Two films about multipartner sexual arrangements – one English (Quartet), one French (Changing Times) – illustrate a crucial difference in the way the sexual mores are regarded in the two countries. The English view is moral and consequently the English tale is sordid. The conclusion is: only sordid people do things like that. By contrast, the French, though not entirely happy-go-lucky (they are no strangers to the hard feelings – jealousy, inadequacy, insecurity – upon which the Biblical anathemas feed), yet do not bring out the Biblical artillery to bear upon their loves. The French film thus feels lighter, even funny in parts, and its heroes and heroines happier. They certainly appear more desirable as associates or friends.
The French attitude is traditional French and common to many ancient cultures: one values people (lovers, friends, kings) above principles (with terrible consequences for principles). If you believe French films, neither the traditional morality (the Decalogue) nor the modernist (sexual equality, etc.) appears ever to serve as a term of opprobrium or exhortation among French lovers. They never seem to say to each other: you must (or you fail to) treat me according to the high moral principles which are the following… Instead, they seem to say to each other: love me. A much vaguer term, true, but one which allows greater latitude in negotiating the actual terms of the relationship. (“Yes, I know, but he loves me”).
The English ethical emphasis in love may have another effect. The moral prescription against dalliance, triagularity and bisexuality being so heavy, the only people willing to violate it may be the type more willing to violate any rules. And so it just may be that the residents of English sexually complex relationships are the more sordid type to begin with. And in turn, it just may be that the English novelists who write about them in casting their opprobrium upon their heroes are as much descriptive as they are prescriptive.
No comments:
Post a Comment