Archives For Theological Matters

Most aspiring writers are sincere. The question is, does the earnestness of their work translate into excellence? In other words, does honesty correlate to quality?

C.S. Lewis addressed this question in an essay about John Bunyan (1628-1688). Bunyan was the English writer and Puritan preacher best known for The Pilgrim’s Progress. At the outset of the allegory Bunyan attempts to “show the profit of my book,” and encourage its reading.

This book is writ in such a dialect
As may the minds of listless men affect:
It seems a novelty, and yet contains
Nothing but sound and honest gospel strains.

While C.S. Lewis respected this classic work, he argues that its value is not simply a consequence of Bunyan’s honesty.

The other thing we must not say is that Bunyan wrote well because he was a sincere, forthright man who had no literary affectations and simply said what he meant. I do not doubt that is the account of the matter that Bunyan would have given himself. But it will not do. (“The Vision of John Bunyan”)

Lewis is not, of course, challenging Bunyan’s claim to honesty. What Lewis does, in fact, is challenge a common misconception. He dismantles the excuse for any who would dismiss grammar and literary rules as unimportant because they are writing earnestly. Basically, Lewis suggests we cannot justify creating a mediocre product and by burnishing it with the declaration that “it is an outpouring of our deepest passion.”

“If [candid honesty] were the real explanation,” states Lewis, “then every sincere, forthright, unaffected man could write as well.”

And we all know that is not the case. Lewis proceeds to offer an illuminating and curious illustration. It recalls the days of the First World War when one of the responsibilities of the officers was to review the correspondence of the troops before they accidentally divulged classified military information to their family at home.

But most people of my age learned from censoring the letters of the troops, when we were subalterns [lieutenants] in the first war, that unliterary people, however sincere and forthright in their talk, no sooner take a pen in hand than cliché and platitude flow from it. The shocking truth is that, while insincerity may be fatal to good writing, sincerity, of itself, never taught anyone to write well. It is a moral virtue, not a literary talent. We may hope it is rewarded in a better world: it is not rewarded on Parnassus.*

Lewis continues, praising Bunyan’s writing.

We must attribute Bunyan’s style to a perfect natural ear, a great sensibility for the idiom and cadence of popular speech, a long experience in addressing unlettered audiences, and a freedom from bad models. I do not add ‘to an intense imagination,’ for that also can shipwreck if a man does not find the right words.

A Lesson for Modern Writers

C.S. Lewis’ keen analysis of Bunyan’s writing is more than a mere history lesson. It offers a lesson to those of us who take up the pen today. By all means, we should exercise the moral virtue of sincerity in our writing. However, we should not rest on the strength of our integrity to ensure the quality of our writing.

We should hone our skills. Likewise, we should welcome the constructive criticism of our peers, as did the Inklings themselves.

Our work will also benefit when we intently listen. Learning the idiom and cadence of our characters (real or fictional) enables them to rise alive from the page.

Lewis’ essay on Bunyan offers another suggestion I would highlight. This will be true for any writer, but I think it is of particular import to Christian authors. Lewis affirms a forthright, honest, and powerful presentation of the truth as we perceive it. He cautions against pulling our punches because we are timid about how the austere truth may be received.

For some readers the ‘unpleasant side’ of The Pilgrim’s Progress [lies] in the intolerable terror which is never far away. Indeed unpleasant is here a ludicrous understatement. The dark doctrine has never been more horrifyingly stated than in the words that conclude Part I: Then I saw that there was a way to Hell, even from the Gates of Heaven, as well as from the City of Destruction.

In my opinion the book would be immeasurably weakened as a work of art if the flames of Hell were not always flickering on the horizon. I do not mean merely that if they were not it would cease to be true to Bunyan’s own vision and would therefore suffer all the effects which a voluntary distortion or expurgation of experience might be expected to produce. I mean also that the image of this is necessary to us while we read.

The urgency, the harsh woodcut energy, the continual sense of momentousness, depend on it. We might even say that, just as Bunyan’s religious theme demanded for its vehicle this kind of story, so the telling of such a story would have required on merely artistic grounds to be thus loaded with a further significance, a significance which is believed by only some, but can be felt (while they read) by all, to be of immeasurable importance.

Keeping this in mind—that we should be faithful to the truth of what we are professing—will serve us well in the final accounting. After all, it is the compromises of the tepid of which we must beware.


