Volume 12 Number 3 Article 2

4-15-1986

Dance as Metaphor and Myth in Lewis, Tolkien, and Williams Dance as Metaphor and Myth in Lewis, Tolkien, and Williams

Peter Schakel

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Recommended Citation Recommended Citation Schakel, Peter (1986) "Dance as Metaphor and Myth in Lewis, Tolkien, and Williams," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 12 : No. 3 , Article 2. Available at: https://dc.swosu.edu/mythlore/vol12/iss3/2

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Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm

Abstract Abstract Guest of Honor address at Mythcon 16. Notes the occurrence of images of dance, including the cosmic dance, and their metaphorical usage. Concentrates on Lewis but includes examples from Tolkien and Williams. Previously appeared in Mythcon XVI, Wheaton College, Wheaton, IL, 1985. Ed. Diana Pavlac. Altadena: Mythopoeic Society, 1985. 5–14.

Additional Keywords Additional Keywords Dance imagery in literature; Ann Chancelor; Christine Lowentrout

This article is available in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: https://dc.swosu.edu/mythlore/vol12/iss3/2

Page 4 MYTHLORE 45: Spring 1986

D a n c e a s M e ta p h o r a n d M y th in L ew is , T o lk ien , and W illiam s

Guest of Honor Keynote Address Peter Schakel

" ' I sh o u ld l i k e t h e B a l l s i n f i n i t e l y b e t t e r , ' s a id C a r o l in e B in g le y , ' i f th e y w ere c a r r ie d on i n a d i f f e r e n t m anner. . . . I t w ou ld s u r e ly be much more r a t io n a l i f c o n v e r s a t io n in s t e a d o f d a n c in g made th e o r d e r o f t h e d a y . ' 'Much more r a t i o n a l , I d a r e s a y , ' r e p l i e d h e r b r o t h e r , 'b u t i t w ould n o t be n e a r s o much l i k e a B a l l . ' " L ew is q u o ted t h i s p a s sa g e from Ja n e A u ste n ' s P r id e and P r e ju d ic e a t l e a s t t h r e e t im e s , in e s s a y s and l e t t e r s [ 1 ] : o b v io u s ly h e r e l i s h e d i t f i r s t b e c a u se he e n jo y e d A u ste n , an a u th o r Ja n e S tu d d ock in T hat H id eou s S tr e n g th a sk ed f o r when sh e s t a y e d i n bed a l l day r e c u p e r a t in g from th e b u rn s i n f l i c t e d by M iss H a r d c a s t le ' s c i g a r s [ 2 ] ( a s L ew is h i m s e l f , " w h ile i l l , . . . r e r e a d . . . S e n se & S e n s i b i l i t y " [ 3 ] — h e had l e a r n e d , e a r ly o n , ''to make a m inor i l l n e s s on e o f t h e p le a s u r e s o f l i f e " [ 4 ] by sp en d in g t h e w ak ing h o u rs w ith a good s t o r y , or tw o , o r t h r e e ) . I s u s p e c t he r e l i s h e d th e p a s sa g e a l s o b e c a u se o f w hat i t s a y s a b o u t d a n c e , an im age he u sed r e p e a t e d ly in h i s w o rk s , u s u a l ly t o d e p ic t t h a t w h ich i s n o n - r a t io n a l (h e w ould sa y s u p e r - r a t i o n a l ) , im a g in a t iv e , e v en m y t h ic a l . I w ant h e r e t o exam in e h i s r e f e r e n c e s t o d a n c e , w ith o c c a s io n a l g la n c e s a t p a s s a g e s from C h a r le s W illia m s and J .R .R . T o lk ie n a k in t o them , and c o n s id e r t h e i r im p l ic a t io n s f o r L e w is 's v ie w s on l i t e r a t u r e and f o r h i s w o r ld -v ie w a s a w h o le .

I t i s i n t r ig u in g t h a t d an ce a s an im age o r sym bol had su ch a p p e a l t o on e who h im s e l f d id n o t e n jo y d a n c in g . In h i s l a t e f i f t i e s , L ew is d e s c r ib e s u n p le a s a n t m em ories o f c h ild h o o d d a n c e s :

I t was th e cu sto m o f t h e n e ig h b o rh o o d t o g iv e p a r t i e s w h ich w ere r e a l l y d a n c e s f o r a d u l t s b u t t o w h ic h , none t h e l e s s , m ere s c h o o lb o y s and s c h o o l g i r l s w ere a s k e d . . . . To me t h e s e

d a n c e s w ere a t o r m e n t . . . th e d is c o m fo r t o f o n e ' s E ton s u i t and s t i f f s h i r t , t h e a c h in g f e e t and b u rn in g h e a d , and t h e m ere w e a r in e s s o f b e in g k e p t up s o many h o u rs a f t e r o n e ' s u s u a l b e d t im e . Even a d u l t s , I f a n c y , w ould n o t f in d an e v e n in g p a r ty v e r y e n d u ra b le w ith o u t t h e a t t r a c t i o n o f s e x and t h e a t t r a c t i o n o f a l c o h o l ; and how a s m a ll boy who can n e i t h e r f l i r t n or d r in k sh o u ld be e x p e c te d t o e n jo y p r a n c in g a b o u t on a p o l i s h e d f l o o r t i l t h e sm a ll h o u rs o f th e m o rn in g , i s beyond my c o n c e p t io n . ( S u r p r ise d by J o y , p p .4 6 -4 7 [ c h . 3 ] . )

The a p p e a l o f d an ce f o r L e w is , i t w ould seem , a r i s e s n o t from e x p e r ie n c e w ith i t a s an a c t i v i t y b u t from i t s a e s t h e t i c and im a g in a t iv e im p a ct a s an i d e a , e v e n a s an Id ea o r a r c h e t y p e . Dance had b een u sed f o r h u n d red s o f y e a r s by a u th o r s L ew is r e s p e c t e d g r e a t l y t o d e p ic t a p h y s i c a l and m e ta p h y s ic a l u n iv e r s e L ew is e m o t io n a lly lo n g e d f o r and s p i r i t u a l l y l i v e d i n [ 5 ] .

In t h e w e s te r n c u l t u r a l t r a d i t i o n m u sic i s b e t t e r known th a n d a n ce a s an im age o f t h e o r d e r l i n e s s and harmony o f th e co sm o s . The im age i s grounded i n P l a t o ' s a d a p ta t io n o f P y th a g o r ea n n o t io n s a b o u t t h e b e a u ty and p r o p o r t io n o f num bers t o t h e p h y s i c a l u n iv e r s e : "On th e upper s u r f a c e o f e a ch c i r c l e i s a s i r e n , who g o e s round w ith them , hym ning a s i n g l e to n e o r n o t e . The e ig h t t o g e t h e r form on e harmony [ 6 ] " . By a s s o c i a t i o n w ith th e myth o f A m phion's u s e o f t h e l y r e t o e r e c t a w a l l , charm in g r o c k s and th u s m oving them i n t o t h e i r prop er p l a c e s , m u sic becam e a l s o a sym bol o f c r e a t i o n , g iv in g o r d e r t o w hat p r e v io u s ly had b een c h a o t i c . T h u s, in th e d iv in e c r e a t i v e a c t , th e e le m e n t s , s c a t t e r e d a b o u t " w ith o u t fo rm , and v o id " (G en . 1 : 2 ) , w ere drawn in t o o r d e r by t h e h a rm o n iz in g power o f m u s ic . The o p e n in g o f

M YTHLORE 45: Spring 1986 Page 5

D r y d e n 's "A Song f o r S t . C e c i l i a ' s D ay, 1687" ( s e t t o m usic e x p r e s s i v e l y by H andel in 1 7 3 9 ) , e x p r e s s e s th e myth p o w e r fu l ly :

From Harmony, from h e a v 'n ly Harmony T h is u n iv e r s a l Frame began

When N a tu re u n d ern ea th a heap Of j a r r in g Atom es l a y .

