Archives For Narnia

wedding.pngIf you know the meaning of bricolage and understand its application to C.S. Lewis, I doff my cap to you.

Since I’m not an artist (the field in which the word is most common), “bricolage” was foreign to me before I encountered it during my doctoral studies. I read there that it constitutes a valid “approach to qualitative research.”

The term “bricolage” was taken from the work of the French anthropologist Claude Lévi-Strauss (1968), who used it to distinguish mythological from scientific thought. . . . Levi-Strauss described the bricoleur as someone who uses whatever tools and materials are at hand to complete a project.

The key idea is that rather than developing a logically consistent plan in advance and then systematically using the materials and tools that the plan and the norms of the community prescribe (as science is widely, though I think somewhat incorrectly, believed to do), the bricoleur spontaneously adapts to the situation, creatively employing the available tools and materials to come up with unique solutions to a problem. (Qualitative Research Design: An Interactive Approach)

If you picked up on the “mythological” reference within the definition—and drew a connection to the creator of Narnia—you may have the makings of a fine bricoleur. (But don’t add it to your résumé quite yet.)

Lévi-Strauss contrasted this mythological approach with the technological dominance of modern thinking.

The characteristic feature of mythical thought is that it expresses itself by means of a heterogeneous repertoire which, even if extensive, is nevertheless limited. It has to use this repertoire, however, whatever the task in hand because it has nothing else at its disposal. Mythical thought is therefore a kind of intellectual “bricolage.” (The Savage Mind)

Fordham University has a comparative literature journal entitled Bricolage, inspired by “literary bricoleurs [who] produced stories, ones with historical and cultural significance and unique relevance attached to them, that colored the past with intentional highlights and included questions, ideas, and voices that were never part of the frozen time period they wrote about, but always had the potential to be.”

If that makes sense to you, and even inspires you, they have a list of prompts on the website to guide your own submission to the periodical. (I particularly like open-ended: “Describe the problem.”)

They even solicit suggestions for future prompts, if you would like to game the system by suggesting a subject for which you already possess some bricoleurological notions.

I don’t wish to suggest that this literary journal does not include some genuinely insightful work. Consider the following, from “Imagination: An Internal Reality” by Brittany Gilmartin.

While reality is an external landscape for our bodies and senses, the imagination is an internal landscape for our minds and thoughts. A limitless realm that only we ourselves can control, the imagination is a space for us to think freely about the outside world and create a new reality inside of us.

This mental reality is a place that we can escape to when we are not satisfied with the real world, as in “Leaf by Niggle” by J.R.R. Tolkien, or find the real world too hard to bear, as in “An Occurrence at Owl Creek Bridge” by Ambrose Bierce.

Some may argue that instead of escaping into the fantasy of our imaginations, we should focus on factual knowledge; however, the imagination can teach us about the facts in a new light. Indeed, L. Frank Baum, in The Wonderful Wizard of Oz, and C. S. Lewis, in The Chronicles of Narnia, use their imaginations to redefine their external realities through allegories, allowing their readers to gain a deeper understanding of these realities than they could have gained through a textbook.

Great writers, such as the Inklings, did not bring newborn imaginations to the task of writing their diverse works. They were nourished and stirred by their lifelong consumption of a rich banquet of literature. And the way in which these themes are intentionally (and accidentally) woven into new texts displays their great talent.

Intertextuality as a Tool for the Bricoleur

Skilled writers frequently use devices to enrich their work. Quotations, allusions, pastiche and parody are obvious examples. Some critics would even include plagiarism as an intertextual exercise, and in the strictest sense, it is. While unacknowledged direct quotations are inappropriate, many readers savor reading volumes filled with well-done allusions.

By their very nature, shaped as they are by each culture’s history and ethos, fairy tales provide fertile soil for bricolage.

C.S. Lewis pointed out that fairy tales don’t have to be great works of fiction, or even especially well written, to be unforgettable. . . . The libretti of ballets such as The Sleeping Beauty, Swan Lake, and many others invent this and borrow that, crystallizing various elements from national folklore (Russian folk tales) and literary classics (Perrault, E.T.A. Hoffmann).

The raw materials are not, however, always readily identifiable, but have been transformed freely by the creators’ imagination: The Firebird and Giselle are original dramatic works in their own right.

Yet they are also essentially fairy tales, composed by bricolage with features that define the genre: supernatural and mysterious beings, a prevailing atmosphere of enchantment and vulnerability to destiny, and opening to another, imaginary world that is only accessible through the work of art. (Once Upon a Time: A Short History of Fairy Tale)

When the Bricoleur Denies External Influences

Many, if not most, examples of intertextual dependence or allusion are intentional. And, since few of us possess perfect memory, there will be cases where we “borrow” from other works unconsciously.

Many writers find their path to success by following well-worn paths and adding some new twist of their own. To be called “derivative” is not flattering, but carrying bags full of cash to the bank can take the sting out of the label.

