Archive for September, 2019

Why Learn Latin?

September 30th, 2019

Boudica, Queen of the Iceni, would no doubt have opposed the teaching of Latin in schools.

When I first taught Classics in a prep school, I had been asked by a headmaster friend to provide cover in an emergency. I felt no need to question whether lessons in the Classics were a waste of my own and my pupils’ time, or whether I was complicit in such crimes as the perpetuation of elitism, privilege and pointless tradition. The job was there, and I took it.

My passion for the Classics – embracing Latin and Greek grammar, mythology and Ancient History – dates from childhood and is something I was itching to share. All that pent-up enthusiasm made my lessons, for me at least, not only enjoyable but also immensely rewarding, as if I were passing on a torch. As a result I have been ‘covering in emergencies’, at a series of prestigious prep schools, ever since. Teaching is no longer just ‘a job’ for me. I really do feel as though I am on a mission.

Whilst many pupils are soon won over and able to see ‘the point’ of their Classical studies, there are always a few who are harder, or impossible, to convince. Sooner or later, the dreaded ‘D’ word, surely picked up from sceptical parents, will spring to their lips. So what is the point, they ask, of learning a ‘dead’ language?

My old school friend, the author Simon Winder, is such a sceptic. I thought he rather enjoyed our lessons with the legendary ‘Bird’ Raven, but then I read: ‘On a conservative estimate I must have spent over a thousand hours of my childhood in Latin lessons … In an adult spasm of masochism I recently bought Teach Yourself Latin which, to my total dismay, showed that eight years of Latin lessons had actually only got me about twenty-five pages into a three-hundred-page book’ (Germania, London, 2010, p.9).

However, my battered copy of our hand-written revision notes (only someone like me would have kept it) includes such arcana as Gerunds, Gerundives and Deponent Verbs, proof that, by the age of eleven, ‘Bird’ had already steered us to what is now GCSE level – but Winder always loved to exaggerate for comic effect.

I do not believe that Latin can truly be described as ‘dead’ when it survives, in heavily adapted and accented forms, in all modern European languages, including our own. A striking instance is the conjugation of the verb ‘to be’ (sum, es, est, sumus, estis, sunt), which survives virtually intact in, for example, modern French (suis, es, est, sommes, êtes, sont). The differences are a mere matter of spelling and pronunciation, adapted to local palettes in the intervening millennia. (Incidentally, the last sentence alone contains eight borrowings from Latin.)

It has therefore often been said in defence of the Classics that they smooth the path to learning these more obviously useful or relevant languages, or to making sense of those with which one is unfamiliar. I believe this is undeniably true. Italian, for example, comes very easily to a Classicist.

A colleague who asked his pupils to write a defence of Latin showed me the response of a particularly sharp-witted boy who had been on a trip to Romania. He claimed to have recognised at once the meaning of a sign that read ‘Nu pecunie preste noapte’, for it was merely a garbled form of the Latin ‘nulla pecunia per noctem’, no cash overnight.

In justifying a Classical education, I prefer to avoid the usual arguments, however convincing, about linguistic skills and how helpful it is with one’s English grammar and vocabulary. I once taught the son of a well-known adventurer and survival-expert who regularly questioned his need to learn a ‘dead language’, since he was bent on a career as a bush-pilot. The intellectual case for Latin was hardly going to convince a young child. Eventually I wrote in his end-of-year report: ‘Johnny may not need to know Latin in his future career as a bush-pilot, but it might make him a more interesting person’.

For Johnny’s brush with an ancient language may turn out to be the greatest intellectual challenge of his life and he will surely be the better for it. I have found in my various schools that the Classicist is still held in some esteem by colleagues – the geographers, the chemists – who are in awe of the apparent complexity of his subject and apt to consult him on general matters as if he were an oracle. The Classics are worth keeping for that reason alone.

I take as my model the Classics master at Oundle in the late 19th century, of whom it was said: ‘He teaches Classics, but he teaches much more than Classics: from him the boys get their inspiration and ideals’. There is nothing else on the curriculum that is so broad in its remit. When the grammar is taught well, it should be integral to the wider study of Classical civilisation, with all sorts of moral lessons adduced.

Stories of virtuous Romans like Horatius, Mucius Scaevola and Cloelia are all on the Common Entrance syllabus, and even the youngest children can appreciate the wisdom of well-known Latin quotations like ‘carpe diem’ (Horace) and ‘festina lente’ (the Emperor Augustus), both neat illustrations of the imperative. If education is about introducing children to worlds beyond their own, the Classical world is the broadest horizon they will see.