And c o u 'd n o t h ea v e h e r H ead,The t u n e f u l V o ic e was h eard from h ig h ,

A r is e y e more th a n d e a d .Then c o ld , and h o t , and m o is t , and d r y ,In o r d e r t o t h e i r s t a t i o n s l e a p ,

And M u s ic k 's pow 'r obey [ 7 ] ,

T h is myth i s em ployed by T o lk ie n in t h e c r e a t io n s t o r y in h i s A in u l in d a le [8 ] and by L ew is in The M a g ic ia n 's Nephew, a s t h e L ion A sla n s i n g s t h e la n d and c r e a t u r e s o f N a rn ia i n t o e x i s t e n c e [ 9 ] .

In an a n a lo g o u s and c l o s e l y r e l a t e d m yth , th e u n iv e r s e becam e o r d e r ly and r e g u la r by b e in g made t o d a n c e . Andrew M a r v e l l ' s r e t e l l i n g o f how Amphion c o n s t r u c t e d t h e w a l l s o f T h eb es i l l u s t r a t e s th e e a s y t r a n s i t i o n from t h e on e myth t o th e o t h e r : "The ro u g h er S t o n e s , u n to h i s M easures h e w 'd , / D a n s'd up i n o r d e r from th e Q a rry es rude [ 1 0 ] ." Such u s e o f d a n ce a s a c o s m o lo g ic a l sy m b o l, l i k e th e u s e o f m u s ic , can be t r a c e d t o P la t o , a s , in t h e T ia a e u s he d e s c r ib e s how th e C r ea to r fa s h io n e d t h e w orld a f t e r i t s e t e r n a l p a t t e r n :

When a l l t h in g s w ere i n d is o r d e r God c r e a t e d in e a ch t h in g i n r e l a t i o n t o i t s e l f , and in a l l t h in g s in r e l a t i o n t o e a ch o t h e r , a l l th e m ea su res and h arm o n ies w h ich th e y c o u ld p o s s ib ly r e c e i v e . . . . The f i x e d s t a r s w ere c r e a t e d , t o be d iv in e and e t e r n a l a n im a ls , e v e r - a b id in g and r e v o lv in g a f t e r t h e same manner and on th e same s p o t ; and t h e o th e r s t a r s w h ich r e v e r s e t h e i r m o t i o n . . . . V ain w ould be t h e a t te m p t t o t e l l a l l t h e f i g u r e s o f them c i r c l i n g a s in d a n c e , . . . and t o sa y w h ich o f t h e s e d e i t i e s i n t h e i r c o n j u n c t io n s m e e t, and w h ich o f them a r e in o p o s i t i o n , and i n w hat o r d e r th e y g e t b eh in d and b e fo r e one a n o th e r [ 1 1 ] .

Used r e c u r r e n t ly i n th e m id d le a g e s , e s p e c i a l l y in N e o p la to n ic w r i t e r s , t h e im age r e c e iv e d i t s f i n e s t a r t i c u l a t i o n i n S i r John D a v ie s ' s O r c h e s tr a , p u b lish e d i n 1 5 96; L ew is w r o te o f i t , " D a v ie s ' O r c h e s tr a g i v e s u s t h e r ig h t p ic t u r e o f th e E l iz a b e th a n o r H en rica n u n iv e r s e ; t i n g l i n g w ith a n th rop om orp h ic l i f e , d a n c in g , c e r e m o n ia l , a f e s t i v a l n o t a m achine [ 1 2 ] ." D a v ie s ’ n a r r a t o r , A n t in o u s , u r g in g P e n e lo p e t o d an ce w ith h im , e x p la in s t h e o r i g i n o f d a n c in g :

D auncing ( b r ig h t L ady) th e n began t o beWhen th e f i r s t s e e d e s w h ero f t h e w orld d ids p r in g .The F ir e , A y re , E a rth and W ater d id a g r e e ,By L oves p e r s w a s io n , N a tu re s m igh ty k in g ,To le a v e t h e i r f i r s t d isordered co m b a tin g ;

And in a dau nce su ch m easure t o o b s e r v e .As a l l t h e w o r ld t h e i r m o tio n sh o u ld

p r e s e r v e .

S in c e when th e y s t i l l a r e c a r r ie d i n a rou n d ,And ch a n g in g come one i n a n o th e r s p la c e .Y et doe th e y n e y th e r m in g le nor c o n fo u n d ,B ut e v e r y on e d o th k e e p e th e bounded sp a c e

W herein t h e dau n ce d o th b id i t tu r n e or t r a c e :

T h is w ondrous m y r a c le d id L ove d e v i s e ,For D au ncin g i s L o v es p r o p e r e x e r c i s e . [ 1 3 ]

The im p o r ta n t t h in g i n a l l t h i s i s n o t t h e im age i t s e l f , b u t t h e w o r ld v ie w i t a f f i r m s . I t a ssu m es t h a t th e u n iv e r s e i s a c o sm o s , a harm on iou s s y s te m , and t h a t human l i f e , a s an i n t e g r a l p a r t o f t h a t w h o le , a l s o h a s o r d e r , u n i t y , and m ea n in g . The u n iv e r s e i s n o t d o in g ro ck o r d i s c o d a n c in g — u n p a tte r n e d , c h a o t i c , i n d i v i d u a l i s t i c ; i t e c h o e s th e s t a t e l y movement o f t h e c h o r u s i n a G reek t r a g e d y o r th e s t y l i z e d f o r m a l i t y o f th e c o u n tr y d a n ce in an A u sten n o v e l , "The l a d i e s and g e n tlem e n ran ged a s t w o lo n g row s f a c in g o n e a n o t h e r , w h i l s t t h e c o u p le s a t th e e x tre m e e n d s dan ced down t h e s e t [ 1 4 ] ." L e w is , T o lk ie n and W illia m s a c c e p te d t h a t w o rld v ie w — i t i s on e o f th e s t r o n g e s t and d e e p e s t a r e a s o f k in s h ip among th em . They c o u ld resp o n d t o su ch im agery w ith an em pathy im p o s s ib le f o r m ost o f t h e i r c o m p a tr io t s a t O x fo rd : d in o s a u r s ca n d a n c e , th o u g h t h e c u r a t o r s o f museums may n o t r e c o g n iz e o r be a b le t o e n t e r t h e m ovem ents. [ 1 5 ]

D a n cin g o c c u r s on s e v e r a l l e v e l s i n L e w is ' s w o r k s . F i r s t , d a n c in g o c c u r s a s s im p le im age — l i t e r a l d a n c in g a s p a r t o f th e p l o t i n h i s s t o r i e s and poem a. Fauns and t r e e s d a n ce i n P r in c e C a s p ia n , w it h C a sp ia n and e v en t h e dw arf Trumpkin j o i n i n g i n [ 1 6 ] , and B acch u s and S i l e n u s , l a t e r , le a d a romp a c r o s s th e c o u n t r y s id e f r e e in g t h o s e who ha v e b een h e ld by th e c o n s t r a i n t s o f M ira z: "W ith le a p in g and d a n c in g and s i n g i n g , w ith m u sic and la u g h te r and r o a r in g and b a r k in g and n e ig h in g , th e y a l l came t o t h e p la c e w here M ir a z 's army s t o o d f l i n g i n g down t h e i r sw o rd s and h o ld in g up t h e i r hands [ 1 7 ] ." A l s o , t h e r e i s th e d an ce J i l l Scrubb s e e s when sh e em erg es form th e u n d erw orld i n The S i l v e r C h a ir . F auns and d r y a d s w ere

d o in g a d a n ce — a d a n ce w ith s o many c o m p lic a te d s t e p s and f i g u r e s t h a t i t to o k you some t im e t o u n d e rs ta n d i t . . . . C ir c l in g round and round t h e d a n c e r s was a r in g o f D w a rfs , a l l d r e s s e d i n t h e i r f i n e s t c l o t h e s ; m o st ly s c a r l e t w ith f u r - l i n e d h ood s and g o ld e n t a s s l e s and b ig fu r r y t o p - b o o t s . As th e y c i r c l e d round th e y w ere a l l d i l i g e n t l y th r o w in g s n o w b a l l s , . . . th r o w in g them th ro u g h th e d an ce in su ch p e r f e c t t im e w ith t h e m u sic and w ith su ch p e r f e c t aim t h a t i f a l l th e d a n c e r s w ere i n e x a c t l y t h e r ig h t p la c e s a t e x a c t l y th e r ig h t m om ents, no o n e w ou ld be h i t . T h is i s c a l l e d th e G rea t Snow D ance and

i t i s done e v e r y y e a r in N a rn ia on t h e f i r s t m o o n lit n ig h t when t h e r e i s snow on th e g ro u n d , [1 8 ]

