The Pilgrim's Regress (27 page)

It appeared to me therefore that if a man diligently followed this desire, pursuing the false objects until their falsity appeared and then resolutely abandoning them, he must come out at last into the clear knowledge that the human soul was made to enjoy some object that is never fully given—nay, cannot even be imagined as given—in our present mode of subjective and spatio-temporal experience. This Desire was, in the soul, as the Siege Perilous in Arthur's castle—the chair in which only one could sit. And if nature makes nothing in vain, the One who can sit in this chair must exist. I knew only too well how easily the longing accepts false objects and through what dark ways the pursuit of them leads us: but I also saw that the Desire itself contains the corrective of all these errors. The only fatal error was to pretend that you had passed from desire to fruition, when, in reality, you had found either nothing, or desire itself, or the satisfaction of some different desire. The dialectic of Desire, faithfully followed, would retrieve all mistakes, head you off from all false paths, and force you not to propound, but to live through, a sort of ontological proof. This lived dialectic, and the merely argued dialectic of my philosophical progress, seemed to have converged on one goal; accordingly I tried to put them both into my allegory which thus became a defence of Romanticism (in my peculiar sense) as well as of Reason and Christianity.

After this explanation the reader will more easily understand (I do not ask him to condone) the bitterness of certain pages in this book. He will realise how the Post-War period must have looked to one who had followed such a road as mine. The different intellectual movements of that time were hostile to one another; but the one thing that seemed to unite them all was their common enmity to ‘immortal longings'. The direct attack carried out on them from below by those who followed Freud or D. H. Lawrence, I think I could have borne with some temper; what put me out of patience was the scorn which claimed to be from above, and which was voiced by the American ‘Humanists', the Neo-Scholastics, and some who wrote for
The Criterion.
These people seemed to me to be condemning what they did not understand. When they called Romanticism ‘nostalgia' I, who had rejected long ago the illusion that the desired object was in the past, felt that they had not even crossed the
Pons Asinorum.
In the end I lost my temper.

If I were now writing a book I could bring the question between those thinkers and myself to a much finer point. One of them described Romanticism as ‘spilled religion'. I accept the description. And I agree that he who has religion ought not to spill it. But does it follow that he who finds it spilled should avert his eyes? How if there is a man to whom those bright drops on the floor are the beginning of a trail which, duly followed, will lead him in the end to taste the cup itself? How if no other trail, humanly speaking, were possible? Seen in this light my ten years' old quarrel both with the counter-Romantics on the one hand and with the sub-Romantics on the other (the apostles of instinct and even of gibberish) assumes, I trust, a certain permanent interest. Out of this double quarrel came the dominant image of my allegory—the barren, aching rocks of its ‘North', the foetid swamps of its ‘South', and between them the Road on which alone mankind can safely walk.

The things I have symbolised by North and South, which are to me equal and opposite evils, each continually strengthened and made plausible by its critique of the other, enter our experience on many different levels. In agriculture we have to fear both the barren soil and the soil which is irresistibly fertile. In the animal kingdom, the crustacean and the jellyfish represent two low solutions of the problem of existence. In our eating, the palate revolts both from excessive bitter and excessive sweet. In art, we find on the one hand, purists and doctrinaires, who would rather (like Scaliger) lose a hundred beauties than admit a single fault, and who cannot believe anything to be good if the unlearned spontaneously enjoy it: on the other hand, we find the uncritical and slovenly artists who will spoil the whole work rather than deny themselves any indulgence of sentiment or humour or sensationalism. Everyone can pick out among his own acquaintance the Northern and Southern types—the high noses, compressed lips, pale complexions, dryness and taciturnity of the one, the open mouths, the facile laughter and tears, the garrulity and (so to speak) general greasiness of the others. The Northerners are the men of rigid systems whether sceptical or dogmatic, Aristocrats, Stoics, Pharisees, Rigorists, signed and sealed members of highly organised “Parties'. The Southerners are by their very nature less definable; boneless souls whose doors stand open day and night to almost every visitant, but always with readiest welcome for those, whether Maenad or Mystagogue, who offer some sort of intoxication. The delicious tang of the forbidden and the unknown draws them on with fatal attraction; the smudging of all frontiers, the relaxation of all resistances, dream, opium, darkness, death, and the return to the womb. Every feeling is justified by the mere fact that it is felt: for a Northerner, every feeling on the same ground is suspect. An arrogant and hasty selectiveness on some narrow
a priori
basis cuts him off from the sources of life. In Theology also there is a North and South. The one cries ‘Drive out the bondmaid's son', and the other ‘Quench not the smoking flax'. The one exaggerates the distinctness between Grace and Nature into a sheer opposition and by vilifying the higher levels of Nature (the real
praeparatio evangelica
inherent in certain immediately sub-Christian experiences) makes the way hard for those who are at the point of coming in. The other blurs the distinction altogether, flatters mere kindliness into thinking it is charity and vague optimisms or pantheisms into thinking that they are Faith, and makes the way out fatally easy and imperceptible for the budding apostate. The two extremes do not coincide with Romanism (to the North) and Protestantism (to the South). Barth might well have been placed among my Pale Men, and Erasmus might have found himself at home with Mr. Broad.

