64. I Pros. IV, p. 152.
65. II Pros. V, p. 202.
66. I Pros. III, p. 138.
67. II Pros. I, p. 172.
68. I Pros. IV, p. 154.
69. Ibid.
70. II Pros. IV, p. 192.
71. Ibid.
72. I Met. I, 15, p. 128.
73. Cf. Eth. Nic. 1094b, cap. 3.
74. III Pros. XII, p. 292.
75. V Pros. IV, p. 328.
76. II Pros. IV, p. 194.
77. V Pros. III, p. 380.
78. III Pros. XII, p. 290.
79. II Pros. V, 200.
80. III Met. VI, p. 249.
81. III Pros. XII, p. 288.
82. III Met. IX, p. 264.
83. I Pros. I, p. 130.
84. I Pros. III, p. 140.
85. I Pros. IV, p. 150.
86. Cf. Vox Clamantis, V, 17.
87. Boethius, I Met. V, pp. 154 sq.
88. Luke xiii. 4; John ix. 13.
89. II Pros. IV, p. 188.
90. II Pros. IV, p. 192.
91. II Pros. V, pp. 198–200.
92. II Met. V.
93. II Pros. VII, p. 212.
94. Ibid. p. 214.
95. II Met. VII, p. 218.
96. II Pros. VIII, p. 220.
97. III Pros. II, p. 230.
98. III Pros. VI, p. 248.
99. III Pros. X, p. 268.
100. See Lucretius, V.
101. See above, p. 74.
102. III Pros. XII, p. 292.
103. III Met. XII, p. 296 (One backward glance sufficed to see, To lose, to kill, Eurydice).
104. IV Pros. IV, pp. 322, 324.
105. IV Pros. V and Met. V, pp. 334–8.
106. IV Pros. VI, p. 380.
107. IV Pros. VII, p. 360.
108. J. Seznec, The Survival of the Pagan Gods, trans. B. F. Sessions (1953), p. 80.
109. V. Met. II, p. 372.
110. V Pros. V, p. 394.
111. Ibid.
112. V Pros. VI, p. 400.
113. Ibid. pp. 402–10.
114. Ed. W. M. Lindsay, 2 vols. (1910).
CHAPTER 5: THE HEAVENS
1. Cf. Dante, Par. I, 109 sq.
2. Everyman edn., p. 156.
3. Gregory, Moralia, VI, 16; Gower, Confessio, Prol. 945 sq.
4. The passage in Chaucer’s Troilus, IV, 302, is not, in the simplest sense, the ‘source’ of this. Chaucer had twisted the idea into an erotic conceit, but King James untwists Chaucer back into complete seriousness. Both poets knew clearly what they were doing.