* Parnassus refers to a Greek mountain associated by the ancients with Apollo, the Muses and poetry.

The Pilgrim’s Progress is available in a variety of free versions.

The Pilgrim’s Progress, an Allegory features a “Biographical Sketch of the author, by Lord Macaullay.”

In an 1834 edition, we have Bunyan’s Pilgrim’s Progress, Metrically Condensed: In Six Cantos.

The version with the most entertaining title has to be: The Pilgrim’s Progress [by John Bunyan] In Words of One Syllable.

The Child’s Pilgrim’s Progress can be downloaded in not one, but two volumes. It was published in 1860, with the preface:

No endeavour has been made in this little book to improve Bunyan’s Pilgrim’s Progress. To do so would be simply absurd. To bring prominently into view scenes supposed most attractive to children has been attempted; and, while the Dreamer’s narrative is preserved, others of less striking character have been thrown into the back ground. The quaint, simple language of the incomparable Bunyan is, for the most part, retained.

The Pilgrim’s Progress: for the Young was published in 1850. Its introduction includes commentary that echoes the theme of the post above.

John Bunyan, though a very pious and good man, was not a learned one ; for he was by trade a tinker, and had no opportunity to learn much more than to read, in his youth, and when a boy he was wild and wicked. But he made very good use afterward of what he knew ; and very diligently studied his Bible and other good books.

He was also what is called a genius, which means that he had great natural talent. He wrote many works, and one of his books, called the Pilgrim’s Progress, has been read and admired by more people than any other book except the Bible. Learned and unlearned men have read it again and again, and it has been translated into all modern languages.

A Unique Approach to Poetry

September 25, 2019 — 6 Comments

I’m guessing that only lit majors—and possibly only a minority of them—know the literary definition of “effusions.” This despite the fact, that nearly every writer pens them.

Effusion, of course, is a common enough word. From its typical context, readers can pretty accurately determine its meaning. Its Latin root meant to “pour out,” making the word ideal for technical medical usage. Eventually, it entered the literary canon, where it refers to pouring out one’s thoughts or feelings in an unrestrained manner.

Obviously I have heard people use effusive as an adjective, as in “she received effusive praise for her treatise on the Inklings and their reliance on the Mesoamerican Codex Borbonicus.” But I don’t recall ever encountering “effusion” in the context of writing. I suspect that its relative rarity is simply due to slipping out of modern usage.

Nearly a century ago, in 1921, C.S. Lewis casually used the term in a letter to his brother Warnie. Lewis begins by explaining why he had not written recently. It turns out, Lewis was a bit miffed at his brother due to thinking Warnie had been negligent in writing to him.

My dear W., I was delighted to get your letter this morning; for some reason it had been sent first to a non-existent address in Liverpool. I had deliberately written nothing to you since those two you mention: not that I was tired of the job, but because I did not feel disposed to go on posting into the void until I had some assurance that my effusions would reach you.

That seemed a process too like prayer for my taste: as I once said to Baker—my mystical friend with the crowded poetry—the trouble about God is that he is like a person who never acknowledges one’s letters and so, in time, one comes to the conclusion either that he does not exist or that you have got the address wrong. I admitted that it was of great moment: but what was the use of going on dispatching fervent messages–say to Edinburgh–if they all came back through the dead letter office: nay more, if you couldn’t even find Edinburgh on the map.

His cryptic reply was that it would be almost worth going to Edinburgh to find out. I am glad however that you have ceased to occupy such a divine position, and will do my best to continue: tho’ I hope it won’t be for fifteen months.

These are fascinating insights into prayer, especially coming from the perspective of C.S. Lewis during his atheist period. (Which is why I quoted the letter at length.)

Effusion in a Literary Context

It appears the labeling of writing, or poetry at least, as effusive, has fallen out of style. Take the case of the poem I included in my most recent post. The source of “Easy Rules for Punctuation,” was a collection entitled Ephemeral Effusions.

I spent quite some time tracking down an actual definition for literary effusions. Eventually I found one in Samuel Taylor Coleridge (Bloom’s Modern Critical Views). Harold Bloom writes, “I have come across approximately one hundred late-eighteenth- and nineteenth-century works entitled ‘effusions.’” The following discussion about the subject will be of interest to readers and writers alike.

