Dispatches from the Trenches
This will be my last dispatch on education - for a while, anyway. After this post, my aim is to get back to some lighter subject matter, as many of my commentaries on schools these days seem to devolve into complaints. Valid as I believe those complaints may be…it is simply time for a breather.
The two pieces below originally appeared in the 2011, Vol. 3, edition of the online literary journal, The Christendom Review. The first one was also excerpted by the well-regarded publication First Things (but without attribution!).
Molding the Future of a King: A Rationale for Using T.H. White’s Classic Novel in the High School Classroom
In one of the prep schools where I taught in the southern U.S., we were asked every year to identify students whom we believed possessed “leadership qualities.” Such qualities were never specified, but I had the general impression that these promising young people were to be culled from the ranks of the over-achievers, those at the top of the academic heap, the team captains, or those gregarious souls who could hold their peers rapt with natural charm. The quiet, bookish sorts who never volunteered for anything became invisible when I scanned my classroom for the potential leaders of the school.
Of course, as with so many other aspects of modern education, this method of identification was not merely wrong—it directly contradicted all that history has had to show us regarding true leaders. I could make a fairly long list of great men and women whose early lives were unremarkable; it would include Winston Churchill and Mahatma Gandhi. In fact, if I were to pose a question to anyone who works with young people – “What happens when you tell a child that he or she is inherently privileged and will someday lead his peers?”—the answer would invariably come back: “You’ll end up with a spoiled brat.” On the grandest scale, these brats would grow up to be tyrants, and all failed civilizations and systems of rule have been sunk by them.
T.H. White’s The Once and Future King is an adaptation of Arthurian legend, but it is also one of the best treatises I know of on what really makes a leader. The boy who is destined to become the king, whose birthright is given not only by his Anglo-Norman father and his Gaelic mother but by God as well, is not aware until the very end of Book One that he is the rightful heir to the throne, and he is every bit as surprised as his foster-brother Kay, who is anticipating his own knighthood. Up until this moment, however, the Wart, as he has been scornfully nicknamed, has been an unwitting trainee, exposed to personal dangers and terrifying systems of government through a series of transmogrifications in keeping with Merlyn’s assertion that experience is the only real education. Any instruction the boy does receive is rendered by those who are themselves immersed in their various arts and who speak in the rich languages of tilting, falconry, practical mathematics, and so on; there is no such thing as an Education Major. The Wart is so caught up in the intensity and excitement of his journey that he has little time to ponder his own future, and in any case, he believes he will be a servant and squire to Kay:
“‘Well, I am a Cinderella now,’ he said to himself. ‘Even if I have had the best of it for some mysterious reason, up to the present time – in our education – now I must pay for my past pleasures and for seeing all those delightful dragons, witches, fishes, cameleopards, pismires, wild geese and such like, by being a second-rate squire and holding Kay’s extra spears for him…’ ”
Of course, he has forgotten how things turn out for Cinderella, but it is this innate humility and the absence of preconceptions that will shape the man who can ultimately make the right decisions both in the heat of battle and at the table of diplomacy.
In great part, the book is about this sort of looking backward in order to discern cause and effect, action and consequence. Even such seemingly arbitrary events as the escape of a hunting hawk in the forest or a punch to the nose in a moment of confrontation are later perceived as critical episodes in the shaping of a king whose own destiny is integral to that of a nation. Re-reading and teaching this book always put me in mind of Churchill’s remark in The Gathering Storm regarding the day he truly understood the eminence of his own role in the early days of World War II: “I felt as if I were walking with destiny, and that all my past life had been but a preparation for this hour and for this trial.” From a boy whose father had sent him to the Royal Military College at Sandhurst only because he believed him unfit for Oxford, this tells us much about his belief in the meaning of his own failures as well as his successes. Similarly, in The Once and Future King, the young Arthur often cannot see the real value in his lessons until the appropriate time arrives.