In any case, it is disingenuous to deny the influence of others on your work—when their voice is recognizable to all.

The Harry Potter books are, without question, the outstanding British literary phenomenon of the last twenty years. Not everybody likes them, though. . . .  surely nobody can deny that, when it comes to her prose, Rowling is not remotely in the same league as, say, T.H. White or J.R.R. Tolkien, let alone Kenneth Grahame or Edith Nesbit.

So, why are her books so successful? The obvious answer is that, as the critic Wendy Doniger puts it, Rowling “is a wizard herself at the magic art of bricolage: new stores crafted out of recycled pieces of old stories.”

Long after she had become a multi-millionaire, Rowling tried to play down her borrowings from earlier authors, insisting that she was “not a huge fan of fantasy,” had never finished The Lord of the Rings and had a “big problem” with C.S. Lewis’s Narnia stories, which she had never finished either.

Perhaps her memory was playing her false, though, for in earlier interviews she had talked warmly of her affections for The Lord of the Rings . . . In 1998 she even told an interviewer that she “loved” C.S. Lewis, whom she considered a “genius,” and actively reread his Narnia books.

None of this, though, would surprise an attentive reader of her work. Indeed, I suspect much of the attraction of the Harry Potter stories is the fun of spotting the allusions, as well as the nostalgic reassurance of seeing old devices and even familiar characters in a new context. (The Great British Dream Factory: The Strange History of Our National Imagination)

On the opposite end of the humility spectrum, consider C.S. Lewis. Although his Chronicles of Narnia were in many ways groundbreaking, he readily offered gratitude to his various sources of inspiration.

Lewis was generous in thanking thinkers to whom he was indebted, and only failed to do so when he assumed any educated reader would recognize the source of an image or phrase.

With the contemporary state of literary education, this is an assumption modern writers are unwise to share. Sadly, this ignorance of formerly pervasive ideas and expressions is most visible in the realm of biblical literacy. But that is a subject for another day.

Stay Tuned

Our next post will consider an aspect of “unintentional bricolage” that C.S. Lewis found quite entertaining. I suspect many of us will agree.

C.S. Lewis and Flags

September 6, 2017 — 3 Comments

flag globe.png

Do you find flags interesting? Even inspirational, perhaps?

A recent article on the subject reminded me that one of my early avocations was as a vexillologist. If you also enjoy learning about flags, you can become a vexillologist too (ability to spell the title not required).

The article discussed the diversity of America state and territory flags. Some are rather mundane, featuring state seals on single colored fields. While my own Washington State flag falls into this category, the fact that the first president’s face dominates the seal makes it rather attractive. Many seals though, are terribly busy and jumbled.

The Nebraska flag is so bland that it once flew over the state capitol for several days, before anyone noticed it was upside down.

One of the most distinctive flags is that of New Mexico, which features “the sun symbol of the Zia Pueblo. The red and yellow imitate Spain’s national colors, paying tribute to the region’s colonial heritage.”

You can view all of the American flags here, if you are interested.

Or, if you are more interested in international flags, you can see and read about them here (compliments of the CIA).

The best part of the article, “Fifty Flags” by John J. Miller, is the author’s citation of C.S. Lewis.

The main purpose of a flag is to unite people behind patriotic, military, or civic causes. A good flag stirs emotions, tingling spines at Olympic ceremonies and encouraging soldiers to hold fast.

“In battle it is not syllogisms that will keep the reluctant nerves and muscles to their post in the third hour of the bombardment, wrote C.S. Lewis in The Abolition of Man. “The crudest sentimentalism . . . about a flag or a country or a regiment will be of more use.”

Inspired by this passage, I’ve gleaned several more references that the Oxford scholar makes to flags.

Quotations from C.S. Lewis Mentioning Flags

The flag serves as the emblem of a nation as it projects its image beyond its own borders.

After breakfast [Lord Bern] asked Caspian to order every man he had into full armor. “And above all,” he added, “let everything be as trim and scoured as if it were the morning of the first battle in a great war between noble kings with all the world looking on.”

This was done; and then in three boatloads Caspian and his people, and Bern with a few of his, put out for Narrowhaven. The King’s flag flew in the stern of his boat and his trumpeter was with him. (Voyage of the Dawn Treader)

The absence of a flag or identifiable markings leaves an enemy uncertain about how to proceed.

Inside, he was wondering if there were any way of getting rid of these unwelcome visitors. Had he known that Caspian had only one ship and one ship’s company with him, he would have spoken soft words for the moment, and hoped to have them all surrounded and killed during the night.

But he had seen a ship of war sail down the straits yesterday and seen it signaling, as he supposed, to its consorts. He had not then known it was the King’s ship for there was not wind enough to spread the flag out and make the golden lion visible, so he had waited further developments. (The Voyage of the Dawn Treader)

The enthusiastic waving of flags can be a visible manifestation of patriotic fervor. In a letter to his brother, written between the wars, Lewis describes conversation with an Anglican priest, William Stead, who had just returned from Italy.