Between poetry and oratory stands rhetoric. I have attempted to show that Coleridge’s effusions take up residence in a middle ground criss-crossed by other literary practices. While they arguably have an identifiable character, formed in part by a Horatian tradition, Coleridge defines his effusions less by their positive identity than by their self-conscious difference from the other genres and figures (sermo, epistle, address, aversion, conversation) that impinge on and cohabit their poetic space.

As a distinct genre, however, the effusion was relatively short-lived, becoming more common as a “lady’s” genre, suitable for the expression of delicate feelings and sensibilities, though also occasionally lending itself to more “heroic” sentiments by military men. Effusions of the heart, the poets discovered, can be both literal and figurative, erotic and patriotic, tender and polemical. . . . Later, indeed, there would be a few noteworthy instances of the genre, such as Wordsworth’s 1835 “Extempore Effusion upon the Death of James Hogg,” in which Coleridge is remembered by name in a catalogue of dead poets. But no one approaches the theoretical or practical accomplishment of Coleridge in a genre so carefully positioned between poetry and non-poetry.

Coleridge’s term “effusions,” however, appears to have been unfamiliar to contemporary reviewers . . . [a reviewer in 1796] praises Coleridge’s poems: “They consist of sonnets, which, however, Mr. Coleridge chooses to call Effusions. . . .” The reviewers nowhere identify any literary tradition in which an “effusion” might stand defined.

This column marks consecutive posts related to poetry. A stunning first in Mere Inkling’s five year history. Personally, I make no claims to being a poet, although I confess I’ve dabbled in the genre.

For those desiring to download a nineteenth century collection entitled Poetic Effusions, check out this treasure by Mary Peach Collier (1799-1858). We’ll close with one of the shorter effusions in the book.

On the Death of a Little Girl

Farewell, blest Ellen I long thy spotless name
Shall deep imprinted on our memories live;
Long on the records of unsullied fame
Thy lovely innocence a charm shall give.

Farewell, thou little flow’ret of the shade
Just born to blossom, like thy kindred rose;
Early transplanted where no thorns invade,
To flourish fair in regions of repose.

We live in what some consider a scary age. Even if you avoid all the dystopian books and films, real life provides more than enough worries. Thank God that C.S. Lewis offers wise counsel to help us cope with our fears without despairing.

The Department of Defense just released its 2019 report from the Electromagnetic Defense Task Force. The 2018 Report, which lays the foundation for the latest electromagnetic pulse (EMP) study, is also available.

These reports make fascinating, though sobering, reading. Their warnings are applicable not only to the United States, but to everyone depending on modern conveniences such as electricity. The EMP threat comes, after all, not only from nuclear attacks, but also from coronal mass ejections which are spawned regularly by the sun. (NASA agrees with the potential dangers.)

As the report says, “The potentially catastrophic effects of these types of natural or man-made EMP events are not science fiction but science fact and have been well studied and documented for nearly six decades.”

Warning people about the dangers—and preparations that can easily be made in advance to survive them—is the mandate of the Task Force. I imagine one of their educational recommendations they suggest might come to resemble the “Duck and Cover” training provided to students in the 1950s and 1960s.

How Bad Could It Be?

Pretty terrible, if the worst circumstances align. The reports support the findings of a previous Congressional study that “an EMP-induced blackout could cause a long-term nationwide grid collapse and the loss of up to 90 percent of the population through starvation, disease, and societal collapse.”

Ninety percent. This would be nothing less than apocalyptic. Yet, even in such a scenario, we would not need to surrender to hopelessness. I’ve discussed this in the past.

Most of the fatalities would result from starvation, since food production would drop dramatically, and there would be no fuel available to move it to markets. The even more ominous threat would come from our fellow citizens. Describing this, one contributor to the report cites three certain factors that are not currently considered in any official plans: human desperation, starvation, and “living without the rule of law” which has its own acronym, WROL.

C.S. Lewis’ Response

The danger of EMPs was little known during Lewis’ life. Nonetheless, he did write about the possibilities for global disaster created by the existence of hydrogen bombs. And Lewis’ response was the Christian one—do not despair, since these threats change almost nothing. Even without them, we humans are mortal. Likewise, barring the creation of a new heaven (which is coming), even the expanding universe we inhabit is destined to fade away.

Our ultimate hope comes not from the material creation, which itself shares the scars of humanity’s fall. We are not simply physical beings. Created in the image of God, you and I possess a spiritual nature. And God will deliver us from this final dissolution.

