by C. S. Lewis
Suppose I find a piece of paper on which a black wavy line is already drawn, I can now sit down and draw other lines (say in red) so shaped as to combine with the black line into a pattern. Let us now suppose that the original black line is conscious. But it is not conscious along the whole length at once—only on each point on that length in turn.
Its consciousness in fact is travelling along that line from left to right retaining point A only as a memory when it reaches B and unable until it has left B to become conscious of C. Let us also give this black line free will. It chooses the direction it goes in. The particular wavy shape of it is the shape it wills to have. But whereas it is aware of its own chosen shape only moment by moment and does not know at point D which way it will decide to turn at point F, I can see its shape as a whole and all at once. At every moment it will find my red lines waiting for it and adapted to it. Of course: because I, in composing the total red-and-black design have the whole course of the black line in view and take it into account. It is a matter not of impossibility but merely of designer’s skill for me to devise red lines which at every point have a right relation not only to the black line but to one another so as to fill the whole paper with a satisfactory design.
In this model the black line represents a creature with free will, the red lines represent material events, and I represent God. The model would of course be more accurate if I were making the paper as well as the pattern and if there were hundreds of millions of black lines instead of one—but for the sake of simplicity we must keep it as it is. 1
It will be seen that if the black line addressed prayers to me I might (if I chose) grant them. It prays that when it reaches point N it may find the red lines arranged around it in a certain shape. That shape may by the laws of design require to be balanced by other arrangements of red lines on quite different parts of the paper—some at the top or bottom so far away from the black line that it knows nothing about them: some so far to the left that they come before the beginning of the black line, some so far to the right that they come after its end. (The black line would call these parts of the paper, ‘The time before I was born,’ and, ‘The time after I’m dead.’) But these other parts of the pattern demanded by that red shape which Black Line wants at N, do not prevent my granting its prayer. For his whole course has been visible to me from the moment I looked at the paper and his requirements at point N are among the things I took into account in deciding the total pattern.
Most of our prayers if fully analysed, ask either for a miracle or for events whose foundation will have to have been laid before I was born, indeed, laid when the universe began. But then to God (though not to me) I and the prayer I make in 1945 were just as much present at the creation of the world as they are now and will be a million years hence. God’s creative act is timeless and timelessly adapted to the ‘free’ elements within it: but this timeless adaptation meets our consciousness as a sequence and prayer and answer.
Two corollaries follow:
1. People often ask whether a given event (not a miracle) was really an answer to prayer or not. I think that if they analyse their thought they will find they are asking, ‘Did God bring it about for a special purpose or would it have happened anyway as part of the natural course of events?’ But this (like the old question, ‘Have you left off beating your wife?’) makes either answer impossible. In the play, Hamlet, Ophelia climbs out on a branch overhanging a river: the branch breaks, she falls in and drowns. What would you reply if anyone asked, ‘Did Ophelia die because Shakespeare for poetic reasons wanted her to die at that moment—or because the branch broke?’ I think one would have to say, ‘For both reasons.’ Every event in the play happens as a result of other events in the play, but also every event happens because the poet wants it to happen. All events in the play are Shakespearian events; similarly all events in the real world are providential events. All events in the play, however, come about (or ought to come about) by the dramatic logic of events. Similarly all events in the real world (except miracles) come about by natural causes. ‘Providence’ and Natural causation are not alternatives; both determine every event because both are one.
2. When we are praying about the result, say, of a battle or a medical consultation the thought will often cross our minds that (if only we knew it) the event is already decided one way or the other. I believe this to be no good reason for ceasing our prayers. The event certainly has been decided—in a sense it was decided ‘before all worlds’. But one of the things taken into account in deciding it, and therefore one of the things that really cause it to happen, may be this very prayer that we are now offering. Thus, shocking as it may sound, I conclude that we can at noon become part causes of an event occurring at ten a.m. (Some scientists would find this easier than popular thought does.) The imagination will, no doubt, try to play all sorts of tricks on us at this point. It will ask, ‘Then if I stop praying can God go back and alter what has already happened?’ No. The event has already happened and one of its causes has been the fact that you are asking such questions instead of praying. It will ask, ‘Then if I begin to pray can God go back and alter what has already happened?’ No. The event has already happened and one of its causes is your present prayer. Thus something does really depend on my choice. My free act contributes to the cosmic shape. That contribution is made in eternity or ‘before all worlds’; but my consciousness of contributing reaches me at a particular point in the time-series.
