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<v Speaker 1>Hello, and welcome to Mythic Mind, where we pursue wisdom

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<v Speaker 1>on the past between primary secondary worlds. I'm doctor Andrew Snyder,

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<v Speaker 1>and I'm glad that you're here.

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<v Speaker 2>Hey there, welcome back. Today.

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<v Speaker 1>We're going to be continuing our Lewis study with Out

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<v Speaker 1>of the Silent Planet. We're gonna talk some more medieval

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<v Speaker 1>cosmology and background, and we're also gonna obviously get into

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<v Speaker 1>the story itself and so be finding brought over you.

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<v Speaker 1>If you've never read this book, Out of the Side

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<v Speaker 1>on the Planet, you've never read the Ransom series. I

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<v Speaker 1>very very strongly recommend it. I feel like it's really

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<v Speaker 1>been gaining a broad scale popularity lately, especially in Lewis

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<v Speaker 1>and in adjacent circles, and for a good reason. And

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<v Speaker 1>there's there's so much, so many important things that are happening.

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<v Speaker 1>Hold on, let me turn down. I'm on a baby

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<v Speaker 1>sound machine duty here.

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<v Speaker 2>Let me turn that down, all right.

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<v Speaker 1>Yeah, there's just so much in these books that is

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<v Speaker 1>very applicable to our world today. It's very Lewis just

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<v Speaker 1>a great job of dealing with things that were happening

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<v Speaker 1>in his own age that I've only widened out as

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<v Speaker 1>they've moved downstream to the current era, not that Lewis

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<v Speaker 1>is it was really that long ago, all things considered, right,

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<v Speaker 1>He's a fairly modern writer, but at the same time

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<v Speaker 1>keeps writing about things that are only beginning to develop

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<v Speaker 1>to the extent that they have today. And more of

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<v Speaker 1>that will become evident as we go through this series,

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<v Speaker 1>and so I'll be well beginning to that. But before

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<v Speaker 1>we do so, I do want to give us a

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<v Speaker 1>quick plug for the other Mythic Mind things we have

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<v Speaker 1>gone on here. Over on the Mythic Mind Movies and

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<v Speaker 1>Shows podcast, we're continuing with the Star Wars series. We

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<v Speaker 1>just recently wrapped up the original trilogy with Return of

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<v Speaker 1>the Jedi, So head over to the Mythic Mind Movies

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<v Speaker 1>and Shows podcast to catch upon that and to get

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<v Speaker 1>ready for the prequels that are coming up. And then

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<v Speaker 1>over on Mythic Mind Games, we just began a two

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<v Speaker 1>parter on the Legend of Zelda, and so already you

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<v Speaker 1>can find our kind of broad level conversation about Zelda.

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<v Speaker 1>And then next week, well we'll have the second part

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<v Speaker 1>of that, which is an interview with an expert on

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<v Speaker 1>the subject, and that episode is actually already available on Patreon,

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<v Speaker 1>and so you can check that out right now. Speaking

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<v Speaker 1>of which, if you like what we do in Mythic

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<v Speaker 1>Mind and you like to get all episodes of everything

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<v Speaker 1>that we're do, we delivered into one podcast feed early

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<v Speaker 1>in ad free, become a patron at any level over

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<v Speaker 1>at patreon dot com slash mythic Mind. Of course, higher

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<v Speaker 1>levels of support will provide you with more benefits, more content,

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<v Speaker 1>but even just five dollars a month provides you with

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<v Speaker 1>all Mythic Mind episodes across the three podcast one feed

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<v Speaker 1>in ad free. And so you can head over to

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<v Speaker 1>patreon dot com slash Mythic Mind. But for now, let's

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<v Speaker 1>go ahead and jump to it with Out of the

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<v Speaker 1>Silent Planet. Hello, and welcome back. As we get ready

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<v Speaker 1>for Out of the Silent Planet. Like I said before,

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<v Speaker 1>my goal in this is not to do a chapter

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<v Speaker 1>by chapter deep dive analysis. We simply don't have the

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<v Speaker 1>time to do that. But what I'm just said going

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<v Speaker 1>to do is I'm going to focus on some key

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<v Speaker 1>developments in the story to really give you this sense

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<v Speaker 1>of theme, the sense of mood, to equip you with

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<v Speaker 1>some tools for getting more out of the story yourself.

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<v Speaker 1>And then I'm particularly going to save some of the

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<v Speaker 1>really deep philosophical conversations in the story for our live meetings,

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<v Speaker 1>and so I don't think I'm skipping over that entirely.

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<v Speaker 1>I do have some plans for that. But before we

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<v Speaker 1>even get to out of the sidelent planet, I want

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<v Speaker 1>to actually do a little bit more build up. I

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<v Speaker 1>cut short a little bit previously when I was going

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<v Speaker 1>over medieval cosmology, kind of the old view of the cosmos,

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<v Speaker 1>and that's because I didn't want to give you too

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<v Speaker 1>much of a map to what Lewis is doing. You know,

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<v Speaker 1>I didn't want for you to say, oh, the Eldala

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<v Speaker 1>fit nicely into this medieval category. Oh, Yarsa fits nicely

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<v Speaker 1>into this category. No, I wanted there to be some

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<v Speaker 1>mystery there. I wanted for you to explore some things

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<v Speaker 1>on your own if you are reading this for the

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<v Speaker 1>first time. But now that you've been through that, I

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<v Speaker 1>do want to give you some of those categories that

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<v Speaker 1>we can talk about what these strange beings are and

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<v Speaker 1>kind of how they fit within the bigger picture. And

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<v Speaker 1>so let's return to medieval cosmol and go a little

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<v Speaker 1>bit deeper there, all right, So, looking again at the

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<v Speaker 1>medieval view of the cosmos, and I really like this

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<v Speaker 1>image here. And so we have the Earth here at

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<v Speaker 1>the center, and then we have the elements, which we'll

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<v Speaker 1>talk about moving out to fire here this reddish orange circle,

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<v Speaker 1>because fire, of course is the lightest, most ethereal of

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<v Speaker 1>the elements. And so once you move past that, well,

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<v Speaker 1>now we get the planetary sphere, starting with the moon

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<v Speaker 1>and then moving outward, and eventually you get to the

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<v Speaker 1>edge here, which then approaches the realm of God, where

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<v Speaker 1>we have God ruling and raining, and we have the

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<v Speaker 1>entire cosmos moving in an ordered spherical motion and imitation

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<v Speaker 1>of the perfect fully actualized goodness of God. And so

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<v Speaker 1>we have a very structured, a very orderly view of

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<v Speaker 1>the cosmos. We really get this sense when you look

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<v Speaker 1>at the medieval philosophers, the medieval theologe, that there is

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<v Speaker 1>this unending goodness, that there is this luminosity in the

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<v Speaker 1>very fibers of being, that existence is fundamentally good and

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<v Speaker 1>ordered and purposeful in reflection of the good order and

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<v Speaker 1>the true purpose, the true end of all things, which

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<v Speaker 1>is God. And so what I wouldn't necessarily call optimism,

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<v Speaker 1>but a philosophy of absolute hope that no matter how

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<v Speaker 1>chaotic things seem to be well this earth, where things

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<v Speaker 1>tend to break down, where things do tend toward corruption,

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<v Speaker 1>where do things do turn to disorder, we have the

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<v Speaker 1>sense that this is just one small little point in

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<v Speaker 1>a much bigger story. And the more that we identify

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<v Speaker 1>with this grand story, this grand spiral, this great dance,

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<v Speaker 1>as C. S. Lewis calls it, in mere Christianity and elsewhere,

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<v Speaker 1>the more that we participate in the joy of the heavens,

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<v Speaker 1>the more that we find that existence itself is deeply

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<v Speaker 1>fundamentally and eternally significant and purposeful. And so there is

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<v Speaker 1>this great joy to be found here. And I think

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<v Speaker 1>in particular of Boethius, who I mentioned before. You know,

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<v Speaker 1>when he is falsely accused, he is imprisoned, he is

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<v Speaker 1>awaiting what would be his death.

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<v Speaker 2>He's able to.

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<v Speaker 1>Find hope and joy and peace and fulfillment simply in

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<v Speaker 1>resting in the perfect order that ultimately comes down from God.

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<v Speaker 1>And so there's a lot of purpose, a lot of

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<v Speaker 1>joy here. I may have mentioned this in one of

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<v Speaker 1>the previous videos, but in Discarded Image CS Lewis talks

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<v Speaker 1>about the difference between a modern and a medieval man

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<v Speaker 1>when they go out and look up at the sky.

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<v Speaker 1>And so maybe you've even experienced this where you go

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<v Speaker 1>out on a starry night and you look up in

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<v Speaker 1>the sky and you feel the sense of maybe dread,

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<v Speaker 1>maybe anxiety, you just feel insignificant. Lewis says that the

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<v Speaker 1>modern man looks up the vastness of space and he

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<v Speaker 1>finds a question mark, He finds a lack of certainty. Well,

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<v Speaker 1>the medieval man looks up at the heavens and he

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<v Speaker 1>doesn't see a question mark. What he sees is an answer.

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<v Speaker 1>He sees an answer to the fundamental questions that we're

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<v Speaker 1>prone to ask. He finds a place for his mind

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<v Speaker 1>to rest in the perfect order and joy that exists

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<v Speaker 1>in the heavens. And so this there are two fundamentally

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<v Speaker 1>different ways of looking at the cosmos. It's not just

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<v Speaker 1>a matter of different science. The science Lewis actually brings

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<v Speaker 1>up is actually secondary to the primary issue. And the

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<v Speaker 1>primary issue is the questions that we're asking, which are

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<v Speaker 1>then connected to what we're seeking. And I guess the

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<v Speaker 1>question is what is it that we're seeking. Are we

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<v Speaker 1>seeking order and purpose that actually exists, or are we

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<v Speaker 1>seeking to project order.

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<v Speaker 2>And purpose on the cosmos.

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<v Speaker 1>And these are two very different ways of seeing the world,

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<v Speaker 1>and this is going to result in two very different

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<v Speaker 1>worlds to be seen. And so let's break down the

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<v Speaker 1>medieval cosmos.

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<v Speaker 2>A little bit more.

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<v Speaker 1>A right, So at the center here you have Earth,

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<v Speaker 1>and if you were to go even deeper here to

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<v Speaker 1>the center of the Earth, well, this is where you

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<v Speaker 1>have Hell, which is of course the furthest away from God,

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<v Speaker 1>the furthest away from the realm of order, the realm

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<v Speaker 1>of being, the realm of existence. And of course, if

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<v Speaker 1>you're familiar with Dante's Inferno, you know, once you get

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<v Speaker 1>to the inner circle of Hell, which would be the

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<v Speaker 1>inner circle of the Inner Circle, well, at this point

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<v Speaker 1>everything is frozen. It's not moving, and that's because we

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<v Speaker 1>are the furthest away from being itself. We're actually starting

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<v Speaker 1>to approach non being. But one thing that's very interesting

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<v Speaker 1>is that in this understanding that God is usually understood

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<v Speaker 1>as being stable because he's fully actualized. If you're fully actualized,

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<v Speaker 1>that means there's nothing else that you can actually do,

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<v Speaker 1>there's nothing else that you can become. And so God

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<v Speaker 1>is unmoving, or perhaps we might want to say his

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<v Speaker 1>actions are eternal, which is another way of saying the

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<v Speaker 1>same thing. And so one hand you have God has

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<v Speaker 1>complete stability, but also so does Hell. And that's because

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<v Speaker 1>the closer you get to evil, the more that you

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<v Speaker 1>recognize evil is a pale invitation. It's a mockery of

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<v Speaker 1>the good. And so just as God is stable, well

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<v Speaker 1>so as Hell, but for very different reasons. But nonetheless,

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<v Speaker 1>so you have held the very center, and then you

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<v Speaker 1>have Earth, which is the heaviest of the elements. On

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<v Speaker 1>top of the Earth, you have water. So now we're

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<v Speaker 1>moving toward the lighter, toward the more ethereal and so

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<v Speaker 1>water is the next sphere of Earth. And then you

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<v Speaker 1>move out a step further, and now you have air,

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<v Speaker 1>and then move out further and now you have fire

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<v Speaker 1>in something like what we might call our atmosphere. But

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<v Speaker 1>this is a pure fire, and because it's so pure

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<v Speaker 1>we don't see it. It's actually transparent. And so this

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<v Speaker 1>is definitely a very Platonic idea here, and so we

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<v Speaker 1>can definitely see Plato's influence here that as we move

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<v Speaker 1>toward the more real, we get less solid, the sense

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<v Speaker 1>that there is this levity toward reality, and so the

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<v Speaker 1>more that we move toward what is more real. Things

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<v Speaker 1>become lighter, more ethereal, less earth bound. The more that

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<v Speaker 1>we move away from the perfect order of the heavens,

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<v Speaker 1>the more more that we move away from the grounded being. Well,

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<v Speaker 1>the more grounded we become, the heavier we become, the

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<v Speaker 1>more prone we are to being dragged down rather than

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<v Speaker 1>rising up toward the heaven. And once we move beyond

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<v Speaker 1>the last of these earthly spheres, well, now we move

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<v Speaker 1>into the planetary spheres, which we're believed to be moved

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<v Speaker 1>along by divine powers. Now, of course, all of these

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<v Speaker 1>powers are going to be named after Roman gods. But

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<v Speaker 1>I mean, of course our medieval Christian philosophers and theologians

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<v Speaker 1>don't believe in the Roman gods at least in the

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<v Speaker 1>same way that the Romans did. But even though the

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<v Speaker 1>names kind of stick, they're really talking about angelic powers,

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<v Speaker 1>angelic intelligences that are responsible for moving the planets in

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<v Speaker 1>their spherical motion. And each of these angelic powers was

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<v Speaker 1>said to have some particular influence, very often connected to

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<v Speaker 1>what the gods stood for in the Roman mythology. Now,

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<v Speaker 1>Lewis points out that this might raise some questions for us, Right,

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<v Speaker 1>what are these medieval Christians doing with Roman gods and

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<v Speaker 1>goddesses in their theology, in their cosmology, and Lewis says

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<v Speaker 1>that as far as he can tell, that really just

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<v Speaker 1>wasn't an issue, which seems to indicate that the Medievals

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<v Speaker 1>believed that, you know, the ancient Pagans had something right,

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<v Speaker 1>even though obviously they were wrong in a very fundamental sense.

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<v Speaker 1>And we'll get more into the intersection of Christian theology

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<v Speaker 1>and Pagan mythology, especially when we get to Perilandra, and

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<v Speaker 1>we can certainly talk about that more if you want

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<v Speaker 1>to now in the Discord chat and in the Life Meeting,

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<v Speaker 1>but he starts to deal with that more directly in Peralandra,

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<v Speaker 1>and so that's where we will start to deal with

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<v Speaker 1>it in these videos. But for now, just know that

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<v Speaker 1>there seem to be some recognition that the ancient Pagans,

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<v Speaker 1>even though they were wrong on a fundamental level, they

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<v Speaker 1>weren't entirely wrong. That they had these certain desires and

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<v Speaker 1>these certain thoughts that in some way at least start

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<v Speaker 1>to approach reality, which are then given proper context within

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<v Speaker 1>the Christian theological framework. And so when we talk about Luna,

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<v Speaker 1>we talk about Mars, we talk about Venus, we're going

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<v Speaker 1>to get some thematic associations with these pagan gods and goddesses,

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<v Speaker 1>but really what we're talking about are Christian angelic intelligences,

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<v Speaker 1>Christian angelic powers that are respond possible for moving the

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<v Speaker 1>spheres and exert some influence on our life down here

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<v Speaker 1>on Earth. However, because the Earth is a fallen planet,

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<v Speaker 1>because things are tend toward corruption down here, well, a

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<v Speaker 1>lot of times these influences will be misappropriated. Even though,

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<v Speaker 1>operating as they are in the perfectly ordered realm of

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<v Speaker 1>the heavens, they are all good, right. All of the

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<v Speaker 1>planetary spheres have good influences. However, these influences can have

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<v Speaker 1>a negative instantiation as they enter into our corrupted atmosphere

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<v Speaker 1>and are picked up by corrupted.

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<v Speaker 2>Men and women.

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<v Speaker 1>Right now, the first planetary influence that we're going to

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<v Speaker 1>talk about is the Moon or Luna, and a lot

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<v Speaker 1>of the information I'm going to go over in this

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<v Speaker 1>section of the video comes from C. S. Lewis's The

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<v Speaker 1>Discarded Image as well as Michael Ward's Planet Narnium. And

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<v Speaker 1>this is a book that I probably should have recommended

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<v Speaker 1>in the last video because even though its called planet

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<v Speaker 1>Narnia and deals a lot with Narnium. A lot of

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<v Speaker 1>the information that he goes over also does relate to

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<v Speaker 1>the Ransom series, and so I will be talking about

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<v Speaker 1>this from time to time, but I'll probably talk about

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<v Speaker 1>it a bit more of extended fashion when we get

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<v Speaker 1>to Narnium. But anyways, so in the medieval model, Luna

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<v Speaker 1>was the planet closest to Earth. In Greek and Roman myth,

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<v Speaker 1>Luna was associated with a number of different named goddesses,

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<v Speaker 1>such as Selene, Artemis, and Cynthia, and these goddesses survived

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<v Speaker 1>into medieval and Renaissance times. Another of Luna's names was Diana,

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<v Speaker 1>who was specifically the goddess of hunting because of course,

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<v Speaker 1>when the moon is bright, well now it's easier to

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<v Speaker 1>hunt at night. And Luna's whiteness and brightness also made

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<v Speaker 1>it natural to associate her with the metal silver, and

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<v Speaker 1>so Luna produces silver in the earth. Now because the

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<v Speaker 1>moon has effects on the tides, the seas, and the rivers,

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<v Speaker 1>she became associated with wateriness. In our related note, she's

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<v Speaker 1>connected with inconstancy and dealt with movement with transitions above lunisphere.

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<v Speaker 1>Everything in the heavens was considered perfect and unchanging, but

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<v Speaker 1>within and beneath lunisphere everything was subject to alteration. And

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<v Speaker 1>so this is where the order of the heavens starts

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<v Speaker 1>to break down. And this kind of makes sense when

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<v Speaker 1>you stop and think about it. You know, the moon

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<v Speaker 1>changes its appearance on a regular basis. However, it changes

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<v Speaker 1>its appearance in an orderly way that we can actually predict.

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<v Speaker 1>You look up at the moon and you know it

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<v Speaker 1>has craters, that it has some apparent physical imperfections. The

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<v Speaker 1>moon has a light side and it has a dark side.

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<v Speaker 1>And more mythologically speaking, I mean the moon has one

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<v Speaker 1>face toward Earth and the other is toward the order

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<v Speaker 1>of the heavens. And so the moon is this transition

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<v Speaker 1>point between order and chaos. For this reason, Luna had

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<v Speaker 1>an influence on wanderers and travelers, those who were given

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<v Speaker 1>over to movement. And she also has an influence over sanity,

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<v Speaker 1>which is why people who lose their wits are called lunatics.

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<v Speaker 1>And in fact, this is also connected to the myths

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<v Speaker 1>of werewolves.

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<v Speaker 2>Right.

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<v Speaker 1>Because Luna has an influence over sanity, a negative influence

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<v Speaker 1>with Luna can actually lead people, in extreme cases toward

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<v Speaker 1>over identification with their beasteal chaotic natures to the detriment

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<v Speaker 1>of their reason, of their rational souls. And the only

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<v Speaker 1>thing that can stop a werewolf is of course silver.

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<v Speaker 1>And so we get really this beautiful poetic imagery in

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<v Speaker 1>these myths that the only way that Luna can atone

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<v Speaker 1>for her sins is with her tears, that is, with

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<v Speaker 1>the silver that she produces in the Earth. And so

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<v Speaker 1>there are a lot of, you know, stories that are

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<v Speaker 1>connected with the moon and all this really comes down

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<v Speaker 1>to some connection with transition toward life on the borders

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<v Speaker 1>of realities. Luna gets a day of the week, which

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<v Speaker 1>is of course Monday or Moonday. Her metal is silver,

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<v Speaker 1>as I mentioned, and she's associated with envy, with wateriness,

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<v Speaker 1>with confusion, lunacy, boundary between certainty and mutability, and she's

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<v Speaker 1>also a sponsor of hunting and wandering. Right next moving out,

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<v Speaker 1>the second planet closest to Earth in this model is Mercury. Now,

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<v Speaker 1>Mercury was known to be the fastest moving of the planets.

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<v Speaker 1>Partly because of this rapidity, Mercury became thought of as

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<v Speaker 1>a messenger of the gods. He's often depicted with wings

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<v Speaker 1>on his cap and on his heels. He held a

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<v Speaker 1>wand with which he directed pious souls to their happy

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<v Speaker 1>dwellings in the afterlife. And Mercury's lightness and quickness carry

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<v Speaker 1>over to the metal with which he was associated. And

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<v Speaker 1>so if you imagine quicksilver, it's going to roll around

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<v Speaker 1>a dish, dividing into droplets and then recombining very swiftly

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<v Speaker 1>and glitteringly. And so this tendency of Mercury to divide

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<v Speaker 1>into reunite means that he became connected with a variety

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<v Speaker 1>of different things that split up and then I'm back together.

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<v Speaker 1>He is the god of boxers, of thieves, and even

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<v Speaker 1>of crossroads. This again we get this idea of movement

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<v Speaker 1>of transition. In Greek mythology, Mercury is of course called Hermes,

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<v Speaker 1>and as the messenger of the gods, Mercury was also

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<v Speaker 1>thought to have a particular responsibility for speech. He was

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<v Speaker 1>linked with scholarship and with learning. Now his day of

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<v Speaker 1>the week is Wednesday by means of his Norse counterpart Wodin.

