A Bigger Picture: how the Humanities can widen our perspectives

by Liyanage Amarakeerthi

 (Lecture given at the 18th annual academic sessions of the Sri Lanka College of Psychiatrists

On 16 December 2021 at Grand Kandyan Hotel, Kandy)

In order to understand life as a whole, one needs to focus on the bigger picture of human affairs- perhaps of forces larger than humans. Our lives are increasingly determined by much larger forces that we might not even perceive in our everyday lives. Within our education system, we have developed numerous subject areas that help us uncover those behind- the scene-forces. As a scholar in the humanities, I have no knowledge in many of those subjects. Even within the humanities, I only have some expertise in literary studies. Since literary studies have always been a richly interdisciplinary field, I may be able to touch on some adjacent fields such as history, philosophy, sociology, and so on. My topic should ideally be ‘how liberal arts can widen our perspectives’ because liberal arts includes humanities, social sciences and some natural sciences, but I decided to stick to the humanities primarily for two reasons: I will be making my points mostly with literary examples, and the term, ‘humanities’ is the term often used in Sri Lanka.

Professor Joseph B. Cuseo and Aaron Thompson in Humanity, Diversity and Liberal Arts Education (2015) describe seven socio-spatial perspectives typically developed in liberal arts teaching: Perspective of family, perspective of community, perspective of society, national perspective, international perspective, global perspective, and perspective of the universe (cosmos).

It is extremely difficult to elaborate on all these perspectives with different examples in short speech. Therefore, I decide to focus on one novel. Its film version might be quite familiar to the psychiatrists and psychologists in the audience. I use the novel and the film in my teaching at University of Peradeniya but not necessarily the same way that I am going to use it today. The novel is Perfume, the the film has the same name.

It is the story of Grenouille, illegitimate son of a female fish seller in the 18th century France. Even when he is born, his mother is selling fish. The new born is left on a heap of fish guts, – perhaps most disgusting and unhealth environment for a child to be born in. His mother does not want to raise him, and she could not afford to. He is left alone to die there on the heap of fish waste so that garbage collectors will put away the dead child fish guts in the evening.

The author of the novel, Patrick Suskind, explains the situation in a beautifully-crafted paragraph:

Here, then, on the most putrid spot in the whole kingdom, Jean-Baptiste Grenouille was born on the 17th July, 1738. It was one of the hottest days of the year. The heat lay leaden upon the graveyard, squeezing its putrefying vapour, a blend of rotting melon and the fetid odor of burnt animal horn, out in to the nearby alleys. When the labour pains began, Grenouille’s mother was standing at a fish stall in the rue aux Fers, scaling whiting that she had just gutted. The fish, ostensibly, taken that very morning from the Seine, already stank so vilely that the smell masked the odour of corpses. Grenouille’s mother, however, perceived the odour neither of the fish nor of the corpses, for her sense of smell had been utterly dulled, besides which her belly hurt and the pain deadened all susceptibility to sensate impressions. She only wanted to put this revolting birth behind her as quickly as possible. It was her fifth (p.5)”

She expects the new born to die there in the heap of fish guts. In the evening, a carter would come and pick up the garbage and drop them on the grave yard or to the river. Then, all her responsibilities will be over. She is still in her twenties.

Dangers of limitless love

But her fifth child does not bring her good luck; Grenouille does not die there. The mother is taken into custody and is accused of killing her previous babies and of attempting to kill the new born. She is decapitated in public. Grenouille grows up in orphanages to become one of the gruesome serial killers in history. But he is not a killer. He becomes one of the most skilled perfumers; he has an acute sense of smell; in some beautiful virgins he finds magically captivating fragrance. He develops the arts and science of extracting that fragrance from those young women’s hair, pubic hair, skin, and so on. By the time he was done perfecting the most fragrant perfume in history, he had killed twenty-five young women. The perfume is so captivating that it can enable people to engaged in acts of limitless love. Limitless love is so dangerous that a group of people madly intoxicated by the smell of the magical perfume, kills Grenouille alive. He literally vanishes from the earth.

None of us has extreme lives of this kind: But the point of narrative art is to intensify human experience and get us to reflect on. Story of this young man is illustrative of many of the perspectives I want to speak of during this speech.

