Volume 20 (2022): Issue 3 (July 2022)
A Multi-Angle Examination of C. S. Lewis's Till We Have Faces. Theological, Philosophical, Ethical, and Literary Insights from one of Lewis's Greatest Novels. Issue Editor: Zachary Breitenbach

Till We Have Faces is a retelling of the Cupid/Psyche myth with a few twists, namely, a nonstandard narrator and the inability of Psyche’s sister, Orual, to see the palace. Both innovations lead the reader to understand better the dynamics at play in Orual’s effort to disrupt Psyche’s life with her husband/god. The inability to see, on Orual’s part, at first suggests that the nature of the story is primarily epistemological. What is it that can be reasonably known or inferred? Digging deeper, however, reveals that the epistemic elements are actually penultimate, and that instead the book bolsters an ethically robust epistemology. Who we are deeply affects what we can see. Before Orual could apprehend the nature of the gods, she had to be brutally honest about who she herself was. A victim of abuse who was constantly shamed for reasons beyond her control, she is a sympathetic character in several ways, but she gradually moves from being victim to victimizer, treating others as means to ends, and, in the case of Psyche, ‘loving’ her in a way that was more hate than love. Self-knowledge was needed for Orual to apprehend the truth. She comes to realize her treatment of Bardia, Batta, Redival, and especially Psyche was not as pure and altruistic as she had thought. She had to come to terms with the ugliness within herself, and her penchant for consuming others, before she could hope to see the beauty and love of the gods for what they were.

In Till We Have Faces (TWHF), C. S. Lewis combines his passion for pagan mythology with his knack for communicating Christian truths via story, powerfully illustrating a number of theological and moral positions that are prominent in many of his other writings. This article examines two major themes in TWHF that are also emphasized heavily within Lewis’s prose: (1) maintaining faith (which is examined from various angles) in the face of various emotionally-driven temptations to doubt; and (2) recognizing that pride prevents us from knowing God and corrupts the love we have for others into a jealous hatred. The article uncovers a variety of ways that Lewis masterfully paints a picture via the characters and the story of TWHF that exemplifies religious and ethical insights within these two themes.

For half a century, readers of C. S. Lewis had only two problematic and at times obscure spiritual autobiographies (The Pilgrim’s Regress and Surprised by Joy) to use in attempts to understand Lewis’s journey to faith through what he called Joy, Sehnsucht, or longing. Both books, though important and full of key insights, in some ways hid more than they revealed. Recent discoveries, however, have widened the arc of autobiography. Lewis’s landmark pre-Christian account of his conversion to theism, ‘Early Prose Joy’, published in 2013, monumentally widened and deepened our understanding of Lewis’s spiritual journey to faith. And the fragmentary poem ‘I Will Write Down the Portion that I Understand’ also adds significant insight, at least into Lewis’s composition process of grappling with conversion. Insightful recent scholarship by Alister McGrath suggests widening the scope of what we consider spiritual autobiography in Lewis to include A Grief Observed; this idea opens the door to a broader view of how autobiography functions both in Lewis’s compositional life and in the categorization of his writings. This essay accepts that invitation, finding clear autobiographical efforts to capture the role of Joy in Lewis’s early poetry, including Dymer, and in his late novel Till We Have Faces. That last book, written with soon-to-be-wife Joy Davidman, serves crucially to change the focus of Lewis’s spiritual autobiographies from Joy to love. By thus expanding and exploring Lewis’s autobiographical arc, this essay brings to light an almost teleological understanding of love and the central theme of Lewis’s life and work.

In this essay, I compare and contrast how Boethius (in Consolation of Philosophy), the author of Beowulf, J. R. R. Tolkien (in The Lord of the Rings), and C. S. Lewis (in Till We Have Faces) found ways to integrate their Christian theological and philosophical beliefs into a work that is set in a time and place that possesses the general revelation of creation, conscience, reason, and desire, but lacks the special revelation of Christ and the Bible. I begin by using Lewis’s own analysis of the Consolation in his Discarded Image to discuss what it means for a Christian author to write in a pre-Christian mode. I find a model for such writing in Ecclesiastes, and discuss how Boethius, while confining himself to the pagan wisdom of Greece and Rome, points the way from philosophical consolation to theological transformation. I then use Tolkien’s ‘Beowulf: The Monsters and the Critics’ to unpack the distinction between the author’s Christian faith and the purely pagan consolation he offers to his characters, and locate that dynamic in the epic itself. Next, I explore how Tolkien, in imitation of Beowulf, balances a deep sense of loss and fatalism with an intimation of a higher providence guiding all. Finally, I show how Lewis, in imitation of Boethius, finds in the pagan world of his novel seeds of a greater revelation to come.

This essay examines how C. S. Lewis, in Till We Have Faces, illustrates the Christian’s journey of sanctification through the pre-Christian story of his main character, Orual. She must gain two ‘faces’ in this process that correspond to the two books she writes. First, she must gain the face of self-knowledge through humility. The key components to this face are her memory and the act of writing of her first book, which together create a mirror to reflect her sin back to her. Second, Orual must gain the face of transformation through divine agape love. The humility she learned from her first face now allows her to enter what Lewis describes as the dance of self-giving, which is a crucial element to the second face of transformation in its mortification of Orual’s sin and selfishness. In the second face, Orual gains access to an ‘actual language’ that transcends merely verbal words and involves worshipping the god with her whole being, as do we in being transformed to reflect Christ more clearly. Orual’s writing is a form of this ‘actual language’, and her second book that shares her personal encounter with the god of the mountain reflects to others the beauty of the divine. Similarly, Christians should reflect Jesus with their lives and their art, which are inextricably intertwined because a life lived for Him is the highest form of artwork they can create.

Till We Have Faces is profitably read at three levels: for its surface story, as a crime drama, and as an exploration of the theological mystery of grace. By transposing the myth of Psyche into the mystery genre, Lewis prepares the reader for Orual’s unreliability as a narrator and lures the reader into the novel’s theological depths. Part Two of the novel contains a series of visionary labors which Lewis borrows from Lucius Apuleius but recasts as feats achieved jointly by Orual and Psyche. The theological reading in this article finds textual support for rereading Part One of the novel as depicting Orual, by grace, unknowingly performing Psyche’s labors. Read thusly, the novel is a working out of Lewis’s belief that God can change the past—that grace can reach back into our histories and retell our story. By ascribing to the mutability of the past, Lewis sidesteps the dispute among various branches of Christianity over whether prevenient grace (the grace that pursues us prior to conversion) is both irresistible and salvific. An examination of four sources of grace in Orual’s life (love of beauty, love of wisdom, religious practice, and bereavement) reveals that what would have been common grace in her life becomes salvific as it leads to her redemption. This exposition also shows the novel’s indebtedness to the many classical Greek sources to which Lewis alludes within it, as well as its affinity with some of the ideas of Simone Weil.