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The Discarded Image: An Introduction to Medieval and Renaissance Literature (Canto Classics), by C.S. Lewis
Get Free Ebook The Discarded Image: An Introduction to Medieval and Renaissance Literature (Canto Classics), by C.S. Lewis
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Review
'Wise, illuminating, companionable, it may well come to be seen as Lewis' s best book.' The Observer'... erudite and graceful, filled with anecdote and analogy, illuminating the images of the past.' Los Angeles Times'... his wonderful gusto, the clarity of his style, the wit of his comments and analogies, the range of his learning and the liveliness of his mind are displayed to the full, warmed by a prevailing good humour.' Helen Gardner, The Listener?Wise, illuminating, companionable, it may well come to be seen as Lewis? s best book.? The Observer?? erudite and graceful, filled with anecdote and analogy, illuminating the images of the past.? Los Angeles Times?? his wonderful gusto, the clarity of his style, the wit of his comments and analogies, the range of his learning and the liveliness of his mind are displayed to the full, warmed by a prevailing good humour.? Helen Gardner, The Listener???Wise, illuminating, companionable, it may well come to be seen as Lewis??? s best book.??? The Observer?????? erudite and graceful, filled with anecdote and analogy, illuminating the images of the past.??? Los Angeles Times?????? his wonderful gusto, the clarity of his style, the wit of his comments and analogies, the range of his learning and the liveliness of his mind are displayed to the full, warmed by a prevailing good humour.??? Helen Gardner, The Listener' his wonderful gusto, the clarity of his style, the wit of his comments and analogies, the range of his learning and the liveliness of his mind are displayed to the full, warmed by a prevailing good humour.' Helen Gardner, The Listener
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Book Description
Paints a lucid picture of the medieval world view, providing the historical and cultural background to the literature of the Middle Ages and Renaissance. This, Lewis's last book, has been hailed as 'the final memorial to the work of a great scholar and teacher and a wise and noble mind'.
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Product details
Series: Canto Classics
Paperback: 244 pages
Publisher: Cambridge University Press; Reprint edition (March 30, 2012)
Language: English
ISBN-10: 1107604702
ISBN-13: 978-1107604704
Product Dimensions:
5.4 x 0.6 x 8.5 inches
Shipping Weight: 13.3 ounces (View shipping rates and policies)
Average Customer Review:
4.7 out of 5 stars
79 customer reviews
Amazon Best Sellers Rank:
#139,273 in Books (See Top 100 in Books)
I've read much Lewis, but avoided this one as I thought it would be mostly just for English or Lit majors - an academic book of little interest philosophically. I should have known better, seeing as it's Lewis, but that's what I thought.This book is an amazing depiction of the Medieval worldview, one which Lewis obviously loved and reflected throughout his books - from the Centaurs of the Chronicles of Narnia to the influence of role of the angelic planetary rulers in the Space Trilogy.If you're interested in worldview, definitely read this book. Worldview has become trendy lately, but the concept is nothing new - and Lewis handles it with his characteristic skill and brevity in this book. This is a clearer and more fascinating portrayal of a worldview than you'll get in any book with "worldview" in the title.If you're interested in philosophy, definitely read this. The reversal or loss of many medieval beliefs have dangerous consequences to human thought (and, indeed, to humankind), which Lewis explores more thoroughly in Abolition of Man.Basically, just read this book. Like so many Lewis books, it's simply indispensable.
The Discarded Image revolutionized my understanding of the medieval mind. Everyone knows that Christopher Columbus did not really develop the theory that the world was round. Ptolemy had proven the world to be round centuries before Christ and no known civilization even before Ptolemy had believed it was flat. Well it turns out that the shape of the world isn't the only ancient truth that enlightenment humanists have stolen credit for. The Copernican principle is older than either Galileo or Copernicus, Frank Drake wasn't the first person to assume there was mortal life scattered throughout the galaxy. Medieval man wasn't the backward savage that progressivism requires him to be. Lewis takes us through the ancient and medieval texts that had the greatest impact on medieval man and introduces us to the ancestors we really had. They don't resemble the Monty Python sketch.
Hard going for a dimwit like me but well worth it. Rolls you through and up to the edge of the organized thinking of the Medieval period to the precipice of its abandonment in the Renaissance wherein much is falsely attributed to the Medieval. For example, as falsely accused by the Renaissance, the Medievals did not think the earth was at the center because people were so great, but because people are so corrupt that they deserve to dwell at the lowest, most corrupt sphere. Oh yes, and by the way it IS a sphere. Flat-earthers come in reaction to the high-handedness and TRULY homocentric attitude of the Renaissance, claiming a preexisting belief that never was. Lewis's principal thrust seems to be much the same as a well-trained anthropologist: to really understand the period, you have to enter as much as possible into its own point of view, not just throw rocks at it from some "superior" position, as did much of the Renaissance. What Lewis does in this book is provide a concise yet profound survey of Medieval thinking so that one might go forward on one's own to enjoy/understand the vast available library of the Medieval. I think the author's deliberate intent was to provide "milk" for his students as they began their program of tutoring with him, to lead them into deeper study. And in so keeping, the organization o f the material does not so much tell you about Medieval thinking, but leads you to discover it for yourself. Wish I could have been one of this guy's students. Makes me want to spin a Medieval science fiction yarn.