Lewis is rather dismissive of the priest’s comparison of Italy and Great Britain because, unlike Lewis and his brother Warnie, the cleric had never been to the front lines.

Stead, fresh back from Venice and Rome, gave as his verdict that “Italy was a pleasant surprise to him. He had always imagined the Italians a degenerate people but found that they were really quite go ahead and up to date.”

They were also more patriotic than the English, for they were always waving flags and went mad over the name of Italy whereas “he had never found that Englishmen showed any great enthusiasm over the mention of England.”

They and their landscape were, he said, hardy and vigorous whereas one always felt the softness of England. Stead is an American and has not been to the war. (All My Road Before Me: The Diary of C. S. Lewis)

A flag can also be used to gain the attention of a friend or potential ally. Lewis uses the image in his first letter to Charles Williams, who would join him in the Inkling writing community. The story of their mutual respect is fascinating. Williams response to Lewis begins, “My dear Mr Lewis, If you had delayed writing another 24 hours our letters would have crossed.”

I never know about writing to an author. If you are older than I, I don’t want to seem impertinent: if you are younger, I don’t want to seem patronizing. But I feel I must risk it. A book sometimes crosses one’s path which is so like the sound of one’s native language in a strange country that it feels almost uncivil not to wave some kind of flag in answer.

I have just read your Place of the Lion and it is to me one of the major literary events of my life—comparable to my first discovery of George Macdonald, G. K. Chesterton, or Wm. Morris.

In “Religion Without Dogma?” Lewis includes a flag as one of the symbols with more inherent inspirational power than can be uncovered in a lifeless religion. He is discussing spiritualism, which offered supposed communication with ghosts wandering through an ill-defined afterlife.

A minimal religion compounded of spirit messages and bare Theism has no power to touch any of the deepest chords in our nature, or to evoke any response which will raise us even to a higher secular level—let alone to the spiritual life. The god of whom no dogmas are believed is a mere shadow. He will not produce that fear of the Lord in which wisdom begins, and, therefore, will not produce that love in which it is consummated.

The immortality which the messages suggest can produce in mediocre spirits only a vague comfort for our unredeemedly personal hankerings, a shadowy sequel to the story of this world in which all comes right (but right in how pitiable a sense!), while the more spiritual will feel that it has added a new horror to death—the horror of mere endless succession, of indefinite imprisonment in that which binds us all . . .

It can never be a controller or even a rival to our natural sloth and greed. A flag, a song, an old school tie, is stronger than it; much [stronger are] the pagan religions.

The flag can delineate the leading edge of an advance into enemy territory. Lewis uses this notion with great effect in his treatise on pain.

No doubt Pain as God’s megaphone is a terrible instrument: it may lead to final and unrepented rebellion. But it gives the only opportunity the bad man can have for amendment. It removes the veil; it plants the flag of truth within the fortress of a rebel soul. (The Problem of Pain)

In his essay “Answers to Questions on Christianity,” Lewis uses the flag as a metaphor for where one’s ultimate loyalty lies.

When I first became a Christian . .  . I thought that I could do it on my own, by retiring to my rooms and reading theology, and I wouldn’t go to the churches and gospel halls; and then later I found that it was the only way of flying your flag; and, of course, I found that this meant being a target.

It is extraordinary how inconvenient to your family it becomes for you to get up early to go to church. It doesn’t matter so much if you get up early for anything else, but if you get up early to go to church it’s very selfish of you and you upset the house.

If there is anything in the teaching of the New Testament which is in the nature of a command, it is that you are obliged to take the Sacrament, and you can’t do it without going to church.

A Final Observation on Flags & War

In one of Lewis’ less well-known essays, “Talking about Bicycles,” he discusses a fascinating procession through which many of our experiences pass. “Let’s give them names. They are the Unenchanted Age, the Enchanted Age, the Disenchanted Age, and the Re-enchanted Age.”

His illustration using the example of marriage is excellent, and accurately describes the chronicle of many if not most marital unions. It is, however, in his example related to war that he mentions the symbol of the flag.

Let’s take an example that may interest you more. How about war? Most of our juniors were brought up Unenchanted about war. The Unenchanted man sees (quite correctly) the waste and cruelty and sees nothing else.

The Enchanted man is in the Rupert Brooke or Philip Sidney state of mind [both were poets whose lives were cut violently short in war]—he’s thinking of glory and battle-poetry and forlorn hopes and last stands and chivalry.

Then comes the Disenchanted Age—say Siegfried Sassoon [another poet who survived WWI, in contrast to his contemporary, Brooke].

