This week we continue with the analysis of Pamela L. Travers’s book “About the Sleeping Beauty”, and more particularly, with the study of the character of Sleeping Beauty.
In her Afterword, Pamela tells us of the reason behind her decision to write her own version of Sleeping Beauty:
It was written not at all to improve the story – how could one improve on the Brothers Grimm? – but to ventilate my own thoughts about it.
Valerie Lawson, Pamela L. Travers’s biographer, speculates that Pamela wrote her own version of the fairy tale in imitation of Beatrix Potter whom she admired enormously. According to Lawson, since Beatrix Potter wrote her own extensive version of Cinderella, Pamela L. Travers felt compelled to write her own version of Sleeping Beauty. Somehow, I doubt that this was the driving force behind Pamela’s writing. I believe that her interest in the story had something to do with her own inner conflicts and the influences of her spiritual teacher Gurdjieff. Now, let’s see what points us into that direction.
For Pamela, the character of Sleeping Beauty is as a mysterious symbol from which emanate many possible meanings. Since Pamela believed that fairy tales conceal their secrets behind the obvious interpretations, she did not see in Sleeping Beauty a pretty girl waiting to be awaken by the right lover; at least that is what she said.
To uncover the possible meanings of Sleeping Beauty’s fairy tale, Pamela researched its origins and then reported her findings in her Afterword. She describes the different interpretations given to the story of Sleeping Beauty: (i) for some this fairy tale is a nature myth in which Sleeping Beauty symbolises the Earth in spring, awakening to life under the warm kiss of the sun; (ii) for others the story holds elements of forgotten ancient secret initiation ceremonies in which one dies on one level only to awaken on another, “like the chrysalis waked into butterfly”; and (iii) there are those who read in it a myth about the death and resurrection of a goddess as in the myth of Persephone.
What is remarkable in Pamela’s Afterword is that she does not provide the reader with her own original interpretation of the story, and yet one could feel that the interpretations rendered by others were not sufficient in meaning for her. She was looking for a deeper unveiled spiritual meaning. However, that meaning seems to have eluded her because she only asked questions without providing any answers.
All who have studied Pamela L. Travers’s work (including her Mary Poppins) have noticed her fascination with the polarities in life. Pamela herself said on many occasions that as a child she believed in a place where the opposites meet and reconcile. A place where the wolf is friend with the sheep. What could be the meaning of this fascination?
Pamela, from her early childhood, was plagued by feelings of unworthiness and of inadequacy . At the same time, she felt special and craved recognition. In her teen years, she rebelled against the repression of her artistic talents and the role her mother and her great-aunt had chosen for her. Is it possible then that these contradictory emotions caused her to experience what she described as being Sleeping Beauty’s experience of maidenhood?
And at length the time of maidens was upon her. …she seemed to waver in the wind, hardly knowing where she was, bending this way and that. Sometimes she would sigh for no reason at all, and of she smiled and became thoughtful, again it would be for no reason. …Thus swung between one thing and another, dipping and swaying like a flag in the breeze, she came to her fifteenth birthday.
Pamela left her Australian homeland in search of that reconciling “something else”, not knowing if it was a place, a person, or an occupation? Just like in her description of Sleeping Beauty’s emotional states she herself “wandered in her maze of maidenhood. What she sought she did not know. She only knew that not to find it would leave her incomplete.”
Searching for that elusive “something else” in the hope of filling her emotional inner void, Pamela L. Travers found (in her late thirties, past the time of the maiden) the esoteric teachings of the charismatic George Ivanovitch Gurdjieff. His peculiar teachings were inspired by Eastern philosophies and resembled the theosophical ideas instilled in Pamela in her mid-twenties by her mentor, George W. Russel.
Why do I bring Pamela’s spiritual teacher here? Because his teachings were based around the theme of the sleeper, and because this same theme appears continually in Pamela’s writings throughout her life, including in the Mary Poppins stories.
Gurdjieff conceived man as a sleeping machine, lost in life and unconsciously reactive to his environment. According to him, to escape the imprisonment of his automatism, man needs to practice the act of what he called “self-remembering”. This concept is similar to the Buddhist concept of “mindfulness”. Gurdjieff thought his students that man is born with an essence and that this essence is formed by the impressions it receives in the first years of life. For him “impressions” meant experiences that are simultaneously processed and understood by all the centers in the human being. These centers are: Intellectual Center, Emotional Center and Moving Center (the body).
For Gurdjieff, the only true understanding of reality consists of information perceived and processed in unison by all these centers. He affirmed that this ability is lost around the age of five or six. So, as the human being grows older these centers become at odds with each other thus opposing the body to the mind and vice-versa. The result of this opposition is a human being which is fragmented into many different parts and only having the illusion of being one person.
Gurdjieff explained that the way to self-remembering consists of remembering one’s highest possibilities; that is remembering what one opens to when one comes back to oneself. Maybe this is why Pamela concludes her Afterword with these words:
Are we dealing here with the sleeping soul and all the external affairs of life that hem it in and hide it ; something that falls asleep after childhood, something that not to awaken would make life meaningless. To give an answer, supposing we had it, would be braking the law of fairy tale. And perhaps no answer is necessary. It is enough that we ponder upon and love the story an ask ourselves the question.
Two elements in Sleeping Beauty seem to have particularly fascinated Pamela. First, the unescapable fate of the princess and second, the spell of sleep:
But perhaps – is this what the story is telling us? – perhaps it is not a simple thing to faithfully follow one’s fate. Nor is it really a simple fate to carry such a wealth of graces and to fall asleep for a hundred years.
Did she herself find her fate difficult to follow? Probably. I believe she experienced her life as an ordeal. Was she aware of her own blessings and talents? Most likely not, at least not completely…
It is conceivable to think that the character of Sleeping Beauty resonated with Pamela, who as a true follower of Gurdjieff, saw her fate as the fate of a sleeper trying to awaken to a higher reality. Sadly, what she needed to awaken from was her trance of unworthiness and feelings of not belonging to this world. How I wish she could have awaken from her feelings of separateness and fallen in love with all of life…with her life…