Another intriguing aspect of White’s telling of the old tale is the manner in which he endows his character with a natural inclination to self-sacrifice. In this sense, he is rather un-kingly:
“ ‘If I were to be made a knight,’ said the Wart, staring dreamily into the fire, ‘I should insist on doing my vigil by myself, as Hob does with his hawks, and I should pray to God to let me encounter all the evil in the world in my own person, so that if I conquered there would be none left, and if I were defeated, I would be the one to suffer for it.’ ”
It’s an extraordinary remark for a child to make, and Merlyn immediately warns him not to be presumptuous. The uncomfortable irony about any king, president, or premiere who would unhesitatingly pay the ultimate price for his cause is that, in such an event, we will have lost our leader. In older times, the death of a commander on the battlefield meant the demise of his army, and so it is that in any proper telling of the Arthurian myth, we must never have the death of the hero. He does, indeed, go out on the appointed day to meet his destiny, but the circumstances of his end—and more significantly, of his return—remain mysterious. Just as the boy Arthur who turned the big roasting spits in the kitchen and who innocently vowed to be the best squire who ever lived could not have benefited from knowing his own future, the seasoned warrior-king goes out to meet his last great enemy with a single-minded sense of purpose.
Therein, I believe, lies the best reason for having this book in a high-school curriculum: for once a young person realizes that he or she, too, has a purpose, once he or she begins to emerge from the mists of childhood and to see the path clearly, once the look in the eyes which wonders “Why am I here?” is replaced by the one which says, “There it is! That is what I’ve been missing”… why, then the real excitement starts for both student and teacher, because the best teacher is also a student, and the best leader is also a follower, and the best king is also a servant. Granted, there is only one who can remove the sword, but what fun to stand up at last and see that everything you’ve done, every little thing, and even the things you forgot to do or deliberately avoided doing, have all played a part in bringing you to the realization of your own role in the unfolding myth.
What I Learned by Teaching Hamlet
When I was a younger man, and a novice but ambitious teacher of literature, I thought I knew two essential truths concerning the play which has been called the centerpiece of Shakespeare’s tragedies: one, that no teenager could possibly hope to understand this complex, cerebral work; and two, that it is a secular play.
The latter idea seemed marvelous to me, given that Shakespeare was writing in a time when—although it might have been dangerous to proclaim oneself a Roman Catholic in early 17th-century England—there was certainly no recourse, no system of belief at all, in fact, beyond the old Catholic church and the newer brand of Christianity sanctioned by the Anglican Church. In short, I thought that Prince Hamlet’s existentialist ideas and his ultimate obsession with the body’s dissolution, as well as his startling lack of spirituality by the time we arrive at the graveyard scene, were further marks of the playwright’s genius. After all, he also anticipated theories about the relativity of time and space (see Jakes’ speech in Act 2, scene 7, of As You Like It) and the cultural stereotypes that would in part define modern racial conflict (see Othello). This is what writers of vision do, I thought: they tell us not only who we are, but who we will become.
I was mistaken, however. Hamlet is not a secular work.
But before I recount the shift in my attitude on this second point, let me dispense with the first—the idea that a high-school student cannot fully grasp the play’s themes—for I have changed my mind on that one, too. I had a student a few years back, one Theo. He was not a particularly brilliant or motivated boy, but he seemed riveted by our study of Hamlet from the get-go. I find the odds that the average 17 year-old should find himself caught up in such a play (except for the bloody events at the end, perhaps) seem to grow ever more remote, for here is a work which requires intense concentration on every page, perhaps on every line. The “multi-tasking” approach in education does not really suit a close study of this play. In any case, Theo practically hung on every beat of blank verse, he extensively researched Elizabethan vocabulary and history, and he enthusiastically volunteered to read aloud from day to day, and ended by handing in a very strong analytical essay. I was in a perpetual state of amazement until a colleague informed me that Theo’s father had died the previous summer, and at last the pieces of the puzzle tumbled into place.
My own father passed away in July of 2008. When my seniors took up their study of Hamlet the following winter, I realized that I was seeing the tragedy in a new light. The lens of grief, which is alternately blurry or painfully sharp, had altered my regard for the play, and I suddenly realized that the fuller comprehension of it has little to do with one’s age but very much to do with what one has endured—and in particular with what, or whom, one has lost. Someone familiar with Hamlet might say that the murder mystery and the accomplishment of a son’s vengeance are the real draw here, but I say that the deeper mystery comes in seeking to reconcile this life to the next, in sustaining our faith that there are “more things in heaven and earth,” and that the search for a father goes on and may even take us through invisible doorways. To apply purely secular reasoning to this possibility moves us ever further away from God, stealthily, steadily, and with deadly consequences.