But there is also a fourth stage, though very few people in modern England dare to talk about it. You know quite well what I mean. One is not in the least deceived: we remember the trenches too well. We know how much of the reality the romantic view left out.

But we also know that heroism is a real thing, that all the plumes and flags and trumpets of the tradition were not there for nothing. They were an attempt to honour what is truly honourable: what was first perceived to be honourable precisely because everyone knew how horrible war is. And that’s where this business of the Fourth Age is so important.

C.S. Lewis did, indeed, recall the trenches. He understood the horrors of war, but had matured in his viewpoint to become reenchanted with its glory. Flags, pennants and guidons are visible emblems of its chivalry and honor. Lewis would certainly concur with the declaration of Robert E. Lee, commander of the Confederate States of America army, that “it is well that war is so terrible, otherwise we should grow too fond of it.”

Fortunately, flags fly far more commonly in peace than they do in war. Their peaceful fluttering is far more familiar to the masses than their battle shorn visage. May that always remain true.

_____

The image at the top of the page is copyrighted by its creator, Joel Lisenby, and used with permission.

 

self-impressed

Most writers are saturated with humility, especially those who actively submit their work and courageously collect rejections. Accepting this lack of reinforcement as an inevitable aspect of the writing life, they reveal a maturity that is literarily unpretentious.

On the other hand, there are some who publicly tout the most modest of accomplishments as great feats. By their own account, you would think it’s merely a matter of time before they’re polishing their Pulitzer or Nobel Prize in Literature.

The following notes on humility are for the benefit of the latter category of authors.

C.S. Lewis was a scholar abundantly acquainted with literary pride. He was also a Christian saint (in that biblical sense wherein it applies to all who place their faith in Jesus). As a disciple of Christ, Lewis recognized pride is toxic.

He wrote much about the subjects of pride and humility. Among his wisdom on the subject, is the observation that we must not allow our circumstances to shape our character in negative ways. In “Williams and the Arthuriad,” he illustrates this by discussing different sorts of roles in a play. His comment about “false modesty” is particularly astute.

What but to thank God for the “excellent absurdity” which enables us, if it so happen, to play great parts without pride and little ones without dejection, rejecting nothing through that false modesty which is only another form of pride, and never, when we occupy for a moment the centre of the stage, forgetting that the play would have gone off just as well without us . . .

Lewis also offers an antidote to pride. One that well suits the title of this column. “If anyone would like to acquire humility, I can, I think, tell him the first step. The first step is to realise that one is proud. And a biggish step, too. At least, nothing whatever can be done before it. If you think you are not conceited, it means you are very conceited indeed.” (Mere Christianity)

A 500 Year Old Prescription

Nearly a half millennia ago, Martin Luther reluctantly allowed his writings to be gathered together into a collection, for which he wrote a preface. It was that introduction I recently encountered.

He elaborates on the proper way to study theology, based on principles in Psalm 119. After reminding readers that we must possess humility to submit ourselves to God’s word, he tacks on a vivid warning. It is quintessential Luther.

These words apply not only to theologians, or even to those addressing “religious” subjects. They should be of interest to all who consider themselves writers.

If, however, you feel and are inclined to think you have made it, flattering yourself with your own little books, teaching, or writing, because you have done it beautifully and preached excellently; if you are highly pleased when someone praises you in the presence of others; if you perhaps look for praise, and would sulk or quit what you are doing if you did not get it—if you are of that stripe, dear friend, then take yourself by the ears, and if you do this in the right way you will find a beautiful pair of big, long, shaggy donkey ears.

Then do not spare any expense! Decorate them with golden bells, so that people will be able to hear you wherever you go, point their fingers at you, and say, “See, See! There goes that clever beast, who can write such exquisite books and preach so remarkably well.”

That very moment you will be blessed and blessed beyond measure in the kingdom of heaven. Yes, in that heaven where hellfire is ready for the devil and his angels.

To sum up: Let us be proud and seek honor in the places where we can. But in this book the honor is God’s alone, as it is said, “God opposes the proud, but gives grace to the humble” [I Pet. 5:5]; to whom be glory, world without end, Amen.

Thank you, Doctor Luther, for the warning to periodically check my ears. And thank you as well, Doctor Lewis, for your inspirational modeling of humility.

An Important Exception

While humility remains important, in unbalanced doses it can make individuals vulnerable. The story of Puzzle the donkey in The Last Battle illustrates this fact well.

There were very few Talking Beasts or Men or Dwarfs, or people of any sort, in that part of the wood, but Shift had one friend and neighbor who was a donkey called Puzzle.

At least they both said they were friends, but from the way things went on you might have thought Puzzle was more like Shift’s servant than his friend. He did all the work.

When they went together to the river, Shift filled the big skin bottles with water but it was Puzzle who carried them back. When they wanted anything from the towns further down the river it was Puzzle who went down with empty panniers on his back and came back with the panniers full and heavy.