The father of ‘Utilitarianism’, Jeremy Bentham, who embarked on his own Classical education at the age of three, nevertheless opposed it for others, apparently because he regarded the ancients as immoral. Thus ‘while men are acquiring false words they are acquiring false ideas of things’ (Brian W. Taylor, ‘Jeremy Bentham and the Education of the Irish People’, The Irish Journal of Education, 1980, xiv, i, pp.22-3).

Bentham’s position was somewhat extreme – he considered poetry, in any language, to be ‘useless’ – but the ‘Utilitarian’ argument against the Classics is the one most commonly voiced today, as by the blogger Donald Clark (‘Latin is an old fossil that became stuck in the curriculum, not because of its intrinsic worth, but because of snobbery and tradition’ – http://donaldclarkplanb.blogspot.com/2011/02/10-reasons-not-to-learn-latin.html). Why in that case expose children to poetry or any literature that has no obviously useful purpose? Surely ‘education’ is about more than equipping the young to be drones in the workplace; and if the aim is that they should be able to count and express themselves, then Latin is likely to be more ‘useful’ than, say, Geography.

Clark considers the classical education to be a ‘waste of time’ and its advocates elitist snobs, yet the less it is taught, the more elitist it will become. It is not the fault of the private schools that it has largely been abandoned in the state sector, nor that the Classicist is perceived as almost the definition of a learned man or woman. The Latin word classicus means, after all, ‘front-rank’, ‘exemplary’ or ‘high-class’. As the arriviste knows all too well, Classicists stand in the front rank of educated men and women.

The footballer David Beckham, for example, has at least three Latin inscriptions among his many tattoos, and has had his children educated in Latin at exclusive schools. According to the College of Arms website, new grantees of arms like Sir Christopher Frayling and Sir George Martin almost invariably opt for Latin mottos to accompany their escutcheons, despite the advice of the heralds that these can be in any language (https://www.college-of-arms.gov.uk/news-grants?start=5).

It is striking, too, how many of the leading multi-national companies have names that hark back to Classical Greece or Rome (Amazon, Nike, Visa, Oracle etc.), no doubt as much because of their allure as because of their being universally recognisable.  At my son’s nursery school there are (unrelated) boys called ‘Jupiter’ and ‘Priam’. Like it or not, the Classics continue to command considerable prestige.

The main purpose of education is surely to introduce the young to the accumulated knowledge and wisdom of their elders. Far from being of mere antiquarian interest, ancient Greece and Rome have shaped our civilisation. Their legacy is all around us and deep inside us. The clinching argument, perhaps, is that through the study of the Classics we connect with our roots in the ancient world. In Peter Green’s neat phrase, it is a pathway to understanding the ‘long perspective of the past’ that has led to ourselves (https://www.cornellcollege.edu/classical_studies/amici/classicaliowa/greeninterview.shtml). Mary Beard has written (Confronting the Classics, London, 2014, pp.3, 9) of the ‘terrifying fragility of our connections with distant antiquity … the fear of the barbarians at the gates and that we are simply not up to the preservation of what we value’. The Classical languages and literature constitute ‘an essential and ineradicable dialect’ of our culture which cannot be amputated from the modern world, unless – she warns – there is to be ‘a dark future of misunderstanding’.

In his Elegy written in a Country Churchyard (once a standard of English literature, no doubt little read today), Thomas Gray reflected that the ‘rude forefathers of the hamlet’ in their neglected graves might, in other circumstances, have been distinguished men of action or of letters,

But Knowledge to their eyes her ample page

Rich with the spoils of time did ne’er unroll …

I suspect that most people would now struggle with Gray’s Elegy and with the vocabulary and allusions of the classically-educated poet. Are words like ‘jocund’ and ‘sequester’d’ readily understood today, and who is able to identify Hampden, Milton or, indeed, the Muse? Gray pre-supposes an audience who are as well-educated as himself. The child who is taught Classics is offered a head-start when it comes to broad culture, sophistication and eloquence. Should we deny that wealth of knowledge to the young?

Humane Classical learning has, moreover, been a solace to generations of men, from Oscar Wilde in his prison cell to T.E. Lawrence in his barrack-room and even to Karen Blixen’s great love, Denys Finch-Hatton (‘Denys taught me Latin, and to read the Bible, and the Greek poets’), who actually was a bush-pilot. Utilitarians will no doubt scoff.

