© Beytulhikme Philosophy Circle Beytulhikme Int Jour Phil 7 (2) 2017 Research Article: 89-103 ___________________________________________________________ The Concept of Bergsonian Time in Mansfield’s ‘Miss Brill’ ___________________________________________________________ Mansfield'ın ‘Miss Brill’ Öyküsünde Bergsoncu Zaman Kavramı y h UFUK ÖZEN BAYKENT p o Uludağ University s o l i h P Received: 23.02.2017Accepted: 04.10.2017 f o Abstract: Katherine Mansfield is a well-known writer in short fiction genre in l a English. Miss Brill is one of her most widely discussed stories which explores n r the concepts of alienation, loneliness, isolation and consciousness through the u o characterization of the protagonist. Like those of many modernist writers, J Mansfield’s literary style was influenced by Henri Bergson whose philosophy is l a grounded on the concept of time. Both the form and content of her stories are n o reflections of Bergsonian time. Specifically, this study deals with Mansfield’s i t story entitled Miss Brill and analyses it in terms of the concept of duration as a n proposed by Bergson. r e t Keywords: Katherine Mansfield, Bergson, Miss Brill, Bergsonian time, dura- n I tion. n A e © Özen Baykent, U. (2017). The Concept of Bergsonian Time in Mansfield’s ‘Miss Brill’. Beytulhikme An m International Journal of Philosophy, 7 (2), 89-103. k i h l u t y e B ___________________________________________________________  Ufuk Özen Baykent, Öğr. Gör. Dr. Uludağ Üniversitesi Eğitim Fakültesi Yabancı Diller Eğitimi Bölümü 16059, Nilüfer, Bursa, TR[email protected] 90 Ufuk Özen Baykent Introduction In the literary circle, the French philosopher Henri Bergson is wide- ly associated with Virginia Woolf and James Joyce who are successful representatives of stream of consciousness technique. However, Kathe- rine Mansfield’s innovations in the short fiction genre, her focus on the psychological moment and her use of stream of consciousness technique y h were ignored in the literary world of modernism. Today, Mansfield’s sto- p o ries read, studied and appreciated. However, still, there are few studies s o that question the link between Mansfield’s stories and the philosophy of l i Bergson. Therefore, this study is important to enhance the literature h P about how literary criticism can approach Mansfield and Bergson with f regard to the concept of time and consciousness. o l Mansfield was born in New Zealand, educated in London and spent a n her life in various geographies like New Zealand, London and France. As r u a New Zealander living in different places in Europe, she is associated o J with feminism, post colonialism, modernism and she deals with the issues l a of nationality, gender and class differences in her short fiction. She had n o much influence on the development of the short story as a new genre to i t which she dedicated herself. The characters in her stories have psycho- a n logical conflicts narrated through thoughts about themselves or others. r e Although Mansfield was not read in connection with Bergson by t n most of the literary critics, her interest in the philosophy of Bergson can I be recognized in her attachment to the Bergsonian magazine Rhythm. n A Mansfield’s early works were published in the magazine Rhythm which e displayed Bergsonian notion of the balance between intuition and intel- m k lect. “Rhythm aimed to be a Bergsonian magazine and her collaboration i h on it in 1912 and 1913 was especially formative in the development of l u Bergsonian traits in her writing” (Nakano, 2011, 30). As mentioned here, t y there are some critics who are able to trace the Bergsonian effects in e B Mansfield’s fiction. Today many critics relate Mansfield to Literary Modernism which was a radical break with the past and the concurrent search for new forms of expression, from the late 19th to the mid-20th century. Modernism is a result of cross-cultural and international interactions among the writers B e y t u l h i k m e 7 ( 2 ) 2 0 1 7 91 The Concept of Bergsonian Time in Mansfield’s ‘Miss Brill’ and artists between Britain, Europe and America. The exchanges that took place due to these journeys reflect what we now understand to be modernism. Modernism represents a charming but frightening confronta- tion with the other and enabled the contacts among distinct cultures. Mansfield lived, studied and wrote within a colonial geography and her art is a reflection of a New Zealand-born modernist traveller. “… it is y Mansfield who demonstrates par excellence how aspects of what we now h p term modernism crystallized around certain colonial experiences (in par- o ticular, of exile and cultural alienation), and colonial and nascent national s o energies (especially of making new)” (Boehmer, 2011, 59). l i h The Russian writer Anton Chekhov’s writings were also sources of P inspiration for many modernist writers in England including Mansfield. f o Conventionalism of the English fiction was