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<v Speaker 1>His medal is of course quicksilver, and he is associated

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<v Speaker 1>with swiftness, with heraldry, with skill and speech and learning,

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<v Speaker 1>ability to divide and to recombine and He also is

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<v Speaker 1>connected with the idea of twins, which will come up

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<v Speaker 1>again when we get to the horse and his boy

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<v Speaker 1>much later on. Now, moving out next, we have Venus. Now,

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<v Speaker 1>Venus appears brightly in the sky both a dawn and

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<v Speaker 1>at dusk, and was known as the morning star as

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<v Speaker 1>well as the evening star or Hesperus. Now, mythologically, Hesperus

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<v Speaker 1>was a deity who had a western garden in which

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<v Speaker 1>his daughter the Hesperites guarded a grove of immortality giving

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<v Speaker 1>apple trees. Now we're going to see this imagery come

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<v Speaker 1>up a couple times, obviously in Perlandrum as well as

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<v Speaker 1>in the Magician's Nephew. Now, although Hesperus was conceived of

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<v Speaker 1>as a male god, the special beauty of Venus in

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<v Speaker 1>the sky led it to be thought of chiefly as

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<v Speaker 1>a feminine planet. And of course this is connected to Venus,

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<v Speaker 1>the goddess of amorousness and sexuality, since she presided over

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<v Speaker 1>such qualities. She was also connected with fertility and creativity,

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<v Speaker 1>and thence to motherliness. Now, Homer associated Aphrodite or Venus

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<v Speaker 1>with laughter. She was the goddess of sweetness and love.

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<v Speaker 2>She was considered one.

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<v Speaker 1>Of the most positive influences, and so she was known

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<v Speaker 1>as Fortuna minor. Her day of the week is Friday

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<v Speaker 1>by means of her Norse counterpart Friga. Her metal is copper,

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<v Speaker 1>and she is associated with sweetness, with warmth, with beauty, laughter, motherliness, sexuality, fertility, vitality,

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<v Speaker 1>and creativity. And so she is a life giving influence.

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<v Speaker 1>She is a loving, she is a motherly she is

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<v Speaker 1>a feminine influence. In many ways, she is something like

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<v Speaker 1>the feminine ideal. All right, moving out, Next, we have

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<v Speaker 1>Soul or the sun. Now, Soul was the eye in

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<v Speaker 1>the mind of the whole universe. His fear was the

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<v Speaker 1>heaven of theologians and philosophers, and he produced the noblest metal,

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<v Speaker 1>that is gold, and alchemists were always trying to harness

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<v Speaker 1>his power. Right they were looking for the philosopher's stone

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<v Speaker 1>that would allow them to turn base metal into gold.

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<v Speaker 1>Soul's characteristic influence was to illuminate the human mind, making

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<v Speaker 1>people wise and liberal, obviously not in like a contemporary

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<v Speaker 1>political sense, but the sense of being generous, free and

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<v Speaker 1>opposed to greed and to raw pragmatism or utilitarianism. Soul

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<v Speaker 1>burns a way base considerations of greed and profit, and

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<v Speaker 1>so here we have the influence.

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<v Speaker 2>That gives us gold.

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<v Speaker 1>The influence that gives us wealth is also the influence

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<v Speaker 1>that leads us to hold wealth in an open hand,

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<v Speaker 1>to recognize that the metal, that the material of gold,

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<v Speaker 1>is nothing more than a symbol for that which is

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<v Speaker 1>true wealth.

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<v Speaker 2>And if we look.

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<v Speaker 1>To gold as true wealth, then we are grasping at

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<v Speaker 1>shadows rather than the substance to which the shadows should

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<v Speaker 1>point us. If we're looking directly, and where we need

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<v Speaker 1>to look, it's in the direction of the sun. However,

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<v Speaker 1>the sun itself is nothing that our reason can grasp entirely.

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<v Speaker 1>The sun is not something that we see, is that

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<v Speaker 1>by which we see. And so the more that we're

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<v Speaker 1>able to see not necessarily the sun itself, but we're

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<v Speaker 1>able to see the world illuminated by the sun. Well,

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<v Speaker 1>the more rightly related we are becoming to the influence

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<v Speaker 1>of soul. The Greek equivalent of soul was Apollo. His

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<v Speaker 1>position in the middle of the planetary ranks was held

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<v Speaker 1>to denote a special dignity and honor, like the positioning

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<v Speaker 1>of the heart in the middle of the body, or

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<v Speaker 1>like a king dwelling among his subjects, and of course

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<v Speaker 1>in the Bible, the sun is frequently a metaphor for

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<v Speaker 1>the divine image. And so, you know, we tend to

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<v Speaker 1>say that this old model is geocentric, replacing the Earth

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<v Speaker 1>of the center. But really, you know, if you look

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<v Speaker 1>at the way the heavenly spiritual arrange, it actually does

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<v Speaker 1>have the Sun at the center of the planetary spheres.

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<v Speaker 1>And so I mean, in a manner of speaking, this

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<v Speaker 1>could still be described as heliocentric, which just means something

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<v Speaker 1>a little bit different than that. And so we have

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<v Speaker 1>this idea that reason or wisdom is found at the

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<v Speaker 1>center of the influences, and it is by this reason

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<v Speaker 1>that we're able to see everything else. Now, Sunday is

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<v Speaker 1>obviously given the day Sunday. It's connected with the metal gold,

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<v Speaker 1>as well as with wisdom, liberality, freedom riches, enlightenment, and

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<v Speaker 1>opposition to greed. Next, we have Mars. Now, Mars is

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<v Speaker 1>known as in fortuna minor, and that's because it very

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<v Speaker 1>often had an unfortunate influence. Not that the influence itself

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<v Speaker 1>is bad. Remember, all of these heavenly influences are good. However,

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<v Speaker 1>the influence of Mars is one that is perhaps more

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<v Speaker 1>likely to be misappropriated. Of course, you all probably know

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<v Speaker 1>this that Mars is associated with war. He is the

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<v Speaker 1>martial influence. And this martial influence, taken the wrong way,

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<v Speaker 1>makes warriors into cruel and lawless men. However, taken or right,

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<v Speaker 1>it fortifies noble knights in justifiable conflicts and gives resolved

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<v Speaker 1>to martyr's suffering persecution, making them as strong as iron.

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<v Speaker 1>Mars enables hard but necessary task to be accomplished. And

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<v Speaker 1>I'll say more on this later, but if you've already

418
00:24:48.559 --> 00:24:52.559
<v Speaker 1>read that hideous strength, consider one of our main characters, Mark,

419
00:24:53.000 --> 00:24:58.440
<v Speaker 1>most certainly named after Mars. Now, Mars brings discipline, order, rhythm,

420
00:24:58.559 --> 00:25:02.839
<v Speaker 1>and freedom from anxiety. In an earlier mythological tradition, Mars

421
00:25:03.000 --> 00:25:06.640
<v Speaker 1>was a vegetation deity associated with the burgeoning of trees,

422
00:25:06.839 --> 00:25:10.599
<v Speaker 1>woods and forests, and of course, the springtime month of

423
00:25:10.720 --> 00:25:13.880
<v Speaker 1>March is named after Mars. In this capacity, he was

424
00:25:13.920 --> 00:25:16.960
<v Speaker 1>known as Mars Sylvanas. And so now that you've read

425
00:25:17.000 --> 00:25:19.839
<v Speaker 1>Out of the Silent Planet, you know, consider the vegetation,

426
00:25:20.119 --> 00:25:23.359
<v Speaker 1>all of the trees and the plant life and whatnot

427
00:25:23.400 --> 00:25:25.359
<v Speaker 1>that we see on the planet of Mars. And this

428
00:25:25.440 --> 00:25:29.839
<v Speaker 1>is associated with this older tradition where Mars is associated

429
00:25:29.880 --> 00:25:35.000
<v Speaker 1>with springtime realities. Now Mars is given the day Tuesday

430
00:25:35.119 --> 00:25:38.839
<v Speaker 1>by means of his Norse equivalent tier. His metal is iron,

431
00:25:39.039 --> 00:25:42.599
<v Speaker 1>which kind of makes sense given the coloration. He's associated

432
00:25:42.640 --> 00:25:46.279
<v Speaker 1>with vegetative growth in the month of March, particularly with

433
00:25:46.440 --> 00:25:50.200
<v Speaker 1>military strength and nightly discipline, as well as with courage

434
00:25:50.240 --> 00:25:55.799
<v Speaker 1>and orderliness. Or misappropriated, he associated with cruelty and lawlessness.

435
00:25:57.839 --> 00:26:00.920
<v Speaker 1>All right, moving out, we have Jupiter. Now, Jupiter was

436
00:26:00.960 --> 00:26:05.119
<v Speaker 1>known as fortuna major. He was seen as potentially the

437
00:26:05.480 --> 00:26:09.119
<v Speaker 1>best influence. He was the sovereign of the seven heavens.

438
00:26:09.519 --> 00:26:13.079
<v Speaker 1>His kingliness was that of a king at peace, at leisure.

439
00:26:13.400 --> 00:26:18.319
<v Speaker 1>He was enthroned. He was serene the jovial influence, which

440
00:26:18.839 --> 00:26:23.400
<v Speaker 1>another name for Jupiter is Jove, and so the jovial

441
00:26:23.440 --> 00:26:28.440
<v Speaker 1>influence made people cheerful and festive, yet also tranquil and magnanimous.

442
00:26:28.880 --> 00:26:31.400
<v Speaker 1>Jupiter was thought to be a temperate planet, positioned as

443
00:26:31.400 --> 00:26:34.359
<v Speaker 1>he was between the hotness of Mars and the coldness

444
00:26:34.400 --> 00:26:38.319
<v Speaker 1>of Saturn. In tenth century Arabic manual of Astrology mixed

445
00:26:38.400 --> 00:26:41.079
<v Speaker 1>Jupiter the ruler of western countries, and for that reason

446
00:26:41.519 --> 00:26:44.279
<v Speaker 1>he was seen as the patron of the Christians, and

447
00:26:44.319 --> 00:26:49.160
<v Speaker 1>sometimes he was actually associated with Christ himself, which I

448
00:26:49.200 --> 00:26:53.359
<v Speaker 1>think this might not be a medieval framework, but I

449
00:26:53.359 --> 00:26:55.400
<v Speaker 1>think in light of what we know about Jupiter with

450
00:26:55.759 --> 00:26:59.079
<v Speaker 1>the unending storm here, you know, we even have the

451
00:26:59.200 --> 00:27:01.720
<v Speaker 1>sense that he has a wounded side, which I think

452
00:27:01.759 --> 00:27:05.880
<v Speaker 1>adds to the chrystological imagery here in the planet of Jupiter.

453
00:27:06.880 --> 00:27:11.359
<v Speaker 1>Jupiter represented joy and particularly the pleasure and heart ease

454
00:27:11.400 --> 00:27:14.319
<v Speaker 1>which come in late spring and early summer when all

455
00:27:14.359 --> 00:27:17.559
<v Speaker 1>the vestiges of winter have finally vanished, and so he

456
00:27:17.839 --> 00:27:21.640
<v Speaker 1>is jovial. But this is a joviality that was hard one.

457
00:27:22.839 --> 00:27:27.440
<v Speaker 1>Jupiter is connected with Thursday by means of thor, with

458
00:27:27.839 --> 00:27:32.519
<v Speaker 1>the metal tin, and the qualities of kingliness, with festivity

459
00:27:32.559 --> 00:27:36.079
<v Speaker 1>and festal joy, as well as with tragic splendor and

460
00:27:36.200 --> 00:27:43.039
<v Speaker 1>summertime tranquility. Now, our last planetary influence is Saturn. Saturn

461
00:27:43.079 --> 00:27:45.759
<v Speaker 1>was known as in Fortuna major. He was seen as

462
00:27:45.920 --> 00:27:49.000
<v Speaker 1>the most unfortunate influence in the way that it's usually

463
00:27:49.079 --> 00:27:52.039
<v Speaker 1>received on Earth. He was the planet whose influence could

464
00:27:52.039 --> 00:27:55.440
<v Speaker 1>most easily go bad. It was liable to cause sickness,

465
00:27:55.599 --> 00:28:00.720
<v Speaker 1>old age, ugliness, disaster, melancholy, and death. To write, however,

466
00:28:01.039 --> 00:28:05.160
<v Speaker 1>this influence might bring about godly sorrow, penitential wisdom, and

467
00:28:05.200 --> 00:28:09.160
<v Speaker 1>contemplative insight. The mythological character of Father Time is very

468
00:28:09.240 --> 00:28:12.279
<v Speaker 1>much based on the early pictures of Saturn, who was

469
00:28:12.279 --> 00:28:16.599
<v Speaker 1>conflated with the Greek titan Chronos, and so Saturn is

470
00:28:16.599 --> 00:28:19.640
<v Speaker 1>connected with the tendency of things to wear down and

471
00:28:19.680 --> 00:28:23.599
<v Speaker 1>to fall apart. He's associated with the metal lead because

472
00:28:23.759 --> 00:28:27.039
<v Speaker 1>of its heaviness and its dull gray color. He is

473
00:28:27.079 --> 00:28:30.480
<v Speaker 1>of course connected with the day Saturday, and he's associated

474
00:28:30.519 --> 00:28:35.079
<v Speaker 1>with pestilence, treachery, disaster, and death, or with godly sorrow,

475
00:28:35.160 --> 00:28:40.960
<v Speaker 1>penitence and deep penitential contemplation. And as you move beyond

476
00:28:40.960 --> 00:28:44.359
<v Speaker 1>the planetary influences, you then moved to the still autum,

477
00:28:44.599 --> 00:28:48.319
<v Speaker 1>which is the realm of the fixed, unmoving stars. Go

478
00:28:48.480 --> 00:28:50.920
<v Speaker 1>out to the outer rim beyond that, and now we

479
00:28:51.000 --> 00:28:52.799
<v Speaker 1>have the prima mobile.

480
00:28:53.559 --> 00:28:54.839
<v Speaker 2>This is the.

481
00:28:54.519 --> 00:28:58.400
<v Speaker 1>First sphere of the physical cosmos. This is the first

482
00:28:58.599 --> 00:29:03.240
<v Speaker 1>thing that moves, and this outer rim of the cosmos

483
00:29:03.680 --> 00:29:08.759
<v Speaker 1>moves in imitation of the unmoving goodness, the absolute stability

484
00:29:08.920 --> 00:29:13.880
<v Speaker 1>and order of God. And so as this first sphere moves,

485
00:29:13.960 --> 00:29:16.480
<v Speaker 1>it then moves the sphere below it, and all the

486
00:29:16.519 --> 00:29:19.079
<v Speaker 1>other spheres under it, until finally we get to Earth,

487
00:29:19.319 --> 00:29:22.039
<v Speaker 1>where this movement starts to lose this order, where things

488
00:29:22.039 --> 00:29:26.799
<v Speaker 1>start to fall apart. And you know, in the platonic

489
00:29:27.039 --> 00:29:30.240
<v Speaker 1>in the neoplatonic model, this is because there's something inherently

490
00:29:30.240 --> 00:29:33.079
<v Speaker 1>corruptible about Earth. But as we move into the Christian

491
00:29:33.119 --> 00:29:37.519
<v Speaker 1>medieval model, that idea is not entirely gone altogether. However,

492
00:29:38.079 --> 00:29:41.599
<v Speaker 1>what really makes Earth given over to corruption is the

493
00:29:41.599 --> 00:29:44.200
<v Speaker 1>fact that we live in a fallen planet, right we

494
00:29:44.400 --> 00:29:48.000
<v Speaker 1>unlike the planets out here, we have fallen into sin.

495
00:29:48.200 --> 00:29:51.000
<v Speaker 1>We have turned away from God, we have turned away

496
00:29:51.000 --> 00:29:54.039
<v Speaker 1>from that which brings order, and in so doing have

497
00:29:54.119 --> 00:29:58.160
<v Speaker 1>fallen into disorder, have fallen into chaos. And this is

498
00:29:58.200 --> 00:30:01.920
<v Speaker 1>why we are the silent planet. We do not participate

499
00:30:02.000 --> 00:30:05.160
<v Speaker 1>in the music of the spheres, in the music produced

500
00:30:05.359 --> 00:30:11.200
<v Speaker 1>by you know, the intelligences out here that move and

501
00:30:11.359 --> 00:30:16.119
<v Speaker 1>sing in direction of the glory and goodness of God.

502
00:30:16.240 --> 00:30:20.039
<v Speaker 1>And so we are a silent planet. We've left that

503
00:30:20.200 --> 00:30:23.799
<v Speaker 1>angelic choir. Now, next we talk a little bit about angels,

504
00:30:23.839 --> 00:30:25.440
<v Speaker 1>and we already have a little bit in that we

505
00:30:25.480 --> 00:30:29.480
<v Speaker 1>know that angels are moving the planetary spheres, but the

506
00:30:30.000 --> 00:30:33.279
<v Speaker 1>role of angels really played a significant part of the

507
00:30:33.279 --> 00:30:37.200
<v Speaker 1>medieval understanding of the cosmos. And so the cosmos is

508
00:30:37.200 --> 00:30:40.319
<v Speaker 1>inhabited by ranks of angels, which are outlined by the

509
00:30:40.319 --> 00:30:45.559
<v Speaker 1>Neoplatonic early medieval mystic Pseudo Dionysius. Now Pseudodonysia says that

510
00:30:45.559 --> 00:30:48.599
<v Speaker 1>there are three different hierarchies of angels, and each of

511
00:30:48.599 --> 00:30:51.880
<v Speaker 1>these hierarchies are inhabited by three different classes of angels.

512
00:30:52.519 --> 00:30:56.480
<v Speaker 1>And so first we have the upper hierarchy, the seraphim,

513
00:30:56.559 --> 00:31:00.359
<v Speaker 1>the Cherubim, and thrones, and most of this information is

514
00:31:00.400 --> 00:31:03.079
<v Speaker 1>going to come from the discarded image. But we find

515
00:31:03.119 --> 00:31:07.200
<v Speaker 1>that the first hierarchy of angels faces God with nothing between,

516
00:31:07.680 --> 00:31:11.039
<v Speaker 1>encircling him with their ceaseless dance, and they communicate to

517
00:31:11.079 --> 00:31:13.640
<v Speaker 1>each other of the beauty and the glory and the

518
00:31:13.680 --> 00:31:17.319
<v Speaker 1>wisdom of God. Each seraphim passes this knowledge to the

519
00:31:17.319 --> 00:31:20.519
<v Speaker 1>one next to it, until this transformative knowledge is passed

520
00:31:20.519 --> 00:31:24.039
<v Speaker 1>to the next order, and then finally to the next hierarchy.

521
00:31:24.160 --> 00:31:27.119
<v Speaker 1>And so the seraphim are all facing God, but they're

522
00:31:27.119 --> 00:31:30.519
<v Speaker 1>all communicating what they see to each other, to other angels,

523
00:31:30.759 --> 00:31:33.799
<v Speaker 1>and then the seraphim in turn passed this knowledge on

524
00:31:33.920 --> 00:31:36.039
<v Speaker 1>to the Cherubim and the Cherubim in turn passed this

525
00:31:36.240 --> 00:31:38.920
<v Speaker 1>knowledge on to the thrones. And so we see that

526
00:31:38.960 --> 00:31:43.960
<v Speaker 1>knowledge begins ultimately with God, and then derivatively it begins

527
00:31:44.000 --> 00:31:46.480
<v Speaker 1>with the Seraphim, who then passes to each other, and

528
00:31:46.519 --> 00:31:49.240
<v Speaker 1>then that knowledge passes the way down to the thrones,

529
00:31:49.480 --> 00:31:52.680
<v Speaker 1>which then passed that knowledge down to the dominations, and

530
00:31:52.720 --> 00:31:56.039
<v Speaker 1>then to the powers, then to the virtues. And so

531
00:31:56.200 --> 00:32:00.240
<v Speaker 1>as with this first hierarchy, this second hierarchy faces God

532
00:32:00.279 --> 00:32:04.160
<v Speaker 1>with back toward us and continues this great dance that

533
00:32:04.279 --> 00:32:08.119
<v Speaker 1>begins with God's glory. Now it should be noted here

534
00:32:08.160 --> 00:32:11.240
<v Speaker 1>that we don't see God doing a great deal. And

535
00:32:11.279 --> 00:32:14.839
<v Speaker 1>I've already mentioned this, and that's likely connected to Aristotle's

536
00:32:14.880 --> 00:32:18.640
<v Speaker 1>notion that God, being fully actualized, is stable, and he

537
00:32:18.720 --> 00:32:22.599
<v Speaker 1>moves the cosmos not by performing actions, but as a

538
00:32:22.680 --> 00:32:25.799
<v Speaker 1>beloved moves a lover. This model is very much alive

539
00:32:25.839 --> 00:32:30.039
<v Speaker 1>in the Neoplatonic tradition that Pseudodionysius is drawing from. Now,

540
00:32:30.079 --> 00:32:34.200
<v Speaker 1>the lowest hierarchy is concerned with the affairs of man,

541
00:32:34.519 --> 00:32:38.279
<v Speaker 1>and principalities are the guardians and patrons of nations, and

542
00:32:38.440 --> 00:32:42.160
<v Speaker 1>archangels and angels appear to human individuals passing on the

543
00:32:42.200 --> 00:32:45.440
<v Speaker 1>knowledge that they receive through the angelic chain that reaches

544
00:32:45.559 --> 00:32:48.920
<v Speaker 1>back to the very presence of God, and they invite

545
00:32:49.000 --> 00:32:53.720
<v Speaker 1>humans to participate in this great celestial dance. And now

546
00:32:53.720 --> 00:32:56.319
<v Speaker 1>this may get a little bit confusing here, because all

547
00:32:56.359 --> 00:32:59.839
<v Speaker 1>of these beings are described as angels, but also angels

548
00:33:00.160 --> 00:33:03.400
<v Speaker 1>used in a technical sense for the lowest order of angels.

