C. S. Lewis: A Biography. A. Wilson N.

Чтение книги онлайн.

СКАЧАТЬ various formalist critics (most of whom he would have abominated) exploring the curious relationship between text and reader. Reading is not a simple exercise. Very often, the simplest ‘understanding’ of a text would turn out in another person’s eyes to be a ‘misreading’ of it. Reading is a creative exercise, an exercise in the imagination. It constitutes an experience in itself. Perhaps there are many imaginative, religious or emotional areas where it actually makes very little sense to distinguish between ‘real’ or ‘personal’ experiences, and things we have ‘only’ read about in books. These are matters to which Lewis, in later life, was to devote thought. How much is the bookish man distinguishable from his imagined self, the self he projects into the books he reads?

      When he looked back on his life at Great Bookham, there was one great reading experience which outshone all others, and which certainly constitutes a personal experience every bit as important as his encounters with the Belgian girl or Mrs Kirkpatrick. In some ways it was more important than his acquaintanceship with Kirkpatrick himself.

      This occurred at the beginning of March 1916, when quite by chance on the station bookstall at Great Bookham, he happened to pick up a copy of Phantastes by George MacDonald. After only a few pages he knew at once that he was in for ‘a great literary experience’.²³

      George MacDonald was to be so important a figure in Lewis’s life, and Phantastes such a great milestone in his inner journey, that some word of exposition is required here. Can we explain why the book meant so much to him, became almost a holy text in his imagination, and – most characteristic – a touchstone by which to judge whether other people were, or were not, ‘of the brethren’?

      ‘All was changed … I had not the faintest notion what I had let myself in for by buying Phantastes.’²⁴

      Many of Lewis’s admirers must have rushed eagerly to the pages of MacDonald and felt a grave disappointment at what they found there. For MacDonald supremely lacks Lewis’s greatest quality – that of readability, the simple ability to write prose in such a manner that one wants to keep on turning the pages. It is this which accounts for the obscurity into which MacDonald’s reputation fell after his death in 1905, at the age of seventy-nine. But Lewis was surely right to discern in him one of the most original imaginations in the whole of English literature. Phantastes is not, strictly speaking, a story. It is an imagined dream or vision in which the hero, Anodos (which means in Greek ‘No Way’), wakes up and finds that his bedroom is not as he remembered it. From the wash-basin a stream is flowing on to the carpet. The carpet is now bright-green grass, and a tiny stranger offers to lead him through a small section of his writing desk into the world of Faery (MacDonald was a friend of Lewis Carroll). In the company of this fairy, who turns out to be his lost grandmother, he enters a world of potent symbols and archetypical images, and sets out on various quests for a perfect woman, part lover, part mother-figure. One of these is the beauteous marble lady – very possibly MacDonald’s lost mother, who by a dreadful ‘weaning’ abandoned her child by dying when he was only eight.

      MacDonald is the missing link between Spenser’s Faerie Queene and the writings of Freud and Jung. He seems to have the supreme gift, in his fairy stories, of writing unselfconsciously about the subconscious: not only describing what it is like to be in a subconscious dream-state, but also, without any spelling-out of the obvious, high-lighting the meaning of these mentally subterranean journeyings. One of MacDonald’s favourite sayings came from Novalis: ‘Our life is no dream, but it ought to become one and perhaps will.’ He is the great chronicler of the inner life, the mapper-out of what takes place when the subconscious is allowed free range and – in dream or fantasy – tells us stories about ourselves which with our conscious minds we would not necessarily understand or might not be strong enough to bear. MacDonald’s entire œuvre has been described as ‘a life-time effort of mourning’ the traumatic losses of his boyhood, above all the death of his mother. Lewis, when he first read Phantastes, could have had no idea that MacDonald’s early history was so like his own.²⁵ MacDonald’s genius is to draw archetypes to which we all respond. But this story made a particular appeal to Lewis: the young man with No Way in the world, pursuing images of selfhood, images of womanhood, images of loss, images of death.

      Later, he was to see that reading Phantastes had been something much more than a literary experience. Indeed, Lewis never blinded himself to the fact that in technical, literary terms MacDonald is not necessarily ‘a good writer’. And in one sense, the wanderings of Anodos were no different from many of the other worlds and enchanted places which he had met with in favourite authors from Spenser to William Morris and Yeats. ‘But in another sense all was changed. I did not yet know (and I was long in learning) the name of the new quality, the bright shadow that rested on the travels of Anodos. I do now. It was Holiness. For the first time the songs of the sirens sounded like the voice of my mother or my nurse.’²⁶

      For the previous eight years, Lewis had been bottling up the emotion which he had most needed to let out: grief for his mother. The experience of boarding school immediately after Flora died and the stiff-upper-lip schoolboy atmosphere in which the emotions were suspected and tears were thought cissy had led to a profound stiffening and hardening throughout his being. MacDonald was the first person who touched Lewis sufficiently to let him see what he needed. It is no surprise that, upon reading Phantastes, Lewis heard a sound like the voice of his mother. Meanwhile, his mentor and teacher Kirkpatrick was giving his mind to what the future might hold for this most gifted youth. Two things struck him as obvious and, given the way things turned out, we should commend Kirkpatrick’s foresight.

      Early on, he had noted that ‘Clive is an altogether exceptional boy.’²⁷ Later, he had told Albert Lewis that Clive ‘was born with the literary temperament and we have to face the fact with all it implies. This is not a case of early precocity showing itself in rapid assimilation of knowledge and followed by subsequent indifference or even torpor. As I said before it is the maturity of his literary judgements which is so unusual and surprising.’²⁸

      Albert asked what career this pointed to, and Kirkpatrick replied that they should consider the Bar (i.e. being an advocate or attorney in court) as ‘the career marked out for Clive by nature and destiny … He has every gift, a goodly presence, a clear resonant voice, an unfailing resource of clear and adequate expression.’

      So, he was to turn out as a literary man and an advocate. This was true. But in neither case was he to fulfil Kirkpatrick’s prophecy as he or Albert expected. His skills as an advocate were eventually to be used in the area of Christian apologetics; his literary skills in the areas of criticism, essays, science fiction and children’s stories.

      In his late teens, Jack himself was convinced that he was going to become a poet, and this was a conviction which he carried with him until the late 1920s. Between Easter 1915 and Easter 1917, he wrote fifty-two poems, all about on a par with ‘The Hills of Down’:

      I will abide

      And make my Dwelling here

      Whatso betide

      Since there is more to fear

      Out yonder. Though

      This world is drear and wan

      I dare not go

      To dreaming Avalon,

      Nor look what lands

      May СКАЧАТЬ