Dance i s a c e n t r a l im age in L e w is ' s u n f in i s h e d poem w h ich W a lter H ooper e n t i t l e d "The N a m eless I s l e . " As t h e e l f p la y s upon a m a g ic a l f l u t e , h e r o e s and h o r s e s tu rn ed i n t o s t o n e a r e d is e n c h a n te d and b e g in t o d a n ce : d a n c in g " in o rd er" and d a n c in g in l o v e , a s th e y e n c i r c l e t h e unm arbled m aid and b r in g h e r t o th e n a r r a t o r , " b lu sh in g a s i t w ere a b r id e m o r t a l , / To h o ld t o h e r h e a r t my head a s I k n e e le d [ 1 9 ] ." The members o f t h e company a t S t . A n n e 's d a n c e , a s a f e s t i v e r e s p o n s e t o t h e ap p roach o f t h e O yarsa o f J u p i t e r :

The c h a ir s w ere pushed b a c k , t h e f l o o r c le a r e d . They d a n c e d . . . . I t seem ed t o ea ch t h a t th e room was f i l l e d w ith k in g s and q u e e n s , t h a t t h e w i ld n e s s o f t h e i r d an ce e x p r e s s e s h e r o ic e n e rg y and i t s q u ie t e r

Page 6 MYTHLORE 45: Spring 1986

m ovem ents had s e i s e d t h e v e ry s p i r i t beh in d a l l n o b le c e r e m o n ie s . ( TBS, p .3 2 6 [ X V . l ] . )

On t h e w h o le , h o w ev er , th e p a u c ity o f r e f e r e n c e s t o d an ce i s a s s t r i k i n g a s th e t im e s i t i s u sed : no one d a n ce s in The P ilg r im 'S R e g r e s s , o r Out o f th e S i l e n t P la n e t , o r The G reat D iv o r c e , o r T i l l We Have F a c e s . Dance i s n o t so m eth in g L ew is th o u g h t o f f o r h im s e l f or h i s c h a r a c t e r s a s a d e s i r a b le s o c i a l a c t i v i t y ; in ea ch exam ple I c i t e d , d an ce i s a sp o n ta n eo u s c e l e b r a t i o n or a c e r e m o n ia l o c c a s io n — i t i s v a lu e d f o r w hat i t e x p r e s s e s o r s ta n d s f o r , r a th e r th a n f o r w hat i t i s .

L i t e r a l im a g es o f d an ce le a d n a t u r a l l l y t o th e u se o f d an ce a s m etap h or. H ere t o o th e in fr e q u e n c y i s s t r i k i n g . R a r e ly in h i s p o e t r y , f o r ex a m p le , a r e t h e r e im a g es l i k e "C ast a l o f t by t h e f o u n t a in s , w ith t h e i r s o f t foam / A trem or o f l i g h t was d a n c in g in t h e em erald dome [ 2 0 ] ." Dance a s a m etaphor in L e w is 's w orks u s u a l ly i s a t h o u g h t f u l , d e l ib e r a t e way t o e n c a p s u la te t r a d i t i o n a l v a lu e s , n o t a c a s u a l r e f e r e n c e t o a common s o c i a l a c t i v i t y . T h is i s c o n firm ed by th e u se o f d an ce a s a f i g u r e in t h r e e v i t a l p a s s a g e s , i n T hat H id eou s S t r e n g t h . Mere C h r i s t i a n i t y , and The P roblem o f P a in . In t h e f i r s t , n ea r th e end o f R an som 's i n i t i a l m eetin g w ith J a n e , a s th e y d is c u s s e d o b e d ie n c e and m a r r ia g e , Ransom s a y s , "But you s e e t h a t o b e d ie n c e and r u le a r e more l i k e a d an ce th a n a d r i l l — e s p e c i a l l y betw een man and woman w here t h e r o l e s a r e a lw a y s c h a n g in g ." ( THS, p .1 4 9 [ V I I ,2 ] . ) The dan ce m etaphor draw s t o g e th e r a key them e o f t h e n o v e l . For Mark and J a n e 's m a rria g e s e r v e s a s a paradigm o f th e la r g e r s t r u g g le f o r in d ep en d en ce and a u t h o r i t y th r o u g h o u t th e n o v e l : o f th e S t . A n n e 's group t o e x te n d freedom w it h in r e s t r a i n t , o f th e N .I .C .E . t o ha v e freedom w ith o u t r e s t r a i n t . Mark and Ja n e must le a r n t h a t o b e d ie n c e i s d i f f e r e n t from s e r v i l i t y and a u t h o r i t y i s d i f f e r e n t from a r b i t r a r y ty r a n n y , and t h a t " e q u a l i t y i s n o t th e d e e p e s t th in g[ 2 1 ] ." Each m ust r e c o g n iz e t h a t h u m il i t y and o b e d ie n c e a r e r o o te d in l o v e , and t h a t t h e s o u r c e o f lo v e i s C h r i s t . "More l i k e a d an ce th a n a d r i l l " c a p tu r e s a t on ce t h e c o n t r a s t b e tw een S t . A n n e 's , and f o r m a r r ia g e , what L ew is s a id in W illia m s and t h e A r th u r ia d a b o u t th e k n ig h t s o f W ill ia m s ' C am elo t:

T here i s , i n s i d e th e com pany, no r e a l s la v e r y o r r e a l s u p e r i o r i t y . S la v e r y t h e r e becom es freedom and d om in ion becom es s e r v i c e . As w i l l e d n e c e s s i t y i s freed o m , s o w i l l e d h ie r a r c h y becom es e q u a l i t y . [2 2 ]

The d an ce im age p r o j e c t s th e same id e a s a b o u t m a rr ia g e t h a t L ew is e x p r e s s e d in Mere C h r i s t i a n i t y ( " C h r is t ia n w iv e s p ro m ise t o obey t h e i r h u sb a n d s . In C h r is t ia n m a rria g e th e man i s s a id t o be th e 'h e a d '" [ 2 3 ] ) , bu t c o n v e y s them a good d e a l l e s s r i g i d l y and more p a la t a b ly .

The d an ce m etap hors i n Mere C h r i s t i a n i t y and The Problem o f P a in a r e c l o s e l y r e l a t e d . The form er o c c u r s a s L e w is , a t te m p t in g t o c l a r i f y th e d i f f i c u l t and a b s t r a c t d o c t r in e o f th e T r i n i t y , s a y s t h a t " th e w ords 'God i s L ove' ha v e no r e a l m eaning u n le s s God c o n t a in s a t l e a s t two P e r s o n s ," s i n c e l o v e i s an a c t i v i t y betw een i n d iv i d u a l s . Then he c o n t in u e s :

In C h r i s t i a n i t y God i s n o t a s t a t i c t h in g — n o t ev en a p e r so n — b u t a d yn am ic , p u ls a t in g a c t i v i t y , a l i f e , a lm o st a k in d o f dram a. A lm o st, i f you w i l l n o t th in k me i r r e v e r e n t , a k in d o f d a n ce . [2 4 ]