549
00:33:03.400 --> 00:33:05.599
<v Speaker 1>And these are the ones that are most likely to

550
00:33:05.640 --> 00:33:09.440
<v Speaker 1>be involved in human affairs, because the others are too

551
00:33:09.480 --> 00:33:13.079
<v Speaker 1>busy just contemplating the goodness of God and talking about

552
00:33:13.079 --> 00:33:15.880
<v Speaker 1>the goodness of God. And of course what this lowest

553
00:33:15.960 --> 00:33:18.319
<v Speaker 1>rank of angels is doing is still good, and they're

554
00:33:18.319 --> 00:33:22.079
<v Speaker 1>fulfilling their purpose. But that purpose is well, it's more earthly, right,

555
00:33:22.319 --> 00:33:26.519
<v Speaker 1>it's further away from the inner circle of God. And

556
00:33:26.559 --> 00:33:30.720
<v Speaker 1>the Medievals believed that the heavens we're home to countless angels.

557
00:33:30.920 --> 00:33:33.279
<v Speaker 1>There's no such thing as empty space in.

558
00:33:33.279 --> 00:33:34.359
<v Speaker 2>The medieval cosmos.

559
00:33:34.799 --> 00:33:36.960
<v Speaker 1>I mean, in our modern understanding, we tend to think

560
00:33:37.000 --> 00:33:41.559
<v Speaker 1>that the universe is primarily empty, overwhelmingly empty, right. This

561
00:33:41.599 --> 00:33:44.759
<v Speaker 1>is why we even use that word space as opposed

562
00:33:44.759 --> 00:33:47.799
<v Speaker 1>to the order word of the heavens. And so while

563
00:33:47.839 --> 00:33:50.359
<v Speaker 1>we are tempted to feel alone in the cosmos, if anything,

564
00:33:50.400 --> 00:33:54.680
<v Speaker 1>the medieval might feel a little claustrophobic, because everything is inhabited,

565
00:33:54.880 --> 00:33:58.319
<v Speaker 1>and so there are countless numbers of angels up in

566
00:33:58.400 --> 00:34:02.400
<v Speaker 1>the heavens, doing their gelic things, glorying in God, passing

567
00:34:02.400 --> 00:34:06.000
<v Speaker 1>on this knowledge, moving the spheres in imitation of the

568
00:34:06.039 --> 00:34:11.239
<v Speaker 1>goodness and stability of God. However, in the medieval cosmos,

569
00:34:11.480 --> 00:34:16.159
<v Speaker 1>angels were not typically the only rational species that exist

570
00:34:16.239 --> 00:34:20.800
<v Speaker 1>aside from humans, because also, of course we have the fairies, or,

571
00:34:20.840 --> 00:34:25.559
<v Speaker 1>as Lewis refers to them, the longevi. Now what are fairies, Well,

572
00:34:25.599 --> 00:34:30.199
<v Speaker 1>these are creatures that really live on the borderline of understanding.

573
00:34:31.480 --> 00:34:34.159
<v Speaker 1>There are a few different theories regarding what angels are

574
00:34:34.320 --> 00:34:37.639
<v Speaker 1>that we see played out in the medieval and Renaissance writings,

575
00:34:38.519 --> 00:34:41.840
<v Speaker 1>and so one possibility that they are a third rational species,

576
00:34:41.920 --> 00:34:45.760
<v Speaker 1>distinct from angels and men. Perhaps these are the daemons

577
00:34:45.800 --> 00:34:49.000
<v Speaker 1>of old that the Greeks talked about, these things that

578
00:34:49.440 --> 00:34:52.960
<v Speaker 1>inhabit the air. And maybe we might say that there's

579
00:34:53.000 --> 00:34:57.639
<v Speaker 1>something between angels and men in that they might have bodies,

580
00:34:57.679 --> 00:35:00.719
<v Speaker 1>if that's the right word, something similar to angels, even

581
00:35:00.719 --> 00:35:03.199
<v Speaker 1>though they have minds that perhaps are more like the

582
00:35:03.239 --> 00:35:07.840
<v Speaker 1>minds of men, and a lot of times these fairies

583
00:35:07.880 --> 00:35:10.760
<v Speaker 1>are associated with nature, and so maybe there are some,

584
00:35:11.239 --> 00:35:13.880
<v Speaker 1>you know, spirits of the water, there are spirits of

585
00:35:13.920 --> 00:35:16.760
<v Speaker 1>the forest, there are spirits of the earth. That there

586
00:35:16.800 --> 00:35:20.400
<v Speaker 1>are these spirits that are at play in the natural.

587
00:35:20.000 --> 00:35:21.840
<v Speaker 2>Workings of the world.

588
00:35:22.079 --> 00:35:26.480
<v Speaker 1>And for this particular study, I'm not necessarily interested in

589
00:35:26.599 --> 00:35:30.239
<v Speaker 1>delving into the actual reality of fairies, even though I

590
00:35:30.280 --> 00:35:33.480
<v Speaker 1>think that's a conversation worth having, and those of you

591
00:35:33.519 --> 00:35:36.280
<v Speaker 1>who follow me know that's something that's interest to me.

592
00:35:36.719 --> 00:35:39.360
<v Speaker 1>But I will say that within the broad Christian tradition

593
00:35:39.920 --> 00:35:43.239
<v Speaker 1>regarding Christian thought as well as regarding scripture, I don't

594
00:35:43.239 --> 00:35:46.199
<v Speaker 1>see any reason to say that this first point is

595
00:35:46.239 --> 00:35:49.159
<v Speaker 1>at all impossible, right. I mean, there are a lot

596
00:35:49.199 --> 00:35:51.960
<v Speaker 1>of things that we're simply not told in scripture.

597
00:35:52.199 --> 00:35:52.840
<v Speaker 2>There are a lot of.

598
00:35:52.800 --> 00:35:56.559
<v Speaker 1>Things that orthodoxy just doesn't need to take a firm

599
00:35:56.599 --> 00:35:59.000
<v Speaker 1>stance on. And so, you know, does this mean that

600
00:35:59.400 --> 00:36:04.119
<v Speaker 1>you know that some kind of creature like this exists

601
00:36:04.800 --> 00:36:08.159
<v Speaker 1>not necessarily, but also doesn't mean they necessarily don't. And

602
00:36:08.239 --> 00:36:09.960
<v Speaker 1>that's just a little food for thought. Maybe we can

603
00:36:10.000 --> 00:36:12.880
<v Speaker 1>talk about that more if you want to. But another

604
00:36:13.039 --> 00:36:16.079
<v Speaker 1>possibility is that these are demoted angels of some kind,

605
00:36:16.239 --> 00:36:18.480
<v Speaker 1>and so perhaps these are angels that were sympathetic to

606
00:36:18.519 --> 00:36:22.000
<v Speaker 1>Lucifer and they are banished to Earth until they receive

607
00:36:22.039 --> 00:36:26.119
<v Speaker 1>their ultimate condemnation on Doomsday. Or perhaps these are angels

608
00:36:26.119 --> 00:36:29.960
<v Speaker 1>that remain neutral during Lucifer's rebellion and maybe they have

609
00:36:30.079 --> 00:36:34.000
<v Speaker 1>the possibility of redemption one day. This was a common theory.

610
00:36:35.039 --> 00:36:38.000
<v Speaker 1>Or perhaps these are undead spirits of some kind, and

611
00:36:38.000 --> 00:36:42.480
<v Speaker 1>a lot of the fairy stories deal with something related

612
00:36:42.519 --> 00:36:45.000
<v Speaker 1>to the undead. And then lastly, we have this view

613
00:36:45.039 --> 00:36:48.000
<v Speaker 1>that the fairy, what we call fairies, are really just devils,

614
00:36:48.199 --> 00:36:51.199
<v Speaker 1>that they are fallen angels, and this is the view

615
00:36:51.239 --> 00:36:56.239
<v Speaker 1>that really picked up, especially in late Renaissance, picked up

616
00:36:56.360 --> 00:37:00.760
<v Speaker 1>especially with the Puritans. And Lewis at actually believes that

617
00:37:00.800 --> 00:37:03.880
<v Speaker 1>the reason why the idea of fairies as such really

618
00:37:03.920 --> 00:37:07.599
<v Speaker 1>fell out of discourse is because of this view. And

619
00:37:07.639 --> 00:37:11.119
<v Speaker 1>so it's not so much that science dispelled the fairies,

620
00:37:11.159 --> 00:37:15.079
<v Speaker 1>but he actually believed that their identification with devils is

621
00:37:15.079 --> 00:37:17.679
<v Speaker 1>what got rid of the idea of fairies as such.

622
00:37:18.639 --> 00:37:21.119
<v Speaker 1>And for what it's worth, Lewis believes that that is

623
00:37:21.239 --> 00:37:24.280
<v Speaker 1>not a good thing. Now, why does this medieval model

624
00:37:24.280 --> 00:37:26.519
<v Speaker 1>of the cosmois matter because in a certain sense we

625
00:37:26.599 --> 00:37:29.119
<v Speaker 1>know that it's not true, at least in the way

626
00:37:29.159 --> 00:37:30.840
<v Speaker 1>that we usually use the word truth.

627
00:37:31.320 --> 00:37:31.480
<v Speaker 2>Now.

628
00:37:31.599 --> 00:37:34.920
<v Speaker 1>Lewis addresses this in the end kind of an epilogue

629
00:37:34.960 --> 00:37:37.800
<v Speaker 1>of the Discarded Image. He spends his entire book talking

630
00:37:37.840 --> 00:37:41.119
<v Speaker 1>about the beauty in the glory in the order of

631
00:37:41.159 --> 00:37:44.519
<v Speaker 1>the system, but then he brings up the question, well, okay,

632
00:37:44.639 --> 00:37:47.360
<v Speaker 1>what do we actually do with this? And a lot

633
00:37:47.400 --> 00:37:49.360
<v Speaker 1>of what I'm about to read actually just comes straight

634
00:37:49.400 --> 00:37:53.360
<v Speaker 1>from the Discarded Image. Lewis writes, But the change of

635
00:37:53.440 --> 00:37:58.159
<v Speaker 1>models did not involve astronomy alone. It involved also in biology.

636
00:37:58.239 --> 00:38:02.079
<v Speaker 1>The change arguably more important from a de evolutionary to

637
00:38:02.119 --> 00:38:05.199
<v Speaker 1>an evolutionary scheme, from a cosmology in which it is

638
00:38:05.239 --> 00:38:10.079
<v Speaker 1>axiomatic that all perfect things precede all imperfect things, to

639
00:38:10.119 --> 00:38:12.639
<v Speaker 1>one of which it is axiomatic that the starting point

640
00:38:12.760 --> 00:38:16.039
<v Speaker 1>is always lower than that which is developed, and the

641
00:38:16.079 --> 00:38:18.280
<v Speaker 1>degree of change can be gauged by the fact that

642
00:38:18.320 --> 00:38:22.199
<v Speaker 1>primitive is now in most context a pejorative term. This

643
00:38:22.280 --> 00:38:25.400
<v Speaker 1>revolution was certainly not brought about by the discovery of

644
00:38:25.480 --> 00:38:27.639
<v Speaker 1>new facts, and that it goes on a little bit later.

645
00:38:28.360 --> 00:38:31.480
<v Speaker 1>But nature gives most of her evidence in answer to

646
00:38:31.519 --> 00:38:34.159
<v Speaker 1>the questions that we ask her. Let me repeat that,

647
00:38:34.559 --> 00:38:37.800
<v Speaker 1>but nature gives most of her evidence in answer to

648
00:38:37.840 --> 00:38:41.119
<v Speaker 1>the questions that we ask her. Hence, as in the courts,

649
00:38:41.320 --> 00:38:43.679
<v Speaker 1>the character of the evidence depends on the shape of

650
00:38:43.719 --> 00:38:46.880
<v Speaker 1>the examination. And a good cross examiner can do wonders.

651
00:38:47.519 --> 00:38:50.679
<v Speaker 1>He will not indeed illicit falsehoods from an honest witness,

652
00:38:51.000 --> 00:38:53.639
<v Speaker 1>but in relation to the total truth in the witness's mind,

653
00:38:53.920 --> 00:38:56.639
<v Speaker 1>the structure of the examination is like a sensil. It

654
00:38:56.679 --> 00:38:59.440
<v Speaker 1>determines how much of that total truth will appear in

655
00:38:59.480 --> 00:39:02.840
<v Speaker 1>what patterns it will suggest. And so, in other words,

656
00:39:03.159 --> 00:39:06.199
<v Speaker 1>there are a number of presuppositions that go into the

657
00:39:06.280 --> 00:39:09.199
<v Speaker 1>questions that we ask of nature, and the questions that

658
00:39:09.239 --> 00:39:11.920
<v Speaker 1>we ask of nature will largely determined the answers that

659
00:39:11.960 --> 00:39:16.039
<v Speaker 1>we receive. And so is the medieval view of the

660
00:39:16.119 --> 00:39:19.440
<v Speaker 1>cosmos right or is it wrong? Well, that very much

661
00:39:19.440 --> 00:39:22.039
<v Speaker 1>depends on the questions that we're asking, and the questions

662
00:39:22.039 --> 00:39:24.280
<v Speaker 1>that the modern man asks tend to be very different

663
00:39:24.320 --> 00:39:27.800
<v Speaker 1>than the questions that the medieval man would ask. And

664
00:39:27.840 --> 00:39:31.480
<v Speaker 1>so I mean, I don't necessarily suggest that we need to,

665
00:39:31.519 --> 00:39:35.679
<v Speaker 1>in a physical sense return to a pre Copernican cosmos.

666
00:39:35.920 --> 00:39:38.000
<v Speaker 1>And Lewis is very clear about that as well. He

667
00:39:38.079 --> 00:39:41.000
<v Speaker 1>is not suggesting that we scrap our modern astronomy books

668
00:39:41.000 --> 00:39:44.760
<v Speaker 1>and go back to a pre Copernican understanding of the

669
00:39:44.760 --> 00:39:50.159
<v Speaker 1>physical cosmos. However, just because we're sort of rearranging the

670
00:39:50.199 --> 00:39:53.639
<v Speaker 1>physical layout of the cosmos actually doesn't say anything to

671
00:39:53.760 --> 00:39:57.199
<v Speaker 1>the more metaphysical reality at play in the medieval worldview.

672
00:39:57.480 --> 00:40:00.639
<v Speaker 1>And this metaphysical reality is, of course what Lewis would

673
00:40:00.679 --> 00:40:03.800
<v Speaker 1>have us hold on to. It is this metaphysical view

674
00:40:03.920 --> 00:40:06.559
<v Speaker 1>of the cosmos that we see very much playing out

675
00:40:06.559 --> 00:40:10.039
<v Speaker 1>in the Ransom trilogy or the Ransom series as well

676
00:40:10.079 --> 00:40:14.639
<v Speaker 1>as beyond and arguably in Narnia especially as well. And

677
00:40:14.639 --> 00:40:17.519
<v Speaker 1>we'll talk about that more once we get there. And

678
00:40:17.559 --> 00:40:20.519
<v Speaker 1>so there is a big overview of the medieval view

679
00:40:20.519 --> 00:40:22.400
<v Speaker 1>of the cosmos. I think that's going to give us

680
00:40:22.440 --> 00:40:26.400
<v Speaker 1>some useful concepts and useful themes to work with as

681
00:40:26.440 --> 00:40:28.440
<v Speaker 1>we talk about out of the Silent Planet, and as

682
00:40:28.480 --> 00:40:32.559
<v Speaker 1>we go beyond that to Parilandra, that head of his strength, and.

683
00:40:32.440 --> 00:40:33.599
<v Speaker 2>Then even beyond that.

684
00:40:34.840 --> 00:40:37.039
<v Speaker 1>But for now, I can take a brief little break

685
00:40:37.039 --> 00:40:38.719
<v Speaker 1>and then we'll actually get to you out of the

686
00:40:38.760 --> 00:40:59.280
<v Speaker 1>Silent Planet, all right, Welcome back, so that breakway was

687
00:40:59.280 --> 00:41:01.639
<v Speaker 1>a little bit longer that I intended for me at least,

688
00:41:01.960 --> 00:41:05.880
<v Speaker 1>it's now a different day, and my light bulb burned out,

689
00:41:05.880 --> 00:41:08.000
<v Speaker 1>and so I had to open the shades in the background.

690
00:41:08.000 --> 00:41:10.519
<v Speaker 1>And so I do apologize that from time to time

691
00:41:10.519 --> 00:41:13.159
<v Speaker 1>you're going to see the sun pouring forth from the background.

692
00:41:14.000 --> 00:41:15.599
<v Speaker 1>But I mean a lot of everything that we just

693
00:41:15.639 --> 00:41:17.400
<v Speaker 1>talked about. Maybe we can come up with some kind

694
00:41:17.400 --> 00:41:22.880
<v Speaker 1>of cosmological significance of that, but regardless, let's go ahead

695
00:41:22.880 --> 00:41:26.159
<v Speaker 1>and finally get started on out of the Silent Planet.

696
00:41:27.079 --> 00:41:29.960
<v Speaker 1>We're going to start by looking at the introduction, the

697
00:41:30.000 --> 00:41:32.760
<v Speaker 1>setup for the story in the first couple of chapters.

698
00:41:33.480 --> 00:41:35.639
<v Speaker 1>It's a way of setting the mood and looking at

699
00:41:35.679 --> 00:41:39.760
<v Speaker 1>some of the themes that hopefully we'll awaken something in the

700
00:41:39.840 --> 00:41:43.280
<v Speaker 1>reading that you've already done. As we find out from

701
00:41:43.400 --> 00:41:46.280
<v Speaker 1>the Fox until we have faces much later on, we

702
00:41:46.320 --> 00:41:49.400
<v Speaker 1>see that even the past is not settled, because as

703
00:41:49.400 --> 00:41:52.400
<v Speaker 1>we're told, the divine nature can even change the past.

704
00:41:52.840 --> 00:41:56.159
<v Speaker 1>And so let's go ahead and see what happens. Right

705
00:41:56.159 --> 00:41:58.559
<v Speaker 1>at the very beginning the initial scene, we're told a

706
00:41:58.679 --> 00:42:01.480
<v Speaker 1>violent yellow sunset was pouring through a rift in the

707
00:42:01.480 --> 00:42:04.679
<v Speaker 1>clouds to westward, but straight ahead over the hills. The

708
00:42:04.719 --> 00:42:08.119
<v Speaker 1>sky was the color of dark slate. Every tree in

709
00:42:08.199 --> 00:42:11.760
<v Speaker 1>blade of grass was dripping, and the road shone like

710
00:42:11.800 --> 00:42:16.119
<v Speaker 1>a river. Now, one thing I think is worth considering here,

711
00:42:16.400 --> 00:42:20.079
<v Speaker 1>even aside from the specific imagery that's coming through in

712
00:42:20.159 --> 00:42:25.639
<v Speaker 1>these sentences, is just the vivid, very sensual, very sense

713
00:42:25.719 --> 00:42:30.519
<v Speaker 1>experiential language that we get throughout Lewis's writing. His descriptive

714
00:42:30.800 --> 00:42:35.519
<v Speaker 1>almost just kind of drips off the pages. It's meant

715
00:42:35.559 --> 00:42:38.039
<v Speaker 1>to kind of overwhelm you, or perhaps a better way

716
00:42:38.079 --> 00:42:41.320
<v Speaker 1>of saying that it's meant to beckon you. It's meant

717
00:42:41.320 --> 00:42:45.360
<v Speaker 1>to call you into something fluid, something moving, because you

718
00:42:45.440 --> 00:42:48.840
<v Speaker 1>yourself are supposed to be moved through the narrative. Who

719
00:42:49.000 --> 00:42:51.760
<v Speaker 1>tends to write what in literary language would be called

720
00:42:51.800 --> 00:42:54.800
<v Speaker 1>a romance. And I don't mean like a cheesy romantic novel.

721
00:42:55.000 --> 00:42:57.400
<v Speaker 1>What I mean by romance is this is something that's

722
00:42:57.400 --> 00:43:01.119
<v Speaker 1>supposed to call you forth on a grand existential journey.

723
00:43:01.199 --> 00:43:04.920
<v Speaker 1>That there's a mystical quality here. It's meant to not

724
00:43:05.079 --> 00:43:07.840
<v Speaker 1>just be this adventure story where you know, this happens,

725
00:43:07.880 --> 00:43:09.800
<v Speaker 1>this happens, and this happens, and you have all these

726
00:43:10.000 --> 00:43:13.000
<v Speaker 1>you know, thrilling plot twists, even though yeah, we get

727
00:43:13.039 --> 00:43:16.719
<v Speaker 1>that here and there, Fundamentally, what we don't get are

728
00:43:16.760 --> 00:43:20.159
<v Speaker 1>thrilling plot twists. Really, what we get are perhaps twists

729
00:43:20.280 --> 00:43:24.960
<v Speaker 1>in our understanding of reality, our understanding of the world,

730
00:43:25.599 --> 00:43:30.599
<v Speaker 1>more so than simply our understanding of the thrilling narrative.