Lewis describes this dilemma extremely well in his essay “On Living in an Atomic Age.” And this video helps to illustrate Lewis’ words.

As Lewis says,

If we are all going to be destroyed by [an event such as an EMP], let that [event] when it comes find us doing sensible and human things—praying, working, teaching, reading, listening to music, bathing the children, playing tennis, chatting to our friends over a pint and a game of darts—not huddled together like frightened sheep” dwelling on our vulnerability. Such terrible events “may break our bodies (a microbe can do that) but they need not dominate our minds.” (On Living in an Atomic Age)

Preparing for Disasters

When we lived in the Midwest, where winter storms could readily strand motorists for a day or more, we carried a “survival kit.” It was a wise precaution, though by the grace of God we never needed to use it.

Off the West Coast of the U.S. and Canada, lies a mounting danger. The Cascadia Subduction Zone generates earthquakes and mega-tsunamis every 500 years or so . . . Today tsunami escape routes have become a normal component of disaster preparedness for those living on the Washington and Oregon coasts.

Each individual and family must determine their own course when it comes to disaster preparation. If my family had settled in Texas where two tornadoes passed near our home while we lived there, I would not have relied on taking shelter in a hallway beneath an antique table. I would have prepared for the potential threat by having a home built with a basement designed to serve as a tornado shelter.

The problem isn’t that people take precautions that often prove unnecessary—at worst they have expended money that purchased only peace of mind. The problem is that some people become consumed by the prospect of a national or global disaster. Their fear can grow to the point where it is all they can think about and the rest of their life often ends up in ruins.

It is to people in this group—those we might call extreme doomsday preppers—that C.S. Lewis speaks most intentionally. He offers sound advice that can help restore balance to the lives of those who have been crippled by fear.

It will be very interesting to see how the recommendations of the Electromagnetic Defense Task Force are implemented. Particularly their challenge to actively educate the public. Hopefully whatever program arises will be reasonable and constructive, and avoid excessive drama. But, living in our increasingly hyperbolic world, I’m not confident that will be true. Prepare to hear more about this subject in the years ahead.


The image above was captured by NASA’s Solar Dynamics Observatory and the “Sun-flanking STERO-B spacecraft” in 2012.

Good, Bad and Ugly Hymns

August 12, 2019 — 27 Comments

There’s good “church music.” There’s mediocre church music. (And, there’s even terrible church music.) Read on and I’ll provide a link to an article I wrote about one questionable ditty that wormed its way into a military hymnal.

C.S. Lewis was not a fan of most church music. I’ve written about his musical tastes previously.

His assessment is no secret. He deemed most hymns to be “fifth-rate poems set to sixth-rate music.”

When it comes to hymns, there is general agreement on what’s good. These songs have passed the test of time. They have proven edifying and inspirational for generations. Some contemporary music is also biblically faithful and possesses the potential to join the ranks of the church’s lasting hymnody.

Then there are the others. Uninhibited redundancy, for example, suggests a corresponding shallowness. I forego the idiom about something being broad but shallow, since such songs are actually narrow and shallow. Case in point, the song “Yes, Lord.”

It begins promisingly enough:
I’m trading my sorrow
I’m trading my shame
I’m laying it down for the joy of the Lord

Then the theology gets a wee bit blurrier, especially for believers who still suffer after praying for healing:

I’m trading my sickness
I’m trading my pain
I’m laying it down for the joy of the Lord

But it’s the chorus that undermines the song’s edificatory potential.

And we say
Yes Lord yes Lord yes yes Lord
Yes Lord yes Lord yes yes Lord
Yes Lord yes Lord yes yes Lord Amen

Yes Lord yes Lord yes yes Lord
Yes Lord yes Lord yes yes Lord
Yes Lord yes Lord yes yes Lord Amen

The last two chorus breaks are replaced by the less challenging:

La la la la la la
La la la la la
La la la la la la
La la la la la
La la la la la la la la la
La la la la

La la la laLa la
La la la la la
La la la la la la
La la la la la
La la la la la la la la la
La la la laLa la la la

To those of you who adore this particular song—please accept my apologies for singling it out. Yet I stand by my view of these lyrics. And I can certainly imagine what C.S. Lewis would have thought of it.

The Power of Music

Various Christian leaders have expressed the opinion it’s more important to write the church’s hymns than its theological books. Hopefully that’s hyperbole, but few would deny the words we sing directly influence our thinking.

