Maxioms by C.s. Lewis
Commemoration of Mellitus, First Bishop of London, 624 The [Christian] "doctrines" are translations into our concepts and ideas of read more
Commemoration of Mellitus, First Bishop of London, 624 The [Christian] "doctrines" are translations into our concepts and ideas of that which God has already expressed in language more adequate, namely the actual incarnation, crucifixion, and resurrection.
How incessant and great are the ills with which a prolonged old age is replete.
How incessant and great are the ills with which a prolonged old age is replete.
Commemoration of Cecilia, Martyr at Rome, c.230 Commemoration of Clive Staples Lewis, Spiritual Writer, 1963 What we have been read more
Commemoration of Cecilia, Martyr at Rome, c.230 Commemoration of Clive Staples Lewis, Spiritual Writer, 1963 What we have been told is how we men can be drawn into Christ -- can become part of that wonderful present which the young Prince of the universe wants to offer to His Father -- that present which is Himself and therefore us in Him. It is the only thing we were made for. And there are strange, exciting hints in the Bible that when we are drawn in, a great many other things in Nature will begin to come right. The bad dream will be over: it will be morning.
Aim at heaven and you will get earth thrown in. Aim at earth and you get neither.
Aim at heaven and you will get earth thrown in. Aim at earth and you get neither.
Continuing a Lenten series on prayer: The primary object of prayer is to know God better; we and our read more
Continuing a Lenten series on prayer: The primary object of prayer is to know God better; we and our needs should come second. ... The Notebooks of Florence Allshorn March 16, 2000 Continuing a Lenten series on prayer: I have called my material surroundings a stage set. In this I can act. And you may well say "act". For what I call "myself" (for all practical, everyday purposes) is also a dramatic construction; memories, glimpses in the shavinglass, and snatches of the very fallible activity called "introspection", are the principal ingredients. Normally I call this construction "me"' and the stage set "the real world". Now the moment of prayer is for me -- or involves for me as its condition -- the awareness, the reawakened awareness, that this "real world" and "real self" are very far from being rock-bottom realities. I cannot, in the flesh, leave the stage, either to go behind the scenes or to take my seat in the pit; but I can remember that these regions exist. And I also remember that my apparent self -- this clown or hero or super -- under his grease-paint is a real person with an off-stage life. The dramatic person could not tread the stage unless he concealed a real person: unless the real and unknown I existed, I would not even make mistakes about the imagined me. And in prayer this real I struggles to speak, for once, from his real being, and to address, for once, not the other actors, but -- what shall I call Him? The Author, for He invented us all? The Producer, for He controls all? Or the Audience, for He watches, and will judge, the performance?