shaken by a note of interroga- l a tion at the end. The open-endedness of the short story or novel allows n r the readers to comprehend on their own. Mansfield used the term “ques- u o tion put” in order to describe the interrogative, open-ended style of Che- J khov which she believed to “clear a space for the self beyond the confines l a of an inauthentic, mass-mediated, commodity-saturated modern culture” n o (Hunter, 2007, 46). i t a Like other modernist writers, Mansfield experimented new forms in n short fiction triggered by the new ideas in psychology, philosophy, and r e political theory. Her reputation as a major modernist lies in her themes t n pointing her discomfort with the negative sides of modernity and in her I n experimentation of stream of consciousness technique in narrating her A story. The fiction written with stream of consciousness technique cap- e tures and evinces the flow of the characters’ mental processes by the use m k of long and disorderly sentence structures. As pointed out by Hunter i h “Mansfield set out to eliminate the personal intrusion in the narrative, to l u remove traces of the author’s voice, in effect, by bringing the narration t y closer to a specific character’s consciousness and away from interpreta- e B tion by an omniscient narrator” (2007, 75). In order to represent the rich- ness of the working mind, the writers do not hesitate to combine inco- herent thoughts represented with ungrammatical constructions. The technique offers the reader to go through new insights into the construc- tions of inner voice and self. As a result Mansfield’s stories can be appre- B e y t u l h i k m e 7 ( 2 ) 2 0 1 7 92 Ufuk Özen Baykent ciated as reflections of modernist experimentation and examples of plotless short story which run against the readers’ precepts and expecta- tions. Bergsonian Concept of Time Henri Bergson is a French philosopher, the first to elaborate the y process philosophy and he had mastery in literary criticism which h p brought him the Nobel Prize for literature in 1927. Besides his fame for o s philosophy, he was a philosopher who had powerful influence on modern- o l ist writers, including Mansfield in the early 20th Century. Although Mans- i h field is not a writer popularly associated with Bergson, her role in intro- P ducing Bergsonian concepts to British literary society cannot be underes- f o timated. The relation between Mansfield and Bergson can be depicted l a from Mansfield’s devotion to the Bergsonian magazine Rhythm. Addi- n r tionally, her short stories mirror the core concept of time in Bergson’s u o philosophy. In order to depict and analyse the Bergsonian reflections on J Mansfield’s short story Miss Brill, it is necessary to touch on the concepts l a of time, duration, intellect, intuition and self. n o In his Time and Free Will, which was published in 1889, Bergson at- i t a tempted to establish the concept of duration, which led to a classification n between lived time and spatialized time. Gündoğan argues that the ideas r e put forward about time will provide answers for what reality is. According t n to Gündoğan time is a continuous flow of states of consciousness and I n mind. It is a concrete reality and a state of existence. The flow of the A states of consciousness represents the real time which Bergson calls dura- e tion. Duration and motion are synthesis of the mind, but not a relation of m k objects or materials to one another. Mathematics, physics and geometry i h are mistaken for spatializing time (Gündoğan, 2013, 73, 74). The distinc- l u tion between place and consciousness and time and duration are made t y clear by Bergson in his Time and Free Will. Later in his Introduction to Met- e B aphysics, which was published in 1903, Bergson proposed that one can have the knowledge of something either with intellect or with intuition. The two ways of knowing leads to two kinds of things that can be known. The intellect can know the material because the nature of the intellect is in conformity with the nature of material. The area of material is that of B e y t u l h i k m e 7 ( 2 ) 2 0 1 7 93 The Concept of Bergsonian Time in Mansfield’s ‘Miss Brill’ objects and geometry. The intellect spatializes time and so misses the reality of the creative time. Bergson developed and explored the concept of intuition in Introduction to Metaphysics and argued that the real time can directly be presented to us through intuition (Bergson, 1999, 28). Science is analytic, spatializing and conceptualising time. On the other hand a second way of knowing things is intuition which is immediate and which y reaches into the core of things. Intuition knows vital impulse élan vital, a h p concept he proposed in his Creative Evolution which was published in o 1907. The intuition knows the spirit, life, creation, becoming, and dura- s o tion by directing diffusing in the object. l i h Bergson argues that metaphysics can complete the sciences by clari- P