5. See below, p. 170.
6. De Caelo, 279a.
7. De Mundi Universitate, II Pros. VII, p. 48.
8. J. B. S. Haldane, Possible Worlds (1930), p. 7.
9. Lovejoy, op. cit. p. 100.
10. Ed. C. d’Evelyn, A. J. Mill (E.E.T.S., 1956), vol. II, p. 418.
11. See E. H. Gombrich, Art and Illusion (1960).
12. See below, pp. 113–16.
13. By A. Pannecock, History of Astronomy (1961).
14. Summa, Ia, CXV, Art. 4.
15. Cf. Dante, Purg. XVII, 13–17.
16. See J. Seznec, The Survival of the Pagan Gods, trans. B. F. Sessions (New York, 1953), p. 191.
17. F.Q., versicle to II, vii.
18. See Augustine, De Civitate, VII, xiv.
19. De Nuptiis Philologiae et Mercurii, ed. F. Eyssenhardt (Lipsiae, 1866).
20. See above, p. 33. Cf. also Pliny, Nat. Hist. II, vii.
21. See above, p. 96.
22. Metaphysics, 1072b.
23. I John iv. 10.
24. The Extasie, 51.
25. Summa de Creaturis Ia, Tract. III, Quaest. XVI, Art. 2.
26. Ia, LXX, Art. 3.
27. Parisiis, 1543.
28. Cantici Primi, tom. III, cap. 8.
29. Op. cit. II, Pros. VII, pp. 49–50.
30. Hous of Fame II, 929.
31. Ia, LXIV, i, et passim.
32. Seznec, op. cit. p. 139.
33. St Augustine, De Civitate, XX, xviii, xxiv. Aquinas, IIIa, Supplement, Q. LXXIV art. 4.
CHAPTER 6: THE LONGAEVI
1. De Nuptiis Mercurii et Philologiae, ed. F. Eyssenhardt (Lipsiae, 1866), II, 167, p. 45.
2. Op. cit. II Pros. VII, p. 50.
3. M. W. Latham, The Elizabethan Fairies (Columbia, 1940), p. 16. I am much indebted to this throughout.
4. Iter Extaticum Il qui et Mundi Subterranei Prodromos dicitur (Romae, Typis Mascardi, MDCLVII), II, i.
5. Bogies.
6. Discouerie of Witchcraft (1584), VII, xv.
7. Pt. 1, 2, M. 1, subs. 2.
8. See above, pp. 101–2.
9. Secret.
10. One sees.
11. South English Legendary, ed. cit. vol. II, p. 410.
12. See L. Abercrombie, Romanticism (1926), p. 53.
13. Descriptive Catalogue, IV.
14. Orlando Innamorato, II, xxvi, 15.
15. Ficino, Theologia Platonica de Immortalitate, IV, i.
16. De Nymphis, etc., 1, 2, 3, 6.
17. S. Runciman, History of the Crusades (1954), vol. II, p. 424.
18. Vol. II, pp. 408–10.
19. II, xiii; IV, viii.
20. IV, 1245 sq.
21. Latham, op. cit. p. 46.
22. Pt. 1, s. 2; M. 1, subs. 2.
CHAPTER 7: EARTH AND HER INHABITANTS
1. Inferno, VII, 73–96.
2. Religio, I, xvii.
3. Rise of Rationalism in Europe (1887), vol. I, pp. 268 sq.
4. Speculum Naturale, VII, vii.
5. See above, p. 28.
6. See G. Cary, The Medieval Alexander (1956).
7. Briefe Description of Afrike in Hakluyt.
8. G. Ashe, Land to the West (1962).
9. See G. P. Krapp, Exeter Book (1936), p. xxxv.
10. Mundi Subterranei Prodromos, III, i.
11. They are Lion, Eagle, Snake, Ant, Fox, Stag, Spider, Whale, Siren, Elephant, Turtle-dove, Panther.
12. Advancement, I, Everyman, p. 70.
13. Moralia, VI, 16.
14. Migne, CCX, 222d.
15. R. de la Rose, 19,043 sq.
16. Prol. 945.
17. On the whole question, see Aquinas 1a, XC, art. 2, 3.
18. Timaeus, 41c sq.
19. Donne, Litanie, 10–11.
20. See Aquinas, loc. cit. art 4.
21. Ia, XC, art. 4.
22. Op. cit. II, Pros. iii, p. 37.
23. Pt. I, i, M 2, subs. 7.
24. Bright (see J. Winny, The Frame of Order, 1957, p. 57).
25. See above, p. 60.
26. Extasie, 61.
27. Cf. Paradise Lost, V, 483 sq.
28. Winny, op. cit. pp. 57–8.
29. To Southey, 8 Aug. 1815.
30. A 351.
31. Brit. Mus. Add. 17,987.
32. Enigmatically, to be sure. But they support the Melancholy atmosphere.
33. F. Heer, The Medieval World, trans. J. Sandheimer (1961).
34. The Dark Ages (1923), p. 41.
35. Prose works (Bohn), vol. V, p. 168.
36. Smectymnuus, Prose works (Bohn), vol. III, p. 127.
37. The actual practice and history, of medieval education are a different matter. The relevant chapters of D. Knowles’ Evolution of Medieval Thought (1962) are a good introduction.
38. Isidore, I, iv; Gower, IV, 2637.
39. By them sits Boethius, lost in hesitation. Hearing upon either hand learn’d asseveration, Wondering which side to take in this disputation; So he durs’n’t bring the case to a termination.
40. Ed. Faral, Les Arts Poétiques du XIIe et du XIIIe Siècles.
41. II, 100 sq.
42. III, A 220 sq.
43. See Vinaver, Works of Malory, vol. I, pp. xlviii sq.
44. The Mirror of Love (Lubbock, Texas, 1952).
45. See Faral, op. cit.
46. IV, xlix.
47. See New Oxford History of Music, vols. II and III
; G. Reese, Music in the Middle Ages (New York, 1940) and Music in the Renaissance (New York, 1954); C. Parrish, The Notation of Medieval Music (1957); F. L. Harrison, Music in Medieval Britain (1958).
