Category: Featured

The Enclosed Garden in C.S. Lewis’ The Chronicles of Narnia

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A garden enclosed is my sister my spouse;
a spring shut up, a fountain sealed.
-Canticles 4:12

I. Introduction

To Christian writers, landscape and its seasons are not merely backdrops for plots and characters. As places of destination they are integral elements of quest narratives or pilgrimages. More importantly, nature’s cyclical patterns often function as maps of the human soul: “[t]o the Christian, the seasons’ round, often represented by a contrast between spring garden and winter wilderness, is a natural figure of man’s spiritual life” (Stewart 105). This correspondence between microcosm and macrocosm is a classical belief that pervaded Christian literature in the Middle Ages and the Renaissance. One specific structure of landscape that has been widely used by Christian writers to narrate the cycle of Christian history, from paradise to wilderness and back to paradise, is the enclosed garden (hortus conclusus). The enclosed garden was such a common trope in medieval and Renaissance art that “scarcely an event from the life of Christ exists for which some artist at some time or other has not provided a backdrop of an unfinished enclosure [….] The touchstone of the enclosed garden [was] an emblem (hortus mentis) of man’s inner being. This is how the figure was used by St. Teresa and St. John, and how it was used by Herbert, Vaughan, and Marvell” (Stewart 47, 169). As J.T. Rhodes and Clifford Davidson also affirm, “[t]he beginning and end of time were marked by the garden” (95).

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Owen Barfield’s Prose and Poetry: Wholeness Blossoms from “Imagination’s Earth”

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Owen Barfield, a close friend of C. S. Lewis, was a philosopher and writer at heart. His numerous books range from a children’s fairy tale, to a drama retelling the story of Orpheus, to deeply philosophical books on theology and literary criticism. However, Barfield earned his living as a solicitor. For thirty years he rode the train to and from his law offices and plodded determinedly through meetings with clients, court appearances, legal documents, and a daily barrage of legalese. During his years as a solicitor, Barfield suffered a great deal of frustration, even angst. In his poetry and fiction, and perhaps most overtly in his novel, This Ever Diverse Pair (1950), we can identify these feelings as Barfield depicts the threat of stagnation-or worse, the threat of complete disconnect with our birthing selves, a fragmentation in which the creative voice is lost.

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Hnau What?: C. S. Lewis on What It Means to be a Person

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What does it mean to be a person? This is one of the central moral questions of our age. Bioethics is particularly engaged with this question. What is human life? When does it begin and end? Does human life have any intrinsic value, dignity, or rights to be protected? Are there any boundaries regarding the manipulation of genetic material, cloning, or embryos? We tend to speak in strong terms about “human rights” and “civil rights” as though there were a secure, generally accepted basis for them to stand on. But is this true? The conversation often seems to ignore the fact that different worldviews lead to widely divergent answers to the question “What is a person?” Most secular modern or post-modern conceptualizations of the nature of personhood are not robust enough to support the notions of human rights and civil rights that we tend to assume.

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Beastly Metaphysics: The Beasts of Narnia and Lewis’ Reclamation of Medieval Sacramental Metaphysics

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The oft-made claim that The Chronicles of Narnia is an allegory,[1] though partially true, does not quite do justice to the power of the work, or the beautiful, grace-filled, and luminous world Lewis creates. In a work of allegory, as Lewis explains it in The Allegory of Love, characters are visibilia (“visible things”) invented to express or represent certain “immaterial facts” about the world of our experience, such as our passions or states of mind,[2] as we see in Lewis’ own example:

If you are hesitating between an angry retort and a soft answer, you can express your state of mind by inventing a person called Ira with a torch and letting her contend against another invented person called Patientia. This is allegory.[3]

But this, of course, is what we tend not to find in Narnia. Reepicheep, the Beavers, Ramandu, Jewel are not visibilia standing in for certain invisibilia of our world-representing things like Courage, Constancy, or Wisdom-though they may possess such qualities. The creatures of Narnia have a certain (admittedly fictional) integrity of their own that works against reading them as mere stand-ins or simulacra for aspects of our world, even if Lewis has certain didactic aims in their creation.

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Science and Christian Faith: Conflict or Cooperation?

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The popular image of the relationship between science and Christian faith is one of antagonism, conflict, and even warfare. By contrast, I will attempt to show that despite some episodes of tension, the overall relationship between science and biblical theism has been largely cooperative and fruitful. We’ll look first at the origins of modern science and the origins of the conflict thesis; then at the Galileo affair and the reactions of Christian scientists and theologians to the theory of evolution. Finally, I’ll make a few remarks on the complementary relationship between science and Christian faith.

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Reading The Lion, the Witch, and the Wardrobe with C. S. Lewis

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Reading with C. S. Lewis: this was my chosen approach when I co-authored a reader’s guide to Lewis’ classic story. Why was that a natural choice? The answer: Lewis bequeathed a richer legacy of literary criticism and theory that addresses his imaginative writing more than any other author I know. From Lewis’ nonfictional writing we can glean a large and detailed picture of how Lewis thinks we should read literature, and how we should not read it.

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From the Mirror of the Infinite to the Broken Looking Glass: Unveiling Beauty in German Glass Installations after the Holocaust

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For centuries, liturgical, large-scale windows metaphorically shielded the sacred from the profane, embued light with spiritual presence, and literally illuminated divine messages. During war reparations, Germany’s shattered postwar outlook challenged a new generation of artists with the daunting task of establishing new religious symbols to speak authentically into a deeply crushed, cynical national conscience. Subsequently, while Germany’s parishes dwindled, glass artists readjusted to a new clientele: dutiful streams of international tourists whose entry fees bankrolled Germany’s historical churches. This original research explores the unique liturgical iconography developed to address a nation’s broken faith, and a global audience’s comprehension in a secularized culture.

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A Terrible Beauty: True and False Visions of the Good in Descent into Hell and Till We Have Faces

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In a memorable passage from Dostoevsky’s The Brothers Karamazov, beauty is described as being an “awful thing…mysterious as well as terrible” (97). This strikingly paradoxical view of the beautiful, especially as it relates to the numinous, resonates in the writings of the Inklings. Charles Williams, for instance, points out that while caritas is often likened to “our immediate emotional indulgence,” it should be properly understood in the sense of the “otherness and terror of God.” Encountering the ultimate Other means, in effect, that “Christ exists in the soul, in joy, in terror, in a miracle of newness. Ecce, omnia facio [Behold I make all things new]” (He Came Down, 9-11). C.S. Lewis concurs that divine goodness implies “something more stern and splendid than mere kindness,” since “even the love between the sexes is, as in Dante, ‘a lord of terrible aspect’” (The Problem of Pain, 27-9). This majestic Dante-esque figure, at once frightening and attractive, appears under various guises in Descent into Hell and Till We Have Faces. In their respective novels, Williams and Lewis depict the changing faces of beauty in order to highlight the great difference between true and false visions of the good.

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