C.S. Lewis

Literature adds to reality, it does not simply describe it. It enriches the necessary competencies that daily life requires and read more

Literature adds to reality, it does not simply describe it. It enriches the necessary competencies that daily life requires and provides; and in this respect, it irrigates the deserts that our lives have already become.

Feast of the Birth of John the Baptist The Present is the point at which Time touches Eternity. read more

Feast of the Birth of John the Baptist The Present is the point at which Time touches Eternity. Of the present moment -- and of it only -- humans have an experience analogous to the experience which God has of reality as a whole; in it alone, freedom and actuality are offered them. He would therefore have them continually concerned either with Eternity (which means being concerned with Him) or with the Present -- either meditating on their eternal union with, or separation from, Himself; or else obeying the present voice of conscience, bearing the present cross, receiving the present grace, giving thanks for the present pleasure.

In your life, you meet people. Some you never think about again. Some, you wonder what happened to them. There read more

In your life, you meet people. Some you never think about again. Some, you wonder what happened to them. There are some that you wonder if they ever think about you. And then there are some you wish you never had to think about again. But you do.

When we propose to ignore in a great man's teaching those doctrines which it has in common with the thought read more

When we propose to ignore in a great man's teaching those doctrines which it has in common with the thought of his age, we seem to be assuming that the thought of his age was erroneous. When we select for serious consideration those doctrines which "transcend" the thought of his own age and are "for all time", we are assuming that the thought of our age is correct: for of course by thoughts which transcend the great man's age we really mean thoughts that agree with ours. Thus I value Shakespeare's picture of the transformation in old Lear more than I value his views about the divine right of kings, because I agree with Shakespeare that a man can be purified by suffering like Lear, but do not believe that kings (or any other rulers) have divine right in the sense required. When the great man's views do not seem to us erroneous we do not value them the less for having been shared with his contemporaries. Shakespeare's disdain for treachery and Christ's blessing on the poor were not alien to the outlook of their respective periods; but no one wishes to discredit them on that account.

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?