CHAPTER 8: THE INFLUENCE OF THE MODEL
1. European Literature and the Latin Middle Ages, pp. 195 sq.
2. See above, p. 87.
3. Seznec, op. cit. fig. 21.
4. Ibid. fig. 63.
5. Ibid. fig. 22.
6. Ibid. p. 73.
7. Seznec, op. cit. p. 77.
8. Ibid. p. 79.
9. See E. Wind, Pagan Mysteries in the Renaissance (1958).
10. ‘Most of the first clocks were less chronometers than exhibitions of the pattern of the universe’ L. White, Jr, Medieval Technology and Social Change, Oxford, 1962, p. 122
11. IV, 23.
12. See also E. Auerbach, Mimesis (Berne, 1946), trans. W. Trask, Princeton, 1957.
13. At first the reader may complain that the quality I am describing is simply the character of all good imaginative writing whatever. I believe not. In Racine there are no foreground facts at all, nothing for our senses. Virgil relies chiefly on atmosphere, sound, and association. In Paradise Lost (as its theme demands) the art lies less in making us imagine the concrete than in making us believe we have imagined the unimaginable. Homer, had they known him, could have helped the medievals. Two details—the baby’s fear of the plumed helmet and Andromache’s tearful smile (Iliad, VI, 466–84)—are very much in their manner. But in general his art is not very like theirs. The detailed descriptions of work—launching a ship, preparing a meal—by being formalised and constantly repeated produce a quite different effect. We feel not the seized moment but the changeless pattern of life. He brings his people before us almost entirely by making them talk. Even so, their language is distanced by the epic formula; song, not speech. Eurycleia, the moment she has recognised her old master, promises him a confidential report on the behaviour of the domestics during his absence (Odyssey, XIX, 495–8). The Old Family Servant is pin-pointed forever. We read her mind, but we do not actually hear her voice. Not as we hear Launcelot’s fumbling reiteration ‘And therefore, madam, I was but late in that quest’ (Malory, XVIII, 2), or Chaucer’s monosyllabic replies to the eagle (Hous of Fame, III, 864, 888, 913). Indeed it may be doubted whether the characteristic merits of the four great poets I have mentioned (Racine, Virgil, Milton, Homer) are even compatible with the medieval vividness. No one kind of work admits every excellence.
14. See above, pp. 178–82.
15. A notable exception is the King who thought lygisogur skemtilagastar (lying sagas the most entertaining) (see Sturlunga Saga, ed. O. Brown, 1952, p. 19).
16. De Vulg. Eloquentia, I, xvii; Purgatorio, XXI, 85.
17. Aquinas Ia, I, Art. 9.
18. See above, p. 42.
EPILOGUE
1. See above, p. 85.
2. See Lovejoy, op. cit. cap. ix.
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 have been transformed into three major motion pictures.
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Books by C. S. Lewis
Mere Christianity
The Screwtape Letters: Annotated Edition
The Screwtape Letters "(with "Screwtape Proposes a Toast")"
The Great Divorce
The Problem of Pain
Miracles
A Grief Observed
The Abolition of Man
The Weight of Glory
George MacDonald: An Anthology
Pilgrim's Regress
Letters to an American Lady
God in the Dock
Christian Reflections
A Year with C. S. Lewis
"Yours, Jack"
Words to Live By
"The Collected Letters of C. S. Lewis, Volume 1"
"The Collected Letters of C. S. Lewis, Volume 2"
"The Collected Letters of C. S. Lewis, Volume 3"
Studies in Words
Studies in Medieval and Renaissance Literature
Selected Literary Essays
The Discarded Image
Image and Imagination
The Allegory of Love
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The Chronicles of Narnia:
The Magician's Nephew
"The Lion, the Witch and the Wardrobe"
The Horse and His Boy
Prince Caspian
The Voyage of the Dawn Treader
The Silver Chair
The Last Battle
The Wisdom of Narnia
A Year with Aslan
Space Trilogy:
Out of the Silent Planet
Perelandra
That Hideous Strength
COPYRIGHT
“The Discarded Image” originally appeared in the print book The Discarded Image, published in hardcover by Cambridge University Press in 1964. The text in this edition is taken from the 2012 paperback edition published by Canto.
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C. S. Lewis, The Discarded Image: An Introduction to Medieval and Renaissance Literature
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