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Following on the Christmas holiday, here is a little something that is, given the book from which it is taken, tangentially related. Both of these paragraphs are from C. S. Lewis’ Introduction to an edition of Athanasius’ On the Incarnation. They each contain a great deal of wisdom about the reading of old books. First, on actually reading the old books:

“There is a strange idea abroad that in every subject the ancient books should be read only by the professionals, and that the amateur should content himself with the modern books. Thus I have found as a tutor in English Literature that if the average student wants to find out something about Platonism, the very last thing he thinks of doing is to take a translation of Plato off the library shelf and read the Symposium. He would rather read some dreary modern book ten times as long, all about “isms” and influences and only once in twelve pages telling him what Plato actually said. The error is rather an amiable one, for it springs from humility. The student is half afraid to meet one of the great philosophers face to face. He feels himself inadequate and thinks he will not understand him. But if he only knew, the great man, just because of his greatness, is much more intelligible than his modern commentator. The simplest student will be able to understand, if not all, yet a very great deal of what Plato said; but hardly anyone can understand some modern books on Platonism. It has always therefore been one of my main endeavours as a teacher to persuade the young that firsthand knowledge is not only more worth acquiring than secondhand knowledge, but is usually much easier and more delightful to acquire.”

And secondly, on the epistemological benefits of reading the old books:

“Every age has its own outlook. It is specially good at seeing certain truths and specially liable to make certain mistakes. We all, therefore, need the books that will correct the characteristic mistakes of our own period. And that means the old books. All contemporary writers share to some extent the contemporary outlook – even those, like myself, who seem most opposed to it. Nothing strikes me more when I read the controversies of past ages than the fact that both sides were usually assuming without question a good deal which we should now absolutely deny. They thought that they were as completely opposed as two sides could be, but in fact they were all the time secretly united – united with each other and against earlier and later ages – by a great mass of common assumptions. We may be sure that the characteristic blindness of the twentieth century – the blindness about which posterity will ask, “But how could they have thought that?” – lies where we have never suspected it, and concerns something about which there is untroubled agreement between Hitler and President Roosevelt or between Mr. H. G. Wells and Karl Barth. None of us can fully escape this blindness, but we shall certainly increase it, and weaken our guard against it, if we read only modern books. Where they are true they will give us truths which we half knew already. Where they are false they will aggravate the error with which we are already dangerously ill. The only palliative is to keep the clean sea breeze of the centuries blowing through our minds, and this can be done only by reading old books. Not, of course, that there is any magic about the past. People were no cleverer then than they are now; they made as many mistakes as we. But not the same mistakes. They will not flatter us in the errors we are already committing; and their own errors, being now open and palpable, will not endanger us. Two heads are better than one, not because either is infallible, but because they are unlikely to go wrong in the same direction. To be sure, the books of the future would be just as good a corrective as the books of the past, but unfortunately we cannot get at them.”

That said, then, to quote from one very old book, tolle lege.

In his chapter on the “cultural preparation” for the age of the machine in Technics and Civilization, Lewis Mumford cites, among other phenomenon, capitalism and magic. Here’s the abridged version:

“Thus although capitalism and technics must be clearly distinguished at every stage, one conditioned the other and reacted upon it.”

“It was because of certain traits in private capitalism that the machine — which was a neutral agent — has often seemed, and in fact has sometimes been, a malicious element in society, careless of human life, indifferent to human interests.  The machine has suffered for the sins of capitalism; contrariwise, capitalism has often taken credit for the virtues of the machine.”

“… indeed, the necessity to promote continual changes and improvements, which has been characteristic of capitalism, introduced an element of instability into technics and kept society from assimilating its mechanical improvements and integrating them in an appropriate social pattern.”

“Between fantasy and exact knowledge, between drama and technology, there is an intermediate station: that of magic. It was in magic that the general conquest of the external environment was decisively instituted.”

“In sum, magic turned men’s minds to the external world: it suggested the need of manipulating it: it helped create the tools for successfully achieving this, and it sharpened observation as to the results.”