I take our own age to be predominantly Northern—it is two great ‘Northern' powers that are tearing each other to pieces on the Don while I write. But the matter is complicated, for the rigid and ruthless system of the Nazis has ‘Southern' and swamp-like elements at its centre; and when our age is ‘Southern' at all, it is excessively so. D. H. Lawrence and the Surrealists have perhaps reached a point further ‘South' than humanity ever reached before. And this is what one would expect. Opposite evils, far from balancing, aggravate each other. ‘The heresies that men leave are hated most'; widespread drunkenness is the father of Prohibition and Prohibition of widespread drunkenness. Nature, outraged by one extreme, avenges herself by flying to the other. One can even meet adult males who are not ashamed to attribute their own philosophy to ‘Reaction' and do not think the philosophy thereby discredited.

With both the ‘North' and the ‘South' a man has, I take it, only one concern—to avoid them and hold the Main Road. We must not ‘hearken to the over-wise
or
to the over-foolish giant'. We were made to be neither cerebral men nor visceral men, but Men. Not beasts nor angels but Men—things at once rational and animal.

The fact that, if I say anything in explanation of my North and South, I have to say so much, serves to underline a rather important truth about symbols. In the present edition I have tried to make the book easier by a running headline. But I do so with great reluctance. To supply a ‘key' to an allegory may encourage that particular misunderstanding of allegory which, as a literary critic, I have elsewhere denounced. It may encourage people to suppose that allegory is a disguise, a way of saying obscurely what could have been said more clearly. But in fact all good allegory exists not to hide but to reveal; to make the inner world more palpable by giving it an (imagined) concrete embodiment. My headline is there only because my allegory failed—partly through my own fault (I am now heartily ashamed of the preposterous allegorical filigree on p. 90), and partly because modern readers are unfamiliar with the method. But it remains true that wherever the symbols are best, the key is least adequate. For when allegory is at its best, it approaches myth, which must be grasped with the imagination, not with the intellect. If, as I still sometimes hope, my North and South and my Mr. Sensible have some touch of mythical life, then no amount of ‘explanation' will quite catch up with their meaning. It is the sort of thing you cannot learn from definition: you must rather get to know it as you get to know a smell or a taste, the ‘atmosphere' of a family or a country town, or the personality of an individual.

Three other cautions remain to be given. 1. The map on the end leaves has puzzled some readers because, as they say, ‘it marks all sorts of places not mentioned in the text'
*
. But so do all maps in travel books. John's route is marked with a dotted line: those who are not interested in the places off that route need not bother about them. They are a half whimsical attempt to fill in the ‘Northern' and ‘Southern' halves of the world with the spiritual phenomena appropriate to them. Most of the names explain themselves.
Wanhope
is Middle English for Despair;
Woodey
and
Lyssanesos
mean ‘Isle of Insanity';
Behmenheim
is named, unfairly, after Jakob Boehme or Behmen;
Golnesshire
(Anglo-Saxon
Gál
) is the country of Lechery; in
Trine
-land one feels ‘in tune with the infinite'; and
Zeitgeistheim,
of course, is the habitat of the
Zeitgeist
or Spirit of the Age.
Naughtstow
is ‘a place that is no good at all'. The two military railways were meant to symbolise the double attack from Hell on the two sides of our nature. It was hoped that the roads spreading out from each of the enemy railheads would look rather like claws or tentacles or tentacles reaching out into the country of Man's Soul. If you like to put little black arrows pointing South on the seven Northern roads (in the fashion of the newspaper war maps) and others pointing North on the six Southern roads, you would get a clear picture of the Holy War as I see it. You might amuse yourself by deciding where to put them—a question that admits different answers. On the Northern front, for example, I should represent the enemy in occupation of Cruelsland and Superbia, and thus threatening the Pale Men with a pincer movement. But I don't claim to know; and doubtless the position shifts every day. 2. The name
Mother Kirk
was chosen because ‘Christianity' is not a very convincing name. Its defect was that it not unnaturally led the reader to attribute to me a much more definite
Ecclesiastical
position than I could really boast of. The book is concerned solely with Christianity as against unbelief. ‘Denominational' questions do not come in. 3. In this afterword the autobiographical element in John has had to be stressed because the source of the obscurities lay there. But you must not assume that everything in the book is autobiographical. I was attempting to generalise, not to tell people about my own life.

C. S. LEWIS

ABOUT THE AUTHOR

CLIVE STAPLES LEWIS
(1898–1963) was one of the intellectual giants of the twentieth century and arguably one of the most influential writers of his day. He was a fellow and tutor in English literature at Oxford University until 1954, when he was unanimously elected to the Chair of Medieval and Renaissance Literature at Cambridge University, a position he held until his retirement. He wrote more than thirty books, allowing him to reach a vast audience, and his works continue to attract thousands of new readers every year. His most distinguished and popular accomplishments include
Mere Christianity, Out of the Silent Planet, The Great
Divorce, The Screwtape Letters,
and the universally acknowledged classics The Chronicles of Narnia. To date, the Narnia books have sold over one hundred million copies and been transformed into three major motion pictures.

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ALSO BY C. S. LEWIS

The Allegory of Love

The Collected Letters of C.S. Lewis, Volume 3

The Discarded Image

An Experiment in Criticism

Image and Imagination

The Screwtape Letters

Selected Literary Essays

Studied in Medieval and Renaissance

Studied in Words

God in the Dock

Christian Reflections

Letters to an American Lady

COPYRIGHT

This text taken from the 1992 illustrated edition published by William B Eerdmans Publishing Company in arrangement with Geoffrey Bles, Ltd.

THE PILGRIM'S REGRESS
. Copyright © 1933, 1943 by C. S. Lewis Pte Ltd. All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the nonexclusive, nontransferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, downloaded, decompiled, reverse-engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins e-books.

FIRST EDITION

EPub Edition © APRIL 2014 ISBN: 9780062349286

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