fying the real meanings of duration, becoming and evolution via intuition. f o That’s why his philosophy focuses on the concept of duration. The con- l a crete duration is the real time. However, the scientific time is not real n r because it ignores the mobility of time and explains time in terms of im- u o mobility and inactivity. The real time, duration is what we experience J immediately. Duration leaves no room for measurement. Duration is the l a irreversible succession of states of consciousness interpenetrating in or- n o der to form an indivisible process. The duration can best be experienced i t during sleep when the consciousness does not measure time but feels it. a n The consciousness conceives duration via intuition. r e Bergson exemplifies the comprehension of the reality by interpene- t n trating in the object with the illustration of a novel which describes the I n external things about a character. The reader can get a picture of the A character in terms of the physical things provided for him. However, such e a description would not give the real successive and indivisible sense of m k the character in the novel. The features of the character expressed in the i h novel are representations of him through a number of symbols. The ap- l u pearances and symbols leave me external to the character and I cannot t y conceive the true nature of the character because it is internal to the self. e B But, what happens when I interpenetrate in him and find a correspond- ence between myself and the character is intuition. According to Bergson there are two types of time: the time that is used to describe and live in the external world, which Bergson calls ho- mogeneous time and the time that is internal to the individual’s self and B e y t u l h i k m e 7 ( 2 ) 2 0 1 7 94 Ufuk Özen Baykent consciousness which Bergson calls duration or heterogeneous time. The former type can be divided into equal sections, measured and counted. Homogeneous time is time that is spatialized and it is the sum of the points on a straight line. The latter is duration which Bergson regards as the real time, cannot be measured and described via the terminology of space. The two types of time in Bergson’s philosophy lead him to investi- y h gate the relation between duration and space. He asserts that when dura- p tion is independent of space and the measurement of duration is spatial- o s izing time and reducing it to the state of homogeneity. The measurement o l of duration will just provide a symbolic representation of real heteroge- i h neous time which is the direct successive life. P f In this manner, Bergson proposes that there are two ways of know- o ing time; one is with the intellect, while the other is with intuition. Intel- l a lectual time is recognized through a chronological order. The intellect n r divides time into artificial units like moments, hours, days etc. Intellectu- u o ally, time is associated with quantity. The condition that similar actions J l are repeated by same people at the same time every day is related to the a n intellectual sense of time. Intellectual time is that which has already o i passed, can no longer be lived. We can think of the time that has passed t a or represent it in certain ways but cannot act in it. In terms of intuition, n r time is experiences psychologically and as a process. Intuitive time is e t what Bergson calls duration. Intuition connects time as a flow of con- n I sciousness and associates it with quality. Regarding to the intuitive sense n of time, it is impossible to repeat the same action since the same moment A cannot be experienced again once it has flown. Intuition which Bergson e m believes to be a way of the knowing the absolute being and which Berg- k son asserts to be the method of metaphysics can be differentiated from i h all the previous arguments about the concept (Topçu, 2006, 75). l u t Bergson insists on the quality of duration, existing as consciousness y e and never remaining the same. Duration which is essentially of a purely B qualitative nature changes and transforms continuously. The moments of duration blend and interpenetrate in an organic whole. Bergson illustrates the quality successive of duration with the flowing of a melody, in which the notes are blended. “At this level, therefore, time comes to be con- ceived as a succession of qualitative states of consciousness, all different B e y t u l h i k m e 7 ( 2 ) 2 0 1 7 95 The Concept of Bergsonian Time in Mansfield’s ‘Miss Brill’ but intimately connected” (di Bernardo, 2016, 39). Life flows incessantly and duration is a continuous living process in which each moment re- solves in itself and flows incessantly to the next and creates that which is to come. Time and Free Will is believed to be an attack on Kant’s idea of free- dom in which freedom is a realm outside of space and time. Bergson pro- y posed the differentiation between space and time in order to define free- h p