomas Wright, in his 1601 work on The Passions of the Minde, wrote that there were three main consequences of inordinate passions: ‘blindness of understanding, perversion of will, and alteration of humours; and by them, maladies and diseases’. And these are precisely the effects that Titus’s inordinate sorrows seem to have on him.

After the speech in which Titus declares ‘I am the sea’ and ‘she is the weeping welkin’, a messenger enters the stage carrying two heads and a hand. The heads belong to Titus’s sons, and the hand is Titus’s own, chopped off by himself and misguidedly offered as a ransom for his sons’ lives. This mocking of Titus’s pleas for mercy by the execution of his sons, and the scornful return of his hand, is the final blow. This is when the crying stops. Titus in fact responds with laughter. His brother protests that this is unfitting. Titus replies: ‘Why? I have not another tear to shed. Besides, this sorrow is an enemy, And would usurp upon my watery eyes, And make them blind with tributary tears.’

From this moment, Titus weeps no more and, pretending to be mad, he sets out to exact his clear-eyed, dry-eyed revenge on Tamora and her sons, whom he lures to their doom in a piece of weird and macabre clowning, which ends with him slitting their throats, making them into a pie, and serving it to their mother at the feast of death at which he also kills Lavinia – ‘her for whom my tears have made me blind’. Surely, however, Titus is not pretending to be mad. He is mad. His dry eyes show not that he has mastered his sorrow but that his sorrow has mastered him.

It was widely agreed in treatises on the passions and on melancholy, throughout the period, that tears were signs of moderate, but not extreme sorrow. That was the view of Aristotle, and was echoed by Bright in 1586, by Montaigne in his Essays, by Descartes in his treatise on the passions of the soul, and by Walter Charleton in his Natural History of the Passions of 1674. Extreme sorrow, according to medical authorities of the period, could lead to physical illness, could take the form of melancholia, could drive people mad and could dry up their tears. The inability to weep, in turn, could cause madness, or even death.

Timothy Bright wrote of the passion of sorrow that ‘if the perturbation be too extreame, and as it were ravisheth the conceite and astonisheth the heart’ then tears are dried up and other, stronger movements replace them, ‘as voydance of urine, & ordure’. This final possibility is not explored by Shakespeare, but in other respects Titus, described in the play as ‘the woefull’st man that ever lived in Rome’, is a textbook example of the progress of the passions. His conceit is ravished, and his heart astonished. Titus’s abundant weeping in inordinate passion is replaced by a destruction of the mind, a stupidity of heart, and a dryness of the eyes: ‘I have not another tear to shed’.

In Titus Andronicus, the final tears of the final act belong to a young boy – Titus’s grandson. The boy’s father, Lucius, Titus’s only remaining son, addresses the child in words that are surely also addressed over his head to the theatre audience beyond:

Come hither, boy, come and learn of us
To melt in showers.

What Shakespeare presents his audience with here is a task – somehow to learn to weep without becoming morally and mentally deranged, without going blind, without losing the power of speech. More importantly he provides them with an activity through which to make the attempt – the  collective witnessing of a classical tragedy. And thanks to Shakespeare, gathering in theatres and weeping over tragedies – experiencing a sympathy of woe – became a part of the English national character, noted by foreign visitors, long before the tide turned so that it would become possible for someone to claim that ‘Englishmen rarely cry’.

 

This post first appeared in the June 2013 issue of Viewpoint, the magazine of the British Society for the History of Science. Thomas Dixon has also reflected on the history and meaning of tears in a BBC Radio 3 Sunday Feature, and an article for Aeon magazine.

William Reddy Response

Professor William M. Reddy is William T. Laprade Professor of History and Professor of Cultural Anthropology, at Duke University. Here he responds to the reviews of his book by Katherine Clark, David Lederer and Hera Cook for the History of Emotions Blog.