731
00:43:31.000 --> 00:43:33.440
<v Speaker 1>And so this language here is very central. It's meant

732
00:43:33.440 --> 00:43:37.079
<v Speaker 1>to evoke a mood, it's meant to bring us into something.

733
00:43:38.599 --> 00:43:42.440
<v Speaker 1>And I think that this really speaks to Lewis's medievalist sympathies,

734
00:43:42.840 --> 00:43:47.000
<v Speaker 1>where wisdom is really about orienting yourself towards the good

735
00:43:47.079 --> 00:43:51.360
<v Speaker 1>and about consuming the goods, about being consumed by the good.

736
00:43:51.719 --> 00:43:56.840
<v Speaker 1>It's about losing yourself in light of what goodness is,

737
00:43:56.920 --> 00:43:59.800
<v Speaker 1>what reality most fundamentally is, and it's when we lose

738
00:43:59.800 --> 00:44:03.119
<v Speaker 1>ourself to the right thing, in the right way, that

739
00:44:03.119 --> 00:44:06.559
<v Speaker 1>we actually come to find ourselves. And so this is

740
00:44:06.599 --> 00:44:11.400
<v Speaker 1>why Lewis is going to use this very almost overwhelming

741
00:44:11.679 --> 00:44:16.280
<v Speaker 1>sense language throughout his descriptive prose. There's this poetic nature

742
00:44:16.320 --> 00:44:19.119
<v Speaker 1>to everything that he writes. But anyways, to the specific

743
00:44:19.159 --> 00:44:23.239
<v Speaker 1>imagery here, Okay, we're told that, Okay, it's cloudy, right,

744
00:44:23.280 --> 00:44:27.280
<v Speaker 1>there's this the sky itself is the color of dark slate.

745
00:44:27.840 --> 00:44:32.239
<v Speaker 1>But the sun is piercing through this dark slate ceiling,

746
00:44:32.320 --> 00:44:35.880
<v Speaker 1>and so we get the sense that Ransom, that the

747
00:44:35.920 --> 00:44:39.480
<v Speaker 1>Earth that Ransom is currently inhabiting, is closed off to

748
00:44:39.800 --> 00:44:43.039
<v Speaker 1>the heavens above. Right, it has almost a ceiling to it,

749
00:44:43.280 --> 00:44:45.840
<v Speaker 1>and so it is self contained. It is not looking

750
00:44:45.920 --> 00:44:49.079
<v Speaker 1>out to the heavens. However, we're told not that his

751
00:44:49.239 --> 00:44:51.079
<v Speaker 1>vision went up to the sunset, or we're told that

752
00:44:51.119 --> 00:44:52.679
<v Speaker 1>the yellow sunset was pouring through.

753
00:44:52.599 --> 00:44:53.559
<v Speaker 2>A ripped in the clouds.

754
00:44:53.800 --> 00:44:56.119
<v Speaker 1>And so we see from the very beginning that the

755
00:44:56.239 --> 00:45:00.519
<v Speaker 1>sun the heavens are piercing the roof of this world.

756
00:45:00.719 --> 00:45:02.800
<v Speaker 1>And that really does set the theme for what's going

757
00:45:02.880 --> 00:45:05.599
<v Speaker 1>to happen in this entire series. Right, it's all about

758
00:45:06.480 --> 00:45:12.000
<v Speaker 1>Earth being exposed to the heavens, that this void in

759
00:45:12.119 --> 00:45:15.679
<v Speaker 1>the cosmos is going to be brought to terms with

760
00:45:16.039 --> 00:45:18.159
<v Speaker 1>what it is meant to be. It's going to be

761
00:45:18.159 --> 00:45:21.480
<v Speaker 1>brought back into conversation with the heavens, for better or

762
00:45:21.480 --> 00:45:23.840
<v Speaker 1>for worse, depending on who you are and where it

763
00:45:23.880 --> 00:45:27.239
<v Speaker 1>is that you're standing. Okay, So Soul is shining its

764
00:45:27.320 --> 00:45:31.400
<v Speaker 1>rays through the rift in this terrestrial ceiling, and it's

765
00:45:31.760 --> 00:45:36.840
<v Speaker 1>illuminating the grass, it's illuminating the road, it's causing the

766
00:45:37.000 --> 00:45:41.320
<v Speaker 1>road itself to shine, perhaps even to shine like gold,

767
00:45:41.679 --> 00:45:46.079
<v Speaker 1>gold which is produced by soul in the medieval cosmological framework.

768
00:45:46.400 --> 00:45:50.760
<v Speaker 1>And so he's walking on this path of gold. He's

769
00:45:50.800 --> 00:45:54.880
<v Speaker 1>being led upward, back to Soul, back to the place

770
00:45:54.880 --> 00:45:59.119
<v Speaker 1>of reason, and ultimately back to the heavens, where we

771
00:45:59.159 --> 00:46:02.840
<v Speaker 1>are meant to have fellowship with this angelic reality that

772
00:46:02.920 --> 00:46:06.320
<v Speaker 1>happens in the cosmos. And so there's a lot that's

773
00:46:06.360 --> 00:46:12.599
<v Speaker 1>contained in this rather mundane initial setup of this scene. Now,

774
00:46:12.639 --> 00:46:15.239
<v Speaker 1>also in the introduction, we get a few i think,

775
00:46:15.360 --> 00:46:19.519
<v Speaker 1>rather clear, rather intentional connections to Dante. And so let's

776
00:46:19.559 --> 00:46:22.239
<v Speaker 1>talk about Dante a little bit, who did have some

777
00:46:22.360 --> 00:46:27.639
<v Speaker 1>special significance for Lewis. Christina Hale says that Dante's poetry

778
00:46:27.800 --> 00:46:31.480
<v Speaker 1>encapsulates everything that Lewis loved about the medieval cosmos, the

779
00:46:31.599 --> 00:46:35.559
<v Speaker 1>light and life, the bursting vivacity and creativity, and the

780
00:46:35.679 --> 00:46:39.679
<v Speaker 1>rich tapestry of ideas and images, emotions and languages that

781
00:46:39.719 --> 00:46:42.480
<v Speaker 1>the medieval model presents. And I should say that Dante

782
00:46:42.559 --> 00:46:47.679
<v Speaker 1>captured Lewis's imagination a good while before his conversion to Christianity.

783
00:46:48.320 --> 00:46:50.480
<v Speaker 1>See a lot of times people think that Lewis had

784
00:46:50.519 --> 00:46:55.039
<v Speaker 1>a Christian message and then fantasy myth provided a good

785
00:46:55.119 --> 00:46:57.760
<v Speaker 1>vehicle for conveying that Christian message, and that's why he

786
00:46:57.880 --> 00:47:03.400
<v Speaker 1>wrote fantastical stories. And this is especially said of Narnia. However,

787
00:47:03.800 --> 00:47:05.559
<v Speaker 1>this is actually not right in many ways, it's the

788
00:47:05.599 --> 00:47:11.679
<v Speaker 1>reverse of the reality because mythology stories, both Pagan and Christian,

789
00:47:12.119 --> 00:47:15.719
<v Speaker 1>captured Lewis's imagination very early on and stayed with them,

790
00:47:15.760 --> 00:47:18.679
<v Speaker 1>became an important formative part of who he was and

791
00:47:18.719 --> 00:47:22.400
<v Speaker 1>how he thought and how he desired. And so Lewis

792
00:47:22.440 --> 00:47:27.400
<v Speaker 1>didn't choose this genre to convey Christian truth. It actually

793
00:47:27.519 --> 00:47:31.320
<v Speaker 1>is his love of myth that is largely responsible for

794
00:47:31.440 --> 00:47:35.440
<v Speaker 1>leading him to Christianity. It was in his conversation with

795
00:47:35.679 --> 00:47:39.840
<v Speaker 1>Tolkien when he realized that perhaps there's actually some reality

796
00:47:40.000 --> 00:47:43.639
<v Speaker 1>to the things that he's always loved. And to get

797
00:47:43.679 --> 00:47:46.480
<v Speaker 1>more on this, I recommend that you read Lewis's essay

798
00:47:46.840 --> 00:47:49.119
<v Speaker 1>Myth Became Fact, and when she talks about the fact

799
00:47:49.119 --> 00:47:52.280
<v Speaker 1>that all the things that he loves in Great Pathology,

800
00:47:52.320 --> 00:47:56.840
<v Speaker 1>even great Pagan mythology, ultimately speaks to something real to

801
00:47:57.159 --> 00:47:59.119
<v Speaker 1>the myth that became fact.

802
00:47:59.039 --> 00:48:00.000
<v Speaker 2>In Jesus Christ.

803
00:48:01.079 --> 00:48:04.440
<v Speaker 1>And so from many ways, voices like Dante served as

804
00:48:04.840 --> 00:48:08.440
<v Speaker 1>pre evangelism for Lewis. They gave him a familiarity with

805
00:48:08.559 --> 00:48:13.360
<v Speaker 1>certain ideas that became more real with his conversion. Okay,

806
00:48:13.360 --> 00:48:16.840
<v Speaker 1>so let's look at some thematic connections here. And so,

807
00:48:17.400 --> 00:48:19.880
<v Speaker 1>first looking at Dante, we're told, at the beginning of

808
00:48:19.920 --> 00:48:23.280
<v Speaker 1>the Divine Comedy, midway along the journey of our life,

809
00:48:23.440 --> 00:48:25.840
<v Speaker 1>I woke to find myself in a dark wood, for

810
00:48:26.000 --> 00:48:28.760
<v Speaker 1>I had wandered off the straight path. And so here

811
00:48:28.760 --> 00:48:32.800
<v Speaker 1>do we have a middle aged wanderer, the pilgrim, going

812
00:48:32.840 --> 00:48:35.440
<v Speaker 1>through a dark wood, not on the path he originally

813
00:48:35.519 --> 00:48:38.039
<v Speaker 1>set off on. Now's look over at out of the

814
00:48:38.039 --> 00:48:41.679
<v Speaker 1>silent planet. The last drops of the thundershower had hardly

815
00:48:41.719 --> 00:48:44.440
<v Speaker 1>ceased falling when the pedestrian and so no, we're not

816
00:48:44.440 --> 00:48:46.119
<v Speaker 1>even giving his name right now, or he'd called the

817
00:48:46.119 --> 00:48:49.519
<v Speaker 1>pedestrian much like Dante's pilgrim. The pedestrian stuffed his map

818
00:48:49.599 --> 00:48:52.760
<v Speaker 1>into his pocket, settled his pack more comfortably on his

819
00:48:52.800 --> 00:48:55.440
<v Speaker 1>tired shoulders, and stepped out from the shelter of a

820
00:48:55.519 --> 00:48:58.199
<v Speaker 1>large chestnut tree into the middle of the road. He

821
00:48:58.360 --> 00:49:01.199
<v Speaker 1>was tall, but a little round shouldered, about thirty five

822
00:49:01.239 --> 00:49:03.760
<v Speaker 1>to forty years of age. In fact, he was a

823
00:49:03.760 --> 00:49:07.159
<v Speaker 1>philologist and a fellow of a Cambridge college. And so

824
00:49:08.079 --> 00:49:12.199
<v Speaker 1>Dante gives us a middle aged pilgrim poet. Lewis gives

825
00:49:12.280 --> 00:49:15.519
<v Speaker 1>us a middle aged philologist pedestrian. And so I think

826
00:49:15.559 --> 00:49:19.960
<v Speaker 1>that there is some very intentional parallelism happening here. Next

827
00:49:20.079 --> 00:49:24.360
<v Speaker 1>another example, Dante says, I raised my head and saw

828
00:49:24.400 --> 00:49:27.679
<v Speaker 1>the hilltop shawled in morning rays of light sent from

829
00:49:27.719 --> 00:49:31.119
<v Speaker 1>the planet that leads men straight ahead on every road.

830
00:49:31.639 --> 00:49:34.039
<v Speaker 1>Now over to Lewis, he had walked thus for a

831
00:49:34.079 --> 00:49:36.360
<v Speaker 1>matter of two miles when he became aware of a

832
00:49:36.440 --> 00:49:39.360
<v Speaker 1>light ahead. He was close under the hills by now,

833
00:49:39.599 --> 00:49:42.000
<v Speaker 1>and it was nearly dark, so that he still cherished

834
00:49:42.079 --> 00:49:45.159
<v Speaker 1>hopes of a substantial farmhouse until he was quite close

835
00:49:45.199 --> 00:49:47.400
<v Speaker 1>to the real origin of the light, which proved to

836
00:49:47.400 --> 00:49:50.800
<v Speaker 1>be a very small cottage of ugly nineteenth century brick.

837
00:49:51.400 --> 00:49:55.639
<v Speaker 1>And so again thematic connection here, some parallelism in language.

838
00:49:55.840 --> 00:49:59.119
<v Speaker 1>We get that just as Dante Lewis sees a light

839
00:49:59.199 --> 00:50:02.960
<v Speaker 1>over the hill, now Dante tells us that the light

840
00:50:03.000 --> 00:50:07.000
<v Speaker 1>that he saw was the morning rays of light sent

841
00:50:07.079 --> 00:50:10.079
<v Speaker 1>from the planet that leads men straight ahead on every road.

842
00:50:10.119 --> 00:50:12.760
<v Speaker 1>And so here we get a kind of divine providence

843
00:50:12.800 --> 00:50:15.639
<v Speaker 1>shining forth, and that's the light that Dante's following. Now

844
00:50:15.960 --> 00:50:18.960
<v Speaker 1>Lewis here, and this is I think really interesting. Lewis's

845
00:50:19.039 --> 00:50:22.039
<v Speaker 1>light is actually the light coming from the cottage, and

846
00:50:22.079 --> 00:50:25.039
<v Speaker 1>so this is not a heavenly light, at least not

847
00:50:25.159 --> 00:50:27.559
<v Speaker 1>most directly. But I think what Louis is doing here

848
00:50:27.880 --> 00:50:30.599
<v Speaker 1>is that he's not just saying, Okay, I'm writing a

849
00:50:30.639 --> 00:50:34.280
<v Speaker 1>story that's going to parallel Dante's divine comedy. No, what

850
00:50:34.280 --> 00:50:36.440
<v Speaker 1>he's doing is he's kind of riffing off of Dante,

851
00:50:36.639 --> 00:50:38.199
<v Speaker 1>and he's doing it and I think it's a really

852
00:50:38.280 --> 00:50:41.960
<v Speaker 1>sophisticated way. And so one hand, this seems to be

853
00:50:42.000 --> 00:50:45.559
<v Speaker 1>a very mundane light coming from the cottage. However, in

854
00:50:45.679 --> 00:50:48.000
<v Speaker 1>light of Dante, what Lewis is telling us is that

855
00:50:48.280 --> 00:50:53.239
<v Speaker 1>this mundane light is actually a reflection or something that's

856
00:50:53.239 --> 00:50:57.280
<v Speaker 1>participating in the heavenly light of Providence. And so this

857
00:50:57.360 --> 00:50:59.679
<v Speaker 1>is going to be a major theme throughout the Ransom series,

858
00:51:00.000 --> 00:51:02.760
<v Speaker 1>the idea that really there is no such thing as

859
00:51:02.800 --> 00:51:05.400
<v Speaker 1>the mundane, that even though the earth in some ways

860
00:51:05.440 --> 00:51:07.639
<v Speaker 1>is closed off from the heavens, it is still part

861
00:51:07.760 --> 00:51:10.760
<v Speaker 1>of the heavens. It is still playing a role in

862
00:51:10.800 --> 00:51:14.760
<v Speaker 1>the big story, even if it's not necessarily doing so intentionally.

863
00:51:14.840 --> 00:51:20.159
<v Speaker 1>And so even mundane things participate in supernatural realities. And

864
00:51:20.199 --> 00:51:23.440
<v Speaker 1>so Lewis is going to continually break down the barriers

865
00:51:23.440 --> 00:51:27.039
<v Speaker 1>that we tend to create between the terrestrial and the celestial,

866
00:51:27.360 --> 00:51:31.119
<v Speaker 1>between the natural, the supernatural, the mundane and the spectacular.

867
00:51:31.360 --> 00:51:33.960
<v Speaker 1>And this is something he very often does right where

868
00:51:34.000 --> 00:51:36.280
<v Speaker 1>Lewis will break down these borders and help us to

869
00:51:36.360 --> 00:51:40.239
<v Speaker 1>recognize the glory in what we normally think of as

870
00:51:40.400 --> 00:51:43.360
<v Speaker 1>inglorious common things. And so this is one way that

871
00:51:43.440 --> 00:51:46.920
<v Speaker 1>Lewis is going to work to re enchant our vision

872
00:51:46.960 --> 00:51:50.800
<v Speaker 1>and help us to recognize the fantastical in everything around us.

873
00:51:50.840 --> 00:51:53.639
<v Speaker 1>And so this is one hand. Yeah, it's the light

874
00:51:53.719 --> 00:51:56.519
<v Speaker 1>of a small cottage, but it's much more than that. Ultimately,

875
00:51:56.519 --> 00:51:59.280
<v Speaker 1>it is the light of Providence piercing the shadows. It

876
00:51:59.360 --> 00:52:01.719
<v Speaker 1>is the light of the sun piercing the rift in

877
00:52:01.760 --> 00:52:05.840
<v Speaker 1>the clouds, shining into this dark world. And so there

878
00:52:05.840 --> 00:52:07.960
<v Speaker 1>are a number of things that are happening at play here.

879
00:52:08.480 --> 00:52:08.599
<v Speaker 2>Now.

880
00:52:08.639 --> 00:52:10.400
<v Speaker 1>However, I think that we need to be careful here.

881
00:52:10.639 --> 00:52:13.239
<v Speaker 1>I've seen that some people will look at these early

882
00:52:13.280 --> 00:52:16.440
<v Speaker 1>connections to Dante and then use the Divine Comedy as

883
00:52:16.800 --> 00:52:20.360
<v Speaker 1>some kind of map for understanding out of the Silent

884
00:52:20.360 --> 00:52:22.880
<v Speaker 1>Planet as a whole, or even the entire Ransom series.

885
00:52:22.920 --> 00:52:25.679
<v Speaker 1>For example, in Deeper Heaven, Christina Hale is going to

886
00:52:25.760 --> 00:52:27.039
<v Speaker 1>try to say that out of the side of the

887
00:52:27.119 --> 00:52:31.920
<v Speaker 1>planet gives us hell, Perlandra gives us Purgatory, and that

888
00:52:32.000 --> 00:52:34.440
<v Speaker 1>hideous strength gives us heaven. And I mean, there are

889
00:52:34.440 --> 00:52:36.559
<v Speaker 1>some ways to do that, but I just don't think

890
00:52:36.599 --> 00:52:39.960
<v Speaker 1>that that naturally works. I don't think that Lewis is

891
00:52:40.000 --> 00:52:43.079
<v Speaker 1>trying to give us the Divine Comedy reworked. I think

892
00:52:43.119 --> 00:52:48.079
<v Speaker 1>what he's doing is he's using Dante as a thematic backdrop.

893
00:52:48.199 --> 00:52:51.000
<v Speaker 1>And so this is a conversation with Dante, or it's

894
00:52:51.000 --> 00:52:55.199
<v Speaker 1>an inspiration from Dante. But it's not just a modern

895
00:52:55.239 --> 00:52:59.400
<v Speaker 1>take on Dante. Right, So some other literary connections here.

896
00:53:00.039 --> 00:53:02.480
<v Speaker 1>I'm combining a couple ideas together here with this title,

897
00:53:02.559 --> 00:53:05.440
<v Speaker 1>Sir Ransom in Wonderland, and so we get some Arthurian

898
00:53:05.480 --> 00:53:08.000
<v Speaker 1>themes here. And so we see that a woman gives

899
00:53:08.079 --> 00:53:11.360
<v Speaker 1>Ransom a quest to save an innocent and a vulnerable soul,

900
00:53:11.440 --> 00:53:14.519
<v Speaker 1>and then with unflinching courage, Ransom accepts the quest and

901
00:53:14.599 --> 00:53:16.119
<v Speaker 1>sets off for a dark wood.

902
00:53:16.519 --> 00:53:17.920
<v Speaker 2>And you know, we're.

903
00:53:17.840 --> 00:53:20.639
<v Speaker 1>Giving this idea here that Ransom didn't even consider this

904
00:53:20.800 --> 00:53:23.920
<v Speaker 1>request to go and save her son. It's something that

905
00:53:23.960 --> 00:53:28.800
<v Speaker 1>he just did with reflexive courage. And so we see

906
00:53:28.840 --> 00:53:31.960
<v Speaker 1>here the same kind of thing we see in Mallory's

907
00:53:31.960 --> 00:53:34.519
<v Speaker 1>Tale of the Knights of King Arthur, where they receive

908
00:53:34.599 --> 00:53:36.639
<v Speaker 1>these quests and they just go off and do them,

909
00:53:36.679 --> 00:53:40.239
<v Speaker 1>because that's what knights do. And then you know, he

910
00:53:40.440 --> 00:53:44.199
<v Speaker 1>specifically he goes into a dark wood, which very often is,

911
00:53:44.480 --> 00:53:47.119
<v Speaker 1>you know, where the real quest begins. This is when

912
00:53:47.239 --> 00:53:51.320
<v Speaker 1>the brave Knights will encounter something fantastical which sometimes kind

913
00:53:51.320 --> 00:53:54.880
<v Speaker 1>of unnerves them, and this is when we get a

914
00:53:54.920 --> 00:53:57.280
<v Speaker 1>sense of what that real quest is and they have

915
00:53:57.360 --> 00:54:00.840
<v Speaker 1>to do some fantastical feat in order to save the day,

916
00:54:01.000 --> 00:54:04.199
<v Speaker 1>to fulfill the quest that they initially set out on.

