There is something “perilous” about beauty and we are aware at some deep level of intuition or, better yet, at some vague awareness of a moral reality or “calling” that Beauty has within it the power to “change” us at some profound and ontological level of our existence. To follow a “trail’ that leads to “the Golden Wood” where one will knowingly encounter Beauty is one that requires courage and calls forth the essence of our character and reveals its flaws and weaknesses. It is here that we begin to acknowledge, again at some level, that Beauty contains within it the potential of great power and great goodness.
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.