As L ew is g r o p e s f o r a way t o e x p r e s s th e i n e x p r e s s i b l e , he tu r n s t o an im age w h ich h a s d iv in e a s s o c i a t i o n s fo r

him b e c a u se o f i t s a r c h e t y p a l o v e r t o n e s , and w hich r e a d i l y u n i t e s h i s u n d e r s ta n d in g o f God w ith th e W estern c u l t u r a l m yth . T hat i t sh o u ld e v en o c c u r t o him t o com pare God t o a d a n ce can be u n d e rs to o d from P la t o . P la t o e m p h a s iz e s t h a t t h e a c t o f c r e a t io n i n v o lv e s c o r r e s p o n d e n c e s , b e tw een t h e w orld and i t s p a t t e r n , and betw een th e c r e a t io n and t h e C r e a to r . I f c r e a t io n can be v iew ed a s a d a n c e , s o t o o , by c o r r e s p o n d e n c e , can th e C r e a to r . L ew is s im p ly f o l lo w s th ro u g h and c o n c r e t i z e s w hat i s i m p l i c i t in th e T im aeus ( c a p s . 2 9 -3 0 : The D ia lo g u e s o f P l a t o . I l l , USO). And i n d o in g so h e r e l a t e s t h e n a tu r e o f God t o th e a t t r i b u t e s o f t h e w o r ld v ie w d an ce h a s t r a d i t i o n a l l y im aged : d an ce i s a c t i v e , o r d e r ly , and h i e r a r c h i c a l , and L ew is d e l i b e r a t e l y a t t a c h e s t h o s e q u a l i t i e s t o G od. The m etaphor a l s o p o s i t s q u a l i t i e s a b o u t th e h u m a n -d iv in e e n c o u n te r : i t a f f i r m s t h a t t h e human r e s p o n s e t o God m ust be a c t i v e , in v o lv e d — on e can know God a u t h e n t i c a l ly o n ly by e n t e r in g i n t o r e l a t i o n w ith him and p a r t i c i p a t i o n i n th e a c t i v i t y w h ich m akes him what h e i s .

The w h o le d a n c e , o r dram a, o r p a t t e r n o f t h i s t h r e e - P e r s o n a l l i f e i s t o be p la y e d o u t in e a ch on e o f u s : o r ( p u t t in g i t t h e o t h e r way a ro u n d ) e a ch on e o f u s h a s g o t t o e n t e r t h a t p a t t e r n , t a k e h i s p la c e in t h a t d a n c e . T here i s no o th e r way t o t h e h a p p in e s s f o r w h ich we w ere m ade. (MC, p .1 5 3 [ I V ,4 ] , )

S i m i la r l y , in The P roblem o f P a in , i n w r i t in g a b o u t t h e h e l l i s h q u a l i t y o f s e l f h o o d and t h e h e a v e n ly q u a l i t y o f s e l f - g i v i n g , L ew is w r i t e s : "But when [ t h e g o ld e n a p p le o f s e l f h o o d ] f l i e s t o and f r o among t h e p la y e r s to o s w i f t f o r e y e t o f o l l o w , and th e g r e a t m a ste r H im se lf l e a d s t h e r e v e l r y , g iv in g H im s e lf e t e r n a l l y t o H is c r e a t u r e s in t h e g e n e r a t io n , and back t o H im se lf i n th e s a c r i f i c e , o f t h e Word, t h e in d e e d t h e e t e r n a l d an ce 'm akes h ea v en drow sy w ith th e h a rm o n y .'" [ 2 5 ]

In L e t t e r s t o M alcolm L ew is ( o r r a th e r t h e p erso n a h e c r e a t e s ) h a l f - a p o l o g i z e s f o r h i s u se o f su ch " f r iv o lo u s " f i g u r e s o f sp e e c h f o r s p i r i t u a l m a tte r s : "T here! I ' v e done i t a g a in . I know t h a t my te n d e n c y t o im a g es l i k e p la y and d a n ce f o r t h e h ig h e s t t h in g s i s a s tu m b lin g -b lo c k t o y o u ." B ut he f u r t h e r e x p la in s and j u s t i f i e s them b e c a u se no " s e r io u s " im agery from our w orld can c o n v ey a t a l l a d e q u a te ly t h e u t t e r b ea u ty and b le s s e d n e s s o f h e a v e n . In p a r t i c u la r i t c a n n o t p o s s ib ly co n v ey h e a v e n 's r e c o n c i l i a t i o n o f w hat on e a r t h a r e d i r e c t o p p o s i t e s , " o f b o u n d le s s freedom w ith o r d e r — w ith t h e m ost d e l i c a t e l y a d j u s t e d , s u p p le , i n t r i c a t e , and b e a u t i f u l o r d e r [ 2 6 ] ." L e w is 's a t te m p ts t o co n v ey a l l t h i s i n T hat H id eo u s S tr e n g th and Mere C h r i s t i a n i t y u s e t h e m etaphor o f d a n c e , w ith i t s co m b in in g o f s p o n t a n ie t y and p a t t e r n , in a d e q u a te th o u g h he knows t h a t f i g u r e u l t im a t e ly m ust b e .

The m ost im p o r ta n t a l l u s i o n s t o d an ce i n L e w is 's w orks a r e sy m b o lic u s e s w h ich draw upon o r r e e s t a b l i s h m y th o lo g y o f th e c o sm ic d a n c e , t h a t t o w h ich D o cto r C o r n e l iu s r e f e r s when he a s s u r e s C a sp ia n t h a t t h e s t a r s T arva and A la m b il a r e n o t g o in g t o c o l l i d e : "Nay, d ea r P r i n c e , . . . th e g r e a t l o r d s o f th e upper sk y know t h e s t e p s o f t h e i r d an ce t o o w e l l f o r t h a t [ 2 7 ] ." L ew is i s c e l e b r a t i n g th e same d a n ce t h a t P la t o and D a v ie s c e l e b r a t e d , b u t he d o e s s o w ith an em p h a sis n o t in P la t o o r D a v ie s — t h a t th e C r ea to r d o e s n o t j u s t ch o reo g ra p h a c lo c k d an ce and th e n le a n back t o adm ire i t s c o lo r and b e a u ty ; r a t h e r , t h e C r ea to r e n t e r s th e d an ce a s a p a r t i c i p a n t . Thus in M ir a c le s L ew is w r i t e s " th e p a r tn e r who bows t o Man in on e movement o f th e d an ce r e c e i v e s M an's r e v e r e n c e s i n a n o th e r [ 2 8 ] ." So i t i s in th e m a g n if ic e n t s c e n e in th e f i n a l c h a p te r o f P e r e la n d r a . Near th e end o f h i s s t a y on P e r e la n d r a ,

MYTHLORE 45: Spring 1986 Page 7

Ransom, c o n fu se d by th e c o m p le x ity o f a l l t h a t he h a s e x p e r ie n c e d s i n c e h i s a r r i v a l on th e p la n e t , d o u b tin g f o r th e moment th e c o h e r e n c e o f t h in g s and f e a r f u l th e y a r e m ere ch a o s and c h a n c e , i s a l lo w e d a g l im p s e o f The G reat D an ce,

What had begun a s sp e e c h was tu rn ed i n t o s i g h t , o r i n t o so m e th in g t h a t can be remembered o n ly a s i f i t w ere s e e i n g . He th o u g h t he saw t h e G reat D a n ce . I t seem ed t o be woven o u t o f t h e in t e r t w in in g u n d u la t io n o f many c o r d s or bands o f l i g h t , l e a p in g o v e r and under one a n o th e r and m u tu a lly em braced i n a r a b e sq u e s and f l o w e r - l i k e s u b t l e t i e s .Each f i g u r e a s he lo o k e d a t i t becam e th e m a s t e r - f ig u r e o r fo c u s o f th e w h o le s p e c t a c l e , by means o f w h ich h i s e y e d is e n t a n g le d a l l e l s e and b ro u g h t i t i n t o u n i ty — o n ly t o be i t s e l f e n ta n g le d when he lo o k e d t o w hat he had ta k e n f o r a mere m a rg in a l d e c o r a t io n s and foun d t h a t t h e r e a l s o th e same hegemony was c la im e d , and th e c la im made g o o d , y e t th e form er p a t t e r n n o t th e r e b y d i s p o s s e s s e d b u t f in d in g i n i t s new su b o r d in a t io n a s i g n f i c a n c e g r e a t e r th a n t h a t w h ich i t had a b d ic a t e d . [2 9 ]

In t h i s a lm o st m y s t ic a l v i s i o n . Ransom i s show n, n o t what t h e u n iv e r s e lo o k s l i k e , b u t t h e T ruth a b o u t what i t a c t u a l ly i s l i k e .

