The Spirit of the Age wishes to allow argument and not to allow argument. … If anyone argues with them they say that he is rationalizing his own desires, and therefore need not be answered. But if anyone listens to them they will then argue themselves to show that their own doctrines are true. … You must ask them whether any reasoning is valid or not. If they say no, then their own doctrines, being reached by reasoning, fall to the ground. If they say yes, then they will have to examine your arguments and refute them on their merits: for if some reasoning is valid, for all they know, your bit of reasoning may be one of the valid bits.
British writer, lay theologian, and scholar (1898–1963)
Clive Staples Lewis (29 November 1898 – 22 November 1963) was an Irish author, scholar of medieval literature, and Christian apologist. He is best known for his essays on Christianity and for the children's fantasy series The Chronicles of Narnia.
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Then I dreamed that one day there was nothing but milk for them and the jailer said as he put down the pipkin:
‘Our relations with the cow are not delicate—as you can easily see if you imagine eating any of her other secretions.’ ... John said, ‘Thank heavens! Now at last I know that you are talking nonsense. You are trying to pretend that unlike things are like. You are trying to make us think that milk is the same sort of thing as sweat or dung.’ ‘And pray, what difference is there except by custom?’
‘Are you a liar or only a fool, that you see no difference between that which Nature casts out as refuse and that which she stores up as food?’
The chief pleasure of his life in these days was to go down the road and look through the window in the wall in the hope of seeing the beautiful Island. ... the sight of the Island and the sounds became very rare ... and the yearning for the sight ... became so terrible that John thought he would die if he did not have them again soon. ... it came into his head that he might perhaps get the old feeling-for what, he thought, had the Island ever given him but a feeling?—by imagining. He shut his eyes and set his teeth again and made a picture of the Island in his mind.
What I want to fix your attention on is the vast, overall movement towards the discrediting, and finally the elimination, of every kind of human excellence—moral, cultural, social, or intellectual. And is it not pretty to notice how Democracy (in the incantatory sense) is now doing for us the work that was once done by the most ancient Dictatorships, and by the same methods? You remember how one of the Greek Dictators (they called them ‘tyrants’ then) sent an envoy to another Dictator to ask his advice about the principles of government. The second Dictator led the envoy into a field of corn, and there he snicked off with his cane the top of every stalk that rose an inch or so above the general level. The moral was plain. Allow no pre-eminence among your subjects. Let no man live who is wiser, or better, or more famous, or even handsomer than the mass. Cut them all down to a level; all slaves, all ciphers, all nobodies. All equals. Thus Tyrants could practise, in a sense, ‘democracy’. But now ‘democracy’ can do the same work without any other tyranny than her own. No one need now go through the field with a cane. The little stalks will now of themselves bite the tops off the big ones. The big ones are beginning to bite off their own in their desire to Be Like Stalks.”
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The way for a person to develop a [writing] style is (a) to know exactly what he wants to say, and (b) to be sure he is saying exactly that. The reader, we must remember, does not start by knowing what we mean. If our words are ambiguous, our meaning will escape him. I sometimes think that writing is like driving sheep down a road. If there is any gate open to the left or the right the readers will most certainly go into it.
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The human imagination has seldom had before it an object so sublimely ordered as the medieval cosmos. If it has an aesthetic fault, it is perhaps, for us who have known romanticism, a shade too ordered. For all its vast spaces it might in the end afflict us with a kind of claustrophobia. Is there nowhere any vagueness? No undiscovered by-ways? No twilight? Can we never really get out of doors?