917
00:54:04.400 --> 00:54:07.000
<v Speaker 1>And I mean in classic tales, the wood almost always

918
00:54:07.039 --> 00:54:10.599
<v Speaker 1>stands for chaos, for the unknown, for that which is

919
00:54:10.639 --> 00:54:13.840
<v Speaker 1>beyond the border of civilization, for uncharted territory, and so

920
00:54:14.000 --> 00:54:16.000
<v Speaker 1>this is where you never know what's going to happen,

921
00:54:16.320 --> 00:54:18.679
<v Speaker 1>and this is very much what we see happen with Ransom.

922
00:54:18.719 --> 00:54:21.320
<v Speaker 1>This is when he enters into this fantastical reality and

923
00:54:21.320 --> 00:54:25.280
<v Speaker 1>he starts to get sent on his real quest. And

924
00:54:25.320 --> 00:54:27.440
<v Speaker 1>then just a little side note here, we're told that

925
00:54:27.480 --> 00:54:30.519
<v Speaker 1>west and Divine are currently residing in a house previously

926
00:54:30.559 --> 00:54:33.400
<v Speaker 1>occupied by someone named Alice. I can't help but to

927
00:54:33.400 --> 00:54:36.639
<v Speaker 1>think that this is intentional, that this is a Wonderland reference,

928
00:54:37.159 --> 00:54:39.159
<v Speaker 1>that this is where Ransom is going to find his

929
00:54:39.239 --> 00:54:43.000
<v Speaker 1>rabbit hole, where he's going to enter into this fantastical,

930
00:54:43.079 --> 00:54:45.960
<v Speaker 1>this strange reality, and where he's going to lose his

931
00:54:46.000 --> 00:54:48.920
<v Speaker 1>footing before he gains it again. Next and I don't

932
00:54:48.960 --> 00:54:50.280
<v Speaker 1>have a whole lot to say about this, but I

933
00:54:50.280 --> 00:54:52.440
<v Speaker 1>think it's worth paying attention to some of this language here.

934
00:54:53.159 --> 00:54:56.360
<v Speaker 1>This is shortly after Ransom has encountered Divine and Weston,

935
00:54:56.400 --> 00:54:59.280
<v Speaker 1>and we see the following who are you ball the

936
00:54:59.280 --> 00:55:02.599
<v Speaker 1>thick man? My name is Ransom, if that is what

937
00:55:02.639 --> 00:55:06.559
<v Speaker 1>you mean, And by Jove said the slender man, not Ransom.

938
00:55:06.559 --> 00:55:08.639
<v Speaker 1>He used to be a weddingshaw. We really need to

939
00:55:08.639 --> 00:55:10.960
<v Speaker 1>focus on this. By Jove here one hand, yeah, that's

940
00:55:11.119 --> 00:55:14.960
<v Speaker 1>a common British expression, but Lewis chooses his words very carefully,

941
00:55:15.320 --> 00:55:18.440
<v Speaker 1>and perhaps you may remember that Jove is another name

942
00:55:18.599 --> 00:55:22.239
<v Speaker 1>for Jupiter. The king of the planets who orders the heavens.

943
00:55:22.639 --> 00:55:24.880
<v Speaker 1>And so what we see here is, you know, regardless

944
00:55:24.920 --> 00:55:28.320
<v Speaker 1>of what was actually meant in the story, we see

945
00:55:28.320 --> 00:55:31.559
<v Speaker 1>that ultimately it is by Jove that Ransom is here.

946
00:55:31.880 --> 00:55:37.320
<v Speaker 1>It is by Jove that Ransom is being led into danger, ultimately,

947
00:55:37.320 --> 00:55:39.480
<v Speaker 1>because this is what's going to bring about the most

948
00:55:39.519 --> 00:55:42.039
<v Speaker 1>good for Ransom as well as for the Earth and

949
00:55:42.079 --> 00:55:46.039
<v Speaker 1>maybe even the heavens. And so Jove is ultimately responsible

950
00:55:46.599 --> 00:55:50.199
<v Speaker 1>despite the fact that Ransom seems to be falling into chaos,

951
00:55:50.440 --> 00:55:53.199
<v Speaker 1>and so there is order even when chaos seems to

952
00:55:53.199 --> 00:55:56.199
<v Speaker 1>be raining. And eventually this is something that Ransom will

953
00:55:56.239 --> 00:55:59.719
<v Speaker 1>come to appreciate more and to understand more than he

954
00:55:59.760 --> 00:56:02.960
<v Speaker 1>does this moment. And so whenever you see an expression

955
00:56:03.000 --> 00:56:06.360
<v Speaker 1>like that, like by Jove or you know, if hell

956
00:56:06.480 --> 00:56:09.840
<v Speaker 1>is used, even as an obscenity, it's used purposeful. It's

957
00:56:09.920 --> 00:56:13.400
<v Speaker 1>used to communicate something, to evoke a mood, to signal

958
00:56:13.480 --> 00:56:16.559
<v Speaker 1>something to the reader. Right, all right, next, let's talk

959
00:56:16.559 --> 00:56:18.760
<v Speaker 1>a little bit about Divine and Western First, just looking

960
00:56:18.800 --> 00:56:21.039
<v Speaker 1>at their names, we see that they are corruptions.

961
00:56:21.119 --> 00:56:21.280
<v Speaker 2>Right.

962
00:56:21.400 --> 00:56:25.400
<v Speaker 1>Divine is surely a corruption of the divine, and Weston

963
00:56:25.559 --> 00:56:28.440
<v Speaker 1>is a corruption of the West, of the ideals of

964
00:56:28.480 --> 00:56:32.760
<v Speaker 1>the West, of progress, of reason, of transcendence, and I

965
00:56:32.760 --> 00:56:35.280
<v Speaker 1>don't think it's unreasonable to draw a connection here to

966
00:56:35.519 --> 00:56:39.000
<v Speaker 1>the Ekalabath, that as the fall of numanor Neumonor, being,

967
00:56:39.039 --> 00:56:43.239
<v Speaker 1>of course Tolkien's Elantas story, newman Ar being described as

968
00:56:43.519 --> 00:56:46.320
<v Speaker 1>the true West, that this is the westernmost place of

969
00:56:46.599 --> 00:56:50.440
<v Speaker 1>men who live closest to the realm of the Valor,

970
00:56:50.639 --> 00:56:54.360
<v Speaker 1>the undying lands. If you don't know, you're Tolkien. In history.

971
00:56:55.119 --> 00:56:57.519
<v Speaker 1>In the First Age of Middle Earth, more Goth, who

972
00:56:57.599 --> 00:57:00.000
<v Speaker 1>is really kind of a Satan figure, the big bad

973
00:57:00.159 --> 00:57:03.280
<v Speaker 1>of the First Age, he gets defeated as the Valar

974
00:57:03.400 --> 00:57:06.400
<v Speaker 1>finally come into play and wage war against more Goth

975
00:57:06.480 --> 00:57:09.599
<v Speaker 1>and his forces. And the men who sided with the

976
00:57:09.679 --> 00:57:12.639
<v Speaker 1>Valar in their fight against more Goth are rewarded with

977
00:57:12.719 --> 00:57:15.960
<v Speaker 1>the island of Numenor, and they're rewarded with long lives

978
00:57:15.960 --> 00:57:19.760
<v Speaker 1>as well well. Eventually, these privileges that they have start

979
00:57:19.840 --> 00:57:24.760
<v Speaker 1>to become their downfall, as instead of having gratitude for

980
00:57:24.800 --> 00:57:27.239
<v Speaker 1>the gift they've been given for the longevity of their lives,

981
00:57:27.480 --> 00:57:30.280
<v Speaker 1>the instead start to lust after what is even better,

982
00:57:30.320 --> 00:57:33.400
<v Speaker 1>and that of course is immortality, and so This begins

983
00:57:33.440 --> 00:57:35.880
<v Speaker 1>as they start to form really this kind of death

984
00:57:35.960 --> 00:57:41.199
<v Speaker 1>cult where they really pour resources, poor focus, poor energy

985
00:57:41.320 --> 00:57:45.159
<v Speaker 1>into embalming toward these great tombs as a way of

986
00:57:45.440 --> 00:57:49.760
<v Speaker 1>sort of imitating life through their practices surrounding death. Well,

987
00:57:49.800 --> 00:57:52.800
<v Speaker 1>eventually even that is not enough, and so with the

988
00:57:52.880 --> 00:57:57.119
<v Speaker 1>encouragement of Sauron, they eventually wage war on the Valor.

989
00:57:57.199 --> 00:58:00.360
<v Speaker 1>They seek to take the Undying Lands by force, but

990
00:58:00.440 --> 00:58:03.599
<v Speaker 1>that doesn't go well for them. They never actually make

991
00:58:03.639 --> 00:58:05.639
<v Speaker 1>it to the shore of the undying land before their

992
00:58:05.639 --> 00:58:08.679
<v Speaker 1>fleet and their entire island is sunk to the bottom

993
00:58:08.719 --> 00:58:12.639
<v Speaker 1>of the sea. So in their pursuit of transcendence, they

994
00:58:12.679 --> 00:58:16.760
<v Speaker 1>actually end up plummeting downward to the depths of the sea.

995
00:58:16.960 --> 00:58:21.159
<v Speaker 1>And so those who most grasp at progress, who most

996
00:58:21.239 --> 00:58:26.039
<v Speaker 1>grasp at transcendence, those who worship their reason, ultimately become

997
00:58:26.199 --> 00:58:29.440
<v Speaker 1>consumed by it, and so their pursuit of transcendence ultimately

998
00:58:29.519 --> 00:58:32.760
<v Speaker 1>leads to their downfall. If you're familiar with Paradise loss,

999
00:58:32.840 --> 00:58:35.000
<v Speaker 1>this is ultimately what happened to Satan. He started to

1000
00:58:35.079 --> 00:58:38.039
<v Speaker 1>worship his own reason, and that's what led to his fall,

1001
00:58:38.519 --> 00:58:43.719
<v Speaker 1>both spiritually existentially as well as cosmically. And like I said,

1002
00:58:43.719 --> 00:58:45.760
<v Speaker 1>I don't think it's at all a stretch to connect

1003
00:58:45.800 --> 00:58:49.599
<v Speaker 1>Weston to the true West of Numenor, seeing as Numenor

1004
00:58:49.639 --> 00:58:51.639
<v Speaker 1>itself is actually going to be mentioned later in the

1005
00:58:51.679 --> 00:58:55.000
<v Speaker 1>series as the true West, and so it's not at

1006
00:58:55.000 --> 00:58:57.599
<v Speaker 1>all a stretch to see that play out here. Now,

1007
00:58:57.599 --> 00:59:00.639
<v Speaker 1>another connection here to the fact that Vine and Weston

1008
00:59:00.679 --> 00:59:03.039
<v Speaker 1>are trying to reach upward, but in so doing, or

1009
00:59:03.119 --> 00:59:06.679
<v Speaker 1>actually reaching downward, they say to each other, we ought

1010
00:59:06.719 --> 00:59:08.599
<v Speaker 1>to have a dog in this place, said Weston to

1011
00:59:08.639 --> 00:59:11.800
<v Speaker 1>his companion, ignoring Ransom. You mean we should have a

1012
00:59:11.840 --> 00:59:14.679
<v Speaker 1>dog if you hadn't insist on using Tartar for an experiment,

1013
00:59:14.960 --> 00:59:16.559
<v Speaker 1>said the man who had not yet spoken.

1014
00:59:18.039 --> 00:59:18.760
<v Speaker 2>And so we see that.

1015
00:59:18.760 --> 00:59:22.119
<v Speaker 1>Weston and Divine, as part of their pursuit of transcendence,

1016
00:59:22.360 --> 00:59:25.480
<v Speaker 1>we're experimenting on a dog named Tartar, surely a connection

1017
00:59:25.559 --> 00:59:28.599
<v Speaker 1>to Tartarus, and so they're playing with forces of hell

1018
00:59:28.719 --> 00:59:31.360
<v Speaker 1>even as they're trying to reach for the heavens to Next,

1019
00:59:31.360 --> 00:59:32.199
<v Speaker 1>I want to talk about this.

1020
00:59:32.159 --> 00:59:33.800
<v Speaker 2>Weird dream that Ransom had.

1021
00:59:34.159 --> 00:59:38.039
<v Speaker 1>So after Ransom gets drugged, he has this dream which

1022
00:59:38.159 --> 00:59:42.079
<v Speaker 1>reads us something like a vision. And so Weston, Divine,

1023
00:59:42.079 --> 00:59:44.639
<v Speaker 1>and Ransom are in this walled garden and they can't

1024
00:59:44.639 --> 00:59:47.599
<v Speaker 1>get through the door, and so Weston Divine climb over it.

1025
00:59:48.159 --> 00:59:50.440
<v Speaker 1>But then they're pulled back through the door back into

1026
00:59:50.480 --> 00:59:54.000
<v Speaker 1>the garden, while Ransom is stuck on top of the wall,

1027
00:59:54.159 --> 00:59:56.599
<v Speaker 1>sort of straddling the edge between the darkness and the light,

1028
00:59:56.679 --> 00:59:59.280
<v Speaker 1>the known and the unknown, the garden and whatever it

1029
00:59:59.320 --> 01:00:02.719
<v Speaker 1>is that's outside. I'm told that Ransom found it impossible

1030
01:00:02.760 --> 01:00:06.480
<v Speaker 1>to get down from the wall. He remained sitting, not frightened,

1031
01:00:06.800 --> 01:00:09.519
<v Speaker 1>but rather uncomfortable because his right leg, which was on

1032
01:00:09.559 --> 01:00:12.760
<v Speaker 1>the outside, felt so dark and his left leg felt

1033
01:00:12.800 --> 01:00:15.239
<v Speaker 1>so light. My leg will drop off if it gets

1034
01:00:15.280 --> 01:00:17.840
<v Speaker 1>much darker, he said. Then he looked down into the

1035
01:00:17.920 --> 01:00:19.079
<v Speaker 1>darkness and asked.

1036
01:00:19.079 --> 01:00:19.519
<v Speaker 2>Who are you?

1037
01:00:19.760 --> 01:00:22.000
<v Speaker 1>And the queer people must still have been there, for

1038
01:00:22.119 --> 01:00:28.239
<v Speaker 1>they all replied, whoo who just like owls? All right,

1039
01:00:28.280 --> 01:00:30.679
<v Speaker 1>so this is kind of weird. In all the commentaries

1040
01:00:30.679 --> 01:00:32.880
<v Speaker 1>and analyzes that I looked at here, a lot of

1041
01:00:32.960 --> 01:00:36.960
<v Speaker 1>them said, you know, we don't fully understand what's happening here.

1042
01:00:37.280 --> 01:00:40.199
<v Speaker 1>And I actually appreciate that because it really makes this

1043
01:00:40.360 --> 01:00:45.960
<v Speaker 1>feel more like a dream than simply a literary tool, right,

1044
01:00:46.000 --> 01:00:50.519
<v Speaker 1>because dreams very often have these this range. This collection

1045
01:00:50.599 --> 01:00:54.119
<v Speaker 1>of symbols that all doesn't always make sense as a

1046
01:00:54.159 --> 01:00:57.239
<v Speaker 1>you know, coherent essay might, and so what we have

1047
01:00:57.400 --> 01:01:00.960
<v Speaker 1>here are some themes, some pictures that are coming unicating something,

1048
01:01:01.320 --> 01:01:04.480
<v Speaker 1>but it's not super clear, and so just talk about

1049
01:01:04.360 --> 01:01:08.000
<v Speaker 1>a little bit about what seems to be happening here. Well,

1050
01:01:08.039 --> 01:01:11.760
<v Speaker 1>for one thing, we see that Western and ta Vine

1051
01:01:11.760 --> 01:01:14.320
<v Speaker 1>are trying to get somewhere that they're not invited to.

1052
01:01:14.719 --> 01:01:17.000
<v Speaker 1>We get the sense that they're breaking into something or

1053
01:01:17.000 --> 01:01:20.199
<v Speaker 1>I guess breaking out of something through some unjust means,

1054
01:01:20.199 --> 01:01:22.519
<v Speaker 1>and that you know, in the end, they're pulled back

1055
01:01:22.639 --> 01:01:25.599
<v Speaker 1>into the garden where they began, and so they never

1056
01:01:25.960 --> 01:01:31.199
<v Speaker 1>successfully become engaged with whatever this world is that's beyond.

1057
01:01:31.440 --> 01:01:33.239
<v Speaker 1>We get the sense that it's closed off to them.

1058
01:01:33.280 --> 01:01:36.440
<v Speaker 1>Whatever this outside reality is, it is closed off to them.

1059
01:01:36.760 --> 01:01:39.519
<v Speaker 1>They are not permitted no matter how much they try

1060
01:01:39.519 --> 01:01:42.920
<v Speaker 1>to contrive a pathway, they are not permitted to leave.

1061
01:01:43.280 --> 01:01:45.199
<v Speaker 1>And so I think what it shows us is that

1062
01:01:45.679 --> 01:01:48.400
<v Speaker 1>even when they successfully make it out to the heavens,

1063
01:01:48.760 --> 01:01:50.920
<v Speaker 1>when they start to visit this other planet, they're still

1064
01:01:50.960 --> 01:01:54.760
<v Speaker 1>living as citizens of the silent planet. They never get

1065
01:01:54.800 --> 01:01:58.840
<v Speaker 1>in large perspectives, and so they are continually closed off

1066
01:01:58.880 --> 01:02:03.719
<v Speaker 1>from the heavens, from true reality. Ransom, however, he serves

1067
01:02:03.800 --> 01:02:07.719
<v Speaker 1>as a bridge. He's not thrown back into the garden,

1068
01:02:07.960 --> 01:02:10.400
<v Speaker 1>nor is he fully on the outside of the garden.

1069
01:02:10.639 --> 01:02:12.639
<v Speaker 1>He is a bridge, He is a connection, He is

1070
01:02:12.679 --> 01:02:16.480
<v Speaker 1>a halfway point. He is the union between the Earth

1071
01:02:16.480 --> 01:02:18.800
<v Speaker 1>and the heavens. And so he plays this mediator role,

1072
01:02:18.840 --> 01:02:21.280
<v Speaker 1>he plays this priestly role. And I think this is

1073
01:02:21.280 --> 01:02:23.559
<v Speaker 1>a theme, an important theme that we're going to see

1074
01:02:23.599 --> 01:02:27.000
<v Speaker 1>developed throughout the Ransom series. You know, if you've read

1075
01:02:27.039 --> 01:02:30.199
<v Speaker 1>Perlandra already, think of when he's referred to as piebald, right,

1076
01:02:30.199 --> 01:02:32.440
<v Speaker 1>he's half dark and he's half light. I think that's

1077
01:02:32.559 --> 01:02:35.440
<v Speaker 1>a continuation of the same theme that we see here,

1078
01:02:35.800 --> 01:02:38.199
<v Speaker 1>the idea that Ransom has a foot in both worlds.

1079
01:02:38.440 --> 01:02:40.239
<v Speaker 1>He is going to be a bridge, He's going to

1080
01:02:40.280 --> 01:02:44.079
<v Speaker 1>be a union between heaven and Earth. Well, a short

1081
01:02:44.119 --> 01:02:48.519
<v Speaker 1>while later, Ransom finds himself finally in space, and he

1082
01:02:49.119 --> 01:02:52.719
<v Speaker 1>encounters this with absolute terror. As he comes to this realization,

1083
01:02:52.880 --> 01:02:57.880
<v Speaker 1>he says, you mean we're in space? Ransom uttered the

1084
01:02:57.880 --> 01:03:01.440
<v Speaker 1>word with difficulty, as a frightened child speaks of ghosts

1085
01:03:01.800 --> 01:03:05.039
<v Speaker 1>or a frightened man of cancer. And this is something

1086
01:03:05.079 --> 01:03:07.199
<v Speaker 1>that Lewis talks about in some of his essays that

1087
01:03:07.239 --> 01:03:09.880
<v Speaker 1>there are really two kinds of fears. So one hand,

1088
01:03:10.039 --> 01:03:13.119
<v Speaker 1>you can be afraid of something that poses some obvious

1089
01:03:13.239 --> 01:03:15.000
<v Speaker 1>danger to you right right that there's a lion in

1090
01:03:15.039 --> 01:03:18.000
<v Speaker 1>the room next to you, that instills a certain kind

1091
01:03:18.000 --> 01:03:22.039
<v Speaker 1>of obvious physical terror. But there's also the kind of

1092
01:03:22.360 --> 01:03:25.519
<v Speaker 1>terror that comes from not what something would do to you,

1093
01:03:26.199 --> 01:03:31.079
<v Speaker 1>but simply the fact that something is, that something threatens

1094
01:03:31.119 --> 01:03:34.480
<v Speaker 1>your existence in a pretty fundamental way, that something serves

1095
01:03:34.519 --> 01:03:37.039
<v Speaker 1>to just unnerve you. And so that's the kind of

1096
01:03:37.119 --> 01:03:40.599
<v Speaker 1>terror that we have here. It is the terror of space.

