Skip to main content

Scottish Country Dancing with Michael Argyle

In December 2010 I wrote to my New Zealand colleague and friend Helen Greenwood, mentioning in passing her encounters on the dance floor with Michael Argyle, the social psychologist. Helen replied, asking, “What's the link with Michael Argyle? I know him as a particularly reckless but enthusiastic Scottish country dancer.” This email followed:

-----Original Message-----
Sent: Monday, 13 December 2010 10:59 p.m.
To: Helen Greenwood
Subject: Michael Argyle

I have always wondered why you seem fairly indifferent when I mention
Michael Argyle. I have several times over the years. To me, the very concept
of actually DANCING with Michael Argyle is stupendous.

http://en.wikipedia.org/wiki/Michael_Argyle_%28psychologist%29

https://www.theguardian.com/news/2002/oct/03/guardianobituaries.highereducation

We had several of his books at Joint Theological Library [Note: today the Dalton McCaughey Library in Parkville, Victoria, Australia]. He was a fascinating thinker of the old school and no school. He took the need for happiness seriously and made it
his life's work. His conclusions, scientifically-based but no doubt too in
part intuitive, are a mixture of the literary-reflective and the
empirical-experimental. He is the sort of person that possibly only England
in the 20th-century could have produced. Instead of just saying that a happy
life involves being involved in several activities of which you are
passionate, he proves it by surveys and tests. This I find both amusing and
admirable, that Argyle did this, I mean.

Scottish Country Dancing shows up all the time as one of his passions, so it
is always funny to hear you say that he was "reckless" and other things
you've said over the years. My impression from what you say is that his
ability was not always a match for his enthusiasm. This only makes him more
admirable and lovable, in my view and quite a distance from the dance floor.

I relate at a meaningful level with his project of human possibilities, with
what we desire and what we cannot always achieve, any of us. It's marvellous
to think that someone would devote themselves to such a scheme.

Love
Philip

Helen Greenwood replied:

That's because you never had to dodge him. He was terribly enthusiastic and
obviously loved it, but not that skilful. I've seen a number of his articles
on happiness, but we were always pleased that he chose Scottish country
dancing to be joyful about.

H



 

Comments

Popular posts from this blog

Why did Dante write The Divine Comedy?

This is one of two short papers given by Philip Harvey at the first Spiritual Reading Group session for 2014 on Tuesday the 18 th of February in the Carmelite Library in Middle Park. He also gave a paper on that occasion, which can be found on the Library blog, entitled ‘A Rationale for Purgatory’ . Nadezhda Mandelstam recalls in one of her books how her husband, the Russian poet Osip Mandelstam, would say that when reading poetry we can spend a great deal of time discussing what it means, but the first and main question about a poem is not what does it mean, but why was it written. That is the place to start. Here are eleven reasons that I offer quietly to help us think about this poem: Why did Dante write The Divine Comedy? You may have other reasons and these are invited. We will spend most of our time today looking at meanings, but also at why. I wrote these out as they occurred to me, so there is no priority order. 1.      He wrote the poem because ...

The Walk (Seamus Heaney)

This poem was read aloud at Janet Campbell’s funeral in Hamilton in Victoria in December 2006. Janet was a great lover of poetry all her life, a great reader of poetry, and she read everything of Seamus Heaney. Indeed, when she worked in Melbourne or London bookshops Janet would grab hold of Faber pre-publication copies of Heaney if they came into the backroom, and disappear for days, copying lines onto postcards for her friends, transferring lines into her lifetime of diaries. Diaries that were also a lifeline. Janet read everything, but Heaney was one of the regulars. Seamus Heaney keeps a tight line. He is rarely though completely opaque and the way into this poem is the word ‘longshot’. We only find in the second of the two poems that we are being asked to look at two photographs. Or, at least, poems that are like photographs. Or, better still, strong memories that have taken on in the mind the nature of longshots. The two poems in one are reminders of close relationships. ...

The Poetry of Rowan Williams

Rowan Williams delivers the twelfth John Rylands Poetry Reading last year   This is a paper given by Philip Harvey in the Hughes Room at St Peter’s Church, Eastern Hill, Melbourne on Sunday the 6 th of December as one in an Advent series on religious poets. The original title of the paper was ‘The text that maps our losses and longings’. Everything Rowan Williams says and writes reveals a person with a highly developed sensitivity to language, its force, directness, instantaneousness, its subtlety, indirectness, longevity. A person though may speak three languages fluently and read at least nine languages with ease, as he does, and still not engage with language in the way we are looking at here. Because Rowan is unquestionably someone with a poetic gift. By that I don’t just mean he writes poetry, I mean he engages with the life of words, their meanings, ambiguities, colours, their playfulness, invention, sounds. We find this in those writings of his that delibe...