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We need not debate about the mere words evolution or progress: personally I prefer to call it reform. For reform implies form. It implies that we are trying to shape the world in a particular image; to make it something that we see already
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“There cannot be any 'story' without a fall-all stories are ultimately about the fall-at least not for human minds as we know them and have them.”
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“The consolation of fairy-stories, the joy of the happy ending: or more correctly of the good catastrophe, the sudden joyous 'turn' (for there is no true end to any fairy-tale): this joy, which is one of the things which fairy-stories can produce supremely well, is not essentially 'escapist', nor 'fugitive'. In its fairy tale or otherworld setting, it is a sudden and miraculous grace: never to be counted on to recur. It does not deny the existence of dyscatastrophe, of sorrow and failure: the possibility of these is necessary to the joy of deliverance; it denies (in the face of much evidence, if you will) universal final defeat and in so far is evangelium, giving a fleeting glimpse of Joy, Joy beyond the walls of the world, poignant as grief. It is the mark of a good fairy story, of the higher or more complete kind, that however wild its events, however fantastic or terrible the adventures, it can give to child or man that hears it, when the 'turn' comes, a catch of the breath, a beat and lifting of the heart, near to (or indeed accompanied by) tears, as keen as that given by any form of literary art, and having a peculiar quality.”
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“The world, knowing how all our real investments are beyond the grave, might expect us to be less concerned than other people who long for what is called Higher thought and tell us that 'death doesn't matter'; but we are not 'high minded', and we follow the One who stood and wept at the grave of Lazarus-not surely, because He was grieved that Mary and Martha wept, and sorrowed for their lack of faith (though some thus interpret) but because death, the punishment of sin, is even more horrible in His eyes than in ours. The nature if which He had created as God, the nature of which He had assumed as Man, lay there before Him in his ignominy; a foul smell, food for worms. Though He was to revive it a moment later, He wept at the shame; if I may here quote a writer of my own communion, 'I am not so much afraid of death as ashamed of it.' And that brings us again to the paradox. Of all men, we hope most of death; yet nothing will reconcile us to-well, it's unnaturalness. We know that we were not made for it; we know how it crept into our destiny as an intruder; and we know that on one level it is an enemy already disarmed; but because we know that the natural level also is God's creation we cannot cease to fight against death which mars it, as against all those other blemishes upon it, against pain and poverty, barbarism and ignorance. Because we love something else more than this world we love even this world better than those who know no other.”
― God in the Dock: Essays on Theology and Ethics
― God in the Dock: Essays on Theology and Ethics
“After the world had been created, man was placed in it as in a theater, that he, beholding above him and beneath the wonderful works of God, might reverently adore their Author.”
― Commentary on Genesis - Volume 2 - Enhanced Version
― Commentary on Genesis - Volume 2 - Enhanced Version
“I would venture to say that approaching the Christian Story from this direction, it has long been my feeling (a joyous feeling) that God redeemed the corrupt making-creatures, men, in a way fitting to this aspect, as to others, of their strange nature. The Gospels contain a fairy-story, or a story of a larger kind which embraces all the essence of fairy-stories. They contain many marvels peculiarly artistic, beautiful, and moving: 'mythical' in their perfect, self-contained significance; and among the marvels is the greatest and most complete conceivable Eucatastrophe. But this story has entered History and the primary world; the desire and aspiration of subcreation has been raised to the fulfillment of Creation. The Birth of Christ is the Eucatastrophe of Man's history. The Resurrection is the Eucatastrophe of the story of the Incarnation. This story begins and ends in joy. It has pre-eminently the 'inner consistency of reality.' There is no tale ever told that men would rather find was true, and none which so many sceptical men have accepted as true on its own merits. For the Art of it has the supremely convincing tone of Primary Art, that is, of Creation. To reject it leads either to sadness or to wrath. It is not difficult to imagine the peculiar excitement and joy that one would feel, if any specially beautiful fairy story were found to be 'primarily' true, its narrative to be history, without thereby necessarily losing the mythical or allegorical significance that it had possessed. It is not difficult, for one is not called upon to try and conceive anything of a quality unknown. The joy would have exactly the same quality, if not the same degree, as the joy which the 'turn' in a fairy-story gives: such joy has the very taste of primary truth. (Otherwise its name would not be joy.) It looks forward (or backward: the direction in this regard is unimportant) to the Great Eucatastrophe. The Christian joy, the Gloria, is of the same kind; but it is preeminently (infinitely, if our capacity were not finite) high and joyous. But this story is supreme; and it is true. Art has been verified. God is the Lord, of angels, and of men—and of elves. Legend and History have met and fused.”
― On Fairy-Stories
― On Fairy-Stories
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