Family determines who we eventually become. Familial impact on us takes place at many levels. Perfume demonstrates that Grenouille’s search for this magical fragrant emanating from some beautiful women, is in a way his desire to regain the warmth of his own mother – a pleasurable warmth he never experienced. His desire for those young women is a sublimated form of hating them. As the fantastic perfume he creates is capable making people engaged in mythical acts of love turns into extreme form of violence, his love for those young women leads to the most gruesome murder of them. Unimaginably violent acts on those bodies such as peeling their skins, are performed in a clinically scientific detachment.

Perfume is a work of art not a scientific treatise on how family or the lack of it shapes one’s character. Thus, the novel does not claim that any illegitimate son, who is forced to grow up without his mother, will certainly end up being a serial killer. Works of art provide us with frameworks for further contemplation not exact mathematical formulas.

Let me move on to a ‘the perspective of the community.’ A catholic monk named Terrier arranges a wet nurse for the child. Grenouille spends a few months with this extremely religious wet nurse, who believes that the baby is possessed with the devil because he sucks her dry. Yes. The child drinks a lot of breast milk. With his insatiable thirst for breast milk, the wet nurse refuses to keep him at her house. She also believes that the child except for his excrement does not smell at all.

Within this community where Catholic and pagan beliefs shape people’s thinking, the child does not get to develop any motherly attachment to any women. The wet nurse brings the child back to father Terrier and leaves the baby with him. The priest thinks that when a mother breastfeeds a child regularly, the child develops a certain attachment to the mother’s body and gets used to the rhythm of the heartbeat of the mother. This child would never know a mother’s heartbeat. Thus, we can see Grenouille’s character is crucially shaped by his close community.

Then comes the perspective of the society, which invites us to perceive the question at hand within the framework of larger society. Let’s stick to the novel, Perfume. What was the kind of society in which Grenouille lived in? It was 18th century France, fifty years before the French revolution, and it was a country ruled by kings and their regional deputies. The dominant worldview was the religious one. Scientific thought and human reason were still to become the main source of wisdom. Thus, it is no accident that Grenouille’s last and the most precious victim was mythically beautiful Laure, the only daughter of a regional lord. In that sense, the young perfumer’s search for the perfect scent was an individualist attack on a social structure that made him a bastard and an orphan. After all, that is the very society that made his mother kill her babies because she was too poor to raise them. In addition, she was sexually exploited by men in the positions of power in the society. Still in her twenties, her beauty intact, she hoped to find a man to marry, perhaps, aged widower, and settle herself into a better life.

Thus, selling fish is a something temporary for her. But she keeps getting pregnant by men whose names are not revealed to us. Through them she picks up diseases like syphilis as well. What else a poor young woman, living in the most disgusting corner of the city, can do to her newborns other than to hope for their death? The author of the novel situates her character in a larger societal frame and invites us see the bigger picture of life. In teaching a novel like this, insights from history, political science, sociology can be brought in to enrich the discussion.

As Cuseo and Thompson (2015: 15) maintain,” human societies also consist of groups of people stratified into different social classes with unequal amounts of resources and material wealth; those groups occupying lower social strata have less economic resources and social privilege.”(Humanity, Diversity and the Liberal Arts). Grenouille’s birth and death occur in pre-revolution France where social stratification was so pronounced that, in there, many people of the lowest strata lived a subhuman life. It is not surprising that the French word “Grenouille” means ‘the frog.’

Though there are more to be said about the novel, let me leave it that by summarizing my argument so far: the extraordinary life of this young man, Grenouille, can be better understood when he is analyzed through different perspectives such as family, community, and society. In doing so, we not only understand the young man better we also get to look into larger contexts within which human life is shaped.

Other ways of seeing things

Let me now briefly touch on other perspectives the liberal arts education at its best attempts to develop in students. The national perspective is an angle of vision that helps us reflect on how the realities of nationhood, nation state, national boundaries influence our lives. We all are aware of certain realities, obligations, frustrations and so on exist for us just because of the nature of our nation state. We have to live with them by virtue of being citizens of our nation state.

This is the opening sentence of the novel, Perfume, “In eighteenth-century France there lived a man who was one the most gifted and abominable personages in an era that knew no lack of gifted and abominable personages.” We can immediately see that the writer wants to see the main character’s predicament in ‘France’ in the 18th century. This brings us to the international perspective.

