tag:blogger.com,1999:blog-79036806309424537002024-03-20T21:56:16.468-07:00C.S. Lewis: An In-Depth StudyUnknownnoreply@blogger.comBlogger16125tag:blogger.com,1999:blog-7903680630942453700.post-41432105041319617702013-02-11T18:14:00.000-08:002013-02-26T05:59:54.565-08:00C.S. Lewis Powerpoint<iframe src="https://skydrive.live.com/embed?cid=4C3604F0F6C336F2&resid=4C3604F0F6C336F2%21117&authkey=AOd09IWascLrd1s&em=2" width="402" height="327" frameborder="0" scrolling="no"></iframe>Unknownnoreply@blogger.com7tag:blogger.com,1999:blog-7903680630942453700.post-3512916714153552912013-02-11T18:00:00.000-08:002013-02-28T05:26:13.950-08:00What to Choose? <br/><br/><div class="separator"style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqmShyphenhyphenF0IugBa3a2-_gOHWM_VsTZzLoy9vpZSzERWTV5IVrewGtIZEJIxSLCUT9orL5hdy-yUJr8yAJztwb375A00a2tFwkTTwDPOcSNBVTJZBZl40t3VaqH3ugNV8AIp-VxO6o7Lw7cQ/s640/blogger-image--840271146.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqmShyphenhyphenF0IugBa3a2-_gOHWM_VsTZzLoy9vpZSzERWTV5IVrewGtIZEJIxSLCUT9orL5hdy-yUJr8yAJztwb375A00a2tFwkTTwDPOcSNBVTJZBZl40t3VaqH3ugNV8AIp-VxO6o7Lw7cQ/s640/blogger-image--840271146.jpg" /></a></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7903680630942453700.post-67760794336779660442013-02-11T17:51:00.001-08:002013-02-11T17:51:44.060-08:00AP Multiple Choice Questions Explanation<span style="font-size: large;">"The Wanderer"</span><br />
<br />
<br />
<div class="MsoListParagraphCxSpFirst" style="margin-bottom: 0.0001pt; text-indent: -0.25in;">
<!--[if !supportLists]--><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">1.<span style="font-family: 'Times New Roman'; font-size: 7pt;">
</span></span><!--[endif]--><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">A.
is the correct answer because each of the lines contains a strong break halfway
through the phrase which is the definition of caesura.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">B. is not correct because there’s no
descriptive language throughout the lines.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">C. is not correct because there is no
repetition of consonant sounds.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">D. is not correct because a parody is an
imitation of some other piece of literature in a satirical manner, and these
lines are not satirical but serious.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">E. is not correct because understatement
means something is being described as less important than it actually is, and
there is no occurrence of this in these lines.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoListParagraphCxSpLast" style="margin-bottom: 0.0001pt; text-indent: -0.25in;">
<!--[if !supportLists]--><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">2.<span style="font-family: 'Times New Roman'; font-size: 7pt;">
</span></span><!--[endif]--><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">From
a study of literary periods, A. and C.-E. are not correct because only the
Anglo-Saxon period (choice B.) is known for oral poetry that contains kenning, alliteration,
and caesura.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoListParagraphCxSpFirst" style="margin-bottom: 0.0001pt; text-indent: -0.25in;">
<!--[if !supportLists]--><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">3.<span style="font-family: 'Times New Roman'; font-size: 7pt;">
</span></span><!--[endif]--><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">A.
is not correct because there is no mention of a knight/lord trying to woo a
maiden in the context of the poem.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">B. is not correct because the wanderer
is actually all alone throughout the poem; he has no family.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">C. is not correct because, as the
wanderer is exiled, he has no contact with politics within his worldview.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">D. is correct because the speaker has
been exiled and is lamenting the long days he must spend alone apart from the rest
of the world.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">E. is not correct because, though glory
is mentioned, the speaker recognizes that the fulfillment of life comes from
God not great feats.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoListParagraphCxSpLast" style="margin-bottom: 0.0001pt; text-indent: -0.25in;">
<!--[if !supportLists]--><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">4.<span style="font-family: 'Times New Roman'; font-size: 7pt;">
</span></span><!--[endif]--><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Within
the context of the poem, especially the last lines where the speaker recognizes
that one must seek God in his life, “the Measurer” will be the Christian God
(choice B.) because he indeed “measured” the world when he first created it. The rest of the choices are either out of
context (choice A.), refer to the speaker himself (choice E.), or don’t have
the power to be “the Measurer” (choices C. and D.), emphasis on the capital M.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoListParagraphCxSpFirst" style="margin-bottom: 0.0001pt; text-indent: -0.25in;">
<!--[if !supportLists]--><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">5.<span style="font-family: 'Times New Roman'; font-size: 7pt;">
</span></span><!--[endif]--><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Choice
E. is the only answer that does not refer to the speaker of the poem. The “Shaper of men” refers to God in a
Christian context. The other choices
(A.-D.) describe a man who has been exiled to walk the earth alone as the
speaker himself has been.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto;">
<br /></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7903680630942453700.post-73062718942586987442013-02-11T09:55:00.001-08:002013-02-11T17:54:33.172-08:00AP Multiple Choice Questions Explanation <span style="font-size: large;"><i>The Screwtape Letters</i></span><br />
<br />
<br />
<div style="margin-bottom: .0001pt; margin: 0in; text-indent: -.25in;">
1. A. is not correct because the quote
does not contain any descriptive words about physical aspects or sounds.<o:p></o:p></div>
<u1:p></u1:p>
<div style="margin-bottom: .0001pt; margin: 0in;">
B. is
correct because prayer in a Christian context should be portrayed in a positive
light, but this quote portrays it negatively which is where the satire/irony
comes in play.<o:p></o:p></div>
<u1:p></u1:p>
<div style="margin-bottom: .0001pt; margin: 0in;">
C. is not
correct because no phrases or words are repeated in successive clauses.<o:p></o:p></div>
<u1:p></u1:p>
<div style="margin-bottom: .0001pt; margin: 0in;">
D. is not
correct because the purpose of the quote is not to reference a well-known story
or past event.<o:p></o:p></div>
<u1:p></u1:p>
<div style="margin-bottom: .0001pt; margin: 0in;">
E. is not
correct because no object stands for itself as well as for something else.<o:p></o:p></div>
<u1:p></u1:p>
<div style="margin: 0in 0in 0.0001pt;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; text-indent: -.25in;">
2. A. is not correct because the letters
are written from a demon perspective.<o:p></o:p></div>
<u1:p></u1:p>
<div style="margin-bottom: .0001pt; margin: 0in;">
B. is not
correct because there is no mention to Germany or its dictator in this passage.<o:p></o:p></div>
<u1:p></u1:p>
<div style="margin-bottom: .0001pt; margin: 0in;">
C. is
correct because the Devil’s enemy is Jesus Christ.<o:p></o:p></div>
<u1:p></u1:p>
<div style="margin-bottom: .0001pt; margin: 0in;">
D. is not
correct because politics are not mentioned in this passage.<o:p></o:p></div>
<u1:p></u1:p>
<div style="margin-bottom: .0001pt; margin: 0in;">
E. is not
correct because there is no mention of political order such as socialism in
this passage.<o:p></o:p></div>
<u1:p></u1:p>
<div style="margin: 0in 0in 0.0001pt;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; text-indent: -.25in;">
3. A.-D. are not correct because there is
mention of all three methods given in the passage.<o:p></o:p></div>
<u1:p></u1:p>
<div style="margin-bottom: .0001pt; margin: 0in;">
E. is
correct (text support—“keep the patient from the serious intention of praying
altogether”, “you must fall back on a subtler misdirection of his intentions”,
and “they can be persuaded that their bodily position makes no difference to
their prayers”).<o:p></o:p></div>
<u1:p></u1:p>
<div style="margin: 0in 0in 0.0001pt;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; text-indent: -.25in;">
4. A. is not correct because this passage
is satire, so Lewis does believe in prayer.<o:p></o:p></div>
<u1:p></u1:p>
<div style="margin-bottom: .0001pt; margin: 0in;">
B. is not
correct because Lewis writes, “it bears a superficial resemblance to the prayer
of silence practiced by those who are very far advanced in the Enemy’s service”.<o:p></o:p></div>
<u1:p></u1:p>
<div style="margin-bottom: .0001pt; margin: 0in;">
C. is not
correct because again this piece is satire.<o:p></o:p></div>
<u1:p></u1:p>
<div style="margin-bottom: .0001pt; margin: 0in;">
D. is
correct because this passage shows how man is easily manipulated by evil when
praying so correct prayer is difficult.<o:p></o:p></div>
<u1:p></u1:p>
<div style="margin-bottom: .0001pt; margin: 0in;">
E. is not
correct because this passage, as well as the novel, shows how the patient is
manipulated by the devils.<o:p></o:p></div>
<u1:p></u1:p>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; text-indent: -.25in;">
5. A.-D. are not correct because the
letter is written as Screwtape narrates, hence the first person. <span class="apple-converted-space"> </span>However, the reader doesn’t know
everything like an omniscient narrator would provide, hence the limited
aspect. <span class="apple-converted-space"> </span>Thus E. is correct.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7903680630942453700.post-29349229503267418462013-02-10T11:44:00.002-08:002013-02-11T04:40:01.519-08:00AP Multiple Choice Questions "The Wanderer"<br />