And all the nicest things that Puzzle brought back were eaten by Shift; for as Shift said, “You see, Puzzle, I can’t eat grass and thistles like you, so it’s only fair I should make it up in other ways.”

And Puzzle always said, “Of course, Shift, of course. I see that.” Puzzle never complained, because he knew that Shift was far cleverer than himself and he thought it was very kind of Shift to be friends with him at all.

And if ever Puzzle did try to argue about anything, Shift would always say, “Now, Puzzle, I understand what needs to be done better than you. You know you’re not clever, Puzzle.”

And Puzzle always said, “No, Shift. It’s quite true. I’m not clever.” Then he would sigh and do whatever Shift had said.

Fortunately, Puzzle’s simple humility is ultimately vindicated. Even while he is the instrument of a terrible hoax, his guileless trust in Aslan preserves his innocence. It is a powerful story, worth reading even if you have never touched the Chronicles of Narnia.

In the same way, God watches over his children who are humble. He becomes our champion and delivers us from those who would do us harm. Blessed indeed, are the meek.

Travel Pictures Ltd

comfort bunny

Some people flee from those who are depressed. Others feel compelled to do their best to lift their spirits. Did you react the same way as C.S. Lewis to the suffering of others?

Recently I’ve had the privilege of sharing the anguish of several people who see no solution to their personal challenges. In truth, even though I sincerely believe “with God, all things are possible,” it is likely that these particular dilemmas will trouble these people the remainder of their lives.

Some people are “fixers,” or problem-solvers. They want to step in, quickly resolve the difficulty, and return to their normal routine as soon as possible. When faced with an intransigent challenge, they typically get called away by other matters, or they fade into the background.

There is a sort of spectrum when it comes to offering comfort to people. At one end, we have the people who offer insincere clichés like “I’m so sorry.” These remarks are often an automatic response and the only thing the speaker is “sorry” about is having their time “wasted” by the litany of another’s suffering.

Better than these liars, are the pretenders. They actually do feel sorry for the person when they say so. Only, they’re not sorry enough to actually devote another moment’s thought to their pain. They are hypocrites, because if they really understood what the word sorrow means, they would understand that it doesn’t evaporate into the mists six mere heartbeats after it is experienced.

Most people fall further along the spectrum, where we might place sympathy and empathy. Although the words are frequently used interchangeably, this site offers a concise definition of their differences.

In essence, when we are empathetic, we identify more intimately with the sufferer. It seems to me that empathy, often viewed as a sort of super-sympathy, is not necessarily the mark of a better sympathizer. Sometimes it corresponds to our own life experiences. For example, while my mother was still living I could readily sympathize with those who had lost their own. After my mom’s untimely death, I found myself naturally, and sometimes intensely, empathizing with their grief.

Genuine sympathy is a precious commodity. But it must grant higher honor to that form of consolation that puts our emotional concern into actual action. The specific actions are less important than the fact that we have physically placed the needs of the other ahead of our own. They might consist of attending to someone’s responsibilities while they are incapacitated, or simply holding a hand for long hours in a silent bedside vigil. The form matters little; the essence of the gift is everything. It is nothing less than love in action.

Lewis’ Compassionate Heart

Lewis constantly offered consolation to those with whom he corresponded. Our last post included an excellent example of this. What made his brief expressions of concern so powerful was not their eloquence. It was their sincerity. As we read the words we have no doubt that Lewis meant them. What’s more, when he said that he was praying for someone, he truly was.

Lewis also incorporated moving scenes of compassionate empathy in his fiction. Read how Steven Garber described the comfort he has received from the Chronicles of Narnia.

“A children’s story which is enjoyed only by children is a bad children’s story. The good ones last,” Lewis once wrote. Over the years, in the moments when life seems bleakest, when I can only sigh or groan, I have come back again and again to The Magician’s Nephew. . . .

Lewis gives us an image that is profoundly rich and wonderfully tender. We need both. The tears of God are complex. They must be tears of sympathy, even empathy, as Aslan weeps for Digory’s mother and as Jesus weeps with his friends at the death of their brother.

But sometimes they are also tears of anger at the unnaturalness of death, at the distortion of death, at the skewing of human hopes, as Jesus “groaned severely in his spirit” at the death of Lazarus. (Visions of Vocation)

One of the clearest examples of consolation offered by Lewis is found in his provision for Mrs. Moore, the mother of a WWI friend. The story is complex, but it is based upon Lewis keeping a promise—that if one of them died in the trenches, the other would care for that soldier’s parent.

Lesser men would have conveniently forgotten their vow, but Lewis provided for her from 1917 until her death in 1951. Their relation during the early years is uncertain, but there is no doubt that after his conversion to Christianity, it was chaste. Lewis was dutiful, like a true son, in caring for a woman more than twenty-five years his senior, whose own daughter acknowledged was emotionally abusive towards Lewis.

