An Analysis Of C. S. Lewis Till We Have Faces

C. S. Lewis , the author of “Imagination and thought in the middle ages”, examines the medieval perspective on the universe and how it collates it with modern times. Lewis develops his idea without facts or science. It is rather, an analyzation of the medieval ages from a creative, artistic, and imaginative outlook. He understands that while a lot facts of the medieval ages are wrong , several thinkers from that time are just foundations that modern thinkers built from. Thoughts in the medieval times were understood as outlandish and foolish, but it is noticeable that many of modern discoveries would not be discovered without past theories that originated from the medieval times.

Though Orual did not agree with her beloved sister being sacrificed, it was something the Priest decided that would ultimately benefit the kingdom. She demanded to go with Psyche to say her last goodbyes, “....I was determined to go with Psyche to the Mountain and the holy Tree, unless they bound me with chains (77).” Psyche was willing to be sacrificed when she knew she would help everyone she loved, even when she felt miserable, “‘...my arms were as heavy as lead (106).’” Even when she was being tied to the tree, “‘...and they were fastening me to the Tree with iron round my waist (107).’” she wasn’t focused on herself and her own pain. When being tied to the Tree, Psyche explained how many animals surrounded her, “‘And they came nearer and nearer in a great circle, but never very near, and mooed at me (109).’” Once Psyche was set free, she described the great wind around her, “‘And then the wind was

The Last Battle, by C.S Lewis, begins with a donkey named Puzzle and his ape friend named Shift. It was decided that Shift shall make all of the decisions since Puzzle is convinced he is not clever enough. Shift basically has complete control over Puzzle and can manipulate him into doing anything. While they were walking by the Caldron Pool, they saw a lion's skin in the water. Shift assures Puzzle to put it on, making him look like Aslan, the king of Narnia. Shift

    Orual is writing a book as her complaint against the gods and all the wrong that they have done to her. Through her narrative she demonstrates to the reader her erroneous thinking, which she realizes later in her life. . She sees her own face in the second section of the book when the veil in front of her spiritual face is removed and her true self  is exposed. She realizes that she was not as righteous as she believed herself to be. The things that she thought were right had been wrong. She hurt a lot of people with

Orual first takes her sister for mad, but eventually is convinced the perhaps she should leave Psyche to her new found joy, to the love of her husband. But her jealousy and obsessive love step in , grudging Psyche her happiness, her love. Orual is unable to comprehend, much less approve, of any love for Psyche that usurps her own. Orual, predictably, resents the gods for the gulf now so plainly separating her from Psyche. "…the world had broken in pieces and Psyche and I were not in the same piece. Seas, mountains, madness, death itself, could not have removed her from me to such a hopeless distance. Gods, and again gods, and always gods…they had stolen her." (TWHF, pg.120-121)

In Till We Have Faces, by C.S. Lewis we are introduced to the protagonist Orual and her sister Psyche. Orual and Psyches once strong relationship develops into a very destructive relationship that throughout the book quickly spirals downward. As the story goes on Orual comes out of the situation realizing how she devoured many lives. She now understands her faults and conquers what she struggles with most, seeing her true self more clearly. The relationship between Orual and Psyche seemed to have three phases, the first being a strong happy relationship, second being the start of their feud and the third being their completely broken relationship.

One of the nation’s most recognized novels is the renowned classic Till’ We Have Faces. Written by C.S. Lewis, this classic is a one-for-one first person journalized memoir from the perspective of a since exiled elderly ruler Orual, who has yet to meet her goals of castigating the gods of her time. Throughout the novel, Lewis includes an interesting plot that encompasses a strange but vivid course of elements. Moreover, Lewis manages to symbolically capture some of the most fascinating aspects of human culture from past to modern day living.

Everyone in their life experiences a state of hopelessness. Whether it is a big or a small occurrence; it helps us shape up mentally or physically ready for the real world. In March, Lewis talks about the events in his life that we classify as his turning points which caused them to turn their life around. It is true that many events did not increase his will to protest. I think that John Lewis' life was changed by his turning points, there are four turning points what continues to affect him to this day. The four turning points that stand out are his first arrest, Lewis' trip to Buffalo with his Uncle Otis, Dr. King's speech, and when he decided to join the Freedom Riders.

