C.S. Lewis

A man's physical hunger does not prove that that man will get any bread; he may die of starvation on read more

A man's physical hunger does not prove that that man will get any bread; he may die of starvation on a raft in the Atlantic. But surely a man's hunger does prove that he comes of a race which repairs its body by eating, and inhabits a world where eatable substances exist. In the same way, though I do not believe (I wish I did) that my desire for Paradise proves that I shall enjoy it, I think it a pretty good indication that such a thing exists and that some men will. A man may love a women and not win her; but it would be very odd if the phenomenon called "falling in love" occurred in a sexless world.

Reason is the natural order of truth; but imagination is the organ of meaning.

Reason is the natural order of truth; but imagination is the organ of meaning.

Continuing a Lenten series on prayer: I have called my material surroundings a stage set. In this I can read more

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?

Let's pray that the human race never escapes from Earth to spread its iniquity elsewhere.

Let's pray that the human race never escapes from Earth to spread its iniquity elsewhere.

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?