Professor Alice von Hildebrand offers a candid essay on this sensitive subject here. She includes the following quotation from the diary of Lewis’ brother, Warnie, who was a member of the same household.

One of Jack’s friends is supposed to have said, “Cursed be the day that thou fell into the hands of the Moore.” Warren gave vent to his frustration and constant irritation by confiding in his diary. He writes:

“It fills me with both admiration and irritation to see how completely the whole of J’s [Jack, the name by which Lewis’ friends addressed him] life is subordinated to hers—financially, socially, recreationally: the pity of it is that on his selflessness her selfishness fattens . . .”

True Compassion

An essay on this subject could easily grow into a book. To avoid that, I will restrain myself to one final point.

Only a master of language, and an astute student of humanity, recognizes the immense power, and the fragile limitation, of words. Ironically, it is when they are most important—such as in the offering of comfort to someone bereaved—that their shortcomings are most clear.

In the wake of the unbearable loss of his wife, Joy, Lewis wrote A Grief Observed. In this enlightening text, he points out the hollowness of mere words.

Talk to me about the truth of religion and I’ll listen gladly. Talk to me about the duty of religion and I’ll listen submissively. But don’t come talking to me about the consolations of religion or I shall suspect that you don’t understand.

This is something few people recognize before they are the recipients of word-oriented attempts at comfort. That’s why we stumble about saying things that frequently provide precious little true consolation.

Lewis had learned that abstract theological declarations—even those based on certain promises of God—do little to remove the deep sting of death. Far more effective, is sharing the crippling pain of the loss. To offer, as Jesus did to the sisters of Lazarus, one’s own tears.

If you are interested in reading more about this subject, you might want to check out one of my earlier posts on the nature of genuine consolation.

_____

The illustration above comes from a thirteenth century manuscript. I have included it here, because the effort of the rabbit seeking to console the forlorn bird seems quite Narnianesque. It echoes the essence of Lewis’ childhood world of Boxen as well, and I imagine that C.S. Lewis would have enjoyed this marginalia on its own merit.

polyps

These two great Oxford giants were good friends. As such, they accepted each other’s eccentricities. But that doesn’t mean that they couldn’t find humor in those peculiarities.

The Inklings were notorious for their candid critiques and their not-so-subtle teasing of one another. That’s what we all do with our good friends, right?

It’s humor offered not to wound, but to gently discombobulate our companion. And it’s success is measured in the laughter generated among colleagues who share goodwill.

I recently came across a reference, however, where Lewis may have transgressed the bounds of propriety. I leave the assessment of that fact to you.

In a 1947 letter to Margaret Douglas, who had recently lost her mother, Lewis offers warm words of consolation. In addition, he briefly references two publications that she had apparently alluded to in her own letter. The first was his Preface to Essays Presented to Charles Williams, which he refers to as the memoir. The second is Tolkien’s sequel to The Hobbit, which would become The Lord of the Rings.

Dear Miss Douglas, Accept my deepest sympathy on the death of your mother: for I think the bond between you was unusually close. You have one great consolation which few bereaved people have—a clear conscience towards the dead.

It was apparent that you were spending yourself largely upon her. I remember her very vividly, and much admired that blend of the playful and the stately, of which only old ladies have the secret.

I am so glad that you approved of the memoir. Professor Tolkien’s second Hobbit is still unfinished: he works like a coral insect you know!

With all good wishes, yours sincerely, C. S. Lewis

Just How Unflattering is the Comparison?

To compare Tolkien to a minute sea creature of sedentary nature may not, at first read, seem offensive. One might wonder though whether it is quite so innocuous as it might appear.

The National Ocean Service, here in the U.S. provides an answer to the frequently posed question, “are corals animals or plants?” Like Lewis, we already know the answer to that—“a coral insect you know!”—but their colorful description illuminates said insect in a curious manner.

Corals actually comprise an ancient and unique partnership, called symbiosis, that benefits both animal and plant life in the ocean. Corals are animals, though, because they do not make their own food, as plants do. Corals have tiny, tentacle-like arms that they use to capture their food from the water and sweep it into their inscrutable mouths.

I wasn’t aware that they had tentacles. And I don’t think I want to know what makes their mouths “inscrutable.” However, the description adds one more element that I certainly don’t recall from my childhood science classes . . . it’s what the tiny creatures that create such lovely exoskeletons are called.

Most structures that we call “coral” are, in fact, made up of hundreds to thousands of tiny coral creatures called polyps. Each soft-bodied polyp—most no thicker than a nickel—secretes a hard outer skeleton of limestone (calcium carbonate) that attaches either to rock or the dead skeletons of other polyps.

Either I never knew the zoological definition of the word polyp, or it’s been pushed aside in my mind by the more common pathological meaning of the word. It just makes the association of someone with these “columnar bod[ied] . . . mouth and tentacles” oddities seem even more disturbing.