Thanks to Thomas Dixon for organizing this forum, and to the reviewers for their many thoughtful and penetrating comments. I will try to respond briefly to two sets of critical reflections: (1) cases in which a reviewer disputed or rejected an assertion of mine, but without addressing the considerable evidence supplied in the book to support that assertion; (2) cases in which a reviewer rightly objected that a certain issue was not addressed, or not adequately dealt with in the book. Ten years in the writing, unwieldy in its ambition, my book, I knew from the beginning, would be, like Swiss cheese, full of holes, and not necessarily easy to follow. I thank all involved for their patience in reading it.

Cases in which a reviewer did not address the evidence supplied in the book:

1. The Gregorian reform. Katherine Clark insists that “At the turn of the twelfth century … the Gregorian Reform movement did not primarily function as a philosophical campaign against the general concept of desire; rather, it had gained momentum as a ‘renovation’ of clerical practices (initially monastic, later engaging the secular clergy) whose ‘appetites’ were more narrowly defined than Reddy suggests.” As a result, she states, “the courtly poetry of the troubadours and trobairitz of southern France flourished well before Gregorian reformers shifted from internal campaigns against clerical vice to a more global attempt to regulate lay morality and religious practice through a ‘reformed’ clergy.”

Yet the elevation of marriage to the status of sacrament, the prohibition of divorce, the labeling of secondary wives as “concubines,” the railing of popular preachers against the dangers of concupiscence, the frequent expressions of revulsion for sexual pleasure, Robert of Arbrissel’s rounding up of prostitutes and setting up of convents for them, the vast extension of the incest prohibition to seven degrees of kinship—all of these phenomena date from the late eleventh or early twelfth century, and are generally regarded as features of the broad, heterogeneous movement known as the “Gregorian Reform.” The book provides detailed documentation on all these facets of the movement (just, for example, the organization of Arbrissel’s famous monastery at Fontevraud around 1100 CE [pp. 117-118], or the sculpture program completed at Moissac by 1115 [p. 88]).

Clark grants that “the struggle between the nobility and the clergy over the indissolubility and sacramental nature of marriage form a context for this [i.e., the fin’amors] literature.” But is this not to concede that the Gregorian Reform did help shape the literature of fin’amors? In any case, one must go further, and recognize that a general revulsion toward sexual “pleasure” was in the air, appearing as an element of the popular asceticism that made itself felt between 1050 and 1200, not only among the Patareni of Milan, but also among the hundreds of wandering hermits of the early twelfth century, among the many thousands who admired the Cathar perfecti of Languedoc (well before the crusade against them was organized), as well as among scores of clerical chroniclers, canonists, theologians, and prelates, from William of Malmesbury to Roger of Howden, from Peter Damian to Ivo of Chartres to Anselm of Bec to Geoffrey Babion, from Gratian to Peter Lombard. (Here, please note, I am simply alluding to evidence discussed in the first three chapters.)

2. William IX of Aquitaine. As documented in the book, there is substantial evidence that William of Aquitaine’s very identity, and his survival as a territorial lord, were threatened by the Gregorian Reform, because his parent’s marriage—his father’s third marriage in pursuit of an heir, after two divorces of childless wives—was condemned as invalid. After William’s father rushed to Rome, a compromise was reached in which his mother was to be treated as a concubine, while William was granted legal legitimacy. In repayment, his father promised to generously endow a new monastery in Poitiers. William in his turn fell afoul of a reforming bishop when he tried to divorce his first wife in 1113 in order to marry Maubergeonne, Vicountesse of Châtellerault. Many scholars more learned than myself, including Reto Bezzolla, Rita Lejeune, and Gerald Bond, have argued convincingly that William’s love songs were addressed to Maubergeonne.

Whether that is the case or not, in William’s songs, the beloved is treated as spiritually and politically powerful: “Through her joy a sick man can become well, / and through her anger a healthy man can die.” (quoted by me on p. 97) William expresses an exaggerated fear of revealing the existence of his love to her. “I don’t dare send her any message through another, / I’m so afraid she might immediately be angry …” (p. 98). These are not the words of an “unabashedly carnal” concept of love, as Clark claims. However, William did write some “ribald” songs, one of which has been called the earliest known example of a fabliau, in which the clergy are belittled for their failure to control their own sexual “appetites.” In this sense, William did indeed, by his composition of songs in two such different genres, display his understanding of a sharp contrast between love and lust. As for the other troubadours who imitated his innovative methods, I urge interested readers to consult the many examples discussed in chapter two of the book, of troubadour love songs that pit love against sexual appetite, and see love—not as desire’s opposite—but as a spiritual force capable of taming appetite and rendering it innocent.