dom which he also calls consciousness. He defines duration as the imme- o s diate data of consciousness which he argues to be temporal. The experi- o l ence of freedom can only be thought in terms of duration which is a qual- i h itative multiplicity. Bergson proposes that qualitative multiplicity is com- P posed of temporal heterogeneity, which he differentiates from quantita- f o tive multiplicity. The homogeneous multiplicity is exemplified in Time l a and Free Will with a flock of sheep (Bergson, 2001, 77). Each sheep in the n r flock looks alike and we notice not qualitative feature when we look over u o them all. However, as each sheep is spatially separated from the others, it J is possible to count them which give us the quantitative multiplicity. l a Qualitative multiplicity is defined as duration which Bergson tries to n o clarify with the example of the feeling of sympathy. The experience of i t a sympathy begins with putting ourselves in the place of others. The root n of sympathy is the feeling of horror: we feel that if we do not help, it is r e probable that no one will help us when we are in need. The help for the t n suffering emerges from a need. These are the phases of inferior forms of I n pity, heterogeneity of feelings (Bergson, 2001, 19). “… the feelings are A continuous with one another; they interpenetrate one another, and there e is even an opposition between inferior needs and superior needs. A quali- m k tative multiplicity is therefore heterogeneous (or singularized), continu- i h ous (or interpenetrating), oppositional (or dualistic) at the extremes, and l u progressive (or temporal, an irreversible flow, which is not given all at t y once)” (Lawlor and Moulard, 2016). The qualitative multiplicity cannot be e B expressed by symbols and is even inexpressible. Duration is internal time, the time of active living and cannot be ap- plied to the world outside the self. Inner time or experienced time resists spatializing. Real time is qualitative, not a quantitative in nature. No state can remain permanent nor can recur. Human beings need to construct an B e y t u l h i k m e 7 ( 2 ) 2 0 1 7 96 Ufuk Özen Baykent external reality which is the only way for them to have an existence out- side their inner world. The real experience of life, duration has to be spatialized, broken into segments so that it can be measured and recon- structed. For Bergson both internal world of duration and external, spati- alized world are necessary for human existence. “To remain always in duration would result in an isolated existence bordering on madness, for y h humans need the society of others. Yet to live always in external time is p equally destructive, for this would prevent genuine growth and self- o s knowledge” (Gillies, 1996, 13). o l i Although Bergson makes a striking differentiation between intuitive h P and intellectual senses of time, he also asserts that they are inseparable in f human consciousness because they are caused by the degree of tension of o consciousness. “Time is not only internally and intuitively perceived but l a also intellectually externalized and spatialized” (Nakano, 2011, 31). How- n r ever, Bergson focuses on duration as a multiplicity which is both contin- u o uous and heterogeneous. His idea of time as intuition and as flow of mo- J l ments can be associated with the stream of consciousness technique, a n popularly used as a narration technique by modernist writers like Woolf, o i Joyce and Mansfield. t a n Mansfield’s “Miss Brill” of Modernity r e Miss Brill is one of Mansfield’s well-known short stories and was pub- t n lished in her collection entitled The Garden Party and Other Stories. The I n story focuses on one character’s state of consciousness as she experiences A an ordinary Sunday in a park. The protagonist is named as Miss Brill all e through the story; the reader is not informed about the first name of the m k main character because there is no one around her and in her environ- i h ment to call her with her first name. Through her thoughts the reader l u understands how she lives, what she usually does and how she feels. It is t y possible to consider the story as plotless because the character is not e B engaged in considerable activities. The story begins with an ordinary Sunday of a middle-aged lady who regularly goes to a park to watch and think over the people in the park. Therefore, the setting of the story is Jardins Publiques, a park close to Miss Brill’s flat. The reader is informed about the profession of Miss B e y t u l h i k m e 7 ( 2 ) 2 0 1 7 97 The Concept of Bergsonian Time in Mansfield’s ‘Miss Brill’ Brill; she is an Englishwoman who lives in France and teaches English to her French pupils. It is implied that she hasn’t made meaningful relation- ships with her pupils or their families. She has difficulty in relating to her students because “she had a queer, shy feeling at telling her English pupils how she spent her Sunday