1097
01:03:41.039 --> 01:03:44.039
<v Speaker 1>And this is such an important passage that I think

1098
01:03:44.039 --> 01:03:46.320
<v Speaker 1>it's worth me just taking the time to read it

1099
01:03:46.719 --> 01:03:48.199
<v Speaker 1>and for us to just kind of reflect on it,

1100
01:03:48.440 --> 01:03:50.920
<v Speaker 1>to dwell on it. This is one of the most

1101
01:03:51.039 --> 01:03:53.840
<v Speaker 1>influential passages on me out of the entire story. And

1102
01:03:53.880 --> 01:03:57.400
<v Speaker 1>so here go but Ransom. As time wore on became

1103
01:03:57.480 --> 01:04:00.519
<v Speaker 1>aware of another and more spiritual cause for his progressive

1104
01:04:00.559 --> 01:04:03.840
<v Speaker 1>lightning and exaltation of heart. A nightmare long engendered in

1105
01:04:03.880 --> 01:04:06.199
<v Speaker 1>the modern mind by the mythology that follows the wake

1106
01:04:06.239 --> 01:04:08.920
<v Speaker 1>of science, was falling off him. He had read of

1107
01:04:08.960 --> 01:04:11.440
<v Speaker 1>space at the back of his thinking. For years had

1108
01:04:11.519 --> 01:04:15.079
<v Speaker 1>lurked the dismal fancy of the black, cold vacuity, the

1109
01:04:15.199 --> 01:04:19.559
<v Speaker 1>utter deadness which was supposed to separate the worlds. He

1110
01:04:19.639 --> 01:04:21.800
<v Speaker 1>had not known how much it affected him till now

1111
01:04:22.360 --> 01:04:25.280
<v Speaker 1>now that the very name space seemed to blasphemous libel

1112
01:04:25.360 --> 01:04:28.079
<v Speaker 1>for the impurian ocean of radiance in which they'd swam.

1113
01:04:28.760 --> 01:04:31.960
<v Speaker 1>He could not call it dead. He felt life pouring

1114
01:04:32.000 --> 01:04:35.039
<v Speaker 1>into him from it every moment. How indeed, could it

1115
01:04:35.039 --> 01:04:38.480
<v Speaker 1>be otherwise, Since out of this ocean the worlds, in

1116
01:04:38.519 --> 01:04:41.119
<v Speaker 1>all their life, had come. He had thought it barren.

1117
01:04:41.519 --> 01:04:43.480
<v Speaker 1>He saw now that it was the womb of worlds,

1118
01:04:43.679 --> 01:04:47.480
<v Speaker 1>whose blazing and innumerable offspring looked down nightly even upon

1119
01:04:47.559 --> 01:04:52.039
<v Speaker 1>the earth, with so many eyes, and here how many more. No,

1120
01:04:52.599 --> 01:04:56.119
<v Speaker 1>Space was the wrong name. Older thinkers had been wiser

1121
01:04:56.159 --> 01:04:59.039
<v Speaker 1>when they named it simply the heavens, the heavens which

1122
01:04:59.079 --> 01:05:02.960
<v Speaker 1>declared the glory, the happy climes that lie where day

1123
01:05:03.079 --> 01:05:06.159
<v Speaker 1>never shuts his eye up in the broad fields of

1124
01:05:06.199 --> 01:05:10.159
<v Speaker 1>the sky. He quoted Milton's word to himself lovingly at

1125
01:05:10.159 --> 01:05:13.360
<v Speaker 1>this time, and often Christina Hale reflects on this, saying,

1126
01:05:13.719 --> 01:05:16.119
<v Speaker 1>to think of the heavens as the great outer darkness,

1127
01:05:16.280 --> 01:05:19.079
<v Speaker 1>as our modern minds often do, is through a place

1128
01:05:19.239 --> 01:05:23.079
<v Speaker 1>heaven with hell. Thinking this way restructures the imaginative layout

1129
01:05:23.079 --> 01:05:25.199
<v Speaker 1>of the cosmos and changes the way we look up

1130
01:05:25.199 --> 01:05:28.280
<v Speaker 1>at the night sky. It rejects the view of thousands

1131
01:05:28.320 --> 01:05:31.119
<v Speaker 1>of years of prophets and poets in favor of listening

1132
01:05:31.119 --> 01:05:34.320
<v Speaker 1>to science without entertaining the idea that perhaps that our

1133
01:05:34.360 --> 01:05:37.039
<v Speaker 1>realities that are deeper than the material, that we are

1134
01:05:37.079 --> 01:05:40.199
<v Speaker 1>not yet real enough to see them. I like this

1135
01:05:40.320 --> 01:05:42.800
<v Speaker 1>a lot. I think it gets it fundamentally right that

1136
01:05:42.880 --> 01:05:45.880
<v Speaker 1>we have replaced heaven with hell. Go back to the

1137
01:05:45.920 --> 01:05:48.840
<v Speaker 1>old world and they talk about the heavens teeming with life,

1138
01:05:48.920 --> 01:05:52.239
<v Speaker 1>with purpose, with significance, with angelic choirs.

1139
01:05:52.599 --> 01:05:52.800
<v Speaker 2>Hris.

1140
01:05:52.960 --> 01:05:55.639
<v Speaker 1>Now we look beyond the Earth's atmosphere and what we

1141
01:05:55.679 --> 01:05:59.679
<v Speaker 1>see is space, we see the outer darkness. What we

1142
01:05:59.719 --> 01:06:04.320
<v Speaker 1>see is hell. And that's not inconsequential. But I think

1143
01:06:04.320 --> 01:06:07.960
<v Speaker 1>that this is necessarily what happens when we let science

1144
01:06:08.159 --> 01:06:10.719
<v Speaker 1>play philosophy something that it was never meant to do.

1145
01:06:11.880 --> 01:06:15.039
<v Speaker 1>I'm not against science, and Lewis is not against science.

1146
01:06:15.440 --> 01:06:20.039
<v Speaker 1>What he is against is mistaking science for philosophy. Science does,

1147
01:06:20.239 --> 01:06:24.320
<v Speaker 1>is it examines material realities. It helps us to understand

1148
01:06:24.559 --> 01:06:29.840
<v Speaker 1>material realities. But material realities don't tell us anything about purpose.

1149
01:06:29.880 --> 01:06:32.480
<v Speaker 1>It doesn't tell us anything about metaphysical realities. It doesn't

1150
01:06:32.480 --> 01:06:34.880
<v Speaker 1>tell us anything about teilos, about goals, or about how

1151
01:06:34.920 --> 01:06:37.400
<v Speaker 1>we should live. It doesn't tell us anything about what to.

1152
01:06:37.320 --> 01:06:38.880
<v Speaker 2>Do with these material realities.

1153
01:06:39.599 --> 01:06:42.079
<v Speaker 1>And so we're doing something wrong when we say that

1154
01:06:42.480 --> 01:06:46.400
<v Speaker 1>the way to understand reality is to do science, because well,

1155
01:06:46.519 --> 01:06:50.360
<v Speaker 1>reality itself is a metaphysical structure of reality. We're putting

1156
01:06:50.400 --> 01:06:54.239
<v Speaker 1>things together in a meaningful, coherent way that science doesn't

1157
01:06:54.239 --> 01:06:56.480
<v Speaker 1>actually have anything to do with. And so science is

1158
01:06:56.519 --> 01:07:01.280
<v Speaker 1>a tool. Science is not philosophy. And when we let

1159
01:07:01.320 --> 01:07:05.239
<v Speaker 1>science play philosophy, what we get is hell. And that's

1160
01:07:05.280 --> 01:07:07.400
<v Speaker 1>something that we're going to see throughout this series in

1161
01:07:07.599 --> 01:07:11.880
<v Speaker 1>very vivid terms. And I think it's worth throwing in

1162
01:07:11.920 --> 01:07:16.079
<v Speaker 1>here this quote from the Don Tretder And we'll talk

1163
01:07:16.079 --> 01:07:18.159
<v Speaker 1>about more of this when we actually get there in

1164
01:07:18.599 --> 01:07:21.519
<v Speaker 1>our study, but let's just look at it now. In

1165
01:07:21.559 --> 01:07:24.559
<v Speaker 1>our world, said Eustace, a star is a huge ball

1166
01:07:24.679 --> 01:07:28.239
<v Speaker 1>of flaming gas. Even in your world, my son, that

1167
01:07:28.360 --> 01:07:31.159
<v Speaker 1>is not what a star is, but only what it

1168
01:07:31.239 --> 01:07:33.840
<v Speaker 1>is made of. And here I think we get a

1169
01:07:33.880 --> 01:07:39.400
<v Speaker 1>pretty strong rebuke of our misunderstanding of what science is

1170
01:07:39.440 --> 01:07:42.079
<v Speaker 1>and what science is able to accomplish. All right, next

1171
01:07:42.079 --> 01:07:44.760
<v Speaker 1>to the crew starts to land on Malachandra, and this

1172
01:07:44.840 --> 01:07:48.199
<v Speaker 1>process is very unnerving, is very unsettling. We get the

1173
01:07:48.239 --> 01:07:50.760
<v Speaker 1>sense that they are falling out of Heaven. It says

1174
01:07:51.199 --> 01:07:54.280
<v Speaker 1>now with a certainty which never after deserted him. He

1175
01:07:54.320 --> 01:07:56.599
<v Speaker 1>saw the planets the Earth. He called them in his

1176
01:07:56.639 --> 01:08:00.119
<v Speaker 1>thought as mere holes or gaps in the living heaven,

1177
01:08:00.280 --> 01:08:03.800
<v Speaker 1>excluded and rejected waste of heavy matter and murky air,

1178
01:08:04.400 --> 01:08:07.920
<v Speaker 1>formed not by addition to, but by subtraction from the

1179
01:08:07.960 --> 01:08:11.280
<v Speaker 1>surrounding brightness. And so this is not a fallen planet

1180
01:08:11.400 --> 01:08:15.480
<v Speaker 1>like Earth. This is at least mostly a good planet. However,

1181
01:08:15.840 --> 01:08:18.800
<v Speaker 1>even a good planet is not the heavens. And so

1182
01:08:18.960 --> 01:08:20.840
<v Speaker 1>we get the sense that even though he's in a

1183
01:08:20.880 --> 01:08:23.880
<v Speaker 1>place now that's better than Earth, he's still moving away

1184
01:08:23.920 --> 01:08:28.039
<v Speaker 1>from reality. Remember that within the Platonic scheme, reality is

1185
01:08:28.039 --> 01:08:31.760
<v Speaker 1>a spectrum where some things are more real than others,

1186
01:08:31.840 --> 01:08:34.720
<v Speaker 1>and that which is most real is the good. And

1187
01:08:34.760 --> 01:08:37.439
<v Speaker 1>so there's a certain sense in which the heavens come

1188
01:08:37.720 --> 01:08:43.279
<v Speaker 1>before the planets, both historically as well as ontologically, in

1189
01:08:43.319 --> 01:08:46.039
<v Speaker 1>their nature, in their being, they are in many ways

1190
01:08:46.199 --> 01:08:50.199
<v Speaker 1>more important. And so as he moves toward the heavens,

1191
01:08:50.399 --> 01:08:53.119
<v Speaker 1>he gets this levity, He gets the sense that he's

1192
01:08:53.159 --> 01:08:55.680
<v Speaker 1>moving toward that which is more real. As he moves

1193
01:08:55.760 --> 01:08:58.199
<v Speaker 1>down to the planet, out of the heavens, he's still

1194
01:08:58.279 --> 01:09:01.039
<v Speaker 1>somewhere good, but it's the direction of movement that matters.

1195
01:09:01.159 --> 01:09:04.600
<v Speaker 1>He's moving away from that which is best. And so

1196
01:09:04.720 --> 01:09:07.600
<v Speaker 1>that's why this is such a rough landing. And then

1197
01:09:07.960 --> 01:09:11.000
<v Speaker 1>I love this, he says. And yet he thought, beyond

1198
01:09:11.039 --> 01:09:15.239
<v Speaker 1>the solar system, the brightness ends. Is that the real void,

1199
01:09:15.680 --> 01:09:19.680
<v Speaker 1>the real death, unless he groped for the idea, unless

1200
01:09:19.800 --> 01:09:23.439
<v Speaker 1>visible light is also a hole or gap, a mere

1201
01:09:23.560 --> 01:09:28.159
<v Speaker 1>diminution of something else, something that is to bright unchanging heaven,

1202
01:09:28.520 --> 01:09:32.840
<v Speaker 1>as heaven is to the dark heavy earths. And so

1203
01:09:32.920 --> 01:09:35.439
<v Speaker 1>he's just reflecting on web talking about the idea that

1204
01:09:35.479 --> 01:09:38.439
<v Speaker 1>reality is a spectrum, and so he thinks, of, okay,

1205
01:09:38.600 --> 01:09:42.359
<v Speaker 1>light is more real than darkness, and so perhaps it

1206
01:09:42.439 --> 01:09:47.159
<v Speaker 1>is beyond this realm of physical light where we finally

1207
01:09:47.199 --> 01:09:49.760
<v Speaker 1>get what we call space, where we finally get emptiness,

1208
01:09:49.800 --> 01:09:53.039
<v Speaker 1>that is the real void, the real death. However, then

1209
01:09:53.039 --> 01:09:55.840
<v Speaker 1>it dawns out on that. Wait, what if even though

1210
01:09:55.920 --> 01:09:58.520
<v Speaker 1>at that point we're beyond the realm of physical light,

1211
01:09:59.039 --> 01:10:02.600
<v Speaker 1>there actually is not nothing, but there's actually something even more

1212
01:10:02.640 --> 01:10:05.680
<v Speaker 1>of a something, that there's something even more real that

1213
01:10:05.840 --> 01:10:09.520
<v Speaker 1>as Earth is to the heavens, perhaps the physical heavens

1214
01:10:09.560 --> 01:10:13.039
<v Speaker 1>are to something else, something more real, something greater right,

1215
01:10:13.119 --> 01:10:14.760
<v Speaker 1>something that we don't have the means of dealing with.

1216
01:10:15.000 --> 01:10:18.079
<v Speaker 1>And remember what I said before about how biblically speaking,

1217
01:10:18.119 --> 01:10:21.399
<v Speaker 1>sometimes God is portrayed as living in unapproachable light, other

1218
01:10:21.439 --> 01:10:24.800
<v Speaker 1>times as living in impenetrable darkness. And I think that's

1219
01:10:24.840 --> 01:10:28.359
<v Speaker 1>something of what he's getting at here, that whatever is

1220
01:10:28.600 --> 01:10:31.760
<v Speaker 1>most real makes reality as we know it.

1221
01:10:31.640 --> 01:10:32.840
<v Speaker 2>Seem like unreality.

1222
01:10:33.520 --> 01:10:35.039
<v Speaker 1>And so then we get what I think it's pretty

1223
01:10:35.039 --> 01:10:41.600
<v Speaker 1>profound Christian platonic meditation taking place here. Now, he finally

1224
01:10:41.600 --> 01:10:43.399
<v Speaker 1>gets his way out of the spaceship and gets his

1225
01:10:43.399 --> 01:10:45.479
<v Speaker 1>first sights of the planet, and we're told that he

1226
01:10:45.520 --> 01:10:48.960
<v Speaker 1>saw nothing but colors, colors that refuse to form themselves

1227
01:10:49.000 --> 01:10:52.079
<v Speaker 1>into things. Moreover, he knew nothing yet well enough to

1228
01:10:52.119 --> 01:10:55.640
<v Speaker 1>see it. You cannot see things till you know roughly

1229
01:10:55.720 --> 01:11:00.600
<v Speaker 1>what they are. Now, Remember for Lewis and for Plato

1230
01:11:00.640 --> 01:11:05.600
<v Speaker 1>and the Platonic tradition, the form of something is more

1231
01:11:05.880 --> 01:11:10.000
<v Speaker 1>real than the particular, and so you can't really know

1232
01:11:10.079 --> 01:11:14.119
<v Speaker 1>what a just action is unless you first know what

1233
01:11:14.439 --> 01:11:17.000
<v Speaker 1>justice is, and so you need to understand the form

1234
01:11:17.079 --> 01:11:19.920
<v Speaker 1>before you can understand the particular. I think that's what

1235
01:11:19.960 --> 01:11:21.239
<v Speaker 1>we see playing out here.

1236
01:11:22.199 --> 01:11:22.479
<v Speaker 2>Now.

1237
01:11:23.520 --> 01:11:25.720
<v Speaker 1>A few more first impressions of the planet. Here, we're

1238
01:11:25.720 --> 01:11:30.199
<v Speaker 1>told that he sees all this vegetation that's really upward focused,

1239
01:11:30.199 --> 01:11:32.680
<v Speaker 1>that because of the way that gravity works here, all

1240
01:11:32.720 --> 01:11:35.159
<v Speaker 1>the planets are very thin, very spindily, and they're all

1241
01:11:35.359 --> 01:11:39.840
<v Speaker 1>pointing upward, and so we get this strong directional orientation

1242
01:11:39.960 --> 01:11:42.279
<v Speaker 1>to the plant life. And I think this is getting

1243
01:11:42.279 --> 01:11:44.960
<v Speaker 1>at a few things here. First of all, we see

1244
01:11:45.000 --> 01:11:50.119
<v Speaker 1>this Mars Sylvani's theme that Mars, although the martial spirit

1245
01:11:50.239 --> 01:11:53.119
<v Speaker 1>and the god of war, is also a god of vegetation,

1246
01:11:53.279 --> 01:11:55.600
<v Speaker 1>and so we get the springtimes, the idea of life,

1247
01:11:55.640 --> 01:11:58.960
<v Speaker 1>this idea of a upward movement. And I don't actually

1248
01:11:59.000 --> 01:12:01.560
<v Speaker 1>don't even remember which book I read this end, but

1249
01:12:01.640 --> 01:12:05.359
<v Speaker 1>there's this discussion in one of the text about how

1250
01:12:05.479 --> 01:12:08.399
<v Speaker 1>a lot of Ransom's experience on this planet is a

1251
01:12:08.560 --> 01:12:12.199
<v Speaker 1>range in a very vertical direction. And so we have

1252
01:12:13.199 --> 01:12:15.800
<v Speaker 1>plant life is rising up. You've got the inhabitants of

1253
01:12:15.840 --> 01:12:20.479
<v Speaker 1>the planet occupy three distinct geographical parts of the planet,

1254
01:12:20.560 --> 01:12:23.000
<v Speaker 1>and so you've got the fifthil Triggy at the bottom,

1255
01:12:23.119 --> 01:12:25.119
<v Speaker 1>kind of in the caverns in the valley. You've got

1256
01:12:25.119 --> 01:12:27.279
<v Speaker 1>the Harassa living in the middle, and then you've got the

1257
01:12:27.359 --> 01:12:30.680
<v Speaker 1>Sorens living on the higher level. And even Rainsom's journey,

1258
01:12:30.680 --> 01:12:32.640
<v Speaker 1>he begins on the level of the Harassa, then he

1259
01:12:32.720 --> 01:12:34.800
<v Speaker 1>moves up to where the Sworns live, and then finally

1260
01:12:34.800 --> 01:12:37.239
<v Speaker 1>he makes his way up to Mildelorn. And so we

1261
01:12:37.359 --> 01:12:40.000
<v Speaker 1>get this up and down pattern. And one of the

1262
01:12:40.039 --> 01:12:42.000
<v Speaker 1>texts you brought to the fact that you know, perhaps

1263
01:12:42.000 --> 01:12:44.319
<v Speaker 1>there's even some kind of phallic imagery. I don't want

1264
01:12:44.359 --> 01:12:46.560
<v Speaker 1>to get too weird with this, but I mean, Mars

1265
01:12:46.760 --> 01:12:49.319
<v Speaker 1>is a masculine planet, and in light of some of

1266
01:12:49.359 --> 01:12:51.439
<v Speaker 1>the things that Lewis has said elsewhere, I don't think

1267
01:12:51.479 --> 01:12:52.520
<v Speaker 1>this is beyond the pale.

1268
01:12:52.880 --> 01:12:53.199
<v Speaker 2>Okay.

1269
01:12:53.319 --> 01:12:56.239
<v Speaker 1>Next, one of the first things that happened is after

1270
01:12:56.239 --> 01:12:59.439
<v Speaker 1>they start to encounter the storm, then the Hanakra shows up,

1271
01:12:59.439 --> 01:13:03.439
<v Speaker 1>and so we get a physical altercation taking place, which

1272
01:13:03.600 --> 01:13:07.960
<v Speaker 1>I think very much speaks to the militant mood of

1273
01:13:08.000 --> 01:13:11.880
<v Speaker 1>this planet, Ransom, he runs away, and eventually he encounters

1274
01:13:12.000 --> 01:13:16.079
<v Speaker 1>the Horassum, and I just love this scene here where

1275
01:13:16.079 --> 01:13:18.000
<v Speaker 1>he first encounters the Harassa. I'm not gonna read all this,

1276
01:13:18.119 --> 01:13:20.199
<v Speaker 1>but you know, he doesn't really know what this creature is,

1277
01:13:20.239 --> 01:13:22.640
<v Speaker 1>but he starts to recognize that it's trying to speak

1278
01:13:22.640 --> 01:13:25.119
<v Speaker 1>with him, that has some kind of intelligible language, and

1279
01:13:25.159 --> 01:13:27.239
<v Speaker 1>so one hand, he's afraid for his life. He doesn't

1280
01:13:27.279 --> 01:13:29.359
<v Speaker 1>really know what's going to happen, but at the same time,

1281
01:13:29.399 --> 01:13:32.680
<v Speaker 1>he's kind of daydreaming about writing a Malacandrian grammar book,

1282
01:13:32.720 --> 01:13:34.920
<v Speaker 1>which I think is kind of amusing, but also it

1283
01:13:34.960 --> 01:13:38.680
<v Speaker 1>speaks to the fact that Ransom is starting to be transformed. Remember,

1284
01:13:38.840 --> 01:13:41.039
<v Speaker 1>just a short while ago, he saw the idea of

1285
01:13:41.159 --> 01:13:45.600
<v Speaker 1>space itself as terrifying, but he's overcome that, and now

1286
01:13:45.640 --> 01:13:49.800
<v Speaker 1>he's overcoming his you know, wellsy and fear of the unknown,

1287
01:13:49.840 --> 01:13:53.640
<v Speaker 1>intelligent extraterrestrial, and he's starting to treat this as being

1288
01:13:53.800 --> 01:13:55.600
<v Speaker 1>kind of normal. And so we get the sense that

1289
01:13:55.600 --> 01:13:58.720
<v Speaker 1>the Malachandrian air is doing something to him, just as

1290
01:13:58.760 --> 01:14:01.560
<v Speaker 1>the air of Narnia does something to Ennoble and to

1291
01:14:01.720 --> 01:14:05.920
<v Speaker 1>transform the children who visit there. So he spend some

1292
01:14:05.960 --> 01:14:08.800
<v Speaker 1>time with the Rasa. There are some I think significant

1293
01:14:08.840 --> 01:14:11.960
<v Speaker 1>philosophical conversations that happened there, but we'll talk about that,

1294
01:14:12.000 --> 01:14:16.840
<v Speaker 1>probably during the live meetings, maybe on the discord. But

1295
01:14:16.920 --> 01:14:20.600
<v Speaker 1>eventually we get to the Hinakra hunt, which very much

1296
01:14:20.600 --> 01:14:23.920
<v Speaker 1>speaks to the martial spirit of this planet and of

1297
01:14:23.960 --> 01:14:28.600
<v Speaker 1>their Oyarsa. So hoy says, I long to kill the Sinakra,

1298
01:14:29.319 --> 01:14:32.720
<v Speaker 1>as he also longs to kill me. I hope that

1299
01:14:32.760 --> 01:14:34.680
<v Speaker 1>my ship will be the first, and I first in

1300
01:14:34.760 --> 01:14:37.359
<v Speaker 1>my ship with my straight spear when the black jaws snap.