Even to a beleaguered sixth-century Roman, Cassiodorus, Latin and its literature seemed a source of wisdom, virtue and stability as all else crumbled. ‘Arma enim et reliqua gentes habent,’ he wrote plaintively; ‘sola reperitur eloquentia, quae Romanorum dominis obsecundat’ (For the tribesmen have their arms and the rest; eloquence is found in sole obedience to the lords of the Romans).

It may not be for me to justify my work, which, to borrow a phrase from Herodotus, is merely λεγειν τα λεγομενα – to declare what has been handed down. Yet I still have that feeling of passing on a torch through my lessons. To quote Horace (Carmina III, i),

carmina non prius

audita Musarum sacerdos

virginibus puerisque canto

(As priest of the Muses

I sing for girls and boys

Songs never heard before).

I like to think of myself, therefore, as one of the conservators of that great tradition that has shaped our language, architecture, art, literature, economy, legal systems, politics and so much else, a potentially priceless gift and an offering to the young to do with in turn as they think fit.

Le Duche d’Uzès: Remembering Proust in a Ducal Fortress

September 6th, 2019

Le Duche d’Uzès: ducal abode in the middle of a city

When Proust was travelling ‘the Guermantes Way’ in the 1890s, charming the aristocratic hostesses of the Faubourg Saint-Germain and frequenting their salons and soirées, one of the families he encountered was that of Crussol d’Uzès. The duc d’Uzès (creation 1565) was the second most senior duke in France, only a short head behind the duc de La Trémoïlle (1563). That line died out in 1933, so the duc d’Uzès has since been France’s premier duke and peer.

Ducal carpet in the salon

The Crussols had been intimates of the royal family since at least the fourteenth century, the holders of high office and active on many a campaign. Their motto, indeed, is Ferro non auro, ‘By steel, not gold’. Louis XVIII once expressed his surprise that none of them had ever been a Marshal of France. ‘Sire,’ replied the duke, ‘nous nous faisons tuer avant (we always seem to get ourselves killed beforehand).’

The first part of the family name recalls their long-abandoned stronghold in the Rhône valley, opposite Valence, while the second marks their lordship of Uzès, an ancient city in Occitania. They also maintained an hôtel in the rue Montmartre, for these places are in the deep south, far indeed from Paris and the court. ‘Uzès!’ said André Malraux, General de Gaulle’s Minister of Culture and a friend of the family, ‘but that’s even further away than China!’

Inside the courtyard

The dominant member of the family in Proust’s time was the ‘Grande Duchesse’ (born Anne de Rochechouart de Mortemart), a talented sculptress who contributed the figure of Saint Hubert to Sacré Coeur, a yachtswoman, a feminist and a fanatical rider-to-hounds; also the first woman in France to hold a driving licence (1889) and the first to receive a fine for speeding (1893), after her Delahaye had topped 15km per hour in the Bois de Boulogne. Whilst admiring this formidable lady for her varied achievements, Proust was unable to detect in her any of the famed ‘Mortemart wit’. She was, however, the granddaughter and sole heiress of the Veuve Cliquot, and thus introduced an intoxicating and enriching dose of bourgeois blood to the Crussol line.

Determined that her son Jacques should avoid a more flagrant mésalliance – he ‘became infatuated with the cocotte Émilienne d’Alençon, who was exhibiting a troupe of performing white rabbits – though nobody had eyes for the rabbits’ – she packed him off to Africa, where he died of enteric fever in 1893. The last straw had been Émilienne’s disporting herself in public with the family jewels. The episode made an impression on Proust, for in his Recherche it apparently ‘suggested Saint-Loup’s exile to Morocco as punishment for his extravagant gifts to Rachel’. (George Painter, Marcel Proust: A Biography, I, New York 1959, pp.163-4; http://www.uzes.com/.)

The dining-room

Though it is usual to pronounce the final ’s’ in Uzès, Proust discovered that the gratin had their own rendering of this and other famous names, whether from long tradition or as a way of enhancing their exclusivity. In Sodome et Gomorrhe (Bouquin edition II, Paris 1987, p.665), the snobbish outsider, Mme de Cambremer, is disconcerted to hear an acquaintance speak of ‘ma tante d’Uzai’ and of ‘mon onk de Rouan’, not immediately recognising the famous names that she herself pronounced ‘Uzès’ and ‘Rohan’. The very next day, when a friend refers to a bust of the duchesse d’Uzès, Mme de Cambremer is delighted to correct her. ‘Vous pourriez au moins prononcer comme il faut (you could at least pronounce it correctly),’ she says haughtily: ‘Mame d’Uzai.’

