Jean Brodie
"She thinks she is Providence, thought Sandy, she thinks she is the God of Calvin." In some ways she is: in her prime she draws her chosen few to herself, much as Calvinists understand God to draw the elect to their salvation. With regard to religion, Miss Brodie "was not in any doubt, she let everyone know she was in no doubt, that God was on her side whatever her course, and so she experienced no difficulty or sense of hypocrisy in worship while at the same time she went to bed with the singing master." Feeling herself fated one way or another, Brodie acts as if she transcends morality.
Sandy Stranger
Of the set, "Miss Brodie fixed on Sandy," taking her as her special confidante. She is characterised as having "small, almost nonexistent, eyes" and a peering gaze. Miss Brodie repeatedly reminds Sandy that she has insight but no instinct. Sandy rejects Calvinism, reacting against its rigid predestination in favour of Roman Catholicism.
Rose Stanley
In contrast to Sandy, Rose is an attractive blonde with (according to Miss Brodie) instinct but no insight. Though somewhat undeservedly, Rose is "famous for sex", and the art teacher Mr. Lloyd asks her to model for his paintings: it rapidly becomes clear that he has no sexual interest in her and uses her simply because she is a good model. In every painting, Rose has the likeness of Brodie, whom Mr. Lloyd stubbornly loves. Rose and Sandy are the two girls in whom Miss Brodie places the most hope of becoming the crème de la crème . Again unlike Sandy, Rose "shook off Miss Brodie's influence as a dog shakes pond-water from its coat."
Mary Macgregor
Dim-witted and slow, Mary is Brodie's scapegoat. Mary meekly bears the blame for everything that goes wrong. At the age of 23 she dies in a hotel fire, killed running back and forth through the hotel, unable to escape.
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