1301
01:14:37.680 --> 01:14:40.199
<v Speaker 1>And if he kills me, my people will mourn, and

1302
01:14:40.239 --> 01:14:42.880
<v Speaker 1>my brothers will desire still more to kill him, but

1303
01:14:42.920 --> 01:14:45.840
<v Speaker 1>they will not wish that we're no HERNAKEI nor do I.

1304
01:14:46.079 --> 01:14:48.840
<v Speaker 1>And so what we see here is that you know,

1305
01:14:48.880 --> 01:14:52.600
<v Speaker 1>this is an unfallen planet, yet there is violence. We'll

1306
01:14:52.640 --> 01:14:54.920
<v Speaker 1>see is that violence is not necessarily sinful. I mean,

1307
01:14:54.960 --> 01:14:57.600
<v Speaker 1>I guess, at least on this planet, that there is

1308
01:14:57.760 --> 01:15:01.800
<v Speaker 1>an ennobled way that co it can take place, and

1309
01:15:01.840 --> 01:15:04.319
<v Speaker 1>perhaps especially in the pagan past, which I think is

1310
01:15:04.600 --> 01:15:07.359
<v Speaker 1>largely what we're seeing here on Malachandra. And we'll talk

1311
01:15:07.359 --> 01:15:08.720
<v Speaker 1>about that a bit more, and we'll get to some

1312
01:15:08.720 --> 01:15:10.960
<v Speaker 1>of the conversations in Perilandra. I think by the fact

1313
01:15:10.960 --> 01:15:13.159
<v Speaker 1>that some of the Psalms and elsewhere talks about how

1314
01:15:13.640 --> 01:15:17.119
<v Speaker 1>God provides for the lions, and of course how does

1315
01:15:17.119 --> 01:15:19.720
<v Speaker 1>he do that by giving them prey? And so we

1316
01:15:19.800 --> 01:15:22.600
<v Speaker 1>get this sense here that not all conflict is bad.

1317
01:15:22.760 --> 01:15:24.720
<v Speaker 1>We get a bit more in this next section from

1318
01:15:25.000 --> 01:15:27.479
<v Speaker 1>hoy As. He says, I will tell you a day

1319
01:15:27.520 --> 01:15:29.800
<v Speaker 1>in my life that has shaped me, such a day

1320
01:15:29.800 --> 01:15:33.680
<v Speaker 1>as comes only once, like love or serving Oyarsa in Meldlorn.

1321
01:15:34.279 --> 01:15:36.600
<v Speaker 1>Then I was young, not much more than a cub,

1322
01:15:36.640 --> 01:15:38.960
<v Speaker 1>when I went far, far up the Andromat, to the

1323
01:15:39.000 --> 01:15:42.359
<v Speaker 1>land where stars shine at midday and even water is cold,

1324
01:15:42.840 --> 01:15:45.760
<v Speaker 1>a great waterfall I climbed. I stood on the shore

1325
01:15:45.880 --> 01:15:48.399
<v Speaker 1>of Balky, the pool which is the place of most

1326
01:15:48.439 --> 01:15:51.319
<v Speaker 1>awe in all worlds. The walls of it go up

1327
01:15:51.359 --> 01:15:54.479
<v Speaker 1>forever and ever, and huge and holy images are cut

1328
01:15:54.479 --> 01:15:57.439
<v Speaker 1>in them, the work of old times. There is the

1329
01:15:57.520 --> 01:16:00.479
<v Speaker 1>fall called the Mountain of water. Because I stood there

1330
01:16:00.520 --> 01:16:04.840
<v Speaker 1>alone malel Den, for even Oyarsa sent me no word.

1331
01:16:05.319 --> 01:16:09.119
<v Speaker 1>My heart has been higher, my song deeper, all my days.

1332
01:16:09.279 --> 01:16:11.399
<v Speaker 1>But do you think it would have been so unless

1333
01:16:11.399 --> 01:16:15.319
<v Speaker 1>I had known that in that Balky Hernaki dwelled. There,

1334
01:16:15.439 --> 01:16:18.920
<v Speaker 1>I drink life, because death was in the pool. That

1335
01:16:19.079 --> 01:16:22.399
<v Speaker 1>was the best of drinks save one. What one ask

1336
01:16:22.560 --> 01:16:25.880
<v Speaker 1>Ransom death itself in the day, I drink it and

1337
01:16:25.920 --> 01:16:29.119
<v Speaker 1>go to Maleldo. And so here again we get the

1338
01:16:29.159 --> 01:16:33.000
<v Speaker 1>sense that there is life to be found even in death,

1339
01:16:33.359 --> 01:16:36.720
<v Speaker 1>that there's something about this fight. There's something about the

1340
01:16:36.760 --> 01:16:40.359
<v Speaker 1>reality of death, whether it be that of the Hernaka

1341
01:16:40.560 --> 01:16:44.479
<v Speaker 1>or of the Horas, that is good if it's embraced

1342
01:16:44.640 --> 01:16:47.119
<v Speaker 1>in the right way. And so it's all about channeling

1343
01:16:47.119 --> 01:16:49.680
<v Speaker 1>the martial spirit to do what is good and what

1344
01:16:49.840 --> 01:16:53.319
<v Speaker 1>is noble. Then this is a very important lesson that

1345
01:16:53.399 --> 01:16:55.920
<v Speaker 1>Ransom is going to have to learn, and that's going

1346
01:16:56.000 --> 01:16:58.840
<v Speaker 1>to come up in very clear term when we get

1347
01:16:58.880 --> 01:17:01.199
<v Speaker 1>to Perilandra, And if you already read that story, then

1348
01:17:01.239 --> 01:17:02.960
<v Speaker 1>you know what that might look like. And so what

1349
01:17:03.000 --> 01:17:05.960
<v Speaker 1>we see is Ransom starting to develop a positive relationship

1350
01:17:06.000 --> 01:17:08.760
<v Speaker 1>with the martial influence. And then of course we get

1351
01:17:08.760 --> 01:17:12.520
<v Speaker 1>to the actual hunt. We're told something long sleeping in

1352
01:17:12.560 --> 01:17:15.800
<v Speaker 1>the blood awoke in Ransom. It did not seem impossible

1353
01:17:15.840 --> 01:17:19.359
<v Speaker 1>at this moment that even he might be the Hanakraus layer,

1354
01:17:19.720 --> 01:17:23.359
<v Speaker 1>that the fame of Haman Hanakraput might be handed down

1355
01:17:23.359 --> 01:17:27.119
<v Speaker 1>to posterity in this world that knew no other man.

1356
01:17:27.439 --> 01:17:30.079
<v Speaker 1>And so again we get this idea that the air

1357
01:17:30.199 --> 01:17:34.079
<v Speaker 1>of Mars is doing something in Ransom, that it's ennobling

1358
01:17:34.159 --> 01:17:38.000
<v Speaker 1>him that is causing him to undergo this transformation to

1359
01:17:38.079 --> 01:17:40.800
<v Speaker 1>become more like the ruler of the planet, just as

1360
01:17:40.840 --> 01:17:43.600
<v Speaker 1>we see with the children in Narnia as they become

1361
01:17:43.720 --> 01:17:47.800
<v Speaker 1>ennobled and more asland like through the Air of Narnia.

1362
01:17:47.840 --> 01:17:50.039
<v Speaker 1>And then of course, after the hunt, a hooyah shot

1363
01:17:50.079 --> 01:17:53.319
<v Speaker 1>and dies, and then Ransom finally begins to answer the

1364
01:17:53.319 --> 01:17:56.239
<v Speaker 1>summons of Malelvil and this is where he encounters Augrey

1365
01:17:56.279 --> 01:17:58.199
<v Speaker 1>the Soorn, And I'm not going to read through all

1366
01:17:58.279 --> 01:18:01.399
<v Speaker 1>this right now, but he starts to talk about the Aldeala,

1367
01:18:01.520 --> 01:18:04.079
<v Speaker 1>about these beings that are just kind of on the

1368
01:18:04.239 --> 01:18:08.479
<v Speaker 1>edge of Ransom's perception. There are obviously some kind of

1369
01:18:08.479 --> 01:18:11.600
<v Speaker 1>angelic or at least semi angelic beings that are doing

1370
01:18:11.640 --> 01:18:14.520
<v Speaker 1>the will of Oyarsum, but Ransom really doesn't have a

1371
01:18:14.560 --> 01:18:18.039
<v Speaker 1>firm category for understanding what they are. And Augray starts

1372
01:18:18.039 --> 01:18:20.600
<v Speaker 1>to describe them as being these agents that kind of

1373
01:18:20.680 --> 01:18:24.000
<v Speaker 1>appear as light, but in reality there's something more real,

1374
01:18:24.079 --> 01:18:27.119
<v Speaker 1>and I think this is tied to what Ransom was

1375
01:18:27.159 --> 01:18:32.760
<v Speaker 1>meditating on before, about something being even more brilliant than

1376
01:18:32.880 --> 01:18:38.399
<v Speaker 1>light itself. And there's this wonder about Okay, do are

1377
01:18:38.479 --> 01:18:42.520
<v Speaker 1>the Eldeala around on Earth? And maybe Ransom has just

1378
01:18:42.600 --> 01:18:46.640
<v Speaker 1>never perceived them. He's not really sure, but Augrey says

1379
01:18:46.680 --> 01:18:48.680
<v Speaker 1>it's kind of weird that the Aldeala don't seem to

1380
01:18:48.720 --> 01:18:51.600
<v Speaker 1>be on Earth, and then Ransom, or thinking this through,

1381
01:18:51.680 --> 01:18:55.000
<v Speaker 1>says of that, I am not certain. It had dawned

1382
01:18:55.000 --> 01:18:57.960
<v Speaker 1>on him that the recurrent human tradition of bright, elusive

1383
01:18:57.960 --> 01:19:01.319
<v Speaker 1>people sometimes appearing on the Earth Albs Davis and the like,

1384
01:19:01.920 --> 01:19:04.880
<v Speaker 1>might after all have another explanation than the anthropologists had

1385
01:19:04.920 --> 01:19:08.159
<v Speaker 1>yet given. True, it would turn the universe rather oddly

1386
01:19:08.239 --> 01:19:11.520
<v Speaker 1>inside out, but his experiences in the spaceship had prepared

1387
01:19:11.600 --> 01:19:14.680
<v Speaker 1>him for such operation, and so basically it kind of

1388
01:19:14.680 --> 01:19:18.159
<v Speaker 1>starts to conclude here that maybe these stories about fairies

1389
01:19:18.199 --> 01:19:21.000
<v Speaker 1>that we have are actually onto something, maybe they're speaking

1390
01:19:21.439 --> 01:19:25.319
<v Speaker 1>to something real. However, this wouldn't only turn everything inside

1391
01:19:25.319 --> 01:19:27.760
<v Speaker 1>out because of some of these meditations he's having on

1392
01:19:28.039 --> 01:19:31.319
<v Speaker 1>kind of what reality really is and about the kind

1393
01:19:31.319 --> 01:19:34.359
<v Speaker 1>of analogies of light and existence and all that. You know,

1394
01:19:34.479 --> 01:19:37.479
<v Speaker 1>that's kind of mind blowing itself, but also turns things

1395
01:19:37.520 --> 01:19:43.439
<v Speaker 1>inside out by giving a quasi physical explanation of what

1396
01:19:43.479 --> 01:19:47.560
<v Speaker 1>we think of as being these fantastical, illusory realities. And

1397
01:19:47.600 --> 01:19:51.439
<v Speaker 1>so this is a continuation of this breakdown between the

1398
01:19:51.560 --> 01:19:56.439
<v Speaker 1>mundane and the fantastical. Now, next, before he leaves Augury's cave,

1399
01:19:56.800 --> 01:20:00.279
<v Speaker 1>he is able to use this telescope like instrum in

1400
01:20:00.359 --> 01:20:03.600
<v Speaker 1>order to look on Earth, and Ransom realizes it was

1401
01:20:03.680 --> 01:20:08.479
<v Speaker 1>all there in that little disk London, Athens, Jerusalem, Shakespeare.

1402
01:20:08.960 --> 01:20:12.560
<v Speaker 1>There everyone had lived and everything had happened, and there,

1403
01:20:12.640 --> 01:20:15.399
<v Speaker 1>presumably his pack was still lying in the porch of

1404
01:20:15.399 --> 01:20:18.640
<v Speaker 1>an empty house near Stirk. Yes, he said, dully to

1405
01:20:18.680 --> 01:20:22.319
<v Speaker 1>the sworn, that is my world. It was the bleakest

1406
01:20:22.319 --> 01:20:25.960
<v Speaker 1>moment in all of his travels. Now, why is this

1407
01:20:26.000 --> 01:20:28.359
<v Speaker 1>the bleakest moment one hand? I mean, he's looking at home.

1408
01:20:28.439 --> 01:20:30.680
<v Speaker 1>You think that might be kind of enlivening to him,

1409
01:20:31.319 --> 01:20:34.560
<v Speaker 1>But it's so bleak in that he begins to recognize

1410
01:20:34.600 --> 01:20:38.079
<v Speaker 1>that this world that holds all, or I guess at

1411
01:20:38.159 --> 01:20:41.840
<v Speaker 1>least nearly all of human history, is so small.

1412
01:20:42.520 --> 01:20:43.359
<v Speaker 2>It is limited.

1413
01:20:43.880 --> 01:20:46.840
<v Speaker 1>It is not the full story, and that has a

1414
01:20:47.159 --> 01:20:51.760
<v Speaker 1>kind of disquieting feel to it, to know that things

1415
01:20:51.880 --> 01:20:55.600
<v Speaker 1>might not be quite as significant as we once thought.

1416
01:20:56.920 --> 01:20:59.359
<v Speaker 1>But of course, through this whole journey he's going to

1417
01:20:59.399 --> 01:21:02.159
<v Speaker 1>recognize that the earth actually has far more significance than

1418
01:21:02.199 --> 01:21:05.640
<v Speaker 1>he realized. And this reminds me of mere Christianity, where

1419
01:21:05.680 --> 01:21:08.880
<v Speaker 1>Lewis writes, nothing in you that has not died will

1420
01:21:08.920 --> 01:21:11.880
<v Speaker 1>ever be raised from the dead. Look for yourself and

1421
01:21:11.920 --> 01:21:16.399
<v Speaker 1>you will find the long run only hatred, loneliness, despair, rage,

1422
01:21:16.520 --> 01:21:19.520
<v Speaker 1>ruin and decay. But look for Christ and you will

1423
01:21:19.600 --> 01:21:23.479
<v Speaker 1>find him and with him everything else thrown in. And

1424
01:21:23.520 --> 01:21:26.560
<v Speaker 1>so this is a fairly common theme in Lewis's writing,

1425
01:21:26.760 --> 01:21:28.840
<v Speaker 1>the idea that you have to give yourself away in

1426
01:21:28.920 --> 01:21:33.720
<v Speaker 1>order to find yourself, that becoming an authentic individual is

1427
01:21:33.760 --> 01:21:39.640
<v Speaker 1>about engaging authentically with love. And what love does, what

1428
01:21:39.720 --> 01:21:44.000
<v Speaker 1>real love does, is it causes us to open ourselves up,

1429
01:21:44.039 --> 01:21:47.479
<v Speaker 1>to become more expansive, to give ourselves over toward that

1430
01:21:47.520 --> 01:21:51.279
<v Speaker 1>which is lovely, and in so doing we ourselves become lovely.

1431
01:21:51.680 --> 01:21:52.359
<v Speaker 2>But before you.

1432
01:21:52.319 --> 01:21:55.640
<v Speaker 1>Get there, you have to fall into this self denial.

1433
01:21:55.720 --> 01:21:57.720
<v Speaker 1>You have to enter into a kind of death before

1434
01:21:57.760 --> 01:22:01.640
<v Speaker 1>you can enter into life. Keep that in mind, especially

1435
01:22:01.680 --> 01:22:04.119
<v Speaker 1>as we get to Paralandrum right now. Eventually he makes

1436
01:22:04.159 --> 01:22:07.600
<v Speaker 1>his way to the court of Oyarsa. And again I'm

1437
01:22:07.640 --> 01:22:10.239
<v Speaker 1>not gonna read all this, but you know, Oyarsa kind

1438
01:22:10.279 --> 01:22:14.399
<v Speaker 1>of reveals this cosmic history. It seems pretty clear to

1439
01:22:14.560 --> 01:22:17.439
<v Speaker 1>us if you have any kind of, you know, Christian

1440
01:22:17.680 --> 01:22:22.119
<v Speaker 1>understanding of cosmic history, the Oarsa of Mars is some

1441
01:22:22.279 --> 01:22:24.640
<v Speaker 1>kind of angel, some kind of angelic like reality. And

1442
01:22:24.680 --> 01:22:27.800
<v Speaker 1>this fits in nicely with Lewis's medievalism. Remember I talked

1443
01:22:27.800 --> 01:22:30.880
<v Speaker 1>about the significance of the angels and how some angels

1444
01:22:30.920 --> 01:22:34.199
<v Speaker 1>are responsible for moving the planets, and so Oyarsa fits

1445
01:22:34.279 --> 01:22:38.840
<v Speaker 1>nicely within this medieval model. But ultimately Oyarsa is more

1446
01:22:38.880 --> 01:22:41.640
<v Speaker 1>of a class or a title, and so he's talking

1447
01:22:41.680 --> 01:22:46.039
<v Speaker 1>to the Oarsa of Mars. There's also an Oyarsa of Earth,

1448
01:22:46.720 --> 01:22:50.840
<v Speaker 1>the bent one, one who turned away from the fellowship

1449
01:22:51.000 --> 01:22:54.119
<v Speaker 1>that all these oars who have with each other. And

1450
01:22:54.199 --> 01:22:57.680
<v Speaker 1>that's why we have a silent planet, because the oars

1451
01:22:57.800 --> 01:23:00.239
<v Speaker 1>of our planet is confined to this location. And so

1452
01:23:00.479 --> 01:23:03.439
<v Speaker 1>really what Earth is is something like the prison of

1453
01:23:03.720 --> 01:23:06.319
<v Speaker 1>the bent One, and we tend to take on that

1454
01:23:06.439 --> 01:23:09.560
<v Speaker 1>influence that is pressed onto us at every turn and

1455
01:23:09.600 --> 01:23:11.520
<v Speaker 1>then to really drive in what's going on here. Oarsa

1456
01:23:11.520 --> 01:23:15.119
<v Speaker 1>talks about how maleldl, which surely is Christ, wrestled with

1457
01:23:15.279 --> 01:23:18.079
<v Speaker 1>the bent one on earth. But Oyasha doesn't really know

1458
01:23:18.119 --> 01:23:19.680
<v Speaker 1>much about this, and it is a thing that we

1459
01:23:19.760 --> 01:23:22.560
<v Speaker 1>desire to look into. And this is pulling straight from scripture.

1460
01:23:22.600 --> 01:23:25.279
<v Speaker 1>The fact that angels desire to look into the realities

1461
01:23:25.319 --> 01:23:28.119
<v Speaker 1>of the Gospel and Lewis really gives us a pretty

1462
01:23:28.119 --> 01:23:30.239
<v Speaker 1>strong indicator of what it is that we're talking about.

1463
01:23:30.279 --> 01:23:31.239
<v Speaker 2>Just in case we missed it.

1464
01:23:31.640 --> 01:23:35.359
<v Speaker 1>Ayarsa talks about, you know, how Ransom has been so afraid,

1465
01:23:35.199 --> 01:23:39.279
<v Speaker 1>and Ransom confesses that is true, Ayarsa. Bent creatures are

1466
01:23:39.359 --> 01:23:42.359
<v Speaker 1>full of fears. But I'm here now and ready to

1467
01:23:42.439 --> 01:23:44.479
<v Speaker 1>know your will with me. And so really we see

1468
01:23:44.520 --> 01:23:47.439
<v Speaker 1>the fruit of this conversion that Ransom has experienced, and

1469
01:23:47.479 --> 01:23:50.720
<v Speaker 1>so he recognizes bent creatures are full of fears. And

1470
01:23:50.760 --> 01:23:53.960
<v Speaker 1>so those who are ungrounded in reality, well, they don't

1471
01:23:53.960 --> 01:23:56.079
<v Speaker 1>have any ground to stand on, they don't have any foundation.