The snobbery that Proust encountered in the Faubourg – and documented in his novels – was breathtaking. The present duke, however, is a man of the people. I am reliably informed that the taxi that conveys him from Nîmes airport for his monthly visits to Uzès is instructed to call first at McDonald’s restaurant, whose ‘drive-thru’ facility is conveniently located on the edge of the modern city.

The Duché d’Uzès: An Appreciation

His modest address in the Place du Duché, Uzès, hardly prepares one for the grand residence of France’s premier duke and peer. Approaching through a narrow side street, one glimpses a turret on a tall building ahead, a fluttering banner, an elaborate escutcheon worked into the brown tiles of a steep roof. Emerging into the Place, one is suddenly confronted by a full-blown castle in the middle of the historic city, one that, most unusually, is occupied by its original family as it has been for a thousand years.

The three elements to the castle are instantly laid bare in the main courtyard that is accessed through a door from the Place. The oldest and most prominent of these is La Tour Bermond, a massive square keep, fifty metres high, named for the lord of Uzès who built it in the twelfth century.

Then there are the fourteenth-century ramparts, projecting from one side of the keep, which were added by lord Robert after his elevation to vicomte in 1328. Robert’s apartments, the so-called ‘vicomté’, which are built into these ramparts, are disguised behind a nineteenth-century façade, though with a tall hexagonal turret at one end.

Simone d’Uzès: prized heiress

Finally, another medieval range that projected from the keep was aggrandised in fine Renaissance style by the Crussols, for Charles de Crussol, Grand Pantryman of France, had in 1486 married Simone d’Uzès, the prized heiress to Bermond and Robert’s line. Their grandson, Antoine, became the first duc d’Uzès in 1565. An associate of the sinister Catherine de’ Medici and a trimmer, renouncing his Protestantism in timely fashion in 1572, Antoine employed a sensitive and learned architect on his renovated apartments, ‘le Duché’, the striking façade of which features Doric, Ionian and Corinthian columns in layers for each floor.

His father Charles had already paved the way with the splendid vaulted staircase of c.1515, quite taxing to any but the nimble, that now leads to these rooms. The first of them is a hallway containing two exceptional treasures, laid out on cushions: a helmet from the time of Joan of Arc, in excellent condition; and – a great curiosity – a lamp said to be a relic from the Crusades, lords of Uzès having participated, as vassals of the Counts of Toulouse, in the Fourth and probably also the First Crusades. It seems to me very rare that a family should preserve any artefact of so early a date.

Crussols in ruffs and lace gaze down from the walls (including the Grand Pantryman Louis with his trim beard, last of the family from whom I myself am directly descended). The room is simply furnished, even austere, as is fitting in a living fortress: ‘In our halls is hung armoury of the invincible knights of old,’ as Wordsworth puts it. The theme is continued in an adjoining vestibule, where there are portraits of more recent Crussols, including a full-length one of the present duke, a sleek and elegant figure in a dinner jacket, his arms casually folded.

Louis de Crussol, Grand Pantryman and Governor of the Dauphine (died 1473)

These rooms lead to a grand ‘state’ room, a Wedgwood-blue salon with a lot of white-and-blue porcelain and Louis Quinze chairs with red and gold covers. Despite the warm colours, there is a coldness to rooms of such conventional formality, and the modest fireplace tucked into one corner would hardly have raised the temperature. I was struck, however, by the elaborate carpet commissioned by the present duke that bears his achievement of arms, with its multiple quarterings, which, indeed, is ubiquitous throughout the castle; and was tempted by the glimpse of a more intimate room beyond, all in red, into which one is not invited.

Instead, one is steered through a long, cool passage into one of the many bedrooms that lead off it – the ‘Yellow Room’, with its memories of ‘la Grande Duchesse’ – and the dining-room, where an immaculate Aubusson tapestry is framed by hunting trophies (hers, probably). A large, fifteenth-century triptych depicting members of the royal house hangs nonchalantly above a sideboard, on which a portrait of that precious commodity, Simone d’Uzès, has been propped – a happy-looking girl with rosy cheeks and a hint of a smile. The fifteenth-century chapel beyond was refurbished in 1838 and includes a colourful wall-painting of the family’s heraldry.

There is only a small, formal garden at the back of the Duché. The park, watered by the river Alzon, is across the city, outside the walls, and is a public amenity.

The charming and expertly trained guides at le Duché, looking like matelots in their white denims and T-shirts, are as well-versed in heraldry and genealogy as any Guermantes. Le Duché is a carefully managed stage-set, a romantic anachronism, yet is perfectly pitched at anyone, like me, who thrills in Grand Pantrymen and crusader lamps.

Crusader lamp