It’s always hard to do the cultural translation necessary to benefit from the lessons of a past age. We are not medieval people. We don’t believe that lions are born dead and resurrected by the breath of their parents three days later, or that pelicans revive their dead young by piercing their own bodies and feeding their blood to them. Nor are we as ready to see God in every roadside shrine, storm, or twist of fortune. So how are we to appropriate the sense of the wonder and “livingness” of creation, and the sacramentalism, of that earlier age? At the end of the creation chapter of Getting Medieval with C S Lewis, I return to Lewis for answers
Finally, however, how are we to derive new practice from the age of unicorns and self-mutilating pelicans? Isn’t it a bit much to ask moderns to accept all this neoplatonic mysticism and fanciful symbolism? Once again we turn to our guide, C. S. Lewis. Lewis represented the medieval balance on creation nicely.
Lewis appreciated both the material world’s quiddity (‘thatness’) and its sacramentality (its quality of pointing beyond itself to another world). From his first Oxford friend, A. K. Hamilton Jenkin, he got, as he put it, an “education as a seeing, listening, smelling, receptive creature.” Walking about with Jenkin, he learned “in a squalid town to seek out those very places where its squalor rose to grimness and almost grandeur, on a dismal day to find the most dismal and dripping wood, on a windy day to seek the windiest ridge,” and so “rub one’s nose in the very quiddity of each thing, to rejoice in its being (so magnificently) what it was.” (199)
Not only was this quiddity of things something to be enjoyed, but it also pointed us to objective truth. The beauty of a waterfall was something inherent to the waterfall – not a trick of the subjective mind of a human. And Lewis was actually concerned for the souls of those who did not see this (in his Abolition of Man). He knew that when a person saw a he waterfall, they were seeing both water and something infinitely greater. Toward the end of his life he wrote to a friend about his aging and increasingly malfunctioning body: “I have a kindly feeling for the old rattle-trap. Through it God showed me that whole side of His beauty which is embodied in colour, sound, smell and size.”