66 pages • 2 hours read
C. S. LewisA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
The novel’s narrator, who is also the protagonist, comes the closest of any of the characters to being a round, fully developed figure, but even he does not quite meet this description. Lewis’s purpose is not to show character arcs but rather to explicate Christian doctrines through narrative. Allegory usually does not involve the same level of character development as other genres because characters must represent something rather than contain all the complexities of real people.
Although the reader learns next to nothing about the narrator’s personal life, we do know that, like Lewis himself but unlike most of the Ghosts the narrator encounters, the narrator seems to already be a Christian or at least strongly inclined toward accepting Christianity. He says that MacDonald’s Phantastes set him on a path toward seriously considering Christian faith and doctrines (66-67). Also, based on the fact that the young poet in Chapter 2 seems to recognize the narrator and value his opinion about writing, the reader can surmise that the narrator is a famous writer on Earth, like Lewis.
While the narrator’s biography matches Lewis’s in many ways, he functions more as an everyman than a stand-in for Lewis; the narrator voices questions and concerns that people frequently raise about Christian doctrine. Readers might expect that the novel is building to a climax where the narrator himself, after witnessing the decisions of many other Ghosts, must make his own decision and either accept or reject Heaven. Ultimately, though, Lewis’s concern is to communicate doctrine rather than to lead his narrator to a climactic moment, so the narrator instead wakes up in wartime Britain, itself a sort of Grey Town.
Lewis’s inclusion of the real-life Scottish author and minister George MacDonald evokes Dante’s Divine Comedy, in which Virgil, a real-life Roman poet, leads Dante through Hell and Purgatory. Despite this similarity in spiritual guide characters, however, the two texts are quite different both thematically and structurally. Dante’s work spends much more time in Hell and Purgatory than Lewis’s, is much more interested in placing real historical figures in one or the other destination, and portrays Hell and Heaven more in keeping with traditional religious art than Lewis does.
MacDonald makes a fitting guide for the narrator because of his authorial similarities to Lewis. Both men wrote extensively about religion in both fiction and nonfiction, and both made important contributions to fantasy literature. While Lewis is now the more famous of the pair, MacDonald influenced many famous writers, including his mentee, Lewis Carroll.
Because MacDonald lived in the 19th century, he has been in Heaven for some time (in earthly terms) when the narrator arrives in the Valley, and he is therefore able to speak as a mouthpiece for God. While the narration does not elevate him to a godlike status, his stances and explanations are the stances and explanations that the novel endorses. Some of the ideas he communicates are difficult for the narrator to accept, but that is part of the point of the book: Choosing Heaven is difficult, for it requires a person to set aside things about themselves they think are essential and irreplaceable. MacDonald does, however, suggest that many of the things he discusses with the narrator are difficult because of the narrator’s limited perspective as a human with no understanding of eternity.
Each of the Ghosts has some fundamental flaw in their thinking, and Ikey’s is that he thinks human systems of governance can save humankind. He understands political and economic theory but fails to see that no human system can ever compensate for sinful human nature. In other words, because humans are (according to Christian doctrine) born sinful, their natures will always corrupt any institutions they construct. Some institutions and systems may lend themselves to corruption more than others, but none can ever solve the problem altogether.
Ikey fails to realize this and remains dedicated to the idea of fixing the Grey Town by introducing “commodities” to it, thereby increasing demand and drawing all its citizens from the enormous distances to which they have scattered themselves back to a centralized location. Gathered together, he supposes, they stand a better chance of defending themselves against “the night”—Ikey’s shadowy idea about the Purgatorial Grey Town turning into Hell at some unknown future point. He tries to gather apples from the Valley to bring to the Grey Town to enact this plan, not realizing its impossibility. The only way for him to enjoy the apples is to give up his plans for the Grey Town and choose to go forth into the Mountains. Although the reader does not see the resolution of his attempt, we are certain of its failure, not only because of the philosophical mistake in his thinking, but also because of the logistical impossibility of fitting a single apple from the Valley into the Grey Town; the narrator learns in Chapter 13 that “All Hell is smaller than one pebble of your earthly world” (138).
The apostate, featured in Chapter 5, is one of many characters in the novel who make the mistake of confusing means for ends. His conversation with a Spirit is the first of this pattern. The apostate turned from orthodox Christian faith to a form of “liberal” theology—one that likely drew on science and modern ethics to form a spiritual belief system rather than rely purely on received doctrine from sources like the Bible or ancient religious councils.
The Spirit who talks to the apostate indicates that the apostate slipped into liberal theology out of a desire to fit in with his intellectual peers and out of a love for “the search.” The apostate came to love the very acts of questioning, debating, and seeking truth more than he loved answers, resolutions, and truth itself. In this way, he is just like Sir Archibald, the man MacDonald tells the narrator about who became so obsessed with studying survival that he eventually rejected the supposed end point—eternal life—choosing instead the shadowy half-life of the Grey Town. Similarly, the painter in Chapter 9 has become so enamored with representing beauty through his art that he has lost his love for the actual beauty of nature, available endlessly in Heaven.
The apostate concludes his conversation with the Spirit with the absurd declaration that he even has a little “theological society” in the Grey Town that involves rousing debates. His thinking has become so distorted that he would rather debate the existence of God and other spiritual questions in Hell than experience the presence and perfect knowledge of God in Heaven. The real fear undergirding this pattern seems to be the fear of uselessness, or the suspicion that without these lifelong pursuits—religious debate, survival studies, art—there will be nothing to do.
By C. S. Lewis
Allegories of Modern Life
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Christian Literature
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Fear
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Forgiveness
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Good & Evil
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Grief
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Order & Chaos
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Philosophy, Logic, & Ethics
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Religion & Spirituality
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Required Reading Lists
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Trust & Doubt
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Valentine's Day Reads: The Theme of Love
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