Puppets And Pygmalion Projects

General | By Lily | 2004 Trackbacks (0) Comments (16)   

Remember Pygmalion? His story became the basis for many a play and movie, perhaps the most famous one being "My Fair Lady". Pygmalion was a sculptor from Greek mythology, who carved a statue of his ideal woman, embodying every feminine grace and virtue according to his point of view and his personal taste.  Myth tells us that for months and months, he laboured with all his phenomenal talent and skill and also with a strange compulsion, almost obsession, rounding here, smoothing there, until he had fashioned the most exquisite figure ever conceived by man. So exquisite indeed was his creation, that he fell passionately in love with his statue, and could be seen kissing its marble lips, fingering its marble hands, dressing its flawless soulless body, as if caring for a real person. But very soon, and in spite of the statue's incomparable loveliness and beauty, he became desperately unhappy. The lifeless statue could not respond to his feelings. The cold stone could not return the warmth of his love and the fire of his desire. He had set out to shape his perfect dream woman, but had succeeded only in deepening his own frustration and despair.

But as it turns out in the legend, the goddess Venus took pity on poor frustrated Pygmalion and brought his statue to life for him. He and Galatea embraced and married with the goddess's blessing and lived happily ever after.

But in our closest relationships, we all behave like Pygmalion to some extent. Most people don't see the world as it is, but rather as they are or as they want it to be. Many of us are attracted at first to other people, quite different from ourselves. We seem to take immense pleasure in the contrast and differences at the start. But as we become more involved and more familiar and finally get to know the other better, almost like we do ourselves, we start to vie for control (sometimes even without feeling it or without doing it deliberately, just common human nature I guess) and we begin to see some of these differences as flaws or defects. Suddenly we are no longer satisfied with our loved ones as they are, but we set about to change them, to transform them into our conception of what they should be, make them do what we expect of them, push them around or even push them away. Who hasn't heard the phrase: "I need some space, some time to think." Slowly but surely we are no longer able to just appreciate our loved ones' distinctive ways of living or doing things, but we try to shape them according to our own values or even agendas.

Like Pygmalion, we take up the project of sculpting them little by little, rounding here, smoothing there, to suit ourselves. We snipe and criticise, brow-beat and bully, we sculpt with guilt and with praise, with sulking and with passion, with logic and with tears, just whatever methods come most natural to us. Not that we do this ceaselessly, nor always maliciously, but all too often, almost without thinking, we fall into this pattern of coercive behaviour. And like Pygmalion, we end up inevitably frustrated, since our well-intentioned efforts, to make over our partners, bring us little more than disappointment and conflict. Our loved ones do not and cannot just comply meekly with our interference in their lives. Even if they were to surrender to our pressure, they would have to destroy in themselves that which attracted us to them in the first place. Their individuality, their uniqueness, their distinct breath of life.

Our Pygmalion projects must fail. Either our loved ones fight back, and our relationships turn into battlegrounds; or they give in to us, and become as lifeless as Pygmalion's statue. In this paradoxical game, we are bound to lose. For we lose, even if we win.

Yes, in the legend, Pygmalion and his former statue, who became his woman, lived happily ever after. But only because a goddess interfered. The rest of us, mere mortals however, cannot rely on such miraculous intervention. Living in the real world, we are responsible for ourselves and for the success of our relationships. This means that we must find a way to abandon our Pygmalion projects before they even start, by learning, if we can, to honour our fundamental differences in personality, our unique strengths, our individual inputs. For only by respecting the right of our loved ones to be different from ourselves, to be perfect in their own way, can we begin to make the beauty of our own relationships come alive.

 



Current Mood: Preachy
Current Music: Puppet Man - Tom Jones


A Story Of Love And Control

General | By Lily | 2004 Trackbacks (0) Comments (4)   

Before I embark on writing about love and control I would like to post a story written by someone else. Tomorrow I will go all preachy on you :P

The Puppet

Once upon a time there was a Master puppeteer. A ' Master' because he trained his puppets to know the steps of the dance even before he started up the music. Moving from village to village putting up a show, sometimes here and sometimes there, his fame grew. In time, when news of his show spread, villagers from all around came to watch the Master puppeteer make his puppets dance.

One day, while resting in an enchanted forest, he found a piece of wood.  There was something different about it. Intrigued by its shape and feel and colour, he decided to make a new puppet from it. The wood was raw and unseasoned and all who watched him struggling to fashion the puppet were doubtful whether it would ever dance as well as the seasoned, well-rehearsed ones; but the puppeteer had faith in his own expertise.

Gently bending and twisting his new puppet into shape, he was finally satisfied with it and smiled. The warmth of his smile thawed the sap in the raw wood, and its arms and legs went all awry, dancing a mad, mad dance.

The Master puppeteer was irritated and frowned. His icy glare froze the puppet back into shape, forcing the sap out of it's wide-open eyes. Each time this happened the sap grew less and less; and the distortions decreased since the Master almost never smiled at the puppet, although he was pleased for longer and longer periods. Finally he believed the sap had dried up since the puppet performed more perfectly than the other puppets. It's wooden face and expressionless, wide-open eyes were sapless, as is the case with any good puppet. Everyone was amazed at the transformation. The Master puppeteer was very pleased with his creation and smiled broadly. He had succeeded in making the perfect puppet!

His pleasure was so great, and his smile so warm, it squeezed out the last remnant of sap that lay hidden in the puppet's heart. The puppet danced riotously, wildly flinging out its arms to the sky, revelling in its Master's pleasure. The Master puppeteer was furious. Taking a sharp knife out of his bag he pushed the point into the puppets heart, squeezing out the last drop of sap.

The puppet twitched a few times, then shrivelled up and died. Although a Master at his trade, the puppeteer had not realized that it was the sap, that had made the puppet so perfect, giving it that extra flexibility that the other puppets lacked and that had given him so much pleasure. Disgustedly throwing the dead puppet on the wayside, he went on to the next performance in a distant village.

The villagers were already gathered when he got there. They watched with hushed breath as he set up his stage. The puppets were soon ready and the show began. Each puppet obeying his every command, every slight movement of his  long fingers until at last, amidst a burst of applause, the show was  over.  The villagers were impressed, but the Master knew none of his puppets had performed as perfectly as the puppet he had destroyed. They did not have the same effusive spontaneity of movement, the same joy of dancing to his command, and he was dissatisfied.

This went on for days and days, until one day he passed by the place where the discarded puppet lay motionless, covered by the dust. Picking it up, he smiled nostalgically, remembering its antics while it lived.  The warmth of his smile revived the long dead puppet. Moving slowly at first, then throwing up its arms to the sky, it danced for the pleasure of its Master.

The Master puppeteer threw back his head and roared with laughter at its awkward movements, and put the puppet in his pocket. This puppet he would keep for his own pleasure, it was the only one that danced for him alone.

Written by Zeejah



Current Mood: Heartbroken
Current Music: Im a Marionette - ABBA


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