How C.S. Lewis used myth to supercharge storytelling

Great stories allow ideas to be experienced rather than merely thought about.

Simon Horobin

Simon Horobin is Professor of English Language & Literature, Magdalen College, Oxford University.

Aslan sculpture in Belfast, Lewis' birthplace.

K. Mitch Hodge on Unsplash.

‘I’m tall, fat, rather bald, red-faced, double-chinned, black-haired, have a deep voice, and wear glasses for reading’. That is how C.S. Lewis described himself to a class of Fifth Grade pupils in Maryland who wrote to him in May 1954. An exhibition this summer at Magdalen College, Oxford, entitled C.S. Lewis: Words and Worlds, includes this letter along with a variety of personal objects, letters, books, manuscripts and audio materials relating to one of its most famous fellows.

As well as answering questions about plot details and forthcoming books in the series, Lewis corrects their view that everything in the Narnia books represents something in our own world. As he notes, that is indeed how Bunyan’s Pilgrim’s Progress works – a reference which may have been lost on his ten-year-old correspondents – but that’s not what Lewis intended in the Narnia stories. Instead, Lewis explains that he set out to write a ‘supposal’ rather than an allegory. He began by asking himself the question: ‘Suppose there were a land like Narnia and that the Son of God, as He became a Man in our world, became a Lion there, what would happen?’

For Lewis, the great value of stories is the way they allow their readers to experience ideas rather than simply think about them. In an essay called ‘Myth Became Fact’ he notes the impossibility of feeling an emotion such as pleasure and simultaneously studying it. But if you aren’t roaring with laughter, how can you genuinely understand humour? If you are suffering from toothache, you will be unable to write. But once the toothache has subsided, how could you write a book about pain? Lewis explains this paradox using the myth of Orpheus and Eurydice. Orpheus was permitted to lead his beloved wife out of the underworld, but the moment he looks back at her, she disappears. We can draw an abstract truth from this story about the impossibility of simultaneously seeing and experiencing, but it is not the only truth that this myth can communicate. If it were, it would be an allegory.

Instead of presenting the reader with a single message needing to be unlocked, myths instil a sense of longing for something much less tangible

As such, an allegory is like a puzzle that must be solved by the reader to reveal its hidden meaning. Its one-dimensional characters straightforwardly signal the qualities they represent, as in Bunyan’s Mr Despondency, held captive in Doubting Castle by a giant called Despair. Unlike allegory, myths are stories from which numerous truths may be abstracted. Instead of presenting the reader with a single message needing to be unlocked, myths instil a sense of longing for something much less tangible – ‘like a flower whose smell reminds you of something you can’t quite place’. Lewis considered allegory to be a limited medium, since authors can only insert ideas that they already know, whereas a myth is of a higher order, since authors can fill it with ideas of which they are not yet conscious.

Lewis was fascinated by myths from his first encounter with the stories of Asgard and the Norse deities as a young man. As an atheist, one of his key objections to the Christian faith was that it was just another version of the myth of a dying god who is resurrected, similar to those he found in the stories of the Norse god Baldr, whose death was brought about by Loki, the trickster god. Following entreaties by Baldr’s mother, the goddess Frigg, Hel agrees to release him from the underworld, on the condition that everything on earth weeps for him. But Baldr’s return is ultimately blocked by one creature, a giantess, presumed to be Loki in disguise, who refuses to mourn him.

Why was Christianity different to this myth, or others, like the Egyptian account of Osiris or the Classical story of Adonis? It was a lengthy night-time conversation with his friends Hugo Dyson and J.R.R. Tolkien in the grounds of Magdalen College in September 1931 that helped him overcome this objection and embrace Christianity. What Lewis came to recognise is that, when he encountered a god dying and being revived in pagan myths, he found it profoundly moving, suggestive of meanings beyond his grasp. But, when he met a similar concept in the Christian gospels, he was unmoved. What he took from his talk with Tolkien and Dyson was an openness to accepting the Christian story as a myth, with all its mystery and suggestive implications, but with one key difference from the Norse, Egyptian and Classical myths: it really happened. But, by becoming fact, he argued, Christianity did not cease to be a myth: ‘that is the miracle’.

Lewis wrote the Narnia stories to help children like Eustace become open to the possibility of a reality beyond the strictly material world.

In writing the Narnia stories Lewis was engaged in what he and Tolkien called ‘mythopoeia’ – the act of myth-making – communicating Christian truths in ways that would inspire children to grasp something of its mystical and mythical qualities. As he noted in his essay ‘On Stories’, reading about enchanted woods does not make children despise real woods, but instead makes all real woods a little bit enchanted. In The Voyage of the Dawn Treader, the children meet Ramandu, a retired star who is being restored to his former youth so that he can rejoin the great dance in the sky. ‘In our world’, says Eustace Scrubb, ‘a star is a huge ball of flaming gas’. ‘Even in your world, my son, that is not what a star is but only what it is made of’, Ramandu retorts. Eustace, we are told at the beginning of the story, had wasted his time at school reading only books of information about exports and imports, so it is no surprise that he can only comprehend a purely materialist definition. If he’d only read more fairy stories, he might have been able to grasp this reality, as well as being better prepared for his adventure on Dragon Island.

Lewis wrote the Narnia stories to help children like Eustace become open to the possibility of a reality beyond the strictly material world. Since God himself is mythopoeic – after all, isn’t the sky itself a myth? – shouldn’t we therefore be mythopathic, that is, receptive to myths? For Lewis, Christianity offered the marriage of Perfect Myth and Perfect Fact, which should be met not solely by love and obedience, but also by wonder and delight.