It is the dead of winter, and you are in the backseat of a luxurious car enjoying the mild warmth of a seat warmer. You don’t know where the car is taking you, but the seat is gradually getting hotter and hotter until it scalds your body, sets the car ablaze, and leaves you in a fiery agony for all of eternity. Many people have many different views of what Heaven will be like, and what Hell will be like as well, often including mental images of eternal happiness and burning in some fiery location respectively. Both C.S. Lewis and Benedict XVI go against this common perception of Heaven & Hell in their own separate ways.

Like Pynchons' reader's, Oedipa is forced to either work toward interpreting the trail of seemingly indecipherable clues being tossed in her wake or forgo it all and walk away in bewilderment. Like the reader by deciding to go on, however aimlessly, she is forcibly drawn out of the complacency of her own existence; into a chaotic system of intrigue that reaches far beyond her normal scope of understanding. In the same turn, like Oedipa the reader's role is also based on interpreting numerous symbols and metaphorical clues as a means of stumbling upon a legible conclusion that will stop the madness. Each of them arriving at a different conclusion or none at all solely depended upon how far the use of our perceptions will allow us to go. Unfortunately both Oedipa and the reader (myself included) are overwhelmed by the myriad of inconsistencies and masked innuendo saturating this book from cover to cover. Unable to sufficiently distinguish between what is real and relevant and what is unreal and irrelevant, both are left feeling disconcerted and paranoid; fearful that nothing they've ever perceived to be true, is...

Throughout the novel Orual states that she is complaining to the gods for them not helping her with her relationship with Psyche although it was Orual’s own wrongdoings that diminished the relationship. Orual refuses to believe that Psyche has a god for a husband and is living in his palace because she cannot see it for herself. When she does see it she blames the gods by stating, “That moment when I either saw or thought I saw the House- does it tell against the gods or against me? Would they (if they answered) make it a part of their defense? say it was a sign, a hint, beckoning me to answer the riddle one way rather than the other? I’ll not grant them that. What is the use of a sign which is itself only another riddle?” (Lewis 133). She blames the gods for answering her questions about Psyche because they were not straightforward like she wants them to be. Due to Orual being pigheaded about the gods her actions are affected by her

Living and growing up in London during the twentieth century was a time full of hardships and sacrifices. Likewise, it was also an era of religious persecution towards various religious groups (Schoenl 245). After World War II, Christianity flourished and was an influence on millions of people and writers, like Clive Staples Lewis. C.S. Lewis was an Irish writer born in 1898, a time when Europe was the epicenter of the world. Although having spent most of his life in England, his Irish roots can be seen and felt in all his novels. His marvelous readings may seem like adventurous, mythical works, but they hold a deeper message of morality and religion that intrigue the reader into desiring more. C.S. Lewis has a magnificent way of connecting his novels to cultural events and myths. The first novel in the series, “The Magician’s Nephew,” tells the classical story of the biblical book of Genesis in a form that young elementary readers understand how God effortlessly creates the earth and how the fictional world of Narnia came into being. Lewis utilizes a third person omniscient perspective, realism, and imagery with a twist of the cultural aspects of twentieth century Europe in order to truly

Throughout the years, there have been many interpretations of Sophocles’ Oedipus Tyrannus. However, one of the most interesting interpretations of the play would have to be one that uses the theories of Sigmund Freud to analyze the actions of the characters. The use of various aspects of Freudian theory such as the id, ego, superego, and the Oedipus Complex reveals Oedipus and his behaviors throughout the course of the play.

Sarah Ruhl’s Eurydice presents a modern interpretation and extension of the classic Greek myth of Orpheus and Eurydice while employing an untraditional and unique structure. There are in turn several interconnected structural choices that are purposely done and have significant implications on the play’s meaning. For instance, Ruhl meticulously and shrewdly contrasts significant climactic moments with trivial arguments and discussions. This is done in order to enhance the contrast between the mythic and mundane elements of the play, allow the characters to avoid emotion, and establish an untraditional structure that fails to move towards a climactic event. Yet the very fact that Ruhl makes a conscious decision to avoid a clear climactic scene

Lewis may be suggesting that explorations of metaphysical and spiritual subjects (the ‘Narnias' of our own world) are best suited to open, impartial minds. Second, the obscurity of Narnia's entrance suggests that such journeys cannot be sought out or forced, but rather will present themselves at places and times we least expect. Finally, the use of an ordinary wardrobe as the portal to Narnia makes Lewis's readers consider what fantastic journeys – physical or otherwise – may lay within the ordinariness of everyday existence.