<div class="MsoListParagraphCxSpFirst" style="margin-bottom: 0pt; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;"><span style="font-family: 'Times New Roman';">1. </span></span><span style="font-family: 'Times New Roman', serif;">The
literary device present in lines 6-9 of “The Wanderer” is<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">A.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">Caesura<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">B.<span style="font-family: 'Times New Roman';"> </span></span><span style="font-family: 'Times New Roman', serif;">Imagery<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">C.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">Alliteration<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">D.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">Parody<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">E.<span style="font-family: 'Times New Roman';"> </span></span><span style="font-family: 'Times New Roman', serif;">Understatement</span><br />
<span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span> </div>
<div class="MsoListParagraphCxSpMiddle" style="margin-bottom: 0pt; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;"><span style="font-family: 'Times New Roman';">2. </span></span><span style="font-family: 'Times New Roman', serif;">The
literary devices kenning, alliteration, and caesura classify “The Wanderer” as
a poem from which literary period?<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">A.<span style="font-family: 'Times New Roman';"> </span></span><span style="font-family: 'Times New Roman', serif;">Victorian
period<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">B.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">Anglo-Saxon
period<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">C.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">Realism<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">D.<span style="font-family: 'Times New Roman';"> </span></span><span style="font-family: 'Times New Roman', serif;">Romantic
period<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">E.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">The
Enlightenment</span><br />
<span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span> </div>
<div class="MsoListParagraphCxSpMiddle" style="margin-bottom: 0pt; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;"><span style="font-family: 'Times New Roman';">3. </span></span><span style="font-family: 'Times New Roman', serif;">A
theme present in the poem is<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">A.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">Courtly
love<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">B.<span style="font-family: 'Times New Roman';"> </span></span><span style="font-family: 'Times New Roman', serif;">Family<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">C.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">Politics<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">D.<span style="font-family: 'Times New Roman';"> </span></span><span style="font-family: 'Times New Roman', serif;">Isolation<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">E.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">Heroism</span><br />
<span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span> </div>
<div class="MsoListParagraphCxSpMiddle" style="margin-bottom: 0pt; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;"><span style="font-family: 'Times New Roman';">4. </span></span><span style="font-family: 'Times New Roman', serif;">“The
Measurer” in line 2 of “The Wanderer” refers to<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">A.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">A
Greek god<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">B.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">The
Christian God<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">C.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">The
land’s ruler<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">D.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">A
sailor<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">E.<span style="font-family: 'Times New Roman';">
"</span></span><span style="font-family: 'Times New Roman', serif;">The
earth-stepper”</span><br />
<span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span> </div>
<div class="MsoListParagraphCxSpMiddle" style="margin-bottom: 0pt; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;"><span style="font-family: 'Times New Roman';">5. </span></span><span style="font-family: 'Times New Roman', serif;">In
“The Wanderer”, all of the following refer to the protagonist except<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">A.<span style="font-family: 'Times New Roman';">
"</span></span><span style="font-family: 'Times New Roman', serif;">Lone-dweller”<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">B.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">“The
friendless man”<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">C.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">The
earth-stepper”<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">D.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">Claimed
by the “exile-track”<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpLast" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">E.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">“Shaper
of men”<span style="font-size: small;"><o:p></o:p></span></span></div>
<div class="MsoListParagraphCxSpLast" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;"></span> </div>
<div class="MsoNormal" style="margin-bottom: 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Answer
Key: A, B, D, B, E<o:p></o:p></span></div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7903680630942453700.post-42508971882507794682013-02-10T11:42:00.000-08:002013-02-11T09:54:27.384-08:00AP Multiple Choice Questions The Screwtape Letters<div align="center" class="MsoNormal" style="margin-bottom: 0pt; text-align: center;">
<br /></div>
<div class="MsoListParagraphCxSpFirst" style="margin-bottom: 0pt; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;"><span style="font-family: 'Times New Roman';">1. </span></span><span style="font-family: 'Times New Roman', serif;">The
following sentence is an example of which literary device?<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-bottom: 0pt;">
<span style="font-family: 'Times New Roman', serif;"> <i>“When the patient is an adult recently
reconverted to the Enemy’s party, like your man, this is best done by
encouraging him to remember, or to think he remembers, the parrot-like nature
of his prayers in childhood.”<o:p></o:p></i></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">A.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">Imagery<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">B.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">Satire<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">C.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">Repetition<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">D.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">Allusion<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">E.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">Symbol<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;"></span> </div>
<div class="MsoListParagraphCxSpMiddle" style="margin-bottom: 0pt; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;"><span style="font-family: 'Times New Roman';"> 2. </span></span><span style="font-family: 'Times New Roman', serif;">The
word “Enemy” is an allusion to:<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">A.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">The
Devil<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">B.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">Adolf
Hitler<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">C.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">Jesus
Christ<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">D.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">The
country’s leader<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">E.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">Karl
Marx<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;"></span> </div>
<div class="MsoListParagraphCxSpMiddle" style="margin-bottom: 0pt; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;"><span style="font-family: 'Times New Roman';">3. </span></span><span style="font-family: 'Times New Roman', serif;">In
this passage, the way to turn the patient from proper prayer is<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 0.75in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">I.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">Keep
the patient from praying altogether<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 0.75in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">II.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">Misdirect
his intentions<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 0.75in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">III.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">Persuade
him that bodily position does not matter<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">A.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">I
only<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">B.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">I
and II<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">C.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">I
and III<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">D.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">II
and III<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">E.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">I,
II, and III</span><br />
<span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span> </div>
<div class="MsoListParagraphCxSpMiddle" style="margin-bottom: 0pt; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;"><span style="font-family: 'Times New Roman';"> 4. </span></span><span style="font-family: 'Times New Roman', serif;">C.S.