The same i s t r u e o f th e im age o f r e a l i t y in C h a r le s W ill ia m s ' The G re a ter Trumps. In t h i s n o v e l a b o u t th e v a in d e s i r e t o c o n t r o l th e a c t io n o f th e u n iv e r s e , a s e t o f m a g ic a l f i g u r in e s m oving a b o u t on a g o ld -c o v e r e d t a b l e in a s e c r e t room o f a s e c lu d e d h o u se c o r r e sp o n d s t o th e rhythm and p a t t e r n s o f th e cosm os:

Upon t h a t p l a t e o f g o ld w ere a number o f l i t t l e f i g u r e s , ea ch a b o u t t h r e e in c h e s h ig h , a l s o o f g o ld , i t seem ed , v e ry w o n d e r fu lly w r o u g h t . . . . They w ere a l l in m ovem ent. G e n tly and c o n t in o u s ly th e y w e n t, im m in g lin g , u n r e s t in g — a s i f t o some c o m p lic a te d m ea su re , and a s i f o f t h e i r own v o l i t i o n .T here m ust h a v e been n e a r ly a hundred o f them , and from t h e g o ld e n p l a t e upon w h ich th e y w ent came a s l i g h t sound o f m u sic — more l i k e an ech o th a n a sound — so m etim es q u ic k e n in g , so m etim es s lo w in g , t o w h ich th e g o ld e n f i g u r e s k e p t a d u te o u s rhythm , or p erh a p s t h e f a i n t sound i t s e l f was b u t t h e i r harm onized movement upon t h e i r f i e l d . [3 0 ]

The t a b l e and f i g u r e s a r e m icro co sm ic sy m b o ls o f " th e c r e a te d dance" ( P . 1 5 3 ) , o f " th e e v e r la s t in g dance" ( p . 2 1 ; a l s o 8 0 ,9 4 ) i n w h ich e v e r y t h in g t a k e s p a r t (p p . 3 0 , 5 1 , 9 4 ) . Henry e x p la in s t o Nancy t h a t " a l l t h in g s a r e h e ld t o g e th e r by c o r r e s p o n d e n c e , im age w ith im a g e , movement w ith m ovement: w ith o u t t h a t t h e r e c o u ld be no r e l a t i o n and t h e r e f o r e no tr u th " ( p .4 4 ) — in o th e r w o rd s, t o c o n t r o l th e d an ce — by e n t e r in g i t th ro u g h th e T a r o t c a r d s and u s in g t h e i r power o v e r th e d a n ce ; he m ust le a r n t h a t t h e d an ce sh o u ld be e n te r e d th ro u g h th e way o f S y b i l and N an cy , t h e way o f l o v e , w h ich redeem s t h e d an ce w ith o u t s e e k in g t o c o n t r o l i t .

The d e t a i l s i n P e r e la n d r a , p a r t i c u la r l y i n th e tw en ty a n t ip h o n a l s e c t i o n s o f l i t i n y c e l e b r a t in g th e Dance and th e Lord o f t h e D an ce , a r e s im i la r t o , i f n o t d i r e c t l y in d e b te d t o W ill ia m s . [ 3 1 ] As W illia m s p u ts h i s C h r i s t - f i g u r e , th e F o o l , a t t h e c e n t e r o f th e D an ce, b u t c o n s t a n t ly m oving s o t h a t th e c e n t e r i s every w h ere and ev erw h ere i s t h e c e n t e r , s o d o e s L ew is:

"Where M a le ld i l i s , t h e r e i s t h e c e n t r e .He i s i n e v e r y p l a c e . . . . Each t h in g w as make f o r Him. He i s t h e c e n t r e . B e ca u se we a r e w ith Him, e a ch o f u s i s a t t h e c e n t r e ."

"Each g r a in i s a t t h e c e n t r e . The D u st i s a t t h e c e n t r e . The W orlds a r e a t th e c e n t r e . The b e a s t s a r e a t t h e c e n t r e . The a n c ie n t p e o p le s a r e t h e r e . The r a c e t h a t s in n e d i s t h e r e . Tor and T i n i d r i l a r e t h e r e .The g o d s a r e t h e r e a l s o . B le s s e d be H e!" ( P e r e la n d r a . p p . 2 1 6 - 2 1 7 .)

As W illia m s u s e s h i s d a n c in g f i g u r e s t o em b lem ize th e h ie r a r c h y and w h o le n e s s , s o d o e s L e w is:

"In t h e p la n o f t h e G rea t D ance p la n s w ith o u t number i n t e r l o c k , and e a c h movement becom es i n i t s s e a s o n th e b r e a k in g i n t o f lo w e r o f th e w h o le d e s ig n t o w h ich a l l e l s e had been d i r e c t e d . Thus e a c h i s e q u a l ly a t t h e c e n t r e and non e a r e t h e r e by b e in g e q u a l s , b u t some by g iv in g p la c e and som e by r e c e i v i n g i t . . . . B le s s e d be H e!" ( I b i d , p . 2 1 7 . )

As W illia m s u s e s t h e m ovem ents o f t h e f i g u r e s a c r o s s th e g o ld e n board t o e p i t o m iz e c o r r e s p o n d e n c e , r e l a t i o n and t r u t h , s o d o e s L e w is:

" A ll t h a t i s made seem s p l a n le s s t o th e darkened m ind , b e c a u se t h e r e a r e m ore p l a n s th a n i t lo o k e d f o r . . . . S e t your e y e s on one movement and i t w i l l le a d you th r o u g h a l l p a t t e r n s and i t w i l l seem t o you t h e m a ste r m ovem ent. B ut t h e seem in g w i l l be t r u e . L e t no mouth open t o g a in s a y i t . T h ere seem s no p la n b e c a u se i t i s a l l p la n : t h e r e seem s no c e n t r e b e c a u se i t i s a l l c e n t r e . B le s s e d be H e!" ( I b i d . p . 2 1 8 . )

The k in s h ip o f t h e s e d a n c e r s , o f L ew is w ith W ill ia m s , i s e v id e n t ; and th o u g h T o l k i e n 's c h a r a c t e r s d a n ce ev en l e s s th a n L e w is ' s , T o lk ie n t o o m oves i n s t e p w ith th e c o s m o lo g ic a l and s o c i a l v a lu e s th e G rea t Dancee m b o d ie s . L e w is , T o lk ie n , and W ill ia m s , i n t h e i rf i c t i o n and o th e r w r i t in g s ta k e f o r g r a n te d t h e t r u t h and r e le v a n c e o f t h e O ld W estern m odel L ew is d e s c r i b e s in The D isc a r d e d Im age. T hat m odel a f f i r m s a u n iv e r s e f u l l o f l i f e sy m p a th e t ic w ith and i n t e r a c t in g w ith o th e r l e v e l s o f l i f e ; and e la b o r a t e co sm o lo g y w ith a h ie r a r c h y o f c r e a t e d o r d e r s , p h y s i c a l and s p i r i t u a l ; a l l o f i t u n i f i e d by a s i n g l e s u p e r n a tu r a l r e a l i t y w hose Good and p r e se n c e a r e so u g h t by t h e im m orta l s o u l s o f p e o p le f in d in g and a c c e p t in g t h e i r p la c e i n th e- w h o le [ 3 2 ] . T o lk ie n and W illia m s w ould a g r e e w ith L ew is t h a t t h e u n iv e r s e i s b e s t c o n c e iv e d o f " a s a d a n c e , a f e s t i v a l , a sym phony, a r i t u a l , a c a r n iv a l , o r a l l t h e s e in one [ 3 3 ] ."