“As children’s play anticipates crudely adult life, so did magic anticipate modern science and technology …”

“… magic was the bridge that united fantasy with technology: the dream of power with the engines of fulfillment.”

Capitalism, magic, and technology — an odd grouping at first blush, but less so upon further reflection. The common denominator? Human desire — its generation, manipulation, and satisfaction.

Interestingly, this was a confluence of influences (sans capitalism) also eloquently articulated by C. S. Lewis, a scholar of Medieval and Renaissance literature, in The Abolition of Man:

I have described as a `magician’s bargain’ that process whereby man surrenders object after object, and finally himself, to Nature in return for power. And I meant what I said. The fact that the scientist has succeeded where the magician failed has put such a wide contrast between them in popular thought that the real story of the birth of Science is misunderstood. You will even find people who write about the sixteenth century as if Magic were a medieval survival and Science the new thing that came in to sweep it away. Those who have studied the period know better. There was very little magic in the Middle Ages: the sixteenth and seventeenth centuries are the high noon of magic. The serious magical endeavour and the serious scientific endeavour are twins: one was sickly and died, the other strong and throve. But they were twins. They were born of the same impulse. I allow that some (certainly not all) of the early scientists were actuated by a pure love of knowledge. But if we consider the temper of that age as a whole we can discern the impulse of which I speak.

There is something which unites magic and applied science while separating both from the wisdom of earlier ages. For the wise men of old the cardinal problem had been how to conform the soul to reality, and the solution had been knowledge, self-discipline, and virtue. For magic and applied science alike the problem is how to subdue reality to the wishes of men: the solution is a technique ….

Below is an excerpt of an email exchange between myself and Mark Garcia, my very thoughtful friend who generously reads what I write on here. The exchange was occasioned by my earlier thoughts on nostalgia in Woody Allen’s Midnight in Paris. It was, I thought, worth posting here for a (slightly) wider audience. My thanks to Mark for pushing these reflections further along.

Collaboration in action, although you’ll see the real insights are not mine:

MG:  … is romanticized nostalgia for the ahistorical past itself a signal of transcendence, pace Berger, but not only of a heavenly and ‘other’ present or purely vertical, up-there, or beyond reality, but a reach for a certain kind of heavenly future?

MS: Yes, and few have captured that better than C. S. Lewis in The Weight of Glory in which he remarks that we take our revenge on what amounts to a longing for transcendence by, among other things, labeling it nostalgia and being done with it.

MG: Nostalgia as revenge is fascinating. Is it possibly, then, a form of memory in action, the action being the pursuit of some perceived form of justice? Is nostalgia at heart a longing for a certain form of “putting things right” and thus, in that way, a longing for an order of perfect justice and goodness?

MS: Yes, absolutely, memory in action. Memory, insofar as it is a search and not spontaneous, is in an index of desire. Nostalgia in this sense names the desire not only for justice, but also peace, joy, belonging, settledness, wholeness — shalom, shall we say?

MG: So whatever adjustments, reconfigurations, and manipulations of history nostalgia introduces are themselves the index to the desire nostalgia acts upon, e.g., nostalgic reconfigurations of one’s painful past reflects a desire for justice, reconfigurations of a lonely past along more satisfying lines reflects the desire for belonging, etc. This could take positive or negative forms, too: a positive or upward reconfiguration of a painful history might make things seem better than they were in order to aid present coping with it, whereas a negative or downward reconfiguration of that same past might make things seem worse than they were in order to aid present justifications of felt bitterness, injustice, or whatever. How varied are our grasping at shalom! As varied as we are, inside and out.

MS: Just so.

