C.S. Lewis

I wish they would remember that the charge to Peter was "Feed my sheep", not "Try experiments on my rats", read more

I wish they would remember that the charge to Peter was "Feed my sheep", not "Try experiments on my rats", or even "Teach my performing dogs new tricks".

Commemoration of Cecilia, Martyr at Rome, c.230 Commemoration of Clive Staples Lewis, Spiritual Writer, 1963 The faint, far-off results read more

Commemoration of Cecilia, Martyr at Rome, c.230 Commemoration of Clive Staples Lewis, Spiritual Writer, 1963 The faint, far-off results of those energies which God's creative rapture implanted in matter when He made the worlds are what we now call physical pleasures; and even thus filtered, they are too much for our present management. What would it be to taste at the fountain-head that stream of which even these lower reaches prove so intoxicating? Yet that, I believe, is what lies before us. As St. Augustine said, the rapture of the saved soul will "flow over" into the glorified body. In the light of our present specialized and depraved appetites, we cannot imagine this [torrent of pleasure], and I warn everyone most seriously not to try. But it must be mentioned, to drive out thoughts even more misleading--thoughts that what is saved is a mere ghost, or that the risen body lives in numb insensibility. The body is made for the Lord, and these dismal fancies are wide of the mark.

Continuing a Lenten series on prayer: The primary object of prayer is to know God better; we and our read more

Continuing a Lenten series on prayer: The primary object of prayer is to know God better; we and our needs should come second. ... The Notebooks of Florence Allshorn March 16, 2000 Continuing a Lenten series on prayer: I have called my material surroundings a stage set. In this I can act. And you may well say "act". For what I call "myself" (for all practical, everyday purposes) is also a dramatic construction; memories, glimpses in the shavinglass, and snatches of the very fallible activity called "introspection", are the principal ingredients. Normally I call this construction "me"' and the stage set "the real world". Now the moment of prayer is for me -- or involves for me as its condition -- the awareness, the reawakened awareness, that this "real world" and "real self" are very far from being rock-bottom realities. I cannot, in the flesh, leave the stage, either to go behind the scenes or to take my seat in the pit; but I can remember that these regions exist. And I also remember that my apparent self -- this clown or hero or super -- under his grease-paint is a real person with an off-stage life. The dramatic person could not tread the stage unless he concealed a real person: unless the real and unknown I existed, I would not even make mistakes about the imagined me. And in prayer this real I struggles to speak, for once, from his real being, and to address, for once, not the other actors, but -- what shall I call Him? The Author, for He invented us all? The Producer, for He controls all? Or the Audience, for He watches, and will judge, the performance?

Ascension If the whole universe has no meaning, we should never have found out that it has no meaning read more

Ascension If the whole universe has no meaning, we should never have found out that it has no meaning -- just as, if there were no light in the universe, and therefore no creatures with eyes, we should never know that it was dark. Dark would be without meaning.

Even if I knew that tomorrow the world would go to pieces, I would still plant my apple tree.

Even if I knew that tomorrow the world would go to pieces, I would still plant my apple tree.