Arius, one of the early heretics who denied the divinity of Christ, knew this. His movement created tremendous confusion and resulted in much persecution. One of his most successful tools consisted of composing heretical songs. The words were “religious,” and the tunes were catchy, so people were singing them even when they didn’t agree with his doctrine.

C.S. Lewis & Church Music

As mentioned above, C.S. Lewis was very candid about his own disaffection for most church hymnody. In “Answers to Questions on Christianity,” Lewis answers the question of whether it’s necessary to attend worship services. He describes how duty rather than desire brought him to congregational worship.

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 . . .

[However,] I disliked very much their hymns, which I considered to be fifth-rate poems set to sixth-rate music. But as I went on I saw the great merit of it. I came up against different people of quite different outlooks and different education, and then gradually my conceit just began peeling off.

I realized that the hymns (which were just sixth-rate music) were, nevertheless, being sung with devotion and benefit by an old saint in elastic-side boots in the opposite pew, and then you realize that you aren’t fit to clean those boots. It gets you out of your solitary conceit.

In light of Lewis’ attitude toward religious hymnody, it’s ironic that in 1946 he was invited to help evaluate new hymns.

The Hymn Society of Great Britain and Ireland is opening a file of new hymns to which modern hymn-writers are to be asked to contribute. I have been asked to write to you and ask if you will be a member of the panel to whom new hymns may be submitted in order that their merit may be assessed . . .

Lewis’ response to the invitation is as revealing as it is (unintentionally, I’m sure) curt.

The truth is that I’m not in sufficient sympathy with the project to help you. I know that many of the congregation like singing hymns: but I am not yet convinced that their enjoyment is of a spiritual kind. It may be: I don’t know.

To the minority, of whom I am one, the hymns are mostly the dead wood of the service. Recently in a party of six people I found that all without exception would like fewer hymns. Naturally, one holding this view can’t help you.

Two months later, the men exchanged letters again, and Lewis clarified his thoughts.

I can’t quite remember my own last letter; but I was wrong if I said or implied that . . . hymns, were bad in principle. . . . In modern England, however, we can’t sing—as the Welsh and Germans can. Also (a great pity, but a fact) the art of poetry has developed for two centuries in a private and subjective direction.

That is why I find hymns ‘dead wood.’ But I spoke only for myself and a few others. If an improved hymnody—or even the present hymnody—does edify other people, of course it is an elementary duty of charity and humility for me to submit. I have never spoken in public against the use of hymns . . .

The Gospel Coalition has an informative essay on Lewis’ broader view of worship here.

The Armed Forces Hymnal Scandal

At the outset of this column I promised readers a link to a recently published article. If you would like to read about a bizarre hymn that (temporarily) slithered into the Book of Worship for United States Forces, check it out here. The article begins on page fifteen of the new issue of Curtana: Sword of Mercy.

The hymn in question may be thought-provoking, but it belongs in a discussion group, not in a worship service. The lyrics are placed on the tongue of thief crucified beside Jesus. The criminal who was not invited by Jesus to “be with [him] in paradise” (Luke 23). The first stanza will amply illustrate the spirit of the piece.

It was on a Friday morning that they took me from my cell,
And I saw they had a carpenter to crucify as well
You can blame it on to Pilate, you can blame it on the Jews,
You can blame it on the Devil, It’s God I accuse.
(Refrain)
It’s God they ought to crucify, instead of you and me.
I said to the carpenter a-hanging on the tree.

If you read the article, and consider me unfair to the song’s writer, please leave a comment below. I would love the chance to respond. Likewise, if you think I’ve been too harsh in my evaluation of “Yes, Lord.” Given a choice between mediocre and terrible hymns, there’s no contest.

One wonders how Lewis would have rated “It was on a Friday Morning.” I suspect it would not even rise to the bar of being a “fifth-rate poem.”

achilles

If you don’t know the meaning of “hamartia,” you’re not alone. But it’s a very important word, for more than one reason, so read on.

Hamartia describes a feature many writers of fiction or drama instill in their most memorable characters. It simply means “tragic flaw.” The deep character defect which cannot be overcome by sincere intention or persistent effort.

Merriam-Webster describes it this way.

Aristotle introduced the term in the Poetics to describe the error of judgment which ultimately brings about the tragic hero’s downfall. As you can imagine, the word is most often found in literary criticism.

