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something quite different and very mysterious, expressed in those phrases I have so often ridiculed – “propitiation” – “sacrifice” – “the blood of the Lamb”.’ He had ridiculed them because they seemed not only silly and shocking but meaningless. What was the point of it all? How could the death and resurrection of Christ have ‘saved the world’?

      Tolkien answered him immediately. Indeed, he said, the solution was actually a development of what he had been saying earlier. Had he not shown how pagan myths were, in fact, God expressing himself through the minds of poets, and using the images of their ‘mythopoeia’ to express fragments of his eternal truth? Well then, Christianity (he said) is exactly the same thing – with the enormous difference that the poet who invented it was God Himself, and the images He used were real men and actual history.

      Do you mean, asked Lewis, that the death and resurrection of Christ is the old ‘dying god’ story all over again?

      Yes, Tolkien answered, except that here is a real Dying God, with a precise location in history and definite historical consequences. The old myth has become a fact. But it still retains the character of a myth. So that in asking what it ‘meant’, Lewis was really being rather absurd. Did he ask what the story of Balder or Adonis or any of the other dying gods in pagan myth ‘meant’? No, of course not. He enjoyed these stories, ‘tasted’ them, and got something from them that he could not get from abstract argument. Could he not transfer that attitude, that appreciation of story, to the life and death of Christ? Could he not treat it as a story, be fully aware that he could draw nourishment from it which he could never find in a list of abstract truths? Could he not realise that it is a myth, and make himself receptive to it? For, Tolkien said, if God is mythopoeic, man must become mythopathtic.

      *

      It was now 3 a.m., and Tolkien had to go home. Lewis and Dyson came downstairs with him. They crossed the quadrangle and let him out by the little postern gate on Magdalen Bridge. Then, Lewis recorded, ‘Dyson and I found more to say to one another, strolling up and down the cloister of New Building, so that we did not get to bed till 4.’

      Twelve days later Lewis wrote to Arthur Greeves: ‘I have just passed on from believing in God to definitely believing in Christ – in Christianity. I will try to explain this another time. My long night talk with Dyson and Tolkien had a good deal to do with it.’

4

       ‘The sort of thing a man might say’

      Actually it was not quite so easy or so sudden as that. Arthur Greeves wrote to Lewis saying he was delighted that his friend had at last accepted Christianity. After reading this letter from Greeves, Lewis began to feel that ‘perhaps I had said too much’. He told Greeves cautiously: ‘Perhaps I was not nearly as clear on the subject as I had led you to think. But I certainly have moved a bit, even if it turns out to be a less bit than I thought.’

      He had in fact reached the point where rational argument failed, and it became a matter of belief rather than of logical proof. Tolkien and Dyson’s argument about Christianity as ‘a true myth which is nevertheless a myth’ had a lot of imaginative force, but it was a questionable proposition in terms of strict logic.

      Lewis could not go on thinking it over for ever. He realised that some sort of ‘leap of faith’ was necessary to get him over the final hurdle. ‘There must’, he said, ‘perhaps always be just enough lack of demonstrative certainty to make free choice possible, for what could we do but accept if the faith were like the multiplication table?’

      So he became a Christian. He made his Communion for the first time since childhood days on Christmas Day 1931, in his parish church at Headington Quarry. But he did not forget to maintain in his mind the distinction between the two questions: the existence of God, which he believed he could prove by logical argument, and the truth of Christianity, which he realised was not subject to rational proof. Indeed his doubts about the Christian story never entirely ceased. There were, he remarked, many moments at which he felt ‘How could I – I of all people – ever have come to believe this cock and bull story?’ But this, he felt, was better than the error of taking it all for granted. Nor was he utterly alarmed at the notion that Christianity might after all be untrue. ‘Even assuming (which I most constantly deny)’, he said, ‘that the doctrines of historic Christianity are merely mythical, it is the myth which is the vital and nourishing element in the whole concern.¹

      *

      One reason for Lewis’s holding back from conversion for so long was his inability to find the Gospel story attractive. It evoked none of the imaginative response that was aroused in him by pagan myths. As he told Greeves, ‘the spontaneous appeal of the Christian story is so much less to me than that of Paganism’. This was perhaps one reason why he now began to create his own fictional setting for Christianity.

      He had already made two attempts to write an account of his conversion. The first, in prose, had been begun while he was a Theist but not yet a Christian, and it was soon abandoned. In the spring of 1932, shortly after returning to the practice of Christianity, he tried again, this time in verse. But again he quickly abandoned the project. Then, in August of the same year, he suddenly found the right method.

      He had been at work for some time on a projected book about the allegorical love-poetry of the Middle Ages, and in consequence he had made a thorough study of the workings of allegory. Though Bunyan’s Pilgrim’s Progress was outside the scope of his project, he had known and loved it since childhood, and now its example rose before him. While staying with Arthur Greeves in Belfast he began to write what he called The Pilgrim’s Regress: An Allegorical Apology for Christianity, Reason, and Romanticism. As he himself said of Bunyan’s book, ‘Now, as never before, the whole man was engaged’. In a fortnight this witty and often moving allegory of a modern pilgrim’s journey to Christianity was finished.

      The writing of stories in prose came almost incredibly easy to Lewis. ‘It’s such fun after sweating over verse,’ he said, ‘like free-wheeling.’ He worked fast, managed to write almost everything in one draft, and never made more than minimal revisions. This was in marked contrast to Tolkien who, though he wrote fast, took endless pains over revision and regarded it as a continuing process that was not necessarily complete when the book was published. The two men were also very different in their attitudes to the manuscripts of their work. Tolkien invariably kept all his drafts and his notes; Lewis just as invariably tore his up as soon as the book reached print. He also tore up other people’s. Tolkien recalled: ‘He was indeed accustomed at intervals to throw away papers and books – and at such times he destroyed those that belonged to other people. He “lost” not only official documents sent to him by me, but sole MSS. of at least two stories.’

      The most important fact about The Pilgrim’s Regress is one that can easily be missed because it is so obvious. Less than a year after he had become a Christian, Lewis already felt capable of telling other people about his own experiences, capable of being an ‘apologist’, a defender of Christianity by argument. There was to be no novitiate, no period in which he would wait for his understanding of his religion to mature and deepen. He must begin right away.

      Nor was the book just to be a defence of Christianity. In it he also championed the two things which he believed had helped him along the road to belief: Reason, and ‘Romanticism’, by which he specifically meant the search for ‘Joy’. And in defending these two things he launched, in The Pilgrim’s Regress, a forceful and often bitter attack against almost every other form of thinking current in his time. For in describing the snares which the pilgrim encounters on his journey, Lewis enumerates not only traditional intellectual or emotional dangers (Ignorantia, Superbia, Orgiastica, Occultica, and so on) but also brings more contemporary enemies into the tale. At least, to him they were enemies.

      Lewis had conceived a profound dislike not merely for T. S. Eliot’s poetry but for the

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