One cannot understand France at the time without understanding how France was connected to a host of other countries even before the French Revolution. A central metaphor of the novel is perfume. Many of the ingredients used to make perfume came through in international naval routes in colonial ships. Phenomenal development of perfume industry in France cannot be understood without referring to colonialism and international trade relations that France had developed with other countries. In addition, some of the girls killed are from Italy. During those days, poor Italian peasants came to France as seasonal workers for harvesting. Moreover, the consumers of those extremely expensive perfume were not just French people. The aristocracy in neighboring countries, perhaps, even in far away countries bought French perfume. Thus, one cannot isolate gruesome murders of one unknown French man, whose name means frog after all, from France’s connections with other countries those days.

I must recall here that I am trying to briefly explain all the perspectives by using a single novel. Still, the novel can be used to explain what we mean by ‘global perspectives.’ It is a quite broader perspective than ‘international’ perspective because it takes into account nearly everything that might have contributed to making a phenomenon. Let’s return to the novel. Grenoulle’s life is connected with so many things other than human affairs such as trade and politics which were discussed earlier. “It extends beyond nations to embrace both human and nonhuman life inhabiting our planet and how these life forms interface with the earth’s natural resources (minerals, air, and water). Human’s share the earth with approximately 10 million animal species and more than 300,000 forms of vegetative life, all of whose needs must be met and balanced to ensure the health and sustainability of our planet” (Cuseo and Thompson, p. 18).

In this novel, the central character is presented as someone much closer to nature than culture. Hence, the name ‘frog.’ He is born on a heap of fish guts, and in that sense too, he is nearly an amphibian. Later in his life, he spends seven years like an animal in a forest cave separated from human civilization. This is how the author explains the Grenouille’s life in that forest. “He also ate dry lichen and grass-berries. Such a diet, although totally unacceptable by bourgeoises standards, did not disgust him in the least. ” During those, seven years of hibernation or the forest-life, he is portrayed as a part of the larger nature of the planet earth. He is an insignificant and a seemingly innocent part of nature itself. But this very man, after being discovered again by the representatives of human civilization and taken into to the city, begins his adventure of murdering twenty odd young women and perfecting the most fragrant perfume in the world- in fact a perfume that can generate the perfect love.

Let me quickly jump into the last perspective, cosmos. This is a wonderful novel in establishing the fact that man, even the central character, Paris, France or the earth, are not entities that stand in themselves. Here, we are not alone. We are part of larger universe; solar systems, milky ways and so on. No wonder that in the middle ages, astronomy was included in liberal arts. Not only that different entities in the universe are inherently connected to one another, we humans keep looking into what is out there. Just last month, scientists claimed that the moon’s top layer of soil contained oxygen that could sustain 8 billion human lives for more than one hundred thousand years.

Here in the novel, Perfume, the unknown, the unseen, the extra-terrestrial, the cosmic, is always present; and every key incident in the novel seems mysterious connected to something else, and to long chain of ‘something-elses’, some of which might extend as far as the heavens. If it is not the heavens, it is the nature, the Nature with a big N. Let me quote a couple of sentences where a certain character’s disappearance is described: “…The last was seen of him was his silhouette: hands lifted ecstatically to heaven and voice raised in song, he disappeared into the blizzard… [They did not find any trace of him] “no clothes, no body parts, no bones…”(Pp. 187-8).

In this speech, I wanted to show that in order to get at some understanding of Grenouille’s life to one has to enter his story from multiple perspectives. Among other things, liberal arts education aspires to cultivate skills in creatively using these perspectives in students. The life of the young man in the novel is an extreme case and the lives of many of us are not nearly as dramatic, tragic or gruesome. Yet, the intellectual training that we develop by trying to understand his life from multiple perspectives can carry over into our real lives. Even the most insignificant lives or phenomenon exists in complex networks of relations. My speech today hopefully contained some insights that could motivate the psychiatrists here in the audience to reflect on the need of situating their ‘subjects’ in a bigger picture. I hope with much that you will never have to treat a serial killer, any killer for that matter. But the seven perspectives I explained above might suggest that you are more than likely to meet some versions of Grenouille- human beings trying to perfect formulas for producing perfect love in an extremely imperfect world.

(Amarakeerthi is professor of Sinhala, University of Peradeniya)