Fortunately, it’s obvious Lewis wasn’t equating the creator of Middle Earth with invertebrate coelenterates. The creator of Narnia was simply likening Tolkien’s publication pace to the secretion rate of the polyps that populate the corals themselves.

Over the years, some of my best friends have labeled me in what an outsider might regard as an unflattering way. While I taught at USAF Chaplain School, my teammates called me “Lemming.” (On occasion, they still do.) The reference had nothing to do with me following the crowd . . . and everything to do with being directed to march off any number of cliffs.

I doubt that Lewis ever shared this association with Tolkien himself. It’s likely that he freely associated the idea at the moment he wrote it, and never thought about it again.

That was one of Lewis’ gifts, being able to use creative analogies to make his points. It is simply one of his talents I would love to share.

And, as for Lewis’ use of the word “insect” here, he is obviously alluding to the polyp’s small size. It would not surprise me to learn that there is an archaic British precedent for such usage. Or, is it just possible that he knew the proper word for the creature, and was too cultured to use it in this context? Perhaps we will never know.

coralpolyp.jpg

oz-lionFew people know this peculiar fact about The Wizard of Oz. And this oddity shares an interesting link to one of C.S. Lewis’ most familiar novels.

Filmmaking has changed greatly since 1939 when Dorothy first tapped together her ruby slippers. One of those modifications involves the treatment of animals.

Some of us are old enough to remember the initial appearance of the disclaimers: “No animals were injured in the making of this film.” Those announcements disappeared long ago, as people have long supposed the humane treatment of animals required.

As far as I know, no one has alleged the mistreatment of animals in The Wizard of Oz. But the odd fact mentioned above refers to one of the costumes worn by a major character in the film.

Bert Lahr played the Cowardly Lion, who continued acting until he died during the filming of The Night They Raided Minsky’s in 1968. Fortunately, he was in his prime while traipsing across Oz, because his costume weighed at least sixty pounds.

Apparently the costume designer was going for accuracy—in the case of the Cowardly Lion, if not for the citizens of Munchkinland. He opted for using an actual lion pelt. At least two, in fact, since there was a least one backup.

Cinema memorabilia often provides unbelievable dividends. MGM sold the primary costume in 1970 for a mere $2,400. In 2005, after some restoration by a taxidermist, the costume sold for $826,000. Nine years later, in 2014, it became the highest valued male performer’s costume, selling for $3,100,000.

It is quite fitting that Leo the Lion is the mascot for Metro-Goldwyn-Mayer film studio. While there have been seven “Leos” since 1916, it is doubtful that any of them contributed their hide to costuming the Cowardly Lion.

What Has Oz to do with Narnia?

Oz and Narnia resemble one another in the obvious sense that both are fantasy lands. I’m ill-equipped to compare the two beyond that, having no desire to read about the former. Here you’ll find an interesting article that offers some insights into the realm of the Wizard. The literary critics of The Telegraph offer the following contrast.

Even so, [Oz is] a strangely amorphous creation, originally reached by cyclone but in later books by shipwreck (twice), by earthquake and by simply getting lost. As a fantasy land, it has none of the depth or authority of Tolkien’s Middle Earth nor even the physicality of CS Lewis’s Narnia.

Reaching back to the turn of the millennia, you might enjoy reading “Oz vs. Narnia.” Comparing the promotion of the two realms on their respective hundredth and fiftieth anniversaries, the author finds Narnia’s treatment by HarperCollins wanting.

But however much the tribute to Oz exceeds the tribute to Narnia in sumptuousness, it can’t disguise the superiority of Lewis’ book. As a child, I loved Oz’s endless cavalcade of strange creatures and, especially, John R. Neil’s trippy art nouveau illustrations and extravagant marginalia; I still like the books today. But the first time I read “The Lion, the Witch and the Wardrobe” in second grade, I knew that I’d stumbled into a whole new league.

A Tale of Two Lions

The odd overlap in the two stories is not due to the prominent presence of lions in each world. The Cowardly Lion and Aslan have nothing in common, save perhaps, compassion for others.

But the real life costume of Oz’s lion does relate directly to one of Lewis’ most amazing fictional creations.

In the final Chronicle, The Last Battle, we find many people are led astray by a false prophet. There is a liar masquerading as the true king. The horror that he is able to mislead so many vulnerable souls is magnified by the fact that he too wears an obvious costume—the pelt of a lion.

Lewis’ account of the deception is skillful. One of the most brilliant aspects is that the “king” himself (a donkey) is actually tricked into playing the role by the true deceiver (an ape).

“All the same, Shift,” said Puzzle [the donkey], “even if the skin only belonged to a dumb, wild lion, oughtn’t we to give it a decent burial? I mean, aren’t all lions rather— well, rather solemn? Because of you know Who. Don’t you see?”