This brings me to the second revision in my thinking about Hamlet: for all his visionary genius, Shakespeare is not, in fact, exposing us to some of the first tentative mumblings of atheism (indeed, his short-lived contemporary, Christopher Marlowe, was inclined to atheist speculation); rather, he is showing us what happens when a man steps apart from God. Granted, there is no worthy friar in the play, and the prince has grown up surrounded by power-hungry people who apparently seek no one’s counsel anyway. Even Hamlet’s father, although he is the victim of a murder, expresses through his death a sort of misconnection with God, having died unconfessed, with all his sins upon his head. We see in the prince’s first soliloquy the seeds of the same sort of distorted thinking:
O, that this too, too sullied flesh would melt,
Thaw, and resolve itself into a dew,
Or that the Everlasting had not fixed
His canon ‘gainst self-slaughter…
(1:2)
The difficulty here is that God’s law against suicide really has little to do with our regard for our own flesh. It is not designed to prevent one destroying an offending body, but rather, in part, from destroying the world which one perceives through the senses. The other principle that Hamlet seems to miss is that we are not the real owners of our bodies, after all. To say that I would kill myself if God had not forbidden me to do so puts me at roughly the same level as a small child who says, “I would steal this candy, but my mother has told me I will get in trouble for taking things.” We shouldn’t destroy our own bodies for the same reason we should oppose abortion and the death penalty—because a design is being perpetuated upon our conception, and we are here to see it through, using free will wherever we can to do our part in the knitting of the pattern. To willfully eliminate one’s part is to toss another unraveled thread into the trash bin of misery, that misery whereby we remain separated from God.
Hamlet’s first encounter with his father’s ghost brings him into vivid contact with another reality, and he is both thrilled and terrified by it, as any of us would be. And as it would likely be for any of us, the vividness begins to fade, and Hamlet falters in his determination to avenge his father’s “foul and most unnatural death.” No rational man would rush out and kill his own uncle because a ghost has urged him to do so; even in his state of depression, delusion, and paranoia, reason prevails for a time, and Hamlet hesitates.
But Christianity is reasonable, too. It tells us that just as we have thirst, and water is the solution, there must ultimately be answers to all of our most troublesome inquiries (and Hamlet is a play inundated with questions). The old world of vengeance and violent retribution really means self-obliteration, when we pursue it to its final outcome, and so we might conclude that the dead king is suffering in purgatory not merely because he died unabsolved but perhaps also because in life he could never move beyond ambition and the power of his own station and ascend to an understanding of forgiveness, or at the very least to munificence. Or, as both the prince and his friend Horatio speculate, he could well be a demon, and not at all the curly-haired Hyperion who lives in Hamlet’s memory—an idea which would have been quite credible to Shakespeare’s audience and which would still be feasible to many Christians today.
Thus the true identity of his father seems to elude Hamlet for much of the play. It is the most masterful illustration I know of the search that we all undertake for our lost fathers. Sometimes, the men we pursue in our longing are mere ghosts, and some of them may be demons of one sort or another. Hamlet, perhaps unwittingly, actually answers the question of his father early on, in Act 1:
He was a man. Take him for all in all,
I shall not look upon his like again.
(1:3)
He intends this characterization as an homage, but really he ought to say that his father was merely a man; he shall not look upon his like because he was himself, in fact, merely an imperfect likeness of the Father, the one for whom we thirst as though for water, and although he briefly breaks the silence of the grave, he is a king who cannot return.
In the end, the horror of that same silence descends on Prince Hamlet like a mound of heavy dirt. He has failed to realize that all of his words, and all those of Claudius and Polonius and Horatio and Osric and all the others who have so much to say in this play, and all of the words on all of the pages in all of the books in Elsinore’s library, ultimately bring us nowhere. In the end, there is only the Word. And I believe that this is where my understanding of the play may come in line with the author’s intent, on some level, for solid flesh does melt, just as our words evaporate and turn to silence; the playwright’s own words are the grandest in the English language, and yet they can take us only up to the threshold of the next world. The real manner in which we cross it is determined by Faith.