The G rea t Dance p a s sa g e i n P e r e la n d r a e x p r e s s e s a l l t h i s i n h ig h l i t e r a r y and im a g in a t iv e a r t : n e a r lypure p o e t r y , b u t a l s o n e a r ly pu re m yth . Beyond im a g in g t h e O ld W estern m yth , d a n ce im a g es myth i t s e l f . Myth i s n o t n e a r ly so r a t io n a l a s c o n v e r s a t io n , o r a s r e a l i s t i c f i c t i o n , b u t i s much more l i k e a b a l l : i t i sim a g in a t io n in m o tio n , i t r e f l e c t s w h o le n e s s , u n i t y , and harm onic p a t t e r n , i t c e l e b r a t e s th e r ic h n e s s and p l u r a l i t y o f t h i n g s . As Thomas Howard p u ts i t , t h e human s p i r i t a t i t s b e s t i s im p a t ie n t w ith t h e sm a ll and l o c a l and fr a g m e n te d . Through t h e m y th ic im a g in a t io n i t s e e k s f o r t h e p e r f e c t io n i t b e l i e v e s i s in and b eh in d t h in g s — t r u t h , b e a u ty , g o o d n e s s , w h o le n e s s , fo rm , o r d e r , t h e e t e r n a l [ 3 4 ] , T h is i s t h e d an ce i n w h ich L e w is , T o lk ie n , and W illia m s — and t h e

Page 8 MYTHLORE 45: Spring 1986b e st o f more r e c e n t m y th o p o e t ic is ts — are p a r t ic ip a t in g : th e term myth means, e ty m o lo g ic a lly , word a s in " th in g s a id , f a c t , m a tter , purpose, d e s ig n ," and th u s a t h e p lo t o f a n a r r a t iv e work. Myth, th e n , i s th e r e a l i t y a t th e h ea r t o f th in g s , th e " th in g sa id " which a l l peop le deep in s id e lon g to h ea r . Those who lo v e myth hear th a t word spoken through s t o r i e s , s e t t i n g s , and im ages which reach fa r in t o th e p a st and deep in t o th e in d iv id u a l and c o l l e c t i v e p sych e , which move and c h a lle n g e and u p l i f t and r e a s s u r e , w hich , in Thomas Howard's w ords, somehow re so n a te w ith ech oes from th e S tory which in Lewis and T o lk ien and W illiam s' v iew , i s th e on ly s to r y th e r e i s , f i n a l l y [ 3 5 ] . That word, th a t myth, i s a dance — f u l l o f l i f e , jo y , m otion , and m eaning. I f myth i s a d an ce, i t i s p a r t ic ip a to r y — one must e n te r th e dance. A w a llf lo w e r d o e sn 't know th e dance — on ly a v is u a l im age, a shadow, o f th e r e a l th in g . To e x p er ie n c e th e dance one must s te p in to i t , y ie ld to i t s rhythm s, become in v o lv ed im a g in a tiv e ly and e m o t io n a lly . That i s our c h a lle n g e and o p p ortu n ity in th e n ex t few days — to e n te r th e dance, t o extend our understand ing o f th e k in s h ip s w ith in th e m an ifo ld and i n t r i c a t e movements o f th e d an ce, and to a p p r e c ia te more f u l l y th e k in sh ip s between th o se who lea d us in th e d an ce. You've come to a b a l l : d an cin g , not c o n v e r sa t io n , i s th e order o f th e day — to d a y , t h i s weekend, and fo r e v e r .

NOTES

[1 ] See " P r ie s t e s s e s in th e Church?", God in th e Dock:E ssays on T heology and E t h ic s , e d . W alter Hooper (Grand R apids, M ich .: Eerdmans, 1 9 7 0 ), p .2 3 4 ; a ls o "MythBecame F a c t," God in th e Dock, p . 6 3 , and Lewis to Arthur G reeves, 13 August 1930 — They Stand T o g eth er: The L e tte r s o f C .S . Lewis to Arthur G reeves. ed . W alter Hooper (New York: M acm illan, 1 9 7 9 ), p . 3 76 . The q u o ta tio n i s from P rid e and P r e ju d ic e . Ch. 11 .[2 ] That H ideous S tren g th (1945; r p t . New York:M acm illan, 1 9 6 5 ), p . 163 [Ch. V II I , s e c t io n 2 ] .H erea fter THS.[3 ] L e tte r to Arthur G reeves, 22 A p r il 1922 — They Stand T o g eth er , p . 302 .[4 ] L ew is, S u rp rised by J o y : The Shape o f My E arly L ife (1955; r p t . New York: H arcourt, Brace and World, 1 9 5 6 ), p . 189 [Ch. 1 2 ] .[5 ] On Lewis and W illia m s' u se o f dance and th e backgrounds th ey drew upon, I am in d eb ted to Roland M. Kawano, "C .S. Lewis and th e G reat Dance," C h r is t ia n ity and L ite r a t u r e , 26 ( F a l l 1 9 7 6 ), 2 0 -3 8 , and anunpublished paper "The C e le s t ia l Dance" by Sarah E. Thompson.[6 ] The R ep u b lic . Book 10 (6 1 7 a ): The D ia lo g u es o fP la to , tr a n s . B. J o w e tt , 3rd e d . , 5 v o l . (New York: M acm illan, 1 8 9 2 ), I I I , 3 34 . On t r a d i t io n a l id e a s about m u sic, se e John H o lla n d er , The Untuning o f th e Sky: Id eas o f Music in E n g lish P o e tr y . 1500-1900 (P r in ce to n : P rin ceton U n iv e r s ity P r e s s , 1 9 6 1 ).[7 ] The Poems and F ab les o f John Dryden, ed . James K in gsley (London: Oxford U n iv e r s ity P r e s s , 1 9 6 2 ), p. 422 .[8 ] The S i lm a r i l l io n . e d . C hristop h er T o lk ien (B oston: Houghton M if f l in , 1 9 7 7 ), pp. 1 5 -1 9 .[9 ] The M a g ic ia n 's Nephew (1955; r p t . New York: M acm illan, 1 9 7 0 ), pp. 9 8 -1 0 7 , 113-14 [Ch. 8 - 9 ] .[1 0 ] "The F ir s t A nniversary o f th e Government under O .C .," l i n e s 5 1 -52 : Poems and L e t t e r s , ed . H.M. M argoliouth (O xford: C larendon P r e s s , 1 9 2 7 ), I , 104.[1 1 ] Tim aeus, c a p s . 69 and 40: The D ia lo g u es o f P la to , I I I , 491 and 459 .[1 2 ] E n g lish L ite r a tu r e in th e S ix te e n th Century E xcluding Drama, v o l . I l l o f th e Oxford H isto ry o f E n glish L ite r a tu r e , ed . F .P . W ilson and Bonamy Dobree (New York: Oxford U n iv e r s ity P r e s s , 1 9 5 4 ), p . 4 .

