C. S. Lewis
C. S. Lewis
Clive Staples Lewiswas a British novelist, poet, academic, medievalist, literary critic, essayist, lay theologian, broadcaster, lecturer, and Christian apologist. He held academic positions at both Oxford University, 1925–54, and Cambridge University, 1954–63. He is best known for his fictional work, especially The Screwtape Letters, The Chronicles of Narnia, and The Space Trilogy, and for his non-fiction Christian apologetics, such as Mere Christianity, Miracles, and The Problem of Pain...
NationalityIrish
ProfessionAuthor
Date of Birth29 November 1898
CountryIreland
We poison the wine as He decants it into us; murder a melody He would play with us as the instrument...Hence all sin, whatever else it is, is sacrilege.
To play well the scenes in which we are 'on' concerns us much more than to guess about the scenes that follow it.
The Moral Law tells us the tune we have to play: our instincts are merely the keys.
God can show Himself as He really is only to real men. And that means not simply to men who are individually good, but to men who are united together in a body, loving one another, helping one another, showing Him to one another. For that is what God meant humanity to be like; like players in one band, or organs in one body.
What began the change was the very writing itself. Let no one lightly set about such a work. Memory, once waked, will play the tyrant.
But the most obvious fact about praise -- whether of God or anything -- strangely escaped me. I thought of it in terms of compliment, approval, or the giving of honor. I had never noticed that all enjoyment spontaneously overflows into praise. ... The world rings with praise -- lovers praising their mistresses, readers their favorite poet, walkers praising the countryside, players praising their favorite game. ... I think we delight to praise what we enjoy because the praise not merely expresses but completes the enjoyment; it is its appointed consummation.
Our experience is coloured through and through by books and plays and the cinema, and it takes patience and skill to disentangle the things we have really learned from life for ourselves.
Like a good chess player, Satan is always trying to maneuver you into a position where you can save your castle only by losing your bishop.
Bridge-players tell me that there must be some money on the game 'or else people won't take it seriously'. Apparently it's like that. Your bid - for God or no God, for a good God or the Cosmic Sadist, for eternal life or nonentity - will not be serious if nothing much is staked on it. And you will never discover how serious it was until the stakes are raised horribly high, until you find that you are playing not for counters or for sixpences but for every penny you have in the world.
But how can the characters in a play guess the plot? We are not the playwright, we are not the producer, we are not even the audience. We are on the stage. To play well the scenes in which we are "on" concerns us much more than to guess about the scenes that follow it.
When the author walks onto the stage, the play is over
The most intense joy, lies not in the having, but in the desire, Delight that never fades, bliss that is eternal, Is only your, when what you most desire, is just out of reach...Anthony Hopkins, from the movie Shadowlands, where he plays C.S. Lewis
Thirst was made for water; inquiry for truth. What you now call the free play of inquiry has neither more nor less to do with the ends for which intelligence was given you than masturbation has to do with marriage.
We are not meant to be perpetually solemn: We must play.