The following question may be asked: If we can reasonably pray for an event which must in fact have happened or failed to happen several hours ago, why can we not pray for an event which we know not to have happened? e.g. pray for the safety of someone who, as we know, was killed yesterday. What makes the difference is precisely our knowledge. The known event states God’s will. It is psychologically impossible to pray for what we know to be unobtainable; and if it were possible the prayer would sin against the duty of submission to God’s known will.
One more consequence remains to be drawn. It is never possible to prove empirically that a given, nonmiraculous event was or was not an answer to prayer. Since it was non-miraculous the sceptic can always point to its natural causes and say, ‘Because of these it would have happened anyway,’ and the believer can always reply, ‘But because these were only links in a chain of events, hanging on other links, and the whole chain hanging upon God’s will, they may have occurred because someone prayed.’ The efficacy of prayer, therefore, cannot be either asserted or denied without an exercise of the will—the will choosing or rejecting faith in the light of a whole philosophy. Experimental evidence there can be none on either side. In the sequence M.N.O. event N, unless it is a miracle, is always caused by M and causes O; but the real question is whether the total series (say A–Z) does or does not originate in a will that can take human prayers into account.
This impossibility of empirical proof is a spiritual necessity. A man who knew empirically that an event had been caused by his prayer would feel like a magician. His head would turn and his heart would be corrupted. The Christian is not to ask whether this or that event happened because of a prayer. He is rather to believe that all events without exception are answers to prayer in the sense that whether they are grantings or refusals the prayers of all concerned and their needs have all been taken into account. All prayers are heard, though not all prayers are granted. We must not picture destiny as a film unrolling for the most part on its own, but in which our prayers are sometimes allowed to insert additional items. On the contrary; what the film displays to us as it unrolls already contains the results of our prayers and of all our other acts. There is no question whether an event has happened because of your prayer. When the event you prayed for occurs your prayer has always contributed to it. When the opposite event occurs your prayer has never been ignored; it has been considered and refused, for your ultimate good and the good of the whole universe. (For example, because it is better for you and for everyone else in the long run that other
people, including wicked ones, should exercise free will than that you should be protected from cruelty or treachery by turning the human race into automata.) But this is, and must remain, a matter of faith. You will, I think, only deceive yourself by trying to find special evidence for it in some cases more than in others.
About the Author
CLIVE STAPLES LEWIS (1898–1963) was one of the intellectual giants of the twentieth century and arguably the most influential Christian writer of his day. He was a Fellow and tutor in English literature at Oxford University until 1954 when he was unanimously elected to the Chair of Medieval and Renaissance English at Cambridge University, a position he held until his retirement. He wrote more than thirty books, allowing him to reach a vast audience, and his works continue to attract thousands of new readers every year. His most distinguished and popular accomplishments include The Chronicles of Narnia, Out of the Silent Planet, The Four Loves, The Screwtape Letters, and Mere Christianity. For more information about C. S. Lewis, visit www.cslewis.com.
Visit www.AuthorTracker.com for exclusive information on your favorite HarperCollins author.
BOOKS BY C. S. LEWIS
A Grief Observed
George MacDonald: An Anthology
Mere Christianity
Miracles
The Abolition of Man
The Great Divorce
The Problem of Pain
The Screwtape Letters (with “Screwtape Proposes a Toast”)
The Weight of Glory
ALSO AVAILABLE FROM HARPERCOLLINS
The Chronicles of Narnia:
The Magician’s Nephew
The Lion, the Witch and the Wardrobe
The Horse and His Boy
Prince Caspian
The Voyage of the Dawn Treader
The Silver Chair
The Last Battle
Credits
Cover design: The Designworksgroup, Jason Gabbert
Illustration: Antar Dayal
Copyright
MIRACLES: A Preliminary Study. Copyright © 1947 by C.S. Lewis Pte. Ltd. Copyright renewed © 1974 C. S. Lewis Pte. Ltd. Revised 1960, restored 1996 C. S. Lewis Pte. Ltd. All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins e-books.
Adobe Digital Edition May 2009 ISBN 978-0-06-194976-0
10 9 8 7 6 5 4 3 2 1
About the Publisher
Australia
HarperCollins Publishers (Australia) Pty. Ltd.
25 Ryde Road (PO Box 321)
Pymble, NSW 2073, Australia
http://www.harpercollinsebooks.com.au
Canada
HarperCollins Publishers Ltd.
55 Avenue Road, Suite 2900
Toronto, ON, M5R, 3L2, Canada
http://www.harpercollinsebooks.ca
New Zealand
HarperCollinsPublishers (New Zealand) Limited
P.O. Box 1
Auckland, New Zealand
http://www.harpercollins.co.nz
United Kingdom
HarperCollins Publishers Ltd.
