• From The Screwtape Letters—a fictional work written from a senior demon’s perspective, advising a junior tempter.

    The Historical Point of View, put briefly, means that when a learned man is presented with any statement in an ancient author, the one question he never asks is whether it is true. He asks who influenced the ancient writer, and how far the statement is consistent with what he said in other books, and what phase in the writer’s development, or in the general history of thought, it illustrates, and how it affected later writers, and how often it has been misunderstood (specially by the learned man’s own colleagues) and what the general course of criticism on it has been for the last ten years, and what is the ‘present state of the question’. To regard the ancient writer as a possible source of knowledge—to anticipate that what he said could possibly modify your thoughts or your behaviour—this would be rejected as unutterably simple-minded.

    The Screwtape Letters
    C. S. Lewis

  • From The Screwtape Letters—a fictional work written from a senior demon’s perspective, advising a junior tempter.

    When once a sort of official, legal, or nominal Unselfishness has been established as a rule-a rule for the keeping of which their emotional resources have died away and their spiritual resources have not yet grown-the most delightful results follow. In discussing any joint action, it becomes obligatory that A should argue in favour of B’s supposed wishes and against his own, while B does the oppos-ite. It is often impossible to find out either party’s real wishes; with luck, they end by doing something that neither wants, while each feels a glow of self-righteousness and harbours a secret claim to preferential treatment for the unselfishness shown and a secret grudge against the other for the ease with which the sacrifice has been accepted.

    The Screwtape Letters
    C. S. Lewis

  • From The Screwtape Letters—a fictional work written from a senior demon’s perspective, advising a junior tempter.

    And the questions they do ask are, of course, unanswerable; for they do not know the future, and what the future will be depends very largely on just those choices which they now invoke the future to help them to make. As a result, while their minds are buzzing in this vacuum, we have the better chance to slip in and bend them to the action we have decided on. And great work has already been done. Once they knew that some changes were for the better, and others for the worse, and others again indifferent. We have largely removed this knowledge. For the descriptive adjective ‘unchanged’ we have substituted the emotional adjective ‘stagnant’. We have trained them to think of the Future as a promised land which favoured heroes attain—not as something which everyone reaches at the rate of sixty minutes an hour, whatever he does, whoever he is,

    …

    You see how it is done? If each side had been frankly contending for its own real wish, they would all have kept within the bounds of reason and courtesy; but just because the contention is reversed and each side is fighting the other side’s battle, all the bitterness which really flows from thwarted self-righteousness and obstinacy and the accumulated grudges of the last ten years is concealed from them by the nominal or official ‘Unselfishness’ of what they are doing or, at least, held to be excused by it.

    The Screwtape Letters
    C. S. Lewis

  • From The Screwtape Letters—a fictional work written from a senior demon’s perspective, advising a junior tempter.

    The Enemy loves platitudes. Of a proposed course of action He wants men, so far as I can see, to ask very simple questions; is it righteous? is it prudent? is it possible? Now if we can keep men asking ‘Is it in accordance with the