“Of course, it would be worth while to pay a big price to get a well-informed people. At the present moment we are paying an abominably big price to get a more and more ill-informed people.”

G.K. Chesterton in G.K.’s Weekly, as header quotation on Dale Ahlquist “Chesterton University” in Gilbert The Magazine of the Society of G.K. Chesterton Vol. 26 # 4 (March-April 2023)

“The first qualification for judging any piece of workmanship from a corkscrew to a cathedral is to know what it is – what it was intended to do, and how it is meant to be used. After that has been discovered, the temperance reformer may decide that the corkscrew was made for a bad purpose, and the communist may think the same about the cathedral. But such questions come later. The first thing to understand first thing is to understand the object before you: as long as you think the corkscrew is meant for opening tins or the cathedral for entertaining tourists you can say nothing to the purpose about them. The first thing the reader needs to know about Paradise Lost is what Milton meant it to be.”

The opening paragraph of A Preface to Paradise Lost by C.S. Lewis, quoted in Harry Lee Poe, The Making of C.S. Lewis [and how relevant to reactions by proudly atheist French politicians when Notre Dame de Paris caught fire].

“In chapter 13 [of A Preface to Paradise Lost], C.S. Lewis… discussed the tendency, since the time of William Blake and Percy Shelley for critics to regard Satan as the hero of Paradise Lost. Lewis put this idea in its place through an examination of the self-delusion of Satan as one who regarded himself as the injured party, and by reference to Milton's theology. Lewis declared, ‘We know from his prose works that [Milton] believed everything detestable to be, in the long run, also ridiculous; and mere Christianity commits every Christian to believing that “the devil is (in the long run) an ass”.’ Lewis said that we see the same ridiculous trait of the ‘Sense of Injured Merit’ in a variety of familiar situations: the spoiled child, the film star, politicians, and minor poets.”

Harry Lee Poe The Making of C.S. Lewis

“all scientific knowledge ‘depends upon the validity of reasoning.’ The reasoning of a person in a psychologically irrational state lacks validity and tends to be open to doubt by others. On this basis, Lewis proposed a rule: ‘No thought is valid if it can be fully explained as the result of irrational causes.’”

Harry Lee Poe The Making of C.S. Lewis [describing Lewis’s reasoning in Miracles and quoting it].

“Then he [C.S. Lewis] made a remarkable observation that would appear in several of his apologetics books later. The death of the gods into allegorical figures had not happened because of Christianity, for the dissatisfaction with the old gods had been growing since the time of Socrates. Lewis said that ‘monotheism should not be regarded as the rival of polytheism, but rather as its maturity.’”

Harry Lee Poe The Making of C.S. Lewis [re and quoting from The Allegory of Love].

“To speak of Dickens is to think of Bumble the beadle, and that carries our mind at once to a whole crowd of thick-headed magistrates, interfering philanthropists, tyrannical administrators of the Poor Law, and the like. Have you ever noticed the fact that in Dickens, in Shakespeare, in Fielding, in the whole range of English literature, a person in petty authority, a minor official hardly ever appears, except to be made ridiculous? There seems to be a deep conviction in our minds that the man who carries some wand of office is more likely than other men to be half knave and wholly fool.”

Transcript from the improbably surviving one of two records used to transport C.S. Lewis’s May 1941 talk to Icelanders, which we don’t even know if it was ever broadcast, quoted in Harry Lee Poe The Making of C.S. Lewis

In my latest Epoch Times column I say fashion’s obsession with novelty and related denial of truth was bad enough when it involved clothes, food or music. When it’s body types, it’s managed to get even worse.

“Yet The Hobbit is unlike Beowulf or any of the tales in The Silmarillion in its published form. The Hobbit represented departure from the kind of story that Tolkien loved and that he had been trying without success to write in the Silmarillion. Beowulf and all of the Norse stories that Tolkien loved shared a common plot. Simply stated is it is this: the hero fights against impossible odds and dies. The culture out of which Beowulf appeared was grim and dark. The Celtic world, which included the Germanic and Norse peoples as well as the Britons and Irish, indeed most of pre Christian Europe, believed in dreadful gods who demanded human sacrifice. The Celtic peoples offered their own children, and eventually their slaves, as human sacrifices, which they then devoured in ritual cannibalism. They did not love their gods, but feared them. The gods themselves had nothing to look forward to except their own destruction. Alliteration can be a pleasant literary device unless overdone, but it is impossible to overdo the nature of the Norse mythologies. Thus, their stories are characterized by darkness, doubt, depression, dismay, dread, despair, destruction, and death. The stories set a mood of stubbornness, suffering, sorrow, shadow, and sadness. The characters experienced treachery, torment, terror, trouble, tears, threat, and treason. The stories are tales of futility, faithlessness, foulness, fear, and folly. These disquieting words are the words used by Tolkien throughout the Silmarillion. In the Norse tales, the heroes make their journeys to death and ruin. The Hobbit represents an entirely different kind of plot. The plot, and later that of The Lord of the Rings, comes from a different culture. It is the plot that C.S. Lewis learned to love as a teenager and never outgrew. It is the story of the struggle, against all odds to the end of the world for the great prize that ends in victory and a return to home as a changed person. It is a story that comes from a culture with an entirely different kind of God – a God who journeys into time and space as a man in order to battle death itself and rise victorious. It is a story of hope rather than despair.”

Harry Lee Poe The Making of C.S. Lewis