C.S. Lewis' Comments on Teaching Through Literature

To: I. O. Evans
(Undated: 1949)
In Letters of C.S. Lewis, Ed. Warren Lewis, p. 222

I'm with you on the main issue--that art can teach (and much great art deliberately sets out to do so) without at all ceasing to be art. On the particular case of Wells I would agree with Burke, because in Wells it seems to me that one has first-class pure fantasy (Time Machine, First Men in the Moon) and third-class didacticism; i.e. I object to his novels with a purpose not because they have a purpose but because I think them bad. Just as I object to the preaching passages in Thackeray not because I dislike sermons but because I dislike bad sermons. To me therefore Wells and Thackery are instances that obscure the issue. It must be fought on books where the doctrine is as good on its own merits as the art--e.g. Bunyan, Chesterton (as you agree), Tolstoi, Charles Williams, Virgil.

From a Letter to a Lady
9July 1939
In Letters of C.S. Lewis, Ed. Warren Lewis, p. 167

You will be both grieved and amused to hear that out of about 60 reviews [of Out of the Silent Planet] only 2 showed any knowledge that my idea of the fall of the Bent One was anything but an invention of my own. But if there only was someone with a richer talent and more leisure I think that this great ignorance might be a help to the evangelisation of England; any amount of theology can now be smuggled into people's minds under cover of romance without their knowing it.

Selections from "Sometimes Fairy Stories May Say Best What's to be Said" in Of Other Worlds: Essays & Stories, Ed. Walter Hooper.

. . . there are usually two reasons for writing an imaginative work, which may be called Author's reason and the Man's. p. 35

In the Author's mind there bubbles up every now and then the material for a story. For me it invariably begins with mental pictures. This ferment leads to nothing unless it is accompanied with the longing for a Form: verse or prose, short story, novel, play or what not. When these two things click you have the Author's impulse complete. p. 35

While the Author is in this state, the Man will of course have to criticize the proposed book from quite a different point of view. He will ask how the gratification of this impulse will fit in with all the other things he wants, and ought to do or be. p. 36

Let me now apply this to my own fairy tales. Some people seem to think that I began by asking myself how I could say something about Christianity to children; then fixed on the fairy tale as an instrument; then collected information about child-psychology and decided what age group I'd write for; then drew up a list of basic Christian truths and hammered out 'allegories' to embody them. This is all pure moonshine. I couldn't write in that way at all. Every thing began with images; a faun carrying an umbrella, a queen on a sledge, a magnificent lion. At first there wasn't even anything Christian about them; that element pushed itself in of its own accord. It was part of the bubbling.
Then came the Form. As these images sorted themselves into events (i.e., became a story) they seemed to demand no love interest and no close psychology. But the Form which excludes these things is the fairy tale. And the moment I thought of that I fell in love with the Form itself; its brevity, its severe restraints on description, its flexible traditionalism, its inflexible hostility to all analysis, digression, reflections and 'gas'. I was now enamoured of it. Its very limitations of vocabulary became an attraction; as the hardness of the stone pleases the sculptor or the difficulty of the sonnet delights the sonneteer.
On that side (as Author) I wrote fairy tales because the Fairy Tale seemed the ideal Form for the stuff I had to say.
Then of course the Man in me began to have his turn. I thought I saw how stories of this kind could steal past a certain inhibition which had paralysed much of my own religion in childhood. Why did one find it so hard to feel as one was told one ought to feel about God or about the sufferings of Christ? I thought the chief reason was that one was told one ought to. An obligation to feel can feeze feelings. And reverence itself did harm. The whole subject was associated with lowered voices; almost as if it were something medical. But supposing that by casting all these things into an imaginary world, stripping them of their stained-glass and Sunday school asssociations, one could make them for the first time appear in their real potency? Could one not thus steal past those watchful dragons? I thought one could.
That was the Man's motive. pp. 36-37

Selections from "On Three Ways of Writing for Children" in Of Other Worlds: Essays & Stories, Ed. Walter Hooper.

Before closing, I would like to return to what I said at the beginning. I rejected any approach which begins with the question 'What do modern children like?' I might be asked 'Do you equally reject the approach which begins with the question "What do modern children need?"--in other words, with the moral or didactic approach?' I think the answer is Yes. Not because I don't like stories to have a moral; certainly not because I think children dislike a moral. Rather because I feel sure that the question 'What do modern children need?' will not lead you to a good moral. If we ask that question we are assuming too superior an attitude. It would be better to ask 'What moral do I need?' for I think we can be sure that what does not concern us deeply will not deeply interest our readers, whatever their age. But it is better not to ask the question at all. Let the pictures tell you their own moral. For the moral inherent in them will rise from whatever spiritual roots you have succeeded in striking during the whole course of your life. But if they don't show you any moral, don't put one in. For the moral you put in is likely to be a platitude, or even a falsehood, skimmed from the surface of your consciousness. It is impertinent to offer the children that. For we have been told on high authority that in the moral sphere they are probably at least as wise as we. Anyone who can write a children's story without a moral, had better do so: that is, if he is going to write children's stories at all. The only moral that is of any value is that which arises inevitably from the whole cast of the author's mind.
Indeed everything in the story should arise from the whole cast of the author's mind. We must write for children out of those elements in our own imagination which we share with children: differing from our child readers not by any less, or less serious, interests in the things we handle, but by the fact that we have other interests which children would not share with us. The matter of our story should be part of the habitual furniture of our minds. . . . pp.33-34
We must meet children as equals in that area of our nature where we are their equals. . . . The child as reader is neither to be patronized nor idolized: we talk to him as man to man. But the worst attitude of all would be the professional attitude which regards children in the lump as a sort of raw material which we have to handle. . . . I will not say that a good story for children could never be written by someone in the Ministry of Education, for all things are possible. But I should lay very long odds against it. p. 34