77-85 Fulham Palace Road
London, W6 8JB, UK
http://www.harpercollinsebooks.co.uk
United States
HarperCollins Publishers Inc.
10 East 53rd Street
New York, NY 10022
http://www.harpercollinsebooks.com
1 This definition is not that which would be given by many theologians. I am adopting it not because I think it an improvement upon theirs but precisely because, being crude and ‘popular’, it enables me most easily to treat those questions which ‘the common reader’ probably has in mind when he takes up a book on Miracles.
1 See Appendix A.
1 If any region of reality is in fact chancy or lawless then it is a region which, so far from admitting Miracle with special ease, renders the word ‘Miracle’ meaningless throughout that region.
1 Senex mente confusus Cassian quoted in Gibbon, cap. xlvii.
2 Athanasian Creed.
3 St Chrysostom De Incomprehensibili quoted in Otto, Idea of the Holy, Appendix 1.
4 Athanasius De Incarnatione viii.
5 John 1:1.
6 Colossians 1:17.
7 Colossians 1 ε’ ν αυ’τφ ε’χτισθη. John 1:4.
8 Ephesians 1:10.
9 Jeremiah 23:24.
10 Ezekiel 1:26.
11 Deuteronomy 4:15.
12 Genesis 1:1.
1 Hence, if a Minister of Education professes to value religion and at the same time takes steps to suppress Christianity, it does not necessarily follow that he is a hypocrite or even (in the ordinary this-wordly sense of the word) a fool. He may sincerely desire more ‘religion’ and rightly see that the suppression of Christianity is a necessary preliminary to his design.
2 A Descriptive Catalogue. Number IV.
1 Science and the Modern World, Chapter II.
1 Essays, I, xii, Apology for Raimond de Sebonde.
2 I owe this point to Canon Adam Fox.
1 A consideration of the Old Testament miracles is beyond the scope of this book and would require many kinds of knowledge which I do not possess. My present view—which is tentative and liable to any amount of correction—would be that just as, on the factual side, a long preparation culminates in God’s becoming incarnate as Man, so, on the documentary side, the truth first appears in mythical form and then by a long process of condensing or focusing finally becomes incarnate as History. This involves the belief that Myth in general is not merely misunderstood history (as Euhemerus thought) nor diabolical illusion (as some of the Fathers thought) nor priestly lying (as the philosophers of the Enlightenment thought) but, at its best, a real though unfocused gleam of divine truth falling on human imagination. The Hebrews, like other people, had mythology: but as they were the chosen people so their mythology was the chosen mythology—the mythology chosen by God to be the vehicle of the earliest sacred truths, the first step in that process which ends in the New Testament where truth has become completely historical. Whether we can ever say with certainty where, in this process of crystallisation, any particular Old Testament story fails, is another matter. I take it that the Memoirs of David’s court come at one end of the scale and are scarcely less historical than St Mark or Acts; and that the Book of Jonah is at the opposite end. It should be noted that on this view (a) Just as God, in becoming Man, is ‘emptied’ of His glory, so the truth, when it comes down from the ‘heaven’ of myth to the ‘earth’ of history, undergoes a certain humiliation. Hence the New Testament is, and ought to be, more prosaic, in some ways less splendid, than the Old; just as the Old Testament is and ought to be less rich in many kinds of imaginative beauty than the Pagan mythologies. (b) Just as God is none the less God by being Man, so the Myth remains Myth even when it becomes Fact. The story of Christ demands from us, and repays, not only a religious and historical but also an imaginative response. It is directed to the child, the poet, and the savage in us as well as to the conscience and to the intellect. One of its functions is to break down dividing walls.
2 Matthew 17:20, 21:21, Mark 11:23, Luke 10:19, John 14:12, 1 Corinthians 3:22, 2 Timothy 2:12.
3 Philippians 3:21, 1 John 3:1, 2.
4 Cf. Matthew 23:9.
1 i.e. the Body with its five senses.
1 Because the ‘spirit’ in this sense is identical with the New Man (the Christ formed in each perfected Christian) some Latin theologians call it simply our Novitas i.e. our ‘newness’.
1 Admittedly all I have done is to turn the tab
les by making human volitions the constant and physical destiny the variable. This is as false as the opposite view; the point is that it is no falser. A subtler image of creation and freedom (or rather, creation of the free and the unfree in a single timeless act) would be the almost simultaneous mutual adaptation in the movement of two expert dancing partners.