That William IX’s love songs are the earliest recorded examples of fin’amors literature has been disputed by no scholar, to my knowledge. They form a dividing line between an ancient conception of love as debilitating and humiliating for elite male citizens and a medieval and modern conception of love as something able to “Make Me Better,” to cite the title of a hit music video of 2007 by the artist known as Fabolous.

3. Vaishnavism and related forms of devotionalism of South Asia. Cook finds it “not credible” that “there is no evidence [South Asian] elites regarded sexual orgasm as pleasurable.” However, this claim, quoted from p. 5 of the introduction, is backed up by substantial evidence presented in chapter four. For example, Daud Ali, in his valuable study of medieval South Asian court life, as quoted on p. 248 of my book, argues that “ ‘For the people of the court, sex ‘was a highly mannered and tutored experience, an ‘art’ which, like other aspects of the courtier’s life, was to be refined and perfected.’”[1] These refinements and accoutrements were so important that “ ‘the theatrical traditions considered a number of them … to be ‘determinative’ of the very emotion of sexual pleasure (rati) on the stage.’”[2] It is quite understandable that, in a tradition involving highly refined and mannered forms of interacting (including with sexual partners) the mere occurrence of an orgasm in the absence of such refinements might well be experienced as distressing, unpleasant, even disturbing. This is not really so different from some contemporary Western experiences, even though the elaborate and mannered interactions many Westerners engage in are governed by the love-lust dichotomy and enact a belief in desire-as-appetite.

Points well taken:

1. The question of the body. It is true that I did not address explicitly the theme of the “body,” which has played a very important role in historiography over the last twenty-five years. I can only offer as an excuse or explanation two considerations.

First, this was a conscious decision. I was concerned that the introduction of this thematic into my comparative work would inadvertently slant the discussion in favor of certain modern Western notions of the body, notions which have, indeed, often detracted from attempts by other scholars to use this theme as an escape hatch from suffocating notions of modern subjectivity. Caroline Walker Bynum herself warned against this tendency some time ago.[3]

Second, despite my neglect of this theme, I was very careful to explore what counted as “bodies,” more or less, in each tradition, including issues of beauty, dress, gesture, and touch. If lovers of the fin’amors tradition appear sometimes disembodied in my treatment, it is partially because the literature itself often has little to say about bodily matters, other than to offer vague superlatives about beauty, valor, or the extraordinary joy found in sexual embraces, when under the aegis of true love. Doubtless this was part of a strategy to counter the vivid negative descriptions of sexual beauty and sexual embraces found in clerical sermons.

In contrast, South Asian sources include extensive protocols for lovemaking, self-presentation, and dance in both courtly and ritual contexts—all of these I discussed in sufficient detail so that anyone interested can discern the strikingly different notions of embodiment implicit in Tantric, Vaishnava, courtly, and literary texts. I offer an in-depth discussion of the devadasi tradition, a tradition of female priests. Hardly marginal, these ritual dance experts were generously endowed from temple incomes; they were prestigious, admired, valued guests at weddings, showered with gifts. For Heian Japan, I provide numerous observations of the elaborate dress code, and complex rules of movement and gesture that governed aristocratic “bodies.” Beauty often seems to have been judged strictly in terms of dress, for example. Izumi Shikibu found Prince Atsumichi’s appearance to be “ravishing,” I note on pp. 326-327, quoting her own third-person autobiography.

From beneath his soft, voluminous costume with its great, billowing sleeves could be seen the skirt of an incredibly beautiful underrobe. Every detail was as she would have wished, and she felt as if her eyes must be playing her false.[4]

Tears, another interesting manifestation of the “body,” were also regarded as prestigious markers of spiritual melancholy or else of an exceptional capacity for compassion.