“Don’t you start getting ideas into your head, Puzzle,” said Shift. “Because, you know, thinking isn’t your strong point. We’ll make this skin into a fine warm winter coat for you.”

“Oh, I don’t think I’d like that,” said the Donkey. “It would look—I mean, the other Beasts might think—that is to say, I shouldn’t feel—”

“What are you talking about?” said Shift, scratching himself the wrong way up as Apes do.

“I don’t think it would be respectful to the Great Lion, to Aslan himself, if an ass like me went about dressed up in a lion-skin,” said Puzzle. “Now don’t stand arguing, please,” said Shift.

“What does an ass like you know about things of that sort? You know you’re no good at thinking, Puzzle, so why don’t you let me do your thinking for you?”

Obviously, a comparison between real and fictional characters wearing lion skins can only go so far. Still, I assume some readers will find the use of a lion’s pelt to camouflage a completely different species, to be a rather peculiar parallel between Oz and Narnia.

Those Lazy Males

October 12, 2016 — 3 Comments

squirrelIn some places a debate rages over the question of who works the hardest, men or women. In our family, there is no such disagreement. We all recognize that the typical woman works far more than her male counterpart.

Take my case. I’m a Type A workaholic who lost (unused) leave every year of my military career. I still keep extremely busy, but when it comes to work ethic and effort, I don’t even pretend to hold a candle to my wife.

Now another example from the animal kingdom has confirmed what most people have suspected—females do far more than their share of the work.

Men have been embarrassed for generations by the example of lazy lions who rely on the lionesses to do nearly all of the hunting. Not to mention taking care of the family’s domestic responsibilities.

And now men have been betrayed by a more modest mammal—the squirrel.

I happen to like squirrels. I always have, even when they try to hijack the birdseed we always have available at our home. I hate hearing people refer to them as “tree rats,” and considered it good fortune that the street where we built our home is named “Squirrel Place.”

C.S. Lewis loved small animals. Reepicheep, a mouse, is one of the great heroes of Narnia. But it was a squirrel who played a role in one of his earliest “mystical” experiences. Fittingly, it also relates to Autumn, the season those of us in the Northern Hemisphere currently enjoy.

The following passage comes from Lewis’ autobiography, Surprised by Joy: The Shape of My Early Life. It describes the impression left on him after reading one of Beatrix Potter’s children’s books.

It will be clear that at this time—at the age of six, seven, and eight—I was living almost entirely in my imagination; or at least that the imaginative experience of those years now seems to me more important than anything else. . . .

But imagination is a vague word and I must make some distinctions. It may mean the world of reverie, daydream, wish-fulfilling fantasy. . . .

The . . . glimpse came through Squirrel Nutkin; through it only, though I loved all the Beatrix Potter books. But the rest of them were merely entertaining; it administered the shock, it was a trouble. It troubled me with what I can only describe as the Idea of Autumn.

It sounds fantastic to say that one can be enamored of a season, but that is something like what happened; and, as before, the experience was one of intense desire. And one went back to the book, not to gratify the desire (that was impossible— how can one possess Autumn?) but to reawake it.

And in this experience also there was the same surprise and the same sense of incalculable importance. It was something quite different from ordinary life and even from ordinary pleasure; something, as they would now say, “in another dimension.”

Squirrely Dads

Returning to the recent research that proved beyond any shadow of doubt that even among industrious, nut-gathering rodents, the males cop out. Don’t be put off by the study’s title—“The secret life of ground squirrels: accelerometry reveals sex-dependent plasticity in above-ground activity”—this is serious.

Apparently, while mom is down in a dark burrow nursing the kids, dad’s out lounging in the sunshine. It’s inexcusable.

And don’t try to use some lame excuse or misogynist argument that these findings are only true for Urocitellus parryii, semi-fossorial arctic ground squirrels, but they’re only fooling themselves. We all know that women work harder than men, especially when it comes to raising kids.

The female squirrels are literally so drained by the demands put upon them that they have to begin their hibernations before the males and end them after the males emerge from their hibernacula!

Following the termination of heterothermy in spring, male arctic ground squirrels remain below ground for a three to five week interval during which they consume a food cache to regain body mass lost during hibernation . . . Males intercept and mate-guard newly emergent females that become pregnant within a few days of emergence; gestation lasts for approximately 25 days, and lactation is another approximately 28–35 days.

Unlike males, females do not cache food and, with the exception of early gestation when they continue to lose body fat, they appear to fuel their reproduction using energy gained concurrently through foraging. [Note: it doesn’t appear the males share. Another strike against them.]

In addition, females are delivering energy to pups as milk during lactation . . . Once their young have been weaned, females undergo a moult and fatten; autumn immergence occurs in August [while] males that fatten and cache food later in the autumn immerge in early- to mid-October.

And there is no doubt that the people who conducted this research are right, after all, they used “collar-mounted light loggers and triaxial accelerometers!”