I also find it worthwhile to quote at some length from the essay by Lewis I referenced in the exchange. It is one of the most enchanting passages in the whole of Lewis’ oeuvre:

In speaking of this desire for our own far- off country, which we find in ourselves even now, I feel a certain shyness. I am almost committing an indecency. I am trying to rip open the inconsolable secret in each one of you—the secret which hurts so much that you take your revenge on it by calling it names like Nostalgia and Romanticism and Adolescence; the secret also which pierces with such sweetness that when, in very intimate conversation, the mention of it becomes imminent, we grow awkward and affect to laugh at ourselves; the secret we cannot hide and cannot tell, though we desire to do both. We cannot tell it because it is a desire for something that has never actually appeared in our experience. We cannot hide it because our experience is constantly suggesting it, and we betray ourselves like lovers at the mention of a name. Our commonest expedient is to call it beauty and behave as if that had settled the matter. Wordsworth’s expedient was to identify it with certain moments in his own past. But all this is a cheat. If Wordsworth had gone back to those moments in the past, he would not have found the thing itself, but only the reminder of it; what he remembered would turn out to be itself a remembering. The books or the music in which we thought the beauty was located will betray us if we trust to them; it was not in them, it only came through them, and what came through them was longing. These things—the beauty, the memory of our own past—are good images of what we really desire; but if they are mistaken for the thing itself they turn into dumb idols, breaking the hearts of their worshippers. For they are not the thing itself; they are only the scent of a flower we have not found, the echo of a tune we have not heard, news from a country we have never yet visited.

He later adds:

Apparently, then, our lifelong nostalgia, our longing to be reunited with something in the universe from which we now feel cut off, to be on the inside of some door which we have always seen from the outside, is no mere neurotic fancy, but the truest index of our real situation.

C. S. Lewis was fond of saying that the only people opposed to escapes were jailers. In his classic essay, “On Fairy Stories,” Tolkien made the same point at greater length:

“Why should a man be scorned if, when finding himself in prison, he tries to get out and go home? Or, if when he cannot do so, he thinks and talks about other topics than jailers and prison walls? The world outside has not become less real because the prisoner cannot see it. In using Escape in this way the critics have chosen the wrong word, and, what is more, they are confusing … the Escape of the Prisoner with the flight of the Deserter.”

Why indeed?

Lewis and Tolkien, both best remembered for their works of fantasy, were each responding to the charge of writing escapist literature. But, what counts as escapism is a matter of perspective. From what is the escape? Lewis and Tolkien constructed their fantasy to offer an escape into the deepest reality. Is it possible that the structures and pace of our world chain us up in a kind of Platonic cave of ignorance, detached from what is true, good, and beautiful? If so, then escape is the very thing we should be hell-bent on achieving.

In “The Weight of Glory” Lewis evocatively describes the alluring and haunting appeal of beauty, but he is quick to remind us that beauty is not found in the moments, experiences, and objects that captivate us and fill us with wonder.

“These things—the beauty, the memory of our own past—are good images of what we really desire; but if they are mistaken for the thing itself they turn into dumb idols, breaking the hearts of their worshippers. For they are not the thing itself; they are only the scent of a flower we have not found, the echo of a tune we have not heard, news from a country we have never yet visited.”

The odd thing about beauty is that it is so often mixed with longing. Instead of leaving us satisfied, profound experiences of beauty can instead create a deep ache in our hearts. These encounters with beauty that momentarily overwhelm us are glimpses of life beyond the walls of the prison. But they are just that, glimpses. In Lewis’ view, and that of many others before him, beauty itself flows from God’s being through the created order. What we perceive then is a profound signal of God’s being beyond the created order and our taste of beauty beckons us to the source.

Lewis went on to observe that, “Almost our whole education has been directed to silencing this shy, persistent, inner voice; almost all our modem philosophies have been devised to convince us that the good of man is to be found on this earth.” And thus his efforts to remind us through the beauty of his art, that there is more; that the deep longing we feel for something we have never yet experienced is not a cruel trick played by impersonal cosmic forces, but the “truest index of our real situation.”

So perhaps art, literature, poetry, and films that offer us an escape from the ordinary and mundane are not so much pulling us out of the world, but rather helping us to see the world and our place in it more truly, more fully.

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