Lewis implies through the style of this passage that he:<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">A.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">Does
not believe in prayer<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">B.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">That
the “prayer of silence” is for all Christians<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">C.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">Christians
should be feeling-centered when praying<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">D.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">Prayer
is a difficult task to master<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">E.<span style="font-family: 'Times New Roman';"> </span></span><span style="font-family: 'Times New Roman', serif;">Christians
are not easily manipulated by evil<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;"></span> </div>
<div class="MsoListParagraphCxSpMiddle" style="margin-bottom: 0pt; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;"><span style="font-family: 'Times New Roman';">5. </span></span><span style="font-family: 'Times New Roman', serif;">The
point of view of this passage is:<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">A.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">First
person omniscient<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">B.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">Second
person<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">C.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">Alternating
person<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">D.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">Third
person <o:p></o:p></span></div>
<div class="MsoListParagraphCxSpLast" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">E.<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: 'Times New Roman', serif;">First
person limited<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpLast" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;"></span> </div>
<div class="MsoListParagraphCxSpLast" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<span style="font-family: 'Times New Roman', serif;">Answer Key: </span><span style="font-family: 'Times New Roman', serif;">B, C, E, D, E</span></div>
<div class="MsoNormal" style="margin-bottom: 0pt;">
<span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span><br /></div>
<div class="MsoListParagraphCxSpLast" style="margin: 0in 0in 0pt 1in; text-indent: -0.25in;">
<br /></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7903680630942453700.post-71132243608680495782013-02-07T05:22:00.000-08:002013-02-28T05:23:25.772-08:00C.S. Lewis' Portrayal of Truth in Fiction<iframe src="https://skydrive.live.com/embed?cid=4C3604F0F6C336F2&resid=4C3604F0F6C336F2%21119&authkey=AC6-xF6FLaWRMrk&em=2" width="476" height="288" frameborder="0" scrolling="no"></iframe>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7903680630942453700.post-4448274987759716252013-02-07T04:42:00.000-08:002013-02-07T04:42:29.368-08:00C.S. Lewis' Portrayal of Truth in Fiction
<span style="font-size: large;">Reasearch Proposal</span><br />
<br />
<div class="MsoNormal" style="line-height: normal; margin: 0in 0in 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><strong>Abstract:</strong>
Clive Staple Lewis, considered to be one of the most renowned in Christian
apologetics, strove to illuminate certain truths about Christianity in his
writing about Christ, death and resurrection, and Christian conversions.<span style="mso-spacerun: yes;"> </span>What makes Lewis unique as a writer, however,
is his use of fiction to illuminate these truths.<span style="mso-spacerun: yes;"> </span>Lewis often wrote his fictional pieces in the
manner of fairytales.<span style="mso-spacerun: yes;"> </span>Through the use of
allegories and imaginative stories in <i style="mso-bidi-font-style: normal;">The
Great Divorce, The Screwtape Letters, </i>and <i style="mso-bidi-font-style: normal;">The Pilgrim’s Regress</i>, C.S. Lewis emphasized spiritual journeys and
growth many Christians alike can relate to.<span style="mso-spacerun: yes;">
</span>He emphasized each and every human’s need for God’s love and his
salvation.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin: 0in 0in 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><strong>Research
Questions:</strong> What
truths does Lewis want to convey similarly throughout <i style="mso-bidi-font-style: normal;">The Great Divorce, The Screwtape Letters, </i>and <i style="mso-bidi-font-style: normal;">The Pilgrim’s Regress</i>, as well as other pieces of fiction?<span style="mso-spacerun: yes;"> </span>What characteristics of Lewis’ writing style
correspond with characteristics of myths and fairytales?<span style="mso-spacerun: yes;"> </span><br />
How does his use of fiction create meaning and convey the truths he wishes to
convey well?<o:p></o:p></span></div>
<br />
<div class="MsoListParagraphCxSpFirst" style="line-height: normal; margin: 0in 0in 0pt; mso-add-space: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><strong>Literature Review:</strong></span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: normal; margin: 0in 0in 0pt; mso-add-space: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>“The
Literary Bloke” about C.S. Lewis himself provides a cultural background for
Lewis and his writing style.<span style="mso-spacerun: yes;"> </span>As J. I.
Packer writes, “[Lewis] was clever at finding the best literary forms for what
he had to say, and rich in analogies that are both arguments and illustrations
in one.”<span style="mso-spacerun: yes;"> </span>This quote describes how Lewis
used illustrations—i.e. fairytale worlds—to portray the truth about his
theological views in a Christian’s life.<span style="mso-spacerun: yes;">
</span>Lewis himself was a convert, and he discovered his truth about
Christianity from that struggle, “allegorizing it, along with much else, in <i style="mso-bidi-font-style: normal;">The Pilgrim’s Regress</i>”.<span style="mso-spacerun: yes;"> </span>This criticism highlights how “this crafting
of myth as evangelistic persuasion is a unique excellence in Lewis’ work”, and,
as he was an “accessible exponent of Christian truth and wisdom”, demonstrates
that his writing style was one in which fairytale/myth was used to convey his beliefs
(truths). </span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: normal; margin: 0in 0in 0pt; mso-add-space: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>“Finding
the Permanent in the Political: C.S. Lewis as a Political Thinker” provides
background about the truth Lewis wished to reveal in his writing, necessary for
this research topic because one must understand the truth that Lewis illuminated
through his writing style.<span style="mso-spacerun: yes;"> </span>Per John G.