"The Discarded Image: An Introduction to Medieval and Renaissance Literature", by C. S. Lewis, has the benefit of the author's lifetime of study in two great ages: the Pagan Classical that perished, and the Christian Medieval that rose in its place. The latter cannot be understood properly without the former, and our current age is best known in understanding both. The author's objective is to instruct us in that understanding.I count Lewis among my favorite authors, but after being exposed to deeper and more orthodox writers over the years I've come to read him - if still very enjoyably - much more carefully. While I agree with the unanimous reviews that glowingly praise this work, he does strike some discordant notes. Lewis was a loyal member of that church "by law established" and its divines, including the heretic Cranmer and the latitudinarian Hooker, helped shape his thought. This is a High-Church Anglican's take on the Middle Ages.The first item that really stands out is that someone with no previous knowledge of the Middle Ages may get wrong notions about the relative importance of its writers. Milton is consulted much more often than Dante, even though the latter is the epitome of the Medieval poet, while Milton is considered by most to be a later, paler imitation. Aquinas gets a handful of mentions, about the same as Donne; Albert gets a nod or two, while Petrarch and Boccaccio are barely acknowledged. Bede is mentioned once in passing. Chaucer, Gower and Spencer are dominant. The heavy leaning on the English writers doesn't invalidate Lewis' view of the Medieval Model, but the reader relying primarily on him will miss a good portion of its detail.Another note of discord is that Lewis drops hints about misperceptions of the period, but he never follows up or explains their importance. For instance, in the section on Cicero's De Republica (page 28) Lewis says his attitude to the body was to be an "unfortunate legacy" for Medieval Christians. Exactly how was this problem unique to Medieval Christians? The idea of the soul being in exile in the (evil) body and being free upon death was a Gnostic heresy from the very birth of the Church. Manichaeism in subsequent centuries had a large following (St. Augustine before his conversion for one), and Catharism (which originated with the Bulgars in the east) was vigorously fought against by the Medieval Church. The puritanical idea of man's total depravity until this mortal coil is shed was a very much more unfortunate legacy for Reformation-era Christians than for Medieval ones.Along this same line, Lewis rather astoundingly says that the cult of the saints (more than that of the angels) was "a danger to monotheism in the Middle Ages." He doesn't elaborate further, but I will: veneration of the Blessed Virgin and the cult of the saints was part of Christianity since its beginnings; the relics in the catacombs and other archaeological findings speak to their importance dating to the 1st Century. As far back as the Old Testament, the bones of the patriarchs are treated with reverence. Interestingly, the Latin Christians received this practice from the East. It wasn't until the Islamic conquests of the seventh century that the shrines of the Holy Land and their relics were destroyed, and it was their influence that helped create the iconoclastic controversy among Greek Christians (I wonder how many Protestants realize their iconoclasm is at root a Muslim thing?) The idea that Dulia and Hyperdulia were a threat to monotheism is a Protestant invention. Richard II had consecrated England to Our Lady, calling his country "Mary's Dowry"; he knew, as everyone else knew, that the BVM and the saints were created beings not to be confused with God. The improperly understood doctrine of the Trinity is the real danger to monotheism Lewis should have mentioned - just ask any Arian, Sabellian, Docetist, Monophysite, Adoptionist, Nestorian, Socinian, or Unitarian.The Philosophy of History is another topic on which Lewis touches that doesn't ring true. To my chagrin, he deprecates the idea by explaining that it is not uniquely Christian since many cultures seemed to have employed similar philosophies, and that even if it were unique, it is not particularly meritorious. In one swoop Lewis wipes out the main thesis of St. Augustine's City of God, and renders Scholastic philosophers from Aquinas to Gilson moot. The problem is that Lewis is just plain wrong: it's one thing to have a sense of "destiny" or to think of oneself as part of a "chosen people" - that is not a philosophy - it's quite another to have worked out an entire Soteriological system that includes an event dubbed "the fullness of time" where God enters carnally into history and redeems sinful man for Himself. The bequeathing of a Philosophy of History to the world is very real, it is uniquely Christian, and there is not now nor has there ever been anything like it in the history of man. This is a big miss by Lewis.Lastly, in this giant bouquet thrown to the Middle Ages, could not a single rose be strewn at the door of the Catholic Church? It's true that when one speaks about Christian belief in Medieval times that one is speaking about the Catholic Church, but Lewis shouldn't assume his readers know that. He uses any form of the word "Catholic" but once - and that in reference to a book title on page 124, the "Catholicon Anglicum". How Lewis can delight in the beauty and order of the Medieval Model and not let the reader in on the fact that a key characteristic - its hierarchy - was basically a mirror of the Catholic Church is puzzling. When he discusses how the earth lays on the outskirts of the universal drama, which has its eternal center in God, Lewis missed an opportunity to make the obvious connection to the Catholic Mass. With its vicariousness and its making-present that eternal center on every altar in every Church in the world, Lewis could have drawn the Model more completely and more accurately: the Faith (and Reason) of the Medieval Age informed it's understanding of the physical world, and both of these elements were the foundation of its literature.In closing, I want to note where I think Lewis' deepest understanding of Medieval literature ultimately resided. In another and perhaps his most personal work, A Grief Observed, it is to Dante that Lewis turns to express the moment of his wife's death: "She said not to me but to the chaplain, 'I am at peace with God.' She smiled, but not at me. Poi si torno all' eterna fontana" [then towards the eternal fountain turn'd - canto XXXI, Paradiso]After challenging some of Lewis' assertions in the above paragraphs, I want to reiterate that there is still a great deal to love about this book. Most of those reasons have been highlighted in other reviews, so I'll have mercy on the reader of this review and simply stop right here.
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