afternoons” (Mansfield, 1922, 187). Her dis- placement and the lack of connection with the people in the town are y basis for her loneliness. In the exposition, the story’s focus is on her fur h p which has long stayed in its box and waited for the cold weather in order o to be used by its best friend. The fur is personified when Miss Brill talks s o to it and cares for it like a dear mate. “Little rogue” she calls it as if a dear l i h but absent friend has just arrived from a trip (Mansfield, 1922, 18). It is as P if Miss Brill tries to cope with her loneliness by personification of the fur. f o We have pointed that Miss Brill’s relation to the people in her l a neighbourhood is almost none. Yet, she tries to make a contact with n r others through eavesdropping, her favourite activity in the park. She tries u o to interpenetrate to the lives of other people by observing them and lis- J tening to their conversations secretly, without an attempt to take part in l a them. Her routine is such that she strolls through the Jardins Publiques, n o listens to the band, watches the actions and appearances of people, i t eavesdrops and returns home after buying almond cakes on her way. a n Eavesdropping gives her a chance to go into the lives of other people, r e learn about their relationships, feelings and quarrels. Eavesdropping can t n be regarded as another way to cope with her loneliness. I n It is clear that every Sunday the park is visited by the same people A and all visitors are familiar with Miss Brill and she even knows the bench- e es they usually sit on or the clothes they wore the week before. It is as if m k they are her relatives, family or friends. She observes the members of the i h band, focusing on the conductor and remembering what they played be- l u fore. The she views an old couple in fine clothes but not speaking with t y each other. Miss Brill is disappointed by the silence of the old couple for e B two reasons: one is that she cannot eavesdrop if they sit in silence and the other is that their silence echoes her own silent existence in the park. Later, she goes on observation of an English husband and wife, the man being very patient and doing his best to please her and the woman being persistent and dissatisfied. Miss Brill criticizes the lady for her discontent B e y t u l h i k m e 7 ( 2 ) 2 0 1 7 98 Ufuk Özen Baykent and is annoyed because they are unable to appreciate the value of a fami- ly. Then, Miss Brill looks back at the old couple and sees that they are still silent while the little boys, girls and all children are running, laughing and speaking. What Miss Brill concludes about most of the people sitting on the benches or green chairs is that they are always the same. She sees them as “odd, silent, nearly all old, and from the way they stared they y h looked as though they’d just come from dark little rooms or even- even p cupboards!” (Mansfield, 1922, 185). Miss Brill’s humiliation of most of the o s locals in the park gives the reader the idea that she is not sharing any o l characteristics with these people, something which turns out to be the i h opposite at the end of the story. The irony of situation occurs when the P reader realizes that all the negative features which Miss Brill adopts for f o others are reflections of her own features. Similarly, she scorns for a mid- l a dle-aged woman who is wearing an ermine toque which she finds old n r fashioned and shabby. Later, the reader discovers that Miss Brill’s own u o fur is old and shabby. J l The reader is amazed at her pleasure from sitting in the park and a n watching around. The reason given for this joy is Miss Brill’s illusion of o i life as a play. “It was like a play. It was exactly like a play. (…) They were t a all on the stage. They weren’t only the audience, not only looking on; n r they were acting. Even she had a part and cam every Sunday. No doubt e t somebody would have noticed if she hadn’t been there; she was part of n I the performance after all” (Mansfield, 1922, 187). She imagines that life is n a play in which all people in the environment including herself are actors A and actresses. She is part of that performance and believes that her ab- e m sence will be recognized. This is the third way she tries to cope with her k loneliness. She is actually detached from her surroundings and her illusion i h convinces herself that she is an important figure on the stage. This is her l u escapist fantasy to ignore her isolation. t y e The climax of the story is when Miss Brill hears the cruel comments B of a beautiful young couple about her. When she sees the couple ap- proaching, she assigns them the roles of the hero and the heroine of the play. Contrarily, she realizes that the couple prefers she weren’t there in the park, with her fur which they compare to a “fried whiting”. Because of that stupid old thing at the end there?" asked the boy. "Why does she B e y t u l h i k m e 7 ( 2 ) 2 0 1 7