West, “[Lewis’] concern was not policy but principle; political problems of the
day were interesting to him only insofar as they involved matters that
endured.”<span style="mso-spacerun: yes;"> </span>He focused on subtle forms of
oppression as related to tyranny and morality, especially.<span style="mso-spacerun: yes;"> </span>Arguing “for the existence of a natural moral
law known by all through human reason”, Lewis turned away from the conventional
source of Christian morality as founded upon the Bible.<span style="mso-spacerun: yes;"> </span>He relied upon the Bible but also strove to
find an explanation for why those not called Christians could be good, moral
citizens within society.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: normal; margin: 0in 0in 0pt; mso-add-space: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>“The
Reluctant Convert in Surprised by Joy and The Great Divorce” analyzes how,
within the topic of Christian conversions especially, C.S. Lewis wrote
fictional pieces that mirrored the conversion in his own life.<span style="mso-spacerun: yes;"> </span>As Allred writes, “The book <i style="mso-bidi-font-style: normal;">The Great Divorce</i> presents several
fictional conversions that mirror the conversion Lewis relates in his
autobiography”, as well as, “These common elements reveal Lewis’ perception of
the essential details of conversion and show that his fiction mirrored his
life.”<span style="mso-spacerun: yes;"> </span>The truth Lewis discovered about
Christianity was revealed through his fictional stories—an idea specific to the
guiding topic of the research paper.<span style="mso-spacerun: yes;"> </span>The
truth Lewis discovered through his own conversion was that mentors always play
a role in conversions, we must choose to accept God by our free will, and the
conversion process includes pain.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: normal; margin: 0in 0in 0pt; mso-add-space: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>The
previous three pieces of literary criticism provided a cultural background for
the truth which C.S. Lewis wished to convey in his pieces of fiction
especially.<span style="mso-spacerun: yes;"> </span>In “The Platonic Foundation
of The Great Divorce”, David Allred then argues that Lewis was an imitator,
though not a carbon copy, of Plato’s method of writing, especially in <i style="mso-bidi-font-style: normal;">The Great Divorce</i>.<span style="mso-spacerun: yes;"> </span>“<i style="mso-bidi-font-style: normal;">The
Great Divorce</i> is founded on Plato’s ideas concerning universal forms, a
world of shadows, the power of reason, even the use of imagination.”<span style="mso-spacerun: yes;"> </span>However, according to the author, Plato
didn’t think art improved morality.<span style="mso-spacerun: yes;"> </span>C.S.
Lewis, on the other hand, wrote <i style="mso-bidi-font-style: normal;">The Great
Divorce</i> in a way that is “supernatural and extremely imaginative, all
things that hint at where Lewis ceases to copy Plato”.<span style="mso-spacerun: yes;"> </span>Both Lewis and Plato wanted to write about
the truth that led to leaving the “shadowlands”, and both used allegories to
understand the truth about reality (Lewis in his fictional novels; Plato in his
Allegory of the Cave).<span style="mso-spacerun: yes;"> </span>The truth they
strove to illuminate, however, was different—“Lewis’ aim was a Christian
people: Plato’s aim, an ideal society”.</span></div>
<div class="MsoListParagraphCxSpLast" style="line-height: normal; margin: 0in 0in 0pt; mso-add-space: auto;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>Finally,
in “The Childlike in George MacDonald and C.S. Lewis”, Dr. Don W. King analyzes
the childlike versus the childish in C.S. Lewis.<span style="mso-spacerun: yes;"> </span>What is especially striking is what Dr. King
quotes from Lewis.<span style="mso-spacerun: yes;"> </span>He quotes that Lewis
insists he “speaks to the adult, the child within the adult.<span style="mso-spacerun: yes;"> </span>He speaks to everyone.”<span style="mso-spacerun: yes;"> </span>This type of writing “writes for the child
within the adult”—a writing style reminiscent of the purpose original
fairytales had.<span style="mso-spacerun: yes;"> </span>Original fairytales,
too, were written to highlight a truth to a more adult audience, rather than
the child audience fairytales today have come to be written for.<o:p></o:p></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7903680630942453700.post-31589659908008072432013-02-06T17:50:00.003-08:002013-02-07T04:33:02.808-08:00"Of Man by Nature" Synthesis<span style="font-size: large;">"Of Man by Nature" and C.S. Lewis</span><br />
<br />
<div class="MsoNormal" style="margin-bottom: 0pt;">
<span style="font-family: "Times New Roman","serif";"> In
John Bunyan’s poem “Of Man by Nature”, John Bunyan emphasizes what he believes
to be the nature of man throu</span><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">gh his use of syntax and informal language so the
meaning of the poem is easier for less educated people to understand the
topic’s importance.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"> Bunyan, concerned essentially with
the “inward” man rather than the “outward one”, wrote the poem “Of Man by
Nature” reflecting on what the poem’s title implies: what man’s inherent nature
is. The syntax he uses points out the
most important points he raises in his poem, the most important characteristics
of man’s internal nature. By using the
capitalization of specific words throughout the poem, he places specific
emphasis on what he believes to be man’s foundational nature. He says, “<b>O</b>f <b>W</b>ays, he loves the
wider;\ <b>W</b>ith <b>W</b>ickedness a <b>S</b>ider,\ <b>M</b>ore <b>V</b>enom than a <b>S</b>pider”
(Bunyan 2-4). By capitalizing words such
as “ways”, “wickedness”, “sider”, “venom”, and “spider”, Bunyan makes it clear
to all who read the poem that these are characteristics that describe man apart
from the good of God, man who is inherently evil. Even the most uneducated person who reads
this poem can innately know that the capitalized words are what are most
important within the poem.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"> Furthermore, the language John
Bunyan uses in “Of Man by Nature” is not formal language that may be difficult
for all to understand but informal and colloquial language. The deliberate use of contractions in the
first lines of each quatrain is an example of Bunyan’s use of colloquial
language. In these lines he writes,
“From God he’s a Back slider” (Bunyan 1) and, “In Sin he’s a Confider” (Bunyan
5). The contraction “he’s” as opposed to
the more formal writing “he is” demonstrates Bunyan’s use of colloquial and
informal language. Bunyan also uses
informal language in his word choices throughout the poem. Where formal language could be used to
describe something as important as man’s foundational nature, Bunyan uses words
such as “guider” (Bunyan 7), “spider” (Bunyan 4), and “a sider” (Bunyan 3) to
describe man’s inherent nature. The more
formal rendering of “guider” and “a sider” would be “guide” and “sides” but by
using these words to fulfill a rhyme scheme in which every line rhymes, Bunyan
must resort to informal language.
Bunyan, though, does understand that something as important as man’s
inherent sinfulness apart from God should be something every person understands,
whether educated or uneducated, so by using colloquial language by means of
contractions which are used daily in conversation and by means of his word
choices, Bunyan gives his poem an easy rhythm and feel that common men can
understand. </span></div>
<div class="MsoNormal" style="margin-bottom: 0pt; text-indent: 0.5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Similarly
to the depiction of how man is inherently sinful apart from God in “Of Man by
Nature”, C.S. Lewis’ collection of fictional letters in <i>The Screwtape Letters</i> also depicts how apart from God, man will be
in the presence of and manipulated by devils, exhibited by the very fact that
the letters are written by a demon, Screwtape, to his nephew demon,
Wormwood. The novel shows how these
devils rely on man’s tendency to sin (“the daily and hourly temptation” (Lewis
69)) to keep him from converting to “The Enemy’s” religion. As Screwtape writes in his letter #1, man is
not like God or demons. He is not “a
pure spirit” (Lewis 2). If by nature “From
God [man’s] a Back slider,\ Of Ways, he loves the wider” (Bunyan 2-3) and “The
Devil is his Rider” (Bunyan 8), one of Lewis’s major purposes in <i>The Screwtape Letters</i> was to show just
this—to show that man is easily manipulated because he is not that “pure
spirit”. Lewis, however, takes this idea
one step further than Bunyan does in his poem.