However, news writers occasionally employ the word when discussing the unexplainable misfortune or missteps of übercelebrities regarded as immortal gods and goddesses before being felled by their own shortcomings.

Despite being a thespian in high school, I never formally studied drama. So I didn’t encounter the word there.

Likewise, I have written consistently since earning a Journalism degree four decades ago. However, since I have a 37:1 nonfiction to fiction ratio, I did not know this Greek word had found its way into the English lexicon.

I was surprised to discover its English meaning in my usually-familiar word of the day email (from The Free Dictionary).

While I was unfamiliar with its English usage, I already knew the word. I originally met hamartia (ἁμαρτία) while studying the New Testament in Greek. Hamartia literally refers to “missing the mark,” and it is the primary biblical Greek word for sin.

The first usage of the word in the sense of being an inner quality, occurs in Aristotle’s Poetics.  Aristotle writing as a pre-Christian philosopher, naturally perceived the literary device in a pagan manner.

The Greek word hamartia translates pretty directly as “error” or “shortcoming” without any necessary overtones of guilt or moral failure. Our modern conception of tragedy and the “tragic flaw” of the hero usually involves the concept of hubris, or overweening pride, that leads to disaster.

Macbeth, for instance, has the arrogance to think he can overstep the laws of God and state, and ultimately pays dearly for this arrogance. Macbeth is a tragic hero with a clear tragic flaw: his downfall results from a moral failing and can be seen as divine retribution proportional to his guilt. But Macbeth also contains heavy Christian overtones that would of course be found nowhere in Greek tragedy.

An understanding of Aristotle’s concept of hamartia—and indeed an understanding of Greek tragedy in general—relies on an understanding of the ethics and cosmology of the ancient Greeks. . . . Greek ethics are based more on the notion of virtue than obligation.

What of the Consequences?

In a 2014 article entitled “C.S. Lewis: The Anti-Platonic Platonist,” Grace Tiffany skillfully explores the Platonic echoes in Lewis’ writings. In discussing his literary examples of human failings, she writes:

There are of course Biblical models justifying Lewis’ “negatively capable” presentations of misguided characters . . . An older philosophical source, if not a Platonic one, also justifies mimetic representations of evil by the argument that these are morally purgative.

Imitations of hamartia, or tragic error, produce “fear and pity” (Aristotle, Poetics 1453b)—compassion for the character elicited by a skilled simulation of his psychology, naturally accompanied by a healthy fear of ourselves making similar mistakes. What ensures the fear is, of course, the dramatization of the horrible end to which hamartia has led . . . (Christianity and Literature 63.3).

In 1953, C.S. Lewis wrote to a correspondent that sin was more than merely making a mistake. In doing so, he alludes to the change in the meaning of the word ἁμαρτία.

No. I don’t think sin is completely accounted for by faulty reasoning nor that it can be completely cured by re-education. That view has, indeed, been put forward: by Socrates and, in the early 19th Century, by Godwin.

But I think it overlooked the (to me) obviously central fact that our will is not necessarily determined by our reason. If it were, then, as you say, what are called ‘sins’ would not be sins at all but only mistakes, and would require not repentances but merely correction.

Returning to the literary or dramatic definition of hamartia as a tragic flaw, it seems to me that this term offers a fitting parallel to the word sin.

Ever since humanity’s fall, we suffer the curse of bearing original sin, a tragic flaw. It is a scar that no medical or psychological treatment can cure and no amount of determination can repair. This tragic flaw will be our doom. Unless, that is, there is One who is capable and desirous of restoring us to our original health and purity. One, perhaps, in whose own image you and I were created . . .

This wonder is something well worth pondering—and perhaps one day, writing about.

arthur.png

This book belongs in the library of every fan of the Inklings and each devotee of King Arthur. The truth is that anyone interested in British literature or the Dark Ages will find much that appeals to their curiosity. King Arthur is known around the world as an archetypal hero, and he was a central fixture in the minds of the Inklings.

The Inklings & King Arthur (TIKA) is impressive in every way. However, it’s 555 rich pages should not intimidate potential readers. Editor Sørina Higgins masterfully gathered diverse insights from a score of scholars, and the individual chapters can be approached in any manner the reader desires. Even if a few of the chapter titles fail to resonate with a particular reader, the solid value of the remainder far exceed the price of the work.

