C.S. Lewis

Friendship is unnecessary, like philosophy, like art... It has no survival value; rather it is one of those things that read more

Friendship is unnecessary, like philosophy, like art... It has no survival value; rather it is one of those things that give value to survival.

If... you are ever tempted to think that we modern Western Europeans cannot really be so very bad because we read more

If... you are ever tempted to think that we modern Western Europeans cannot really be so very bad because we are, comparatively speaking, humane--if, in other words, you think God might be content with us on that ground--ask yourself whether you think God ought to have been content with the cruelty of past ages because they excelled in courage or chastity. You will see at once that this is an impossibility. From considering how the cruelty of our ancestors looks to us, you may get some inkling of how our softness, worldliness, and timidity would have looked to them, and hence how both must look to God.

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?

Commemoration of Wilfrid, Abbot of Ripon, Bishop of York, Missionary, 709 Commemoration of Elizabeth Fry, Prison Reformer, 1845 read more

Commemoration of Wilfrid, Abbot of Ripon, Bishop of York, Missionary, 709 Commemoration of Elizabeth Fry, Prison Reformer, 1845 No nation, and few individuals, are really brought into [God's] camp by the historical study of the biography of Jesus, simply as biography. Indeed, materials for a full biography have been withheld from men. The earliest converts were converted by a single historical fact (the Resurrection) and a single theological doctrine (the Redemption) operating on a sense of win which they already had... The "Gospels" came later and were written not to make Christians but to edify Christians already made.

Those who talk of reading the Bible "as literature" sometimes mean, I think, reading it without attending to the main read more

Those who talk of reading the Bible "as literature" sometimes mean, I think, reading it without attending to the main thing it is about; like reading Burke with no interest in politics, or reading the Aeneid with no interest in Rome... But there is a saner sense in which the Bible -- since it is, after all, literature -- cannot properly be read except as literature, and the different parts of it as the different sorts of literature they are. Most emphatically, the Psalms must be read as poems -- as lyrics, with all the licenses and all the formalities, the hyperboles, the emotional rather than logical connections, which are proper to lyric poetry... Otherwise we shall miss what is in them and think we see what is not.