My first surprise was when it was argued that the Disney version was better by virtue of its simplicity because without the immortality of the soul as a subtext, it would be more accessible to those who were atheist or agnostic, and so did not wish for their children to be exposed to difficult questions that would then require explanation. Also, the replay value of a text with such an unhappy ending--one that instructed rather than amusing--was called into question. This rather put a damper on the prospect of discussing Andersen's text on its own terms, but then, with such a popular version as a comparison, I guess the original was at a disadvantage. The essay argued that the happy ending does rather a disservice to the reader, creating expectations that wishes will always be fulfilled, and attributing misfortune to the will of a single malevolent force. We wound up discussing the issue of representation of parental authority, and why parents feel threatened when fictional characters disobey (and get away with it)--not an issue in the original. Another point was that it contains more relevant topics--like not to talk to strangers--than the immortality of the soul. I tried to compare the complexity of the two issues. Even if you're not interested in the immortality of the soul, you can still concede that the question is more complex, no? The issue of why the mermaid could not achieve both a soul and true love was raised--the dichotomy was seen as a false one.
I admit that I felt a bit at a disadvantage because the Andersen text was being charged with not being politically or socially relevant. Maybe that's why it was excluded from the anthology!! But then, I think it's a problem when the expectation is that the world should be fair, and fiction is expected either to create a safehaven where the world looks fair, or becomes more fair (just), or acknowledges its unfairness in a way that places blame or suggests a remedy. I never had a problem with the notion that toils and suffering could be fruitless, even as a child--except that her toils were not fruitless, as she was granted the opportunity to gain for herself an immortal soul. But if that consideration is alien to your worldview, it's rather difficult to entertain that as a concrete gain. So how to discuss texts with a Christian subtext in a secular university context?
I was particularly interested in the nature of love and the representation of marriage. Observe this passage:
“So I shall die,” said the little mermaid, “and as the foam of the sea I shall be driven about never again to hear the music of the waves, or to see the pretty flowers nor the red sun. Is there anything I can do to win an immortal soul?”
“No,” said the old woman, “unless a man were to love you so much that you were more to him than his father or mother; and if all his thoughts and all his love were fixed upon you, and the priest placed his right hand in yours, and he promised to be true to you here and hereafter, then his soul would glide into your body and you would obtain a share in the future happiness of mankind. He would give a soul to you and retain his own as well; but this can never happen. Your fish’s tail, which amongst us is considered so beautiful, is thought on earth to be quite ugly; they do not know any better, and they think it necessary to have two stout props, which they call legs, in order to be handsome.”
In order to have something to discuss, I did ask what a feminist perspective might be, but that was too easy, really. She is dehumanized--being non-human in the first place doesn't really matter, or rather, it does because the female protagonist is alienated from the patriarchal world from the very nature of her being (or non-being)--and depends on finding a husband for her very soul. Her identity depends on him. Now, the Disney version does not really vary from this--rather, it validates that Ariel's existence depends on the prince. We learn that that's O.K. I'm not happy with seeing the Andersen version as negative in this way, and I don't think Disney's rebellion theme redeems their dependence on the handsome prince to justify Ariel's transformation. I presented this poem by Judith Viorst as an alternate "take" on the story; I liked this one in high school, but (point being taken--don't change who you are, yadda yadda), it doesn't exactly satisfy me in its interpretation of the story:
I left the castle of my mer-king father,
Where seaweed gardens sway in pearly sand.
I left behind sweet sisters and kind waters
To seek a prince's love upon the land.
My tongue was payment for the witch's potion,
And never would I sing sea songs again;
My tail became two human legs to dance on,
But I would always dance with shards of pain.
I risked more than my life to make him love me.
The prince preferred another for his bride.
I always hate the ending to this story:
They lived together happily; I cried.
But I have some advice for modern mermaids
Who wish to save great sorrow and travail:
Don't give up who you are for love of princes.
He might have liked me better with my tail.
For all the validating of identity for girls, it is an oversimplification--likely by design. So how to avoid that kind of oversimplification in classroom discussion? We discussed (briefly) ecofeminism, which is so over the top that it's really about use of language rather than perceived oppression, and so is fun for me. Briefly, briefly we discussed Matthew Arnold's "The Forsaken Merman." I think that comparison could have been fruitful on the religious front, with the contrast between nature/paganism and humanity/religion, and all of the various associations. But we wasted too much time talking about Disney. :P
My previous post about politics, perspectives, worldviews in the classroom was kind of poking (admittedly smug) fun at myself, though it did culminate in a very real frustration with what I see as the limitations and expectations of my teaching in my discipline. I worry about including texts that I don't like or with which I don't feel familiar enough to teach simply in order to represent a diversity of voices. I worry that when I include multi-ethnic selections or female authors as an afterthought, that I'm being a phony--or that I will come across that way. And that's a lot of baggage to add to the already considerable pressures of teaching.
And what about Catholicism? If to teach is my vocation (or part of my vocation), and I'm supposed to live my Faith, how do those things work together? As far as I can tell, it doesn't mean that I have to be nicey-nicey in the classroom (or on the blog, for that matter). I certainly DO have to engage with these questions, and this is a good format for me to do so. But what about subject matter of research and teaching? Surely I shouldn't shy away from the Christianity, though I can't really pursue the themes in more than superficial terms in my current position. And I have a problem with texts being taught simply for their Christian elements (usually in a simplified form)--like is done with the Chronicles of Narnia, which are typically embraced or rejected by scholars or teachers for their Christian elements. That is a bit simplistic on both sides.
With research, it is easier than teaching, I think. If we are selective in our research, well, that's part of being specialized. And I'm not sure how we can live the Faith through academic publishing, unless it means not publishing that thing I wrote about S & M in the films of a certain Spanish director. Yeah, that topic has been shelved permanently for a few years now.