The Pilgrim’s Regress - C. S. Lewis

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the jellyfish represent two low solutions of the problem of existence. In our eating, the palate revolts both from excessive bitter and excessive sweet. In art, we find on the one hand, purists and doctrinaires, who would rather (like Scaliger) lose a hundred beauties than admit a single fault, and who cannot believe anything to be good if the unlearned spontaneously enjoy it: on the other hand, we find the uncritical and slovenly artists who will spoil the whole work rather than deny themselves any indulgence of sentiment or humour or sensationalism. Everyone can pick out among his own acquaintance the Northern and Southern types – the high noses, compressed lips, pale complexions, dryness and taciturnity of the one, the open mouths, the facile laughter and tears, the garrulity and (so to speak) general greasiness of the others. The Northerners are the men of rigid systems whether sceptical or dogmatic, Aristocrats, Stoics, Pharisees, Rigorists, signed and sealed members of highly organised ‘Parties’. The Southerners are by their very nature less definable; boneless souls whose doors stand open day and night to almost every visitant, but always with readiest welcome for those, whether Maenad or Mystagogue, who offer some sort of intoxication. The delicious tang of the forbidden and the unknown draws them on with fatal attraction; the smudging of all frontiers, the relaxation of all resistances, dream, opium, darkness, death, and the return to the womb. Every feeling is justified by the mere fact that it is felt: for a Northerner, every feeling on the same ground is suspect. An arrogant and hasty selectiveness on some narrow a priori basis cuts him off from the sources of life. In Theology also there is a North and South. The one cries ‘Drive out the bondmaid’s son’, and the other ‘Quench not the smoking flax’. The one exaggerates the distinctness between Grace and Nature into a sheer opposition and by vilifying the higher levels of Nature (the real praeparatio evangelica inherent in certain immediately sub-Christian experiences) makes the way hard for those who are at the point of coming in. The other blurs the distinction altogether, flatters mere kindliness into thinking it is charity and vague optimisms or pantheisms into thinking that they are Faith, and makes the way out fatally easy and imperceptible for the budding apostate. The two extremes do not coincide with Romanism (to the North) and Protestantism (to the South). Barth might well have been placed among my Pale Men, and Erasmus might have found himself at home with Mr Broad.

      I take our own age to be predominantly Northern – it is two great ‘Northern’ powers that are tearing each other to pieces on the Don while I write. But the matter is complicated, for the rigid and ruthless system of the Nazis has ‘Southern’ and swamp-like elements at its centre: and when our age is ‘Southern’ at all, it is excessively so. D. H. Lawrence and the Surrealists have perhaps reached a point further ‘South’ than humanity ever reached before. And this is what one would expect. Opposite evils, far from balancing, aggravate each other. ‘The heresies that men leave are hated most’; widespread drunkenness is the father of Prohibition and Prohibition of widespread drunkenness. Nature, outraged by one extreme, avenges herself by flying to the other. One can even meet adult males who are not ashamed to attribute their own philosophy to ‘Reaction’ and do not think the philosophy thereby discredited.

      With both the ‘North’ and the ‘South’ a man has, I take it, only one concern – to avoid them and hold the Main Road. We must not ‘hearken to the over-wise or to the over-foolish giant’. We were made to be neither cerebral men nor visceral men, but Men. Not beasts nor angels but Men – things at once rational and animal.

      The fact that, if I say anything in explanation of my North and South, I have to say so much, serves to underline a rather important truth about symbols. In the present edition I have tried to make the book easier by a running headline. But I do so with great reluctance. To supply a ‘key’ to an allegory may encourage that particular misunderstanding of allegory which, as a literary critic, I have elsewhere denounced. It may encourage people to suppose that allegory is a disguise, a way of saying obscurely what could have been said more clearly. But in fact all good allegory exists not to hide but to reveal; to make the inner world more palpable by giving it an (imagined) concrete embodiment. My headline is there only because my allegory failed – partly through my own fault (I am now heartily ashamed of the preposterous allegorical filigree on p. 199), and partly because modern readers are unfamiliar with the method. But it remains true that wherever the symbols are best, the key is least adequate. For when allegory is at its best, it approaches myth, which must be grasped with the imagination, not with the intellect. If, as I still sometimes hope, my North and South and my Mr Sensible have some touch of mythical life, then no amount of ‘explanation’ will quite catch up with their meaning. It is the sort of thing you cannot learn from definition: you must rather get to know it as you get to know a smell or a taste, the ‘atmosphere’ of a family or a country town, or the personality of an individual.

      Three other cautions remain to be given. 1. The map on the end leaves has puzzled some readers because, as they say, ‘it marks all sorts of places not mentioned in the text’. But so do all maps in travel books. John’s route is marked with a dotted line: those who are not interested in the places off that route need not bother about them. They are a half whimsical attempt to fill in the ‘Northern’ and ‘Southern’ halves of the world with the spiritual phenomena appropriate to them. Most of the names explain themselves. Wanhope is Middle English for Despair; Woodey and Lyssanesos mean ‘Isle of Insanity’; Behmenheim is named, unfairly, after Jakob Boehme or Behmen; Golnesshire (Anglo-Saxon Gál) is the county of Lechery; in Trine-land one feels ‘in tune with the infinite’; and Zeitgeistheim, of course, is the habitat of the Zeitgeist or Spirit of the Age. Naughtstow is ‘a place that is no good at all’. The two military railways were meant to symbolise the double attack from Hell on the two sides of our nature. It was hoped that the roads spreading out from each of the enemy railheads would look rather like claws or tentacles reaching out into the country of Man’s Soul. If you like to put little black arrows pointing South on the seven Northern roads (in the fashion of the newspaper war maps) and others pointing North on the six southern roads, you would get a clear picture of the Holy War as I see it. You might amuse yourself by deciding where to put them – a question that admits different answers. On the Northern front, for example, I should represent the enemy in occupation of Cruelsland and Superbia, and thus threatening the Pale Men with a pincer movement. But I don’t claim to know; and doubtless the position shifts every day. 2. The name Mother Kirk was chosen because ‘Christianity’ is not a very convincing name. Its defect was that it not unnaturally led the reader to attribute to me a much more definite Ecclesiastical position than I could really boast of. The book is concerned solely with Christianity as against unbelief. ‘Denominational’ questions do not come in. 3. In this preface the autobiographical element in John has had to be stressed because the source of the obscurities lay there. But you must not assume that everything in the book is autobiographical. I was attempting to generalise, not to tell people about my own life.

      C. S. LEWIS

      CONTENTS

       Cover

       Title Page

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