Mere Inkling seldom offers reviews of books, despite the “libraries” of new Inkling literature published every year. The Inklings & King Arthur is the exception, for two reasons.*

TIKA does not require a familiarity with its subject. The academic background of the contributors allows them to usher readers into rewarding discussions without additional research. C.S. Lewis described “the task of the modern educator [as] not to cut down jungles, but to irrigate deserts.” The writers in this volume have written so clearly that even if your knowledge of King Arthur is the Mojave, and your familiarity with the Inklings is the Sahara, you will enjoy reading this book.

Truth be told, much has been written about King Arthur. Likewise, films have explored the myths, with varying degrees of faithfulness. Some make no effort at all to be faithful to the inspiring story. An extreme example would be the ludicrous storyline of the 2017 film, Transformers: The Last Knight. In striking contrast to this, the Inklings sought to penetrate the mists of time and discern the reasons Arthur’s story has inspired men and women for so many generations.

In the book’s introduction, Higgins says her hope was “to fill a sizeable hole in the field of Inkling studies” (2). She surely achieved this task. She also says “the present collection endeavors to usher the field of Inklings studies into more rigorous theoretical territory” (3). This goal, the contributors have surpassed.

Proceeding to some specific comments, my first would be to point out the accuracy of the volume’s title. It is an exploration of “the Inklings,” rather than simply Lewis and/or Tolkien. The fact that less well-known members of the literary group wrote the most Arthuriana means their works are particularly well represented in the current collection.

This fact might discourage a potential reader who is disinterested in the lesser known authors. However, the truth is, exposure to work of these friends and influencers of the two über-Inklings helps us better understand them and the confluences that flowed together in that unique literary fellowship.

Most articles consider the Inklings as group in relationship to a theme. For example, Christopher Gaertner discusses, “Shape and Direction: Human Consciousness in the Inklings’ Mythological Geographies.” The author identifies their differing viewpoints and how they influenced one another. Despite “their shared resistance to a scientistic worldview” (150), Tolkien, Lewis and Owen Barfield did not share identical understandings of how the world should be perceived.

Beyond the Eagle & Child

One pleasant surprise is the inclusion of an essay on G.K. Chesterton (1874-1936). Chesterton’s The Everlasting Man contributed to the conversion of C.S. Lewis.

In his TIKA essay “All Men Live by Tales,” J. Cameron Moore reveals how Chesterton’s poetry about Arthur is rooted in England. Arthur was important enough for Chesterton to return several times to the story of this hero who is “Mythic, Roman, and Christian (205). You can download a free copy of The Ballad of St. Barbara which includes “The Myth of Arthur” here. You can read “The Grave of Arthur” at this site.

Benjamin Shogren explores the significance of the addition of two new names—Pendragon and Fisher-king” to the protagonist of C.S. Lewis’ space trilogy. Elwin Ransom “represents Arthur by . . . evoking the primary imagery associated with the role of Arthur” (399). Ransom is now imbued with a mythological aura of royal leadership and courageous chivalry.

This volume overflows with richness. In “On Fairy Stories,” J.R.R. Tolkien describes the dense blend of mythologies present in the story of Arthur, using the image of a pot of soup with various ingredients added over time.

It seems fairly plain that Arthur, once historical (but perhaps as such not of great importance), was also put into the Pot. There he was boiled for a long time, together with many other older figures and devices, of mythology and Faerie, and even some other stray bones of history (such as Alfred’s defence against the Danes), until he emerged as a King of Faerie.

The situation is similar in the great Northern “Arthurian” court of the Shield-Kings of Denmark, the Scyldingas of ancient English tradition. King Hrothgar and his family have many manifest marks of true history, far more than Arthur; yet even in the older (English) accounts of them they are associated with many figures and events of fairy-story: they have been in the Pot.

The soup or stew pot may also serve as a fitting metaphor for The Inklings & King Arthur. This exceptional volume offers a potent mix of wisdom and insights that go beyond the boundaries of its title. Readers will be rewarded, in fact, with many satisfying literary meals.


* The first reason is that the academic weight of the work merits the undertaking. The second is because I have received a review copy, which obligates me in a sense, to providing a review—not a positive review, of course, but an honest assessment of its value, from my personal perspective.

Honest reviewers, of course, are mandated to acknowledge the fact that they received a particular volume gratis. This is done to protect one’s integrity. At the same time, a writer’s honor is also protected by their pledge to provide an honest evaluation of each work, for good or ill. This is what you will discover here.