2. Christian devotionalism. It is true, as all the reviewers suggest, that I neglected the emotions of Christian prayer, meditation, and ascetic practice. I presented clerical culture as if it were unidimensionally dominated by revulsion. This, too, was, to an extent, a conscious choice. Knowing that Bynum, Dyan Elliott, Piroska Nagy, Damien Boquet and others had carried out fascinating explorations of Christian devotional life, I sought to “go around” this dimension, fearful, as I was throughout the project, that the project’s contours would become unmanageably vast.

In fact, I could have strengthened the argument by considering this issue in greater depth. After all, in the Christian platonism of the middle ages, it was perfectly clear how a figure such as Bernard of Clairvaux could condemn a beautiful woman (in this case, his sister) as a “sack of excrement” and, later on, write melifluous sermons on the erotic relation of the soul with God, as described in the Song of Songs. As any platonist knows, the ideals of which everything here below is a degraded copy are more real, and the degraded copies around us are less real. Thus, the “reality” of spiritual eroticism, accessed through allegorical interpretation, is more “real” than that of actual here-and-now sexual encounters. Using this figleaf, as the history of Christian devotion shows, one can go very far down the road of passionate intensity, without moving from the kneeling position. There can be little doubt that such experiences were known to authors and composers of fin’amors literature.

In my defense I will add that, after working on the nonwestern traditions, it was indeed the revulsion toward “desire-as-appetite” that constantly lept to my mind as a defining feature of twelfth-century European practices. As for my accepting the categorization of hunger and thirst as “appetites,” I will simply assert, naively if one likes, that going without food and water soon leads to death, and I regard what happens in such circumstances as substantially different—in all cultural contexts—from what happens when one goes without orgasms, however that difference may be locally construed or experienced. Doubtless the “appetite” concept itself deserves much greater attention, but that was not my focus.

I will also add that I expended considerable effort getting up to speed on the remarkable new research concerning the warrior elite, its kinship reckoning, its castle building, its war-making, its “bad customs” and reputation for trickery and “turbulence”; research on marriage alliances and breakdowns; on vassalage and title and shared sovereignty; on administration and justice. This research establishes the existence of a new aristocratic honor code, and a corresponding use of language that sheds new light on the adulterous and clandestine character of courtly love. Martin Aurell has been kind enough to share with me his very positive review of the book, forthcoming in Cahiers de civilisation médievale, in which he commends the efforts made on this front.

In the Conclusion to the book, I sketched out some ideas about the twentieth century, the sexual revolution, and the current state of play of sexual and romantic practices. While this was far from a systematic treatment, it did not occur to me that anyone would doubt that desire and love are still distinguished, or that, in spite of a long campaign dating from the 1970s, or rather from the 1870s, sexual desire is often still stigmatized, even (or most especially) by the persons who are directly involved in enacting desire. One need only glance at the sociological research on “slut-bashing” among adolescents in Europe and North America, or the research on the “hookup culture,” on marital infidelity, or on the vast expansion in pornography with the coming of the internet. One need only consult the work of queer theorists on the ubiquity of shame. Many still find that the idealized “earthly religion” of romantic love provides a refuge from all that stigmatizing, and from the carefully enacted impersonality of mere “appetite,” a refuge in which sexual embrace, as Giraut de Borneil wrote long ago, becomes a “hundred times” more joyful. None of this is inscribed in nature.

Return to the Introduction to the William Reddy Round-table

Read Katherine Clark’s review.

Read David Lederer’s review.

Read Hera Cook’s review.

 

 



[1] Daud Ali, Courtly Culture and Political Life in Early Medieval India (Cambridge: Cambridge University Press, 2004), 213.

[2] Ibid., 75, also quoted in The Making of Romantic Love, p. 248.

[3] Caroline Walker Bynum, “Why All the Fuss About the Body?  A Medievalist’s Perspective,” Critical Inquiry 22 (1995): 1-33

[4] Izumi Shikibu, The Izumi Shikibu Diary: A Romance of the Heian Court, trans. Edwin A. Cranston (Cambridge, MA: Harvard University Press, 1969), 170.