[1 3 ] " O r c h e str a , Or a Poeme o f D a u n c in g ," s ta n z a s 17—18; The Poems o f S i r John D a v ie s , e d . R ob ert Kruegar (O x fo rd : C laren d on P r e s s , 1 9 7 5 ) , p p . 9 4 - 9 5 .[1 4 ] C o n sta n ce H i l l , J a n e A u ste n : Her Homes and Her F r ie n d s . 3rd e d . (B ungay: John L ane, 1 9 2 3 ) , p . 5 8 .[1 5 ] C f . L e w is , " 'D e D e s c r ip t io n e Tem porum ,'" S e le c t e d L it e r a r y E s s a y s . e d . W a lter Hooper (Cam bridge U n iv e r s i t y P r e s s , 1 9 6 9 ) , p p . 1 3 -1 4 .[1 6 ] P r in c e C a sp ia n (1 9 5 1 ; r p t . New York: M a cm illa n ,1 9 7 0 ) pp . 7 7 -7 8 and 1 3 4 -3 5 [C h . 6 and 1 0 ] .[1 7 ] P r in c e C a sp ia n , p . 198 [C h. 1 4 ] ; a l s o p p . 1 9 1 -1 9 8 p a s s im .[1 8 ] The S i l v e r C h a ir -(1 9 5 3 ; r p t . New York: M a cm illa n , 1 9 7 0 ) , p p . 1 9 2 -9 3 [C h. 1 5 ] .[1 9 ] N a r r a t iv e Poem s. e d . W alter Hooper (London:G e o ffr e y B l e s , 1 9 6 9 ) , p . 1 2 3 . P a s s in g r e f e r e n c e s t o l i t e r a l d an ce a l s o app ear in "The M a g ic ia n and th e D ryad ," l i n e 2 , "The L a n d in g ,” l i n e 1 8 , "The S m a ll Man O rd ers H is W edding," l i n e 4 , and " I n f a t u a t io n ," s ta n z a 7 — Poem s. e d . W a lter H ooper (L ondon: G e o ffr e y B l e s ,1 9 6 4 ) , p p . 8 , 2 7 , 3 1 , 7 4 .[2 0 ] "Solom on ," l i n e s 3 -4 — Poem s. p . 4 6 . S ee a l s oPoem s. p . 3 6 ; N a r r a t iv e Poem s, pp . 146 and 165; and S p i r i t s i n B ondage: C y c le o f L y r ic s ( 1 9 1 9 ) , e d .W a lter Hooper (S an D ie g o : H arcourt B race J o v a n o v ic h ,1 9 8 4 ) ,p p . 1 6 , 3 4 , 5 5 .[2 1 ] THS. p . 148 [ V I I , 2 ] . I foun d v e ry h e lp f u l th e d i s c u s s io n by John H. Timmerman, " L ogres and B r i t a in : The D i a l e c t i c o f C .S . L e w is ' T hat H id eou s S t r e n g t h ," CSL: The B u l l i t i n o f t h e New York C .S , L ew is S o c i e t y . 9 , n o . 1 (Novem ber 1 9 7 7 ) , 1 - 8 .[2 2 ] L e w i s , W i l l i a m s a n d t h e A r t h u r i a d . i n C h a r l e s W i l l i a m s a n d C . S . L e w i s , T a l i e s s i n t h r o u g h L o g r e s . T h e R e g io n o f t h e Sum m er S t a r s . A r t h u r i a n T o r s o (G r a n d R a p i d s , M i c h . : E e r d m a n s , 1 9 7 4 ) , p . 3 2 6 . L e w is u s e s " d a n c e " t o im a g in e t h e sa m e i d e a i n ^ P r e f a c e t o P a r a d i s e L o s t ( L o n d o n : O x f o r d U n i i v e r s i t y P r e s s , 1942*77 p . 8 1 , w h e r e t h e p a r a d o x o f d i s c i p l i n e a n d f r e e d o m , i n a n u n f a l l e n w o r l d , i s a " p a t t e r n d e e p h i d d e n i n t h e d a n c e , h i d d e n s o d e e p t h a t s h a l l o w s p e c t a t o r s c a n n o t s e e i t . "[ 2 3 ] From L e w is 's BBC r a d io t a l k s on " C h r is t ia n B e h a v io u r ," 1 9 4 2 , p u b lish e d under t h a t t i t l e in 1943 and in c lu d e d in Mere C h r i s t i a n i t y (1 9 5 2 ; r p t . New York: M a cm illa n , 1 9 6 0 ) , p . 102 [ I I I , 6 ] .[ 2 4 ] . From L e w is 's BBC t a l k s on "Beyond P e r s o n a l i t y : or F i r s t S t e p s in th e D o c tr in e o f th e T r in i t y ," 1944 (p u b lis h e d 1 9 4 5 ) — Mere C h r i s t i a n i t y , p p . 1 5 1 -5 2 [IV , 4 ] , H e r e a f te r MC.[2 5 ] The P roblem o f P a in (1 9 4 0 ; r p t . New York: M a cm illa n , 1 9 6 2 ) , p . 153 [C h. 1 0 ] . L ew is a l s o u s e s d a n c e , in a m etaphor c l o s e l y r e la t e d t o t h i s o n e , f o r th e o b j e c t o f J o y , t h a t i s , th e h e a v e n ly w o r ld and th e p r e se n c e o f God: "For a few m in u te s [ i n an e x p e r ie n c e o f J o y ] we have had t h e i l l u s i o n o f b e lo n g in g t o t h a t w o r ld . Now we wake t o f in d t h a t i t i s no su ch t h i n g . . . . We have n o t b een a c c e p t e d , w elcom ed , o r ta k en i n t o th e dance" ("T he W eight o f G lo r y ," The W eight o f G lory and o th e r A d d r e s s e s , r e v . e d . , e d . W a lter Hooper [New York: M a cm illa n , 1 9 8 0 ] , p . 1 4 ) .[2 6 ] L e t t e r s t o M alcolm . C h ie f ly on P ra y er (New York: H a rc o u r t , B race and W orld , 1 9 6 4 ) , p . 92 [ L e t t e r 1 7 ] .[2 7 ] P r in c e C a sp ia n , p p . 4 5 -4 6 [C h. 4 ] . S e e a l s o th e o p en in g l i n e s o f "Le R oi S 'a m u se ," Poem s, p .2 3 .[2 8 ] M ir a c le s : A P r e lim in a r y Study (1 9 4 7 ; r p t . New York: M a cm illa n , 1 9 6 5 ) , p . 218 [C h. 1 7 ] ,[2 9 ] P er e la n d r a (1 9 4 4 ; r p t . New York: M a cm illan ,1 9 6 5 ) , p . 218 [C h. 1 7 ] .[3 0 ] The G re a ter Trumps (1 9 3 2 ; r p t . Grand R a p id s , M ic h .: Eerdm ans, 1 9 7 6 ) , p . 28 [C h. 2 ] ,[3 2 ] S ee L e w is , The D isc a r d e d Im age: An I n tr o d u c t io nt o M ed iev a l and R e n a is s a n c e L i t e r a t u r e (C am bridge: Cam bridge U n iv e r s i t y P r e s s , 1 9 6 4 ) . A lso R ob ert H ouston

c o n t i n u e d on p age 23

M YTHLORE 45: Spring 1986 Page 23

Redeemed C i t y ," w r i t t e n by W ill ia m s i n 1 9 4 1 , fo r esh a d o w s A l l H a llo w s ' Eve in som e i n t e r e s t i n g w a y s . He u s e s t h e term t h e C i t y , and o p p o se s t h a t t o t h e In fa m y . The form er i s f r e e r e d e m p tiv e e x c h a n g e , C h r i s t i a n i t y , and l o v e , and i s i d e n t i f i e d w ith E n g la n d , w h ile t h e l a t t e r i s f o r c e d s u b s t i t u t i o n , s e l f i s h n e s s , and h a t r e d , and i s i d e n t i f i e d w ith t h e N a z i s . "T here i s , i n th e e n d ," w r i t e s W ill ia m s , "no com prom ise betw een th e tw o; t h e r e i s o n ly c h o i c e ." [1 2 ] T h is i s th e e s s e n t i a l t r u t h o f A l l H a llo w s ' E v e . The Infam y i s t r u l y p a r o d ic , and b e a r s c e r t a in r e s e m b le n c e s t o th e C i t y , b u t t h i s j u s t m akes i t more d a n g er o u s — and th e C i t y , more p r e c io u s .