While Bunyan never explicitly says that God man can be changed through a
relationship with God, Lewis in <i>The
Screwtape Letters</i> explicitly shows that in the end “The Enemy” (who is
Christ) can change man’s soul. As C.S.
Lewis concludes in the last letter Screwtape writes to Wormwood, “You have let
a soul slip through your fingers. The
howl of sharpened famine for that loss re-echoes at this moment through all the
levels of the Kingdom of Noise down to the very Throne itself. It makes me mad to think of it” (171).<o:p></o:p></span></div>
Unknownnoreply@blogger.com6tag:blogger.com,1999:blog-7903680630942453700.post-11813021640592819022013-02-06T17:49:00.002-08:002013-02-06T17:58:00.689-08:00"Of Man by Nature"<span style="font-size: large;">"Of Man by Nature": John Bunyan</span><br />
<br />
"From God he's a Back slider,<br />
Of Ways, he loves the wider;<br />
With Wickedness a Sider,<br />
More Venom than a Spider.<br />
In Sin he's a Confider,<br />
A Make-bate, and Divider;<br />
Blind Reason is his Guider,<br />
The Devil is his Rider."<br />
<div style="text-indent: 0px;">
<br /></div>
<div style="text-indent: 0px;">
</div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7903680630942453700.post-34233942201120632152013-02-06T17:44:00.003-08:002013-02-07T04:32:22.769-08:00"The Wanderer" Synthesis<span style="font-size: large;">"The Wanderer" and C.S. Lewis</span><br />
<div>
<span style="font-size: large;"><br /></span></div>
<div>
<div class="MsoNormal" style="margin-bottom: 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"> The
Old English poem “The Wanderer” conveys characteristics of typical Anglo-Saxon
oral poetry that would have made the poem easier to listen to, teaching those
listening about the wanderer’s struggles and need for God in his life as he
grows spiritually. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"> The poem “The Wanderer” contains
literary devices of repetition, caesura, and alliteration, all of which were
literary devices characteristic of Anglo-Saxon oral poetry. These three literary devices draw listeners
in without causing them to become bored with the topic at hand. The unknown author of “The Wanderer” used
repetition in lines 66-70 of the poem.
He writes, “The wise man is patient,\ <b>not</b> too hot-hearted, <b>nor</b>
too quick tongued,\ <b>nor</b> a warrior
too weak, <b>nor</b> too foolhardy,\ <b>neither</b> frightened nor fain, <b>nor</b> yet too wealth-greedy, <b>nor</b> ever of boasts too eager, before he
knows enough” (“The Wanderer” 66-70).
The use of repetition allows the audience to follow along easily with
the list of characteristics of things a wise man knows not to do, as the
audience anticipates what will come next in the list.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"> Moreover, caesura appears again and
again throughout the poem (similar to <i>Beowulf</i>).
For example, the poet writes, “So the
earth-stepper spoke, mindful of hardships,\ Of fierce slaughter, the fall of
kin:\ Oft must I, alone, the hour before dawn\ lament my care” (“The Wanderer
6-9). The breaks between “spoke” and
“mindful”, “slaughter” and “the fall”, “alone” and “the hour” are the
caesura. Caesura by definition is a pause in a line of verse dictated by natural speech
rhythm. Because Anglo-Saxon poetry was spoken
orally as a recitation to an audience, by using Caesura, the audience could
easily understand what was being said because the poem’s rhythm sounded like
conversation they might have in daily life.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0pt;">
<span style="font-family: 'Times New Roman', serif; font-size: 12pt;"> And lastly,
alliteration gives this poem a rhythmic feel while quickening the pace at which
the poem would be spoken. In the Old English,
alliteration was always better preserved, but alliteration can still be found
in this translation of the poem. Phrases
and lines such as “<b>F</b>ar <b>f</b>rom kin—<b>f</b>asten with <b>f</b>etters”
(“The Wanderer 21) and “<b>S</b>pirits of <b>s</b>eafarers bring but <b>s</b>eldom\ known <b>s</b>peech and <b>s</b>ong” (“The
Wanderer 55-56) give the poem variety in pace that does not allow one reciting
this poem to recite it in a monotonous tone but in a manner that creates
excitement and retains the interest of the audience.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0pt;">
<span style="font-family: 'Times New Roman', serif; font-size: 12pt;"> Repetition,
caesura, and alliteration are all necessary to hold the rapture of the audience
because the plot line of “The Wanderer” is one of importance to all Christians
who lived during the Middle Ages or even today, as the poet is elaborating upon
one man’s understanding of his need for spiritual growth and need for God
Himself—needs most Christians struggle with.
</span><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">In
both <i>The Pilgrim’s Regress</i> and “The
Wanderer”, John and the speaker respectively are on journeys in which they are
searching for something to fill the void in their lives. As the speaker in “The Wanderer” concludes,
“Well will it be\ to him who seeks favor, refuge and comfort,\ from the Father
in heaven, where all fastness stands” (“The Wanderer” 115-117). The speaker has been exiled and is searching
for something that can provide him with the comforts he wants to live a better
life. The only thing that can fulfill
this wish, he concludes, is a faith in God himself. Similarly in <i>The Pilgrim’s Regress</i>, John goes on a physical journey in which he
comes to the conclusion that God and Christianity is the only thing that can
fill the void he has been feeling since he first saw the island in the distance
as a young boy (“It seemed to him that a mist which hung at the far end of the
wood had parted for a moment, and through the rift he had seen a calm sea, and
in the sea an island” (Lewis 8)). This
glimpse of the island is what he wants forever, though he learns through his
journey that “the pain and longing were changed and all unlike what they had
been of old: for humility was mixed with their wildness” (Lewis 170). As he says, “it began to seem well to him
that the Island should be different from his desires, and so different that, if
he had known it, he would not have sought it” (Lewis 170). <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"> <i>The
Great Divorce</i> also contains a physical journey that represents spiritual
growth as “The Wanderer” and <i>The
Pilgrim’s Regress</i> do. The narrator
in <i>The Great Divorce</i>, a ghost, takes
a journey to the outskirts of heaven.