The volume’s editor, Sørina Higgins, gathered an impressive group of Inkling scholars to contribute. She is a poet who is Chair of Language and Literature at Signum University.

It would be challenging to find any flaw in this amazing volume. Its sole weakness, in this reviewer’s opinion, is that it is so detailed and thorough, that it transcends the reading skills (or perhaps, “tastes”) of some of today’s readers. Despite that, the authors have gone to significant effort to write clearly and make their extremely detailed subject matter accessible to all.

typos

Who among us has lived a life free of typographical errors? When we learned to type (or “keyboard”), our typing speed was influenced by the number of incorrect characters we included.

Even worse, some infernal source birthed the idea of “autocorrect,” which is occasionally useful for documents, but just as frequently deadly for emails and texts.

Lewis’ own books have included a number of typographical errors. Arend Smilde, a Dutch scholar and translator, has noted a fair number of them on his valuable website.

The truth is, it is possible for errors to creep in whenever original manuscripts are copied.

Even with the Scriptures, existing manuscripts include various minor variations, since the autographs have been lost to history.

This fact necessitates the need for “textual criticism,” and many earnest biblical scholars have devoted their lives to discerning the original text. (“Criticism” in this use, does not connote negativity. It simply refers to study, such as with “literary criticism.”)

Textual criticism diverges significantly from the so-called “higher criticisms” which frequently result in confusion and doubt.* Comparing actual texts is fundamental to the study of all literary creations.

C.S. Lewis wrote a brilliant essay entitled “Modern Theology and Biblical Criticism,” which is currently known as “Fern-Seed and Elephants.” In it, he distinguishes between the various types of criticism and affirms textual examination as utterly valid.

We think that different elements in this sort of theology have different degrees of strength. The nearer it sticks to mere textual criticism . . . the more we are disposed to believe in it. And of course, we agree that passages almost verbally identical cannot be independent. It is as we glide away from this into reconstructions of a subtler and more ambitious kind that our faith in the method waivers; and our faith in Christianity is proportionally corroborated.

The sort of statement that arouses our deepest scepticism is the statement that something in a Gospel cannot be historical because it shows a theology or an ecclesiology too developed for so early a date. For this implies that we know, first of all, that there was any development in the matter, and secondly, how quickly it proceeded.

When books are published, errors slink in. This generates errata, which are presumably corrected in any subsequent editions of the work. (It dawns on me that I’ve never seen an erratum, noting there is only one mistake in the work.)

The Genesis of Today’s Thoughts

Curiously, the article that led me to think about textual errors involves the substitution of an i for an e. The result is that for centuries, people mistakenly believed that Rome had a “Little Temple of Ridicule.” The notion was that the ancient Romans so loved humor, that they “went so far as to erect a ridiculi aedicula, or chapel of laughter.” This curious article is well worth reading (hint: it has something to do with Hannibal’s retreat).

It’s not that the idea of humor shouldn’t be celebrated. On the contrary, laughter features broadly in C.S. Lewis’ works. In a letter written shortly after his marriage to Joy, he alludes to Dante’s portrait of heaven. It is an image Lewis affirmed, and one that I happily anticipate.

Of course Heaven is leisure (“there remaineth a rest for the people of God”): but I picture it pretty vigorous too as our best leisure really is. Man was created “to glorify God and enjoy Him forever.”

Whether that is best pictured as being in love, or like being one of an orchestra who are playing a great work with perfect success, or like surf bathing, or like endlessly exploring a wonderful country or endlessly reading a glorious story—who knows? Dante says Heaven “grew drunken with its universal laughter.”


* For an informative discussion of the different forms of criticism, see this conversation. In response to the question “How is it, then, that the Higher Criticism has become identified in the popular mind with attacks upon the Bible and the supernatural character of the Holy Scriptures?” the author writes:

Some of the most powerful exponents of the modern Higher Critical theories have been Germans, and it is notorious to what length the German fancy can go in the direction of the subjective and of the conjectural. For hypothesis-weaving and speculation, the German theological professor is unsurpassed.

Some of the men who have been most distinguished as the leaders of the Higher Critical movement in Germany and Holland have been men who have no faith in the God of the Bible, and no faith in either the necessity or the possibility of a personal supernatural revelation.