C. S. Lewis Essay Collection: Faith, Christianity and the Church. C. S. Lewis
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Название: C. S. Lewis Essay Collection: Faith, Christianity and the Church
Автор: C. S. Lewis
Издательство: HarperCollins
Жанр: Классическая проза
isbn: 9780007375776
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Now I notice a very odd point. All other religions in the world, as far as I know them, are either nature religions, or anti-nature religions. The nature religions are those of the old, simple pagan sort that you know about. You actually got drunk in the temple of Bacchus. You actually committed fornication in the temple of Aphrodite. The more modern form of nature religion would be the religion started, in a sense, by Bergson3 (but he repented, and died Christian), and carried on in a more popular form by Mr Bernard Shaw. The anti-nature religions are those like Hinduism and Stoicism, where men say, ‘I will starve my flesh. I care not whether I live or die.’ All natural things are to be set aside: the aim is Nirvana, apathy, negative spirituality. The nature religions simply affirm my natural desires. The anti-natural religions simply contradict them. The nature religions simply give a new sanction to what I already always thought about the universe in my moments of rude health and cheerful brutality. The anti-nature religions merely repeat what I always thought about it in my moods of lassitude, or delicacy, or compassion.
But here is something quite different. Here is something telling me –well, what? Telling me that I must never, like the Stoics, say that death does not matter. Nothing is less Christian than that. Death which made Life Himself shed tears at the grave of Lazarus (John 11:35), and shed tears of blood in Gethsemane (Luke 22:44). This is an appalling horror; a stinking indignity. (You remember Thomas Browne’s splendid remark: ‘I am not so much afraid of death, as ashamed of it.’)4 And yet, somehow or other, infinitely good. Christianity does not simply affirm or simply deny the horror of death: it tells me something quite new about it. Again it does not, like Nietzsche, simply confirm my desire to be stronger, or cleverer than other people. On the other hand, it does not allow me to say, ‘Oh, Lord, won’t there be a day when everyone will be as good as everyone else?’ In the same way, about vicariousness. It will not, in any way, allow me to be an exploiter, to act as a parasite on other people; yet it will not allow me any dream of living on my own. It will teach me to accept with glad humility the enormous sacrifice that others make for me, as well as to make sacrifices for others.
That is why I think this Grand Miracle is the missing chapter in this novel, the chapter on which the whole plot turns; that is why I believe that God really has dived down into the bottom of creation, and has come up bringing the whole redeemed nature on His shoulders. The miracles that have already happened are, of course, as Scripture so often says, the first fruits of that cosmic summer which is presently coming on (Romans 8:23; 11:16; 16:5; 1 Corinthians 15:20; James 1:18; Revelation 14:4). Christ has risen, and so we shall rise. St Peter for a few seconds walked on the water (Matthew 14:29); and the day will come when there will be a re-made universe, infinitely obedient to the will of glorified and obedient men, when we can do all things, when we shall be those gods that we are described as being in Scripture. To be sure, it feels wintry enough still: but often in the very early spring it feels like that. Two thousand years are only a day or two by this scale. A man really ought to say, ‘The Resurrection happened two thousand years ago’ in the same spirit in which he says, ‘I saw a crocus yesterday.’ Because we know what is coming behind the crocus. The spring comes slowly down this way; but the great thing is that the corner has been turned. There is, of course, this difference, that in the natural spring the crocus cannot choose whether it will respond or not. We can. We have the power either of withstanding the spring, and sinking back into the cosmic winter, or of going on into those ‘high mid-summer pomps’ in which our Leader, the Son of Man, already dwells, and to which He is calling us. It remains with us to follow or not, to die in this winter, or to go on into that spring and that summer.
A paper read to the Oxford Socratic Club in reply to one by Professor H.H. Price. Both papers were subsequently published in The Socratic Digest, No. 3 (1945) and No. 5 (1952). Lewis’s paper was reproduced in They Asked for a Paper (1962) and Screwtape Proposes a Toast (1998).
The question I have been asked to discuss tonight–‘Is Theology Poetry?’–is not of my own choosing. I find myself, in fact, in the position of a candidate at an examination; and I must obey the advice of my tutors by first making sure that I know what the question means.
By Theology we mean, I suppose, the systematic series of statements about God and about man’s relation to Him which the believers of a religion make. And in a paper set me by this Club I may perhaps assume that Theology means principally Christian Theology. I am the bolder to make this assumption because something of what I think about other religions will appear in what I have to say. It must also be remembered that only a minority of the religions of the world have a theology. There was no systematic series of statements which the Greeks agreed in believing about Zeus.
The other term, Poetry, is much harder to define, but I believe I can assume the question which my examiners had in mind without a definition. There are certain things which I feel sure they were not asking me. They were not asking me whether Theology is written in verse. They were not asking me whether most theologians are masters of a ‘simple, sensuous and passionate’ style. I believe they meant: ‘Is Theology merely poetry?’ This might be expanded: ‘Does Theology offer us, at best, only that kind of truth which, according to some critics, poetry offers us?’ And the first difficulty of answering the question in that form is that we have no general agreement as to what ‘poetical truth’ means, or whether there is really any such thing. It will be best, therefore, to use for this paper a very vague and modest notion of poetry, simply as writing which arouses and in part satisfies the imagination. And I shall take it that the question I am to answer is this: Does Christian Theology owe its attraction to its power of arousing and satisfying our imagination? Are those who believe it mistaking aesthetic enjoyment for intellectual assent, or assenting because they enjoy?
Faced with this question, I naturally turn to inspect the believer whom I know best–myself. And the first fact I discover, or seem to discover, is that for me at any rate, if Theology is Poetry, it is not very good poetry.
Considered as poetry, the doctrine of the Trinity seems to me to fall between two stools. It has neither the monolithic grandeur of strictly Unitarian conceptions, nor the richness of Polytheism. The omnipotence of God is not, to my taste, a poetical advantage. Odin, fighting against enemies who are not his own creatures and who will in fact defeat him in the end, has a heroic appeal which the God of the Christians cannot have. There is also a certain bareness about the Christian picture of the universe. A future state, and orders of superhuman creatures, are held to exist, but only the slightest hints of their nature are offered. Finally, and worst of all, the whole cosmic story though full of tragic elements yet fails of being a tragedy. Christianity offers the attractions neither of optimism nor of pessimism. It represents the life of the universe as being very like the mortal life of men on this planet–‘of a mingled yarn, good and ill together’. The majestic simplifications of Pantheism and the tangled wood of Pagan animism both seem to me, in their different ways, more attractive. Christianity just misses the tidiness of the one and the delicious variety of the other. For I take it there are two things the imagination loves to do. It loves to embrace its object completely, to take it in at a single glance and see it as something harmonious, symmetrical and self-explanatory. That is the classical imagination: the Parthenon was built for it. It also loves to lose itself in a labyrinth, to surrender to the inextricable. That is the romantic imagination: the Orlando Furioso was written for СКАЧАТЬ