There he realizes that he doesn’t want to return to what the other
ghosts consider the safety of the limbo they currently reside in. He wants the spiritual security being with
God provides. This spiritual growth is
represented by Carroll’s use of imagery as opposed reflections of the poet of
“The Wanderer” on the speaker’s thoughts to demonstrate the speaker’s spiritual
growth. In <i>The Great Divorce</i>, the speaker has an easier time walking on the
sharp grass and becoming accustomed to the bright light as he learns more about
how he wants God. He also grows larger. As Lewis writes, “He went down on his hands
and knees. I did the same (how it hurt
my knees!) and presently saw that he had plucked a blade of grass. Using its thin end as a pointer, he made me
see…a crack in the soil so small that I could not have identified it without
this aid… ‘But through a crack no bigger than that ye certainly came.’” (Lewis
137). <o:p></o:p></span></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7903680630942453700.post-11808635859973208182013-02-06T17:43:00.003-08:002013-02-06T17:57:51.861-08:00"The Wanderer"<span style="font-size: large;">"The Wanderer": Unknown</span><br />
<br />
<div class="poemtext" style="background: white;">
</div>
<div class="poemtext" style="background-position: initial initial; background-repeat: initial initial;">
</div>
<div class="poemtext" style="background-position: initial initial; background-repeat: initial initial;">
"Often the
lone-dweller waits<span class="apple-converted-space"> </span>for favor,<br />
mercy of the Measurer,<span class="apple-converted-space"> </span>though he
unhappy<br />
across the seaways long time must<br />
stir with his hands the rime-cold sea,<br />
tread exile-tracks. Fate is established!<o:p></o:p></div>
<div class="poemtext" style="background-position: initial initial; background-repeat: initial initial;">
<br /></div>
<div class="poemtext" style="background-position: initial initial; background-repeat: initial initial;">
</div>
<div class="poemtext" style="background-position: initial initial; background-repeat: initial initial;">
So the
earth-stepper spoke, mindful of hardships,<br />
of fierce slaughter, the fall of kin:<br />
Oft must I, alone, the hour before dawn<br />
lament my care. Among the living<br />
none now remains to whom I dare<br />
my inmost thought clearly reveal.<br />
I know it for truth: it is in a warrior<br />
noble strength to bind fast his spirit,<br />
guard his wealth-chamber, think what he will.<br />
Weary mind never withstands fate,<br />
nor does troubled thought bring help.<br />
Therefore, glory-seekers<span class="apple-converted-space"> </span>oft bind fast<br />
in breast-chamber a dreary mind.<br />
So must I my heart--<br />
often wretched with cares, deprived of homeland,<br />
far from kin--fasten with fetters,<br />
since long ago earth covered<br />
my lord in darkness, and I, wretched,<br />
thence, mad and desolate as winter,<br />
over the wave's binding sought, hall-dreary,<br />
a giver of treasure, where far or near<br />
I might find one who in mead-hall<br />
might accept my affection, or on me, friendless,<br />
might wish consolation, offer me joy.<br />
He knows who tries it how cruel is sorrow,<br />
a bitter companion, to the one who has few<br />
concealers of secrets, beloved friends.<span class="apple-converted-space"> </span><br />
The exile-track claims him, not twisted gold,<br />
his soul-chamber frozen, not fold's<span class="apple-converted-space"> </span>renown.<br />
He remembers hall-warriors and treasure-taking,<span class="apple-converted-space"> </span><br />
how among youth<span class="apple-converted-space"> </span>his gold-friend<br />
received him at the feast. Joy has all perished!<br />
So he knows, who must of his lord-friend,<br />
of loved one, lore-sayings long time forgo.<o:p></o:p></div>
<div class="poemtext" style="background-position: initial initial; background-repeat: initial initial;">
<br /></div>
<div class="poemtext" style="background-position: initial initial; background-repeat: initial initial;">
</div>
<div class="poemtext" style="background-position: initial initial; background-repeat: initial initial;">
When
sorrow and sleep at once together<br />
a wretched lone-dweller often bind,<br />
it seems in his mind that he his man-lord<br />
clasps and kisses, and on knee lays<br />
hands and head, as when sometimes before<br />
in yore-days he received gifts from the gift-throne.<br />
When the friendless man awakens again,<br />
he sees before him fallow waves,<br />
sea-birds bathing, wings spreading,<br />
rime and snow falling mingled with hail.<br />
Then are the heart's wounds ever more heavy,<br />
sore after sweet--sorrow is renewed--<br />
when memory of kin turns through the mind;<br />
he greets with glee-staves, eagerly surveys<br />
companions of men. Again they swim away!<br />
Spirits of seafarers bring but seldom<br />
known speech and song. Care is renewed<br />
to the one who frequently sends<br />
over the wave's binding, weary, his thought.<o:p></o:p></div>
<div class="poemtext" style="background-position: initial initial; background-repeat: initial initial;">
<br /></div>
<div class="poemtext" style="background-position: initial initial; background-repeat: initial initial;">
</div>
<div class="poemtext" style="background-position: initial initial; background-repeat: initial initial;">
Therefore,
I know not, throughout this world,<br />
why thought in my mind does not grow dark<br />
when the life of men I fully think through,<br />
how they suddenly abandoned the hall,<br />
headstrong retainers. This Middle-Earth<span class="apple-converted-space"> </span><br />
each of all days so fails and falls<br />
that a man gains no wisdom before he is dealt<br />
his winters in the world.<span class="apple-converted-space"> </span>The
wise man is patient,<br />
not too hot-hearted, nor too quick tongued,<br />
nor a warrior too weak, nor too foolhardy,<br />
neither frightened nor fain, nor yet too wealth-greedy,<br />
nor ever of boasts too eager, before he knows enough.<br />
A warrior should wait when he speaks a vow,<br />
until, bold in mind, he clearly knows<br />
whither mind's thought after will turn.<span class="apple-converted-space"> </span><br />
A wise man perceives how ghastly<span class="apple-converted-space"> </span>it
will be<br />
when all this world's weal desolate stands,<br />
as now here and there across this Middle-Earth<br />
blown on by wind walls stand<br />
covered with rime, the buildings storm-shaken.<br />
The wine-halls molder, the wielder lies down<br />
deprived of rejoicing, warband all fallen,<br />
proud by the wall. Some war took utterly,<br />
carried on forth-way; one a bird bore off<br />
over the high holm; one the hoar wolf<br />
dealt over to death, one a warrior,<br />
drear-faced, hid in an earth-cave.<br />
Thus the Shaper of men destroyed this earth-yard,<br />
until, lacking the cries, the revels of men,<br />
old giants' work stood worthless.<o:p></o:p></div>
<div class="poemtext" style="background-position: initial initial; background-repeat: initial initial;">
<br /></div>
<div class="poemtext" style="background-position: initial initial; background-repeat: initial initial;">
</div>
<div class="poemtext" style="background-position: initial initial; background-repeat: initial initial;">
When he
with wise mind this wall-stone<br />
and this dark life deeply thinks through,<br />
the wise one in mind oft remembers afar<br />
many a carnage, and this word he speaks:<br />
Where is the horse? Where the young warrior? Where now the gift-giver?<br />
Where are the feast-seats? Where all the hall-joys?<br />
Alas for the bright cup! Alas byrnied warrior!<br />
Alas the lord's glory! How this time hastens,<br />
grows dark under night-helm, as it were not!<br />
Stands now behind the dear warband<br />
a wondrous high wall, varied with snake-shapes,<br />
warriors fortaken by might of the ash-spears,<br />
corpse-hungry weapons--famous that fate--<br />
and this stone-cliff storms dash on;<br />
snowstorm, attacking, binds all the ground,<br />
tumult of winter, when the dark one comes,<br />
night-shadow blackens, sends from the north<br />
rough hailstorm in anger toward men.<br />
All is the earth-realm laden with hardship,<br />
fate of creation<span class="apple-converted-space"> </span>turns<span class="apple-converted-space"> </span>world under heaven.<br />
Here goldhoard passes,<span class="apple-converted-space"> </span>here
friendship passes,<br />
here mankind passes, here kinsman passes: <br />
all does this earth-frame turn worthless!<span class="apple-converted-space"> </span><br />
So said the one wise in mind, at secret conclaves sat him apart.<br />
Good, he who keeps faith, nor too quickly his grief<br />
from his breast makes known, except he, noble, knows how beforehand<br />
to do cure with courage.<span class="apple-converted-space"> </span>Well
will it be<br />
to him who seeks favor, refuge and comfort,<span class="apple-converted-space"> </span><br />
from the Father in heaven, where all fastness stands."</div>
<div class="poemtext" style="background-position: initial initial; background-repeat: initial initial;">
<br /></div>