NOTES

[ 1 ] C .S . L e w is , A r th u r ia n T o rso (L o n d o n , 1 9 4 8 ) , p . 1 2 3 , c i t e d G eorge P . W in sh ip , J r . "The N o v e ls o f C h a r le s W ill ia m s ," i n Shadows o f Im a g in a t io n e d . Mark R. H i l l e g a s (C a r b o n d a le : S o u th ern I l l i n o i s U n iv e r s i t y P r e s s , 1 9 6 9 ) , p . 1 2 1 .[2 ] C h a r le s W ill ia m s , D e sc e n t i n t o H e l l (G rand R a p id s , M ich ig a n : W illia m B . Eerdm ans P u b l is h in g C o . , 1 9 7 5 ) , p . 9 8 .[ 3 ] C h a r le s W ill ia m s , "The Way o f E x ch a n g e ," i n h i s The Im age o f t h e C it y (L ondon: O xford U n iv e r s i t y P r e s s , 1 9 5 8 ) , p p . 1 5 1 -5 2 .[ 4 ] C h a r le s W ill ia m s , "The C r o s s ," i n h i s The Im age o f th e C ity (L ondon: O xford U n iv e r s i t y P r e s s , 1 9 5 8 ) , p p . 1 3 1 -3 9 .[ 5 ] L e w is , c i t e d i n W in sh ip , o p . c i t . , p . 1 2 1 .[ 6 ] A l i c e Mary H a d f ie ld , An I n t r o d u c t io n t o C h a r le s W illia m s (L ondon: R o b ert H a le L t d . , 1 9 5 9 ) , p . 1 9 0 .[ 7 ] J 'n a n S e l l e r y , " F ic t io n Modes i n C h a r le s W illia m s* A l l H a llo w s ' E v e . G en re . N o. 1 ( 1 9 6 8 ) , p . 3 2 3 .[ 8 ] Edmund F u l l e r , C h a r le s W ill ia m s ' A l l H a llo w s ' Eve (New York: The S eab u ry P r e s s , 1 9 6 7 ) , p . 2 8 .[ 9 ] C h a r le s W ill ia m s , A l l H a llo w s ' Eve (New York: Noonday P r e s s , 1 9 7 1 ) , p . 1 4 6 . H e r e a f te r c i t e d i n t e x t .[1 0 ] T .S . E l i o t , " I n t r o d u c t io n ," C h a r le s W ill ia m s ' A l l H a llo w s ' Eve (New York: Noonday P r e s s , 1 9 7 1 ) ; p . x v IT "[1 1 ] Mary M cDermott S h i d l e r , The T h e o logy o f R om anticU v e : A S tu d y i n th e W r it in g s o f C h a r le s W ill ia m s (Grand R a p id s , M ic h ig a n : W illia m B . Eerdm ansP u b lis h in g Company, 1 9 6 2 ) , p . 1 3 8 .[ 1 2 ] C h a r le s W ill ia m s , "The C i t y R edeem ed," i n h i s The_Imag e of_ th e C it y (L ondon: O xford U n iv e r s i t y P r e s s ,1 9 5 8 ) , p . 1 0 3 .

co n tin u ed from page 8

S m ith , P a tc h e s o f G o d l ig h t : The P a t t e r n o f T hou ght o f C .S . L e w is (A th e n s : U n iv e r s i t y o f G e o r g ia P r e s s , 1 9 8 1 ) , Ch. 2 and 4 .[3 3 ] " I m a g in a t io n and T hou ght i n t h e M id d le A g e s ," S t u d i e s i n M e d ie v a l and R e n a is s a n c e L i t e r a t u r e , e d . W a lter H ooper (C am b rid ge: C am bridge U n iv e r s i t y P r e s s ,1 9 6 6 ) , p .6 0 .[ 3 4 ] "M yth: A F l i g h t t o R e a l i t y , " The C h r i s t ia nI m a g in a t io n : E s s a y s on L i t e r a t u r e and t h e A r t s , e d . L ela n d Ryken (G rand R a p id s , M ic h .: B aker Book H o u se ,1 9 8 1 ) , p p . 2 0 3 - 4 .[ 3 5 ] The A ch iev em a n t o f C .S . L e w is (W h ea to n , 1 1 1 . : H a ro ld Shaw P u b l i s h e r s , 1 9 8 0 ) , p . 39

co n tin u ed from page 9o s t e n t a t i o u s d i s p l a y o f h i s t o r i c a l f a c t s . E v ery w ord , e v e r y g e s t u r e o f h er t e n t h - c e n t u r y c h a r a c t e r s seem s r i g h t . D e t a i l s o f b e h a v io r a r e u sed e lo q u e n t ly t o e x p r e s s th e c o n t r a s t b e tw een t h e C e l t i c and N o rse c u l t u r e s . M ost w elcom e i s h e r v i v i d and s y m p a th e t ic p o r t r a y a l o f C e l t i c C h r i s t i a n i t y ( a l t h o u g h i t may be t h a t sh e g i v e s pre-Rom an C hurch p r a c t i c e s a g r e a t e r p ro m in en ce th a n t h e y w ou ld h a v e had a t t h a t l a t e d a t e ) . F or t h i s jo u r n e y back t o a p r i s t i n e a n c ie n t I r e la n d i s , i n t h e e n d , a jo u r n e y t o s p i r i t u a l s o u r c e s , t o an u n v e i l in g o f in n e r t r u t h , w o n d e r fu lly a r t i c u l a t e d in th e c l i m a t i c d u e l o f p o e tr y b e tw een t h e O d in is t b e r s e r k e r and t h e C e l t i c C h r i s t ia n b a r d . One c l o s e s th e book w it h a f t e r - im a g e s o f p u re d e l i g h t . I t i s h ard t o im a g in e a C e l t o p h i l e who w ou ld n o t be charm ed by t h i s s t o r y , o r in d e e d any s e n s i t i v e f a n t a s y r e a d e r who w ou ld rem a in c o ld t o i t s s im p le , q u i e t e v o c a t io n o f j o y .

co n tin u ed from page 18up i n l a s t word o f G i l r a e n ' s la m en t t o A ra g o rn ; "anim " m eans " fo r m y se lf" ( I I I , p . 3 4 2 ) . # 3 7 i s u n d o u b te d ly a c o n c a t e n a t io n o f tw o o r m ore m orphem es, b u t o t h e r th a n " t in " a s " s p a r k ; s t a r " i t i s d i f f i c u l t t o s a y .

T h ere a r e , h o w ev e r , g l o s s i n g s f o r " n e f " , " n ev " , and " n iv " m e a n in g , r e s p e c t i v e l y , "on t h i s s i d e o f " , " h it h e r " , and " w e s t" . C ou ld i t n o t be t h a t w e s te r n sh o r e o f M id d le -e a r th i s t h e " h ith e r " s h o r e "on t h i s s i d e o f" t h e " su n d e r in g s e a s " b e tw e en B e le r ia n d and V a l in o r . I n d e e d , we a r e t o l d t h a t i t i s s o ( S , p . 3 4 3 ) . I t i s t h e la n d and s h o r e o f t h e S in d a r in , t h eG r e y - e lv e s , t h e " t w i l i g h t E lv e s " . They a r e n o t C a la q u e n d i, " E lv e s o f t h e l i g h t " who had l i v e d i n Aman; n o r w ere th e y A v a r i , t h e U n w i l l in g , t h e D a r k e s t o f t h e M o riq u en d i; th e y w ere t h o s e who cam e a s f a r a s th e y c o u ld o u t o f t h e d ark w ith o u t b e in g c o m p le t e ly i n t h e l i g h t ( S , p . 3 4 8 ) . T h u s, " t in u v - " may s im p ly mean" t w i l i g h t - s p a r k " , a p o e t i c enou gh k e n n in g f o rN ig h t in g a le ( l i t e r a l l y m ean ing " s in g e r i n t h e d a r k " ) .

A l o o s e , b u t s e m a n t i c a l ly r e f l e c t i v e t r a n s l a t i o n c o u ld b e :

"0 th o u r i s i n g Moon, C h ild o f t h e O ne, m a g ic a l j e w e l o f t h e # r e g io n o f s t a r s , th o u who h a s t w a tch ed e v e r s h in i n g , I sa y t o t h e e .S ta y ! D w e ll w h ere th o u a r t ! Now f lo w e r and t r e e , l i s t e n i n s i l e n c e h e r e b e n e a th . [To G i l t h o n i e l ] 0 Lord o f t h e S u n s e t , o f t h e T w i l ig h t , S t a r - K in d le r , I m ust s i n g t o t h e e ; f o r I am, m y s e l f , T i n u v i e l , a sp a r k o f t h e T w i l ig h t , a S t a r e v e r i n T w i l ig h t , t h e N ig h t in g a le ."

A s im p le p r i n c i p l e " la n g u a g e - le g e n d and le g e n d - la n g u a g e " . I am g la d C h r is to p h e r rem ind ed me o f i t .