1472
01:23:56.520 --> 01:24:01.479
<v Speaker 1>They're insecure, they're latching themselves onto moving fortunes instead of

1473
01:24:01.720 --> 01:24:06.479
<v Speaker 1>grounding themselves in the goodness of reality itself. And so

1474
01:24:07.079 --> 01:24:10.359
<v Speaker 1>bent creatures are full of fears that are full of anxieties.

1475
01:24:10.720 --> 01:24:13.560
<v Speaker 1>But now he is here securely, ready to know what

1476
01:24:13.600 --> 01:24:16.399
<v Speaker 1>it is that Oyarsa wants with him. And Oarsa says

1477
01:24:16.399 --> 01:24:18.199
<v Speaker 1>that there are two things that I wanted to ask

1478
01:24:18.239 --> 01:24:21.079
<v Speaker 1>of your race. First, I must know why you come

1479
01:24:21.119 --> 01:24:24.399
<v Speaker 1>here so much is my duty to my world. And secondly,

1480
01:24:24.479 --> 01:24:27.279
<v Speaker 1>I wish to hear a Thochandra and a melodictle strange

1481
01:24:27.279 --> 01:24:29.960
<v Speaker 1>wars there with the bent one, for that, as I

1482
01:24:30.039 --> 01:24:32.319
<v Speaker 1>have said, it is a thing we desire to look into.

1483
01:24:32.800 --> 01:24:36.279
<v Speaker 1>So again we get this biblical language repeated that Oarsa

1484
01:24:36.399 --> 01:24:39.640
<v Speaker 1>longs to know more about this gospel story that's taken

1485
01:24:39.680 --> 01:24:41.880
<v Speaker 1>place on earth. And then again, I'm not gonna read

1486
01:24:41.880 --> 01:24:43.960
<v Speaker 1>this whole passage, but I do just think it's very

1487
01:24:43.960 --> 01:24:47.159
<v Speaker 1>interesting and kind of amusing. When Western divine are pulled

1488
01:24:47.199 --> 01:24:49.880
<v Speaker 1>into the court. At first, Ransom doesn't recognize them. It

1489
01:24:49.880 --> 01:24:53.079
<v Speaker 1>seems strange. They are like misshapen creatures, And eventually he

1490
01:24:53.159 --> 01:24:55.439
<v Speaker 1>realizes what they are, and so we really get the

1491
01:24:55.479 --> 01:24:59.239
<v Speaker 1>sense that he's seeing, as it says, here almost with

1492
01:24:59.520 --> 01:25:03.920
<v Speaker 1>malacho and eyes. And so he's really become immersed in

1493
01:25:04.000 --> 01:25:08.479
<v Speaker 1>this world. He's really learned to get outside of his

1494
01:25:08.600 --> 01:25:12.479
<v Speaker 1>earthly perspective. He's become more expansive in his perspective, more

1495
01:25:12.520 --> 01:25:14.800
<v Speaker 1>expansive in his vision. I remember I talked about how

1496
01:25:15.520 --> 01:25:18.560
<v Speaker 1>real love, that the right kind of love, right, the

1497
01:25:18.720 --> 01:25:20.920
<v Speaker 1>right kind of philosophy, which is the love of wisdom,

1498
01:25:21.279 --> 01:25:26.159
<v Speaker 1>causes us to become more expansive, to give ourselves over

1499
01:25:26.199 --> 01:25:29.880
<v Speaker 1>to greater and greater realities, and then greater realities tend

1500
01:25:29.960 --> 01:25:32.920
<v Speaker 1>to return the favor, making us more real. I think

1501
01:25:32.960 --> 01:25:35.960
<v Speaker 1>that's what's happening in this scene. And I love the

1502
01:25:35.960 --> 01:25:39.800
<v Speaker 1>scene where Ransom's providing a translation of Weston to Oyarsum.

1503
01:25:40.279 --> 01:25:44.279
<v Speaker 1>It's a way of really demonstrating the sophistry, the empty rhetoric,

1504
01:25:44.600 --> 01:25:47.880
<v Speaker 1>the absurdity of Weston's arguments, despite the fact that he

1505
01:25:48.000 --> 01:25:51.640
<v Speaker 1>uses very grandiose language here. And so you know, Weston

1506
01:25:51.720 --> 01:25:54.960
<v Speaker 1>says to you, it may seem a vulgar robber, but

1507
01:25:55.119 --> 01:25:57.680
<v Speaker 1>I bear on my shoulders the destiny of the human race.

1508
01:25:58.159 --> 01:26:01.119
<v Speaker 1>Your tribal life, with its stone age weapons and beehive huts,

1509
01:26:01.439 --> 01:26:05.600
<v Speaker 1>is primitive coracles and elementary social structures, has nothing to

1510
01:26:05.640 --> 01:26:09.520
<v Speaker 1>compare with our civilization, with our science, medicine and law,

1511
01:26:09.800 --> 01:26:13.279
<v Speaker 1>our armies, our architecture, our commerce, and our transport system,

1512
01:26:13.279 --> 01:26:16.840
<v Speaker 1>which is rapidly annihilating space and time. Our right to

1513
01:26:16.920 --> 01:26:20.119
<v Speaker 1>supersede you is the right of the higher over the lower.

1514
01:26:20.600 --> 01:26:24.439
<v Speaker 1>And then Ransom translates this by saying, among us, Oyarsa,

1515
01:26:24.720 --> 01:26:27.560
<v Speaker 1>there's a kind of cano who will take other Hena's

1516
01:26:27.600 --> 01:26:32.199
<v Speaker 1>food and things when they are not looking. He says

1517
01:26:32.239 --> 01:26:34.560
<v Speaker 1>he is not an ordinary one of that kind. In

1518
01:26:34.560 --> 01:26:37.520
<v Speaker 1>other words, he absolutely is a robber, but I mean

1519
01:26:37.680 --> 01:26:41.359
<v Speaker 1>not an ordinary one, as if that's somehow ennobling. And

1520
01:26:41.399 --> 01:26:43.680
<v Speaker 1>then I think the hole back and forth is just

1521
01:26:43.760 --> 01:26:46.760
<v Speaker 1>worth going over a few times, bothes keep going. So

1522
01:26:46.760 --> 01:26:51.159
<v Speaker 1>Oyarsa gives this rebuke to Weston. He says, strange said, Oarsa,

1523
01:26:51.279 --> 01:26:53.680
<v Speaker 1>you do not love any one of your race. You

1524
01:26:53.680 --> 01:26:56.359
<v Speaker 1>would have let me kill Ransom. You do not love

1525
01:26:56.399 --> 01:26:59.439
<v Speaker 1>the mind of your race, nor the body. Any kind

1526
01:26:59.439 --> 01:27:01.640
<v Speaker 1>of creature will please you if only it is begotten

1527
01:27:01.680 --> 01:27:04.800
<v Speaker 1>by your kin, as they now are. It seems to me,

1528
01:27:04.880 --> 01:27:08.600
<v Speaker 1>thick one, that what you really love is no completed creature,

1529
01:27:08.960 --> 01:27:12.199
<v Speaker 1>but the very seed itself, for that is all that

1530
01:27:12.359 --> 01:27:16.520
<v Speaker 1>is left. And so Oyarsa recognizes that. Weston talks about

1531
01:27:16.600 --> 01:27:19.399
<v Speaker 1>how he's serving the advancement of humanity that he has

1532
01:27:19.439 --> 01:27:22.840
<v Speaker 1>a great love for humanity. Yet we've seen that he

1533
01:27:22.880 --> 01:27:27.720
<v Speaker 1>actually has no love for any particular humans. He mistreats

1534
01:27:27.720 --> 01:27:30.359
<v Speaker 1>people for his scientific experiments. He was more than willing

1535
01:27:30.399 --> 01:27:33.079
<v Speaker 1>to sacrifice ransom when he thought Oyarsa was going to

1536
01:27:33.119 --> 01:27:35.960
<v Speaker 1>consume him or something. And so he doesn't actually care

1537
01:27:36.000 --> 01:27:39.479
<v Speaker 1>for any individual people, any individual humans, despite the fact

1538
01:27:39.520 --> 01:27:42.319
<v Speaker 1>that he claims to have this great love for humanity.

1539
01:27:42.359 --> 01:27:46.239
<v Speaker 1>And so Yarsa demonstrates this absurdity that beneath all of

1540
01:27:46.239 --> 01:27:49.399
<v Speaker 1>his speech is really this diabolical absurdity. But of course

1541
01:27:49.920 --> 01:27:53.279
<v Speaker 1>Weston is not willing to engage in this kind of

1542
01:27:53.279 --> 01:27:57.079
<v Speaker 1>authentic conversation, and so he says tell him, said Weston,

1543
01:27:57.159 --> 01:27:59.520
<v Speaker 1>when he had been made to understand this, that I

1544
01:27:59.520 --> 01:28:02.279
<v Speaker 1>don't pretend to be a metaphysician. I have not come

1545
01:28:02.319 --> 01:28:05.319
<v Speaker 1>here to top logic. If he cannot understand as apparently

1546
01:28:05.319 --> 01:28:08.359
<v Speaker 1>you can't either anything so fundamental as a man's loyalty

1547
01:28:08.359 --> 01:28:12.079
<v Speaker 1>to humanity, I can't make him understand it. And here

1548
01:28:12.359 --> 01:28:16.880
<v Speaker 1>Lewis is very clearly rebuking the science philosophy complex, where

1549
01:28:16.880 --> 01:28:19.520
<v Speaker 1>people will make all these claims the name of science,

1550
01:28:19.560 --> 01:28:21.960
<v Speaker 1>then you start to actually question them on philosophical terms

1551
01:28:22.039 --> 01:28:25.640
<v Speaker 1>and make them move toward more of a coherent framework. Well,

1552
01:28:25.640 --> 01:28:28.159
<v Speaker 1>now suddenly that they just back up and refuse to

1553
01:28:28.199 --> 01:28:31.479
<v Speaker 1>engage in philosophy. I think if Stephen Hawking saying that

1554
01:28:31.520 --> 01:28:34.760
<v Speaker 1>philosophy is dead because it's been superseded by science, despite

1555
01:28:34.800 --> 01:28:38.720
<v Speaker 1>the fact that that itself is a philosophical claim, and

1556
01:28:38.760 --> 01:28:41.000
<v Speaker 1>as if we were missing the point in the conclusion,

1557
01:28:41.079 --> 01:28:43.720
<v Speaker 1>when Ransom finally makes it back to Earth, and now

1558
01:28:43.720 --> 01:28:46.520
<v Speaker 1>we get this PostScript, we're told that we have also

1559
01:28:46.560 --> 01:28:51.000
<v Speaker 1>evidence increasing almost daily, that Western or the force or

1560
01:28:51.119 --> 01:28:53.960
<v Speaker 1>forces behind Western, will play a very important part in

1561
01:28:54.000 --> 01:28:56.439
<v Speaker 1>the events of the next few centuries, and unless we

1562
01:28:56.520 --> 01:28:59.720
<v Speaker 1>prevent them a very disastrous one. We do not mean

1563
01:28:59.720 --> 01:29:02.119
<v Speaker 1>that they're likely to invade Mars. Our cry is not

1564
01:29:02.279 --> 01:29:05.760
<v Speaker 1>merely hands off Malachandr. The dangers to be feared are

1565
01:29:05.800 --> 01:29:09.159
<v Speaker 1>not planetary, but cosmic, or at least solar, and they

1566
01:29:09.159 --> 01:29:13.199
<v Speaker 1>are not temporal but eternal. And so in case we

1567
01:29:13.279 --> 01:29:16.239
<v Speaker 1>missed it, Lewis comes right out and basically says that

1568
01:29:17.079 --> 01:29:20.800
<v Speaker 1>this stuff is real. The threat that Weston poses is

1569
01:29:20.840 --> 01:29:23.560
<v Speaker 1>a real threat that we have to deal with, that

1570
01:29:23.640 --> 01:29:26.880
<v Speaker 1>we must deal with, that we will inescapably deal with

1571
01:29:27.079 --> 01:29:29.600
<v Speaker 1>or at least it will deal with us if nothing else.

1572
01:29:30.560 --> 01:29:33.640
<v Speaker 1>And of course what this force or forces behind Weston

1573
01:29:33.680 --> 01:29:37.199
<v Speaker 1>are will become more evident in the next story. Now,

1574
01:29:37.239 --> 01:29:40.039
<v Speaker 1>in the final bit of the PostScript, Lewis says, now

1575
01:29:40.079 --> 01:29:42.399
<v Speaker 1>that Weston has shut the door, the way to the

1576
01:29:42.399 --> 01:29:44.800
<v Speaker 1>planets lies through the past. If there is to be

1577
01:29:44.840 --> 01:29:47.640
<v Speaker 1>any more space traveling, will have to be time traveling

1578
01:29:47.760 --> 01:29:52.840
<v Speaker 1>as well. Now, this is likely connected to the origin

1579
01:29:52.880 --> 01:29:55.119
<v Speaker 1>story for this series, which I probably should have talked

1580
01:29:55.119 --> 01:29:57.960
<v Speaker 1>about earlier on. But in any case, Lewis and Tolkien

1581
01:29:57.960 --> 01:30:01.199
<v Speaker 1>we're talking about how there weren't enough stories that they

1582
01:30:01.199 --> 01:30:03.159
<v Speaker 1>wanted to read being written, and so they were going

1583
01:30:03.199 --> 01:30:05.560
<v Speaker 1>to do it themselves, and they decided that they wanted

1584
01:30:05.600 --> 01:30:08.479
<v Speaker 1>a space travel story and a time travel story, and

1585
01:30:08.520 --> 01:30:13.560
<v Speaker 1>so they flipped a coin. Lewis got space, Tolkien got time. Now,

1586
01:30:13.560 --> 01:30:17.399
<v Speaker 1>as often happened, Tolkien's literary commitment never actually came to fruition.

1587
01:30:17.600 --> 01:30:20.399
<v Speaker 1>I mean, it eventually became The Lost Road, which was

1588
01:30:20.560 --> 01:30:23.520
<v Speaker 1>not publishing its own right, but did serve an important

1589
01:30:23.600 --> 01:30:27.600
<v Speaker 1>role in the formation of Tolkien's Legendarium. But nonetheless, I

1590
01:30:27.680 --> 01:30:29.640
<v Speaker 1>think that Lewis here is really trying to set up

1591
01:30:29.680 --> 01:30:33.840
<v Speaker 1>Tolkien's work that really just never came to be. However,

1592
01:30:34.439 --> 01:30:37.800
<v Speaker 1>Lewis himself, in his first attempt at a sequel to

1593
01:30:37.840 --> 01:30:40.000
<v Speaker 1>Out of the Side on the Planet, did indeed write

1594
01:30:40.079 --> 01:30:42.680
<v Speaker 1>a time travel story, and this is known as The

1595
01:30:42.800 --> 01:30:47.359
<v Speaker 1>Dark Tower. Now, this is an incomplete manuscript. Likely it

1596
01:30:47.479 --> 01:30:50.279
<v Speaker 1>was never finished, or perhaps we lost some of it,

1597
01:30:50.960 --> 01:30:55.119
<v Speaker 1>not really sure entirely, but regardless, we have a good

1598
01:30:55.239 --> 01:30:58.239
<v Speaker 1>portion of this story and I would recommend picking it up.

1599
01:30:58.279 --> 01:31:00.760
<v Speaker 1>You can get the book The Dark Tower and other stories,

1600
01:31:01.000 --> 01:31:04.319
<v Speaker 1>and so this contains what we have from the Dark Tower,

1601
01:31:04.640 --> 01:31:06.600
<v Speaker 1>this first attempt at a sequel to Out of the

1602
01:31:06.640 --> 01:31:09.840
<v Speaker 1>Silent Planet, which really does focus on time travel. It's

1603
01:31:09.920 --> 01:31:12.319
<v Speaker 1>kind of weird, it's very dark, but I still think

1604
01:31:12.359 --> 01:31:16.119
<v Speaker 1>it's worth reading. Maybe once you've finished the Ransom series

1605
01:31:16.319 --> 01:31:18.800
<v Speaker 1>at least one time around, it's worth going back to this.

1606
01:31:19.199 --> 01:31:22.119
<v Speaker 1>Now it's kind of frustrating, and that it is interesting,

1607
01:31:22.119 --> 01:31:26.159
<v Speaker 1>it's fascinating, it's gripping. However, it does cut off pretty abruptly,

1608
01:31:26.199 --> 01:31:28.000
<v Speaker 1>and so that just kind of is what it is.

1609
01:31:28.239 --> 01:31:30.600
<v Speaker 1>But nonetheless it's worth reading, as well as the other

1610
01:31:30.680 --> 01:31:33.079
<v Speaker 1>short stories that we do have in completion that are

1611
01:31:33.600 --> 01:31:36.800
<v Speaker 1>included in this collection. Here and so it's worth checking out.

1612
01:31:37.800 --> 01:31:39.680
<v Speaker 1>Maybe we can talk about the Dark Tower a little

1613
01:31:39.680 --> 01:31:42.479
<v Speaker 1>bit if that's something that you're interested in. But that

1614
01:31:42.560 --> 01:31:45.840
<v Speaker 1>concludes this current discussion of Out of the Silent Planet.

1615
01:31:46.359 --> 01:31:48.800
<v Speaker 1>I hope that this was useful for you. If you

1616
01:31:48.840 --> 01:31:51.079
<v Speaker 1>have any questions about anything that I discussed or simply

1617
01:31:51.119 --> 01:31:53.760
<v Speaker 1>did anything in the story or about the story, please

1618
01:31:53.840 --> 01:31:55.399
<v Speaker 1>let me know. The best way to do that would

1619
01:31:55.439 --> 01:31:58.119
<v Speaker 1>be to chime in on the discord channel as well

1620
01:31:58.159 --> 01:31:59.840
<v Speaker 1>as to bring it to our live conversations.

1621
01:32:00.520 --> 01:32:01.199
<v Speaker 2>But of course, if you.

1622
01:32:01.159 --> 01:32:03.159
<v Speaker 1>Let me know about something that you're wondering about ahead

1623
01:32:03.199 --> 01:32:05.720
<v Speaker 1>of time, then I'll be able to look into a

1624
01:32:05.720 --> 01:32:08.560
<v Speaker 1>little bit and give more of an informed response in

1625
01:32:08.600 --> 01:32:11.039
<v Speaker 1>the live conversation. But that's it for now, and so

1626
01:32:11.159 --> 01:32:14.319
<v Speaker 1>let's go ahead and start traveling further up and further

1627
01:32:14.399 --> 01:32:54.960
<v Speaker 1>in with Parilandra. Thank you for listening, and thank you

1628
01:32:55.000 --> 01:32:57.920
<v Speaker 1>to all patrons who make this possible. And by name,

1629
01:32:57.920 --> 01:32:59.640
<v Speaker 1>I'd like to thank all to your three patrons and

1630
01:32:59.760 --> 01:33:04.199
<v Speaker 1>higher so many thank you too, Mark, Aaron, Amanda, Andrew, Chase, Chaz,

1631
01:33:04.279 --> 01:33:10.960
<v Speaker 1>Christopher Clinton, David, Don, Aaron Hevy, Adam, Jack, Jamie, Justin, Justin, Kyle,

1632
01:33:11.079 --> 01:33:15.119
<v Speaker 1>Paul Roger, Ross Tyler and William, all of you as

1633
01:33:15.119 --> 01:33:18.520
<v Speaker 1>well as my Tier one in two patrons. You're what

1634
01:33:18.600 --> 01:33:21.399
<v Speaker 1>funds Mythic Mind. It allows us to continue doing the

1635
01:33:21.399 --> 01:33:23.840
<v Speaker 1>things that we're doing and continue to ramp up speed,

1636
01:33:23.920 --> 01:33:26.720
<v Speaker 1>ramp up production, and to branch out in new directions.

1637
01:33:26.880 --> 01:33:28.079
<v Speaker 1>And so if you want to become part of that,

1638
01:33:28.119 --> 01:33:31.000
<v Speaker 1>become an insider, join our discord chats, become an active member,

1639
01:33:31.000 --> 01:33:32.760
<v Speaker 1>and the various things that we're doing. Hod over to

1640
01:33:32.880 --> 01:33:35.640
<v Speaker 1>Patreon dot com slash Mythic Mind. Any level of support

1641
01:33:35.680 --> 01:33:37.960
<v Speaker 1>helps and it brings you on the inside. And as

1642
01:33:38.000 --> 01:33:40.800
<v Speaker 1>a reminder, if you purchase an annual Tier three patronage

1643
01:33:40.880 --> 01:33:44.039
<v Speaker 1>or higher, then you also get access to all of

1644
01:33:44.079 --> 01:33:46.359
<v Speaker 1>my courses that begin within that term, which at this

1645
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<v Speaker 1>point includes Plato Stoicism until we have Faces, the Elder

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<v Speaker 1>Scrolls in Philosophy, and the Silmarillion. So I hope to

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<v Speaker 1>see you around the fellowship. But no matter what, I

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<v Speaker 1>hope that you continue listening to the podcast and you

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<v Speaker 1>will hear from us next on Friday with a Mythic

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<v Speaker 1>Mind Game James podcast on the Legend of Zelda.

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<v Speaker 2>But until then, god speed,