<div class="poemtext" style="background-position: initial initial; background-repeat: initial initial;">
Translation taken from: <a href="http://www.lightspill.com/poetry/oe/wanderer.html">http://www.lightspill.com/poetry/oe/wanderer.html</a></div>
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<br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7903680630942453700.post-59486344178808272162013-02-06T17:34:00.004-08:002013-02-07T04:31:49.257-08:00The Pilgrim's Regress Analysis<br />
<div class="MsoNormal" style="margin-bottom: 0pt; text-indent: 0.5in;">
<span style="font-family: 'Times New Roman', serif; font-size: 12pt; text-indent: 0.5in;">In
the passage from </span><i style="font-family: "Times New Roman", serif; font-size: 12pt; text-indent: 0.5in;">The Pilgrim’s Regress</i><span style="font-family: 'Times New Roman', serif; font-size: 12pt; text-indent: 0.5in;">
on pages 6 and 8, C.S. Lewis uses literary references and allusions to
emphasize the beginning of John’s spiritual journey, an event important within
the plot of the allegorical novel in which John’s physical journey represents
his needed and necessary spiritual growth.</span></div>
<div class="MsoNormal" style="margin-bottom: 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"> <i>The
Pilgrim’s Regress</i> is a structural “copy” of John Bunyan’s <i>Pilgrim’s Progress</i>, also a theological
novel about a character who makes a physical journey representing his spiritual
growth. In the passage from <i>The Pilgrim’s Regress</i>, the narrator
says, “Now the days and weeks went on again, and I dreamed that John had little
peace either by day or night for thinking of the rules…” (Lewis 6). The narrator in Bunyan’s <i>Pilgrim’s Progress</i>, too, exists in a dream-like state, watching the
main character of his dream realize his need for something more in life. John, in this passage, realizes this as he
receives “from beyond the wood a sweetness and a pang so piercing that
instantly he forgot his father’s house, and his mother, and the fear of the
Landlord, and the burden of the rules” (Lewis 8).<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"> The rules themselves that John has
been told he must keep are an allusion to the Bible, specifically the Old
Testament. In the Old Testament, the
Jews were given a strict list of rules by god that they were supposed to
keep. The list of rules can be found in
the chapters of Deuteronomy and Leviticus in the Old Testament of the
bible. The Jews were told that the only
way to achieve salvation and enter heaven was by keeping all of these rules
(i.e. Laws). John, too, is told that he
must keep the overwhelming list of rules give n to him. Lewis’ use of imagery
entails how burdensome this list of rules was to John. As the narrator says, “There were so many
[rules] that [John] never read them all through and he was always finding new
ones” (Lewis 6).<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"> As an educated Christian scholar,
what C.S. Lewis would have understood was that the laws weren’t enough to save
the Jews which is why Christ needed to come into the world as a human and die
to save humanity. If the rules John was
given are an allusion to the Old Testament laws, then these rules aren’t enough
to fulfill John’s desire for the “sweetness and pang” (Lewis 8) he experiences
in this passage. John must go on a
spiritual journey to seek the true Christianity that won’t be burdensome as the
rules he must keep are.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"> References to <i>Pilgrim’s Progress</i> and the Old Testament laws—both an image of a
necessary spiritual journey and growth—guide this passage in <i>The Pilgrim’s Regress</i> on pages 6 and 8,
purposefully fitting as this passage is indeed John’s start of the journey and
spiritual growth he makes over the course of the novel.<o:p></o:p></span></div>
Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-7903680630942453700.post-33130263748806543352013-02-06T05:15:00.003-08:002013-02-06T05:15:27.856-08:00The Pilgrim's Regress<span style="font-size: large;">The Pilgrim's Regress: Clive Staples Lewis, pg. 6-8</span><br />
<br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 10pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">“Now the days and the weeks went on again, and I
dreamed that John had little peace either by day or night for thinking of the
rules and the black hole full of snakes.<span style="mso-spacerun: yes;">
</span>At first he tried very hard to keep them all, but when it came to
bed-time he always found that he had broken far more than he had kept: and the
thought of the horrible tortures to which the good, king Landlord would put him
became such a burden that the next day he would become quite reckless and break
as many as he possibly could; for oddly enough this eased his mind for the
moment.<span style="mso-spacerun: yes;"> </span>But then after a few days the
fear would return and this time it would be worse than before because of the
dreadful number of rules that he had broken during the interval.<span style="mso-spacerun: yes;"> </span>But what puzzled him most at this time was a
discovery which he made after the rules had been hanging in his bedroom for two
or three nights: namely, that on the other side of the card, on the back, there
was quite a different set of rules.<span style="mso-spacerun: yes;">
</span>There were so many that he never read them all through and he was always
finding new ones.<span style="mso-spacerun: yes;"> </span>Some of them were very
like the rules on the front of the card, but most of them were just the
opposite.<span style="mso-spacerun: yes;"> </span>Thus whereas the front of the
card said that you must be always examining yourself to see how many rules you
had broken, the back of the card began like this:<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 10pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Rule I: --Put the whole thing out of your head <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 10pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;"><span style="mso-tab-count: 1;"> </span>The
moment you get into bed.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 10pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Or again, whereas the front said that you must
always go and ask you elders what the rule about a certain thing was, if you
were in the least doubt, the back said:<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 10pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Rule 2: --Unless they saw you do it,<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 10pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;"><span style="mso-tab-count: 1;"> </span>Keep
quiet or else you’ll rue it.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 10pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">And so on.<span style="mso-spacerun: yes;">
</span>And now I dreamed that John went out one morning and tried to play in
the road and to forget his troubles; but the rules kept coming back into his
head so that he did not make much of it.<span style="mso-spacerun: yes;">
</span>However, he went on always a few yards further till suddenly he looked
up and saw that he was so far away from home that he was in a part of the road
he had never seen before.<span style="mso-spacerun: yes;"> </span>Then came the
sound of a musical instrument, from behind it seemed, very sweet and very
short, as if it were one plucking of a string or one note of a bell, and after
it a full, clear voice—and it sounded so high and strange that he thought it
was very far away, further than a star.<span style="mso-spacerun: yes;"> </span>The
voice said, Come.<span style="mso-spacerun: yes;"> </span>Then John saw that
there was a stone wall beside the road in that part: but it had (what he had
never seen in a garden wall before) a window.<span style="mso-spacerun: yes;">
</span>There was no glass in the window and no bars; it was just a square hole
in the wall.<span style="mso-spacerun: yes;"> </span>Through it he saw a green
wood full of primroses: and he remembered suddenly how he had gone into another
wood to pull primroses, as a child, very long ago—so long that even in the
moment of remembering the memory seemed still out of reach.<span style="mso-spacerun: yes;"> </span>While he strained to grasp it, there came to
him from beyond the wood a sweetness and a pang so piercing that instantly he
forgot his father’s house, and his mother, and the fear of the Landlord, and
the burden of the rules.”<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7903680630942453700.post-51093968711820400692013-02-06T05:14:00.005-08:002013-02-07T04:31:58.009-08:00The Screwtape Letters Analysis<br />
<div class="MsoNormal" style="margin-bottom: 0pt; text-indent: 0.5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">In
the passage from pages 15-17 of <i>The
Screwtape Letters</i>, C.S. Lewis relies on his use of satire and the logical
progression of the demon’s thoughts to convey his beliefs about prayer in the
Christian life.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"> The passage itself is a letter from
a greater demon, Screwtape, to a lesser demon, Wormwood, in which Screwtape
teaches Wormwood how to turn “his patient” (Lewis 15) from “the Enemy” (Lewis
16) to the Devil. In this passage, C.S.
