Sandy Stranger Character Analysis

‘Miss Brodie says prime is best,’ Sandy said.
‘Yes, but she never got married like our mothers and fathers.’
‘They don’t have primes,’ said Sandy.
‘They have sexual intercourse,’ Jenny said.

Sandy looked back at her companions and understood them as a body with Miss Brodie for the head. She perceived herself, the absent Jenny, the ever-blamed Mary, Rose, Eunice, and Monica, all in a frightening little moment, in unified compliance to the destiny of Miss Brodie, as if God had willed them to birth for that purpose.

Mussolini had put an end to unemployment with his fascisti and there was no litter in the streets. It occurred to Sandy, there at the end of the Middle Meadow Walk, that the Brodie set was Miss Brodie’s fascisti, not to the naked eye, marching along, but all knit together for her need and in another way, marching along.

And if people take their clothes off in front of each other, thought Sandy, it is so rude, they are bound to be put off their passion for a moment. And if they are put off just for a single moment, how can they be swept away in the urge? If it all happens in a flash…

Sandy caught his [Mr. Teddy Lloyd’s] glance towards Miss Brodie as if seeking her approval for his very artistic attitude and Sandy saw her smile back as would a goddess with superior understanding smile to a god away on the mountain tops.

The shuttle of the sewing machines went up and down, which usually caused Sandy and Jenny to giggle, since at that time everything that could conceivably bear a sexual interpretation immediately did so to them. But the absence of Miss Brodie and the presence of Miss Gaunt had a definite subtracting effect from the sexual significance of everything, and the trepidation of the two sewing sisters contributed to the effect of grim realism.

It is seven years, thought Sandy, since I betrayed this tiresome woman [Miss Brodie]. What does she mean by ‘betray’? She was looking at the hills as if to see there the first and unbetrayable Miss Brodie, indifferent to criticism as a crag.

This was the first time the girls had heard of Hugh’s artistic leanings. Sandy puzzled over this with Jenny, and it came to them both that Miss Brodie was making her new love story fir the old… Sandy was fascinated by this method of making patterns was facts, and was divided between her admiration for the technique and the pressing need t prove Miss Brodie guilty of misconduct.

It was twenty-five years before Sandy had so far recovered from a creeping vision of disorder that she could look back and recognize that Miss Brodie’s defective sense of self-criticism had not been without its beneficent and enlarging effects; by which time Sandy had already betrayed Miss Brodie and Miss Brodie was laid in her grave.

‘Do you know, Sandy dear, all my ambitions are for you and Rose. You have got insight, perhaps not quite spiritual, but you’re a deep one, and Rose has got instinct, Rose has got instinct.’

In fact, it was the religion of Calvin of which Sandy felt deprived, or rather a specified recognition of it. She desired this birthright; something definite to reject. It pervaded the place in proportion as it was unacknowledged. In some ways the most real and rooted people whom Sandy knew were Miss Gaunt and the Kerr sisters who made no evasions about their belief that God had planned for practically everybody before they were born a nasty surprise when they died.

She [Sandy] began to sense what went to the makings of Miss Brodie who had elected herself to grace in a particular way and with more exotic suicidal enchantment than if she had simply taken to drink like other spinsters who couldn’t stand it any more.

It was plain that Miss Brodie wanted Rose with her instinct to start preparing to be Teddy Lloyd’s lover, and Sandy with her insight to act as informant on the affair. It was to this end that Rose and Sandy had been chose as the crème de la crème.

She [Miss Brodie] thinks she is Providence, thought Sandy, she thinks she is the God of Calvin, she sees the beginning and the end. And Sandy thought, too, the woman is an unconscious lesbian. And many theories from the books of psychology categorized Miss Brodie, but failed to obliterate her image from the canvases of one-armed Teddy Lloyd.

The more she [Sandy] discovered him [Mr. Lloyd] to be in love with Jean Brodie, the more she was curious about the mind that loved the woman. By the end of the year it happened that she had quite lost interest in the man himself, but was deeply absorbed in his mind, from which she extracted, among other things, his religion as a pith from a husk.

‘What were the main influences of your schooldays, Sister Helena? Were they literary or political or personal? Was it Calvinism?’

Sandy said: ‘There was a Miss Jean Brodie in her prime.’