Simon Horobin is Professor of English Language & Literature, Magdalen College, Oxford University. He is the author of C.S. Lewis’s Oxford (Bodleian Publishing, 2024) and co-curator of C.S. Lewis: Words and Worlds. The exhibition runs until 11 September 20024, in the Old Library of Magdalen College, Oxford. Check opening times.

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19 June 2024

5 min read

The decade that defined sport

What the sports stars of today owe to the eighties.

Simon Burton-Jones

Simon is Bishop of Tonbridge in the Diocese of Rochester. He writes regularly round social, cultural and political issues.

Maradona runs in celebration, holding a hand aloft as an England player sits dejected on the ground.

Maradona celebrates, 1986 World Cup.

Dani Yako via Wikimedia Commons

If the 1980s were your formative years as a sports fan, you will carry many images with you even today. Dennis Taylor potting the last black after midnight to beat Steve Davis. Barry McGuigan defeating Eusebio Pedrosa in the ring at Loftus Road. The races between Coe and Ovett at the Moscow Olympics. The tie break between Borg and McEnroe. Botham’s Ashes. Diego Maradona versus England at the Mexico World Cup.

You will undoubtedly have other memories, though these will have been controlled by a limited number of broadcast editors. I clearly recall watching Viv Richards’ astonishing century in one cricket World Cup final against hosts England being regularly interrupted on BBC1’s Grandstand with coverage of a routine horse race meeting. The introduction of the less fusty World of Sport on ITV was a route in for some sports that faced an implicit class bias, but it was all still far removed from the 24/7 reverencing of sport today.

The eighties was an era of transition as sport began to gain a place in our cultural consciousness. It was also a decade in which the relationship between sport and politics became cemented on paths we still walk. In Everybody Wants To Rule The World, academic and journalist Roger Domeneghetti has written an entertaining and informative book subtitled ‘Britain, Sport and the 1980s’.

In our branding of the twenties as the decade of polarisation, we forget how deeply divided Britain was in the eighties. Recent commentary on the fortieth anniversary of the miners’ strike has been a reminder of this and how violent public life proved. Football hooliganism was pervasive and after a riot at a Luton Town – Millwall game in 1985, Margaret Thatcher asked of football officials: ‘what are you going to do about it?’. In a pithy and telling response, the FA secretary Ted Croker said: ‘Not our hooligans, Prime Minister, but yours. The product of your society’. Perhaps more than any other exchange, it symbolised the braiding of sport and politics, threads that endure to this day.

The sports stars of today have become surrogate saints, held up as an inspiration for what can be achieved and frequently employed as motivational speakers.

The argument that sport and politics don’t mix has a familiar ring for people who live with the tired old trope that religion and politics don’t either, as if our experience of culture and values are sealed off from each other. Sporting boycotts in the 1980s - from Olympics to apartheid South Africa – placed athletes in the unavoidable position of having to make decisions about participation that would reflect on their values and could affect their careers; positioning that other people were spared. These were an early taste of the moral standing afforded to sportsmen and women today; a status that somehow asks more of them, perhaps because other professions have become so tarnished and mistrusted.

Domeneghetti’s book is also a sobering reminder of how ugly and careless much of our shared life was in the eighties. The Bradford City fire and Hillsborough disaster were awful losses that showed the low priority of health and safety and the culture of institutional cover up that continues to blight the nation. The author locates these failings in the wider context of disasters like Kings Cross, Piper Alpha and the Marchioness boat as part of his bid to write a social history of sport.

Yet in a sense, Domeneghetti chose arbitrary parameters. Football in particular was on the cusp of a revolution with the introduction of the Premier League in 1992. Cultural sympathy for the game was about to change with the writings of Nick Hornby in Fever Pitch and Pete Davies in All Played Out. The nasty face of football was to be transformed into a highly marketable model.

The ugliness of the era is laid bare in the prolific and casual racism, sexism and homophobia that coursed through every sport. The Windrush’s second generation broke through in the 1980s, notably in football, but was met with staggering levels of prejudice. Anyone tempted to think this has now been eradicated hasn’t spent any real time at a football ground or on social media. Women’s sport had virtually no profile in the eighties outside of tennis and athletics and as recently as 1978, Lord Denning had ruled that an eleven-year-old girl should not be allowed to play competitive football against boys the same age even though she merited a place in her team. Meanwhile, stars like Justin Fashanu, Martina Navratilova and John Curry were targeted for their sexual orientation. It remains hard for present day athletes to identify as gay, despite the rhetoric of acceptance. Sport then, as now, held up an unerring mirror to our faces.

The sports stars of today have become surrogate saints, held up as an inspiration for what can be achieved and frequently employed as motivational speakers. But there is the gloss of a hyper-individualistic, neo-liberal culture. Sports stars succeed because of a combination of innate gifting (which cannot simply be replicated) and material advantage (too many Olympic medals are still awarded to wealthy and advantaged Britons). I won because I wanted it more is a dishonest assessment of sporting success in the UK and in this way also holds up a mirror to other walks of life.

The powerful personal branding of today’s athletes in many ways have their origin in the 1980s and the way the likes of Ian Botham, Carl Lewis and John McEnroe transcended their sports. The cult of the conquering superstar is a smart diversion from the reality that money usually wins. Just look at the Premier League table.