Lewis is literally playing the Devil’s advocate, though the audience knows the
passage is indeed satire because of C.S. Lewis’s own personal convictions and
religious beliefs. Lewis was a devout
Christian, and his other works of literature such as <i>The Pilgrim’s Regress, Mere Christianity,</i> and even the Narnia
novels reflect a worldview centered around the Christian religion, not Devil
worship, hence the satire present in the piece.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"> Furthermore, the passage is
structured in such a way that it flows logically. Screwtape first gives one method by which to
turn “the patient” from proper prayer to a method of prayer that will turn him
from God. He says, “The best thing,
where it is possible, is to keep the patient from the serious intention of
praying altogether” (Lewis 15). He
concedes, though, that this method doesn’t always work. The phrase, “If this fails” (Lewis 16) shows
the logical progression of thought as a second method is introduced—to “fall
back on a subtler misdirection of his intention” by “teaching them to estimate
the value of each prayer by their success in producing the desired feeling”
(Lewis 17). Screwtape’s consideration for an overarching goal with
regards to prayer and “the patient” while understanding that this method will
not always work demonstrates that Screwtape has thought through the main points
he lays forth while covering all bases with regards to prayer. Thus, a logical procession of thought
proceeds. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"> This logical progression of thought
placed under the pretext of satire illuminates that Lewis himself believed that
men were not properly praying, that prayer itself had become corrupted. Knowing what the audience knows about his
satirical writing style, they can then infer from the demon’s argument that
Lewis believed man was often too lazy to pray (“clever and lazy patients can be
taken in by it for quite a long time” (Lewis 16)) or focused solely on the
feeling prayer produced. What Lewis
believed prayer should be as inferred through his satire is not a means by
which man “feels” better about himself but a complete giving of soul and
thoughts to God rather than “[turning] their gaze away from Him toward
themselves” (Lewis 16). <o:p></o:p></span></div>
Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-7903680630942453700.post-61984700940471374472013-02-06T05:14:00.002-08:002013-02-06T05:14:10.596-08:00The Screwtape Letters <span style="font-size: large;"><em>The Screwtape Letters</em>: Clive Staples Lewis, pg. 15-17</span><br />
<br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 10pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">“My Dear Wormwood,<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 10pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">The amateurish suggestions in your last letter warn
me that it is high time for me to write to you fully on the painful subject of
prayer.<span style="mso-spacerun: yes;"> </span>You might have spared the
comment that my advice about his prayers for his mother ‘proved singularly
unfortunate’.<span style="mso-spacerun: yes;"> </span>That is not the sort of
thing that a nephew should write to his uncle—nor a junior temptor to the
under-secretary of a department.<span style="mso-spacerun: yes;"> </span>It also
reveals an unpleasant desire to shift responsibility; you must learn to pay for
your own blunders.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 10pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">The best thing, where it is possible, is to keep the
patient from the serious intention of praying altogether.<span style="mso-spacerun: yes;"> </span>When the patient is an adult recently
reconverted to the Enemy’s party, like your man, this is best done by
encouraging him to remember, or to think he remembers, the parrot-like nature
of his prayers in childhood.<span style="mso-spacerun: yes;"> </span>In reaction
against that, he may be persuaded to aim at something entirely spontaneous,
inward, informal, and unregularized; and what this will actually mean to a
beginner will be an effort to produce in himself a vaguely devotional <i style="mso-bidi-font-style: normal;">mood</i> in which real concentration of will
and intelligence have no part.<span style="mso-spacerun: yes;"> </span>One of
their poets, Coleridge, has recorded that he did not pray ‘with moving lips and
bended knees’ but merely ‘composed his spirit to love’ and indulged ‘a sense of
supplication’.<span style="mso-spacerun: yes;"> </span>That is exactly the sort
of prayer we want; and since it bears a superficial resemblance to the prayer
of silence as practiced by those who are very far advanced in the Enemy’s
service, clever and lazy patients can be taken in by it for quite a long
time.<span style="mso-spacerun: yes;"> </span>At the very least, they can be
persuaded that the bodily position makes no difference to their prayers; for
they constantly forget, what you must always remember, that they are animals
and that whatever their bodies do affects their souls.<span style="mso-spacerun: yes;"> </span>It is funny how mortals always picture us as
putting things into their minds: in reality our best work is done by keeping
things out.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 10pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">If this fails, you must fall back on a subtler
misdirection of his intention.<span style="mso-spacerun: yes;"> </span>Whenever
they are attending to the Enemy Himself we are defeated, but there are ways of
preventing them from doing so.<span style="mso-spacerun: yes;"> </span>The
simplest is to turn their gaze away from Him towards themselves.<span style="mso-spacerun: yes;"> </span>Keep them watching their own minds and trying
to produce <i style="mso-bidi-font-style: normal;">feelings</i> there by the
action of their own wills.<span style="mso-spacerun: yes;"> </span>When they
meant to ask Him for charity, let them, instead, start tryin to manufacture
charitable feelings for themselves and no notice that this is what they are
doing.<span style="mso-spacerun: yes;"> </span>When they meant to pray for
courage, let them really be trying to feel brave.<span style="mso-spacerun: yes;"> </span>When they say they are praying for
forgiveness, let them be trying to feel forgiven.<span style="mso-spacerun: yes;"> </span>Teach them to estimate the value of each
prayer by their success in producing the desired feeling; and never let them
suspect how much success or failure of that kind depends on whether they are
well or ill, fresh or tired, at the moment.”<o:p></o:p></span></div>
Unknownnoreply@blogger.com0