By Alister E. McGrath
Fifty years after his dying, C. S. Lewis keeps to motivate and fascinate thousands. His legacy continues to be assorted and titanic. He was once a towering highbrow determine, a favored fiction writer who encouraged an international motion picture franchise world wide of Narnia, and an atheist-turned-Christian thinker.
In C.S. Lewis—A Life, Alister McGrath, prolific writer and revered professor at King’s university of London, paints a definitive portrait of the lifetime of C. S. Lewis. After completely reading lately released Lewis correspondence, Alister demanding situations the various formerly held ideals concerning the special timing of Lewis’s shift from atheism to theism after which to Christianity. He paints a portrait of an eccentric philosopher who grew to become an inspiring, even though reluctant, prophet for our times.
You won’t are looking to pass over this interesting portrait of an artistic genius who encouraged generations.
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Extra resources for C. S. Lewis: A Life
To illustrate the dangers of that practice I turn, in the second half of this essay, to an episode which most accounts have misrepresented: the performance of a play at the Globe Theatre on 7 February 1601, the eve of the earl of Essex’s rising. Like many other events that have been related to Shakespeare’s life, it shows how far the evidence has to be strained before even the most basic steps towards the writing of Shakespearian biography can be taken. On the afternoon of Saturday 7 February a group of apparently eleven or so followers of the earl of Essex, having dined at ‘one Gunter’s house over against Temple gate’, crossed the Thames to watch a play performed by the Lord Chamberlain’s men (the company to which Shakespeare belonged) at the Globe.
47 The atmosphere of subversion has been thickened by the critical habit of conﬂating the Globe performance with the performances to which Queen Elizabeth referred in her conversation with the antiquary William Lambarde in August 1601. 49 If his plays were customarily performed in open streets and houses, our understanding of the conditions of Shakespearian performance is in need of some amendment. 50 Even if they were of Shakespeare’s play, Stephen Orgel’s claim that they ‘transformed . . Richard II into a very dangerous piece of civic pageantry’51 is without foundation.
130. 6 On Marston see, however, Roslyn Knutson, ‘Histrio-Mastix: Not by John Marston’, Studies in Philology 98 (2001), 359–77. 7 Shakespeare and the Poets’ War, p. 38. 8 The battle lines are summarised in the Introduction to Shakespeare Left and Right, ed. Ivo Kamps (London: Routledge, 1991). , Johnson on Shakespeare, 2 vols (New Haven and London: Yale University Press, 1968), I, p. 71. 10 Shakespeare and the Poets’ War, pp. 68 and 224. 11 Puzzling Shakespeare: Local Reading and its Discontents (Berkeley: University of California Press, 1988), pp.
C. S. Lewis: A Life by Alister E. McGrath