‘Miss Brodie says prime is best,’ Sandy said.
‘Yes, but she never got married like our mothers and fathers.’
‘They don’t have primes,’ said Sandy.
‘They have sexual intercourse,’ Jenny said.

Sandy looked back at her companions and understood them as a body with Miss Brodie for the head. She perceived herself, the absent Jenny, the ever-blamed Mary, Rose, Eunice, and Monica, all in a frightening little moment, in unified compliance to the destiny of Miss Brodie, as if God had willed them to birth for that purpose.

Mussolini had put an end to unemployment with his fascisti and there was no litter in the streets. It occurred to Sandy, there at the end of the Middle Meadow Walk, that the Brodie set was Miss Brodie’s fascisti, not to the naked eye, marching along, but all knit together for her need and in another way, marching along.

And if people take their clothes off in front of each other, thought Sandy, it is so rude, they are bound to be put off their passion for a moment. And if they are put off just for a single moment, how can they be swept away in the urge? If it all happens in a flash…

Sandy caught his [Mr. Teddy Lloyd’s] glance towards Miss Brodie as if seeking her approval for his very artistic attitude and Sandy saw her smile back as would a goddess with superior understanding smile to a god away on the mountain tops.

The shuttle of the sewing machines went up and down, which usually caused Sandy and Jenny to giggle, since at that time everything that could conceivably bear a sexual interpretation immediately did so to them. But the absence of Miss Brodie and the presence of Miss Gaunt had a definite subtracting effect from the sexual significance of everything, and the trepidation of the two sewing sisters contributed to the effect of grim realism.

It is seven years, thought Sandy, since I betrayed this tiresome woman [Miss Brodie]. What does she mean by ‘betray’? She was looking at the hills as if to see there the first and unbetrayable Miss Brodie, indifferent to criticism as a crag.

This was the first time the girls had heard of Hugh’s artistic leanings. Sandy puzzled over this with Jenny, and it came to them both that Miss Brodie was making her new love story fir the old… Sandy was fascinated by this method of making patterns was facts, and was divided between her admiration for the technique and the pressing need t prove Miss Brodie guilty of misconduct.

It was twenty-five years before Sandy had so far recovered from a creeping vision of disorder that she could look back and recognize that Miss Brodie’s defective sense of self-criticism had not been without its beneficent and enlarging effects; by which time Sandy had already betrayed Miss Brodie and Miss Brodie was laid in her grave.

‘Do you know, Sandy dear, all my ambitions are for you and Rose. You have got insight, perhaps not quite spiritual, but you’re a deep one, and Rose has got instinct, Rose has got instinct.’

In fact, it was the religion of Calvin of which Sandy felt deprived, or rather a specified recognition of it. She desired this birthright; something definite to reject. It pervaded the place in proportion as it was unacknowledged. In some ways the most real and rooted people whom Sandy knew were Miss Gaunt and the Kerr sisters who made no evasions about their belief that God had planned for practically everybody before they were born a nasty surprise when they died.

She [Sandy] began to sense what went to the makings of Miss Brodie who had elected herself to grace in a particular way and with more exotic suicidal enchantment than if she had simply taken to drink like other spinsters who couldn’t stand it any more.

It was plain that Miss Brodie wanted Rose with her instinct to start preparing to be Teddy Lloyd’s lover, and Sandy with her insight to act as informant on the affair. It was to this end that Rose and Sandy had been chose as the crème de la crème.

She [Miss Brodie] thinks she is Providence, thought Sandy, she thinks she is the God of Calvin, she sees the beginning and the end. And Sandy thought, too, the woman is an unconscious lesbian. And many theories from the books of psychology categorized Miss Brodie, but failed to obliterate her image from the canvases of one-armed Teddy Lloyd.

The more she [Sandy] discovered him [Mr. Lloyd] to be in love with Jean Brodie, the more she was curious about the mind that loved the woman. By the end of the year it happened that she had quite lost interest in the man himself, but was deeply absorbed in his mind, from which she extracted, among other things, his religion as a pith from a husk.

‘What were the main influences of your schooldays, Sister Helena? Were they literary or political or personal? Was it Calvinism?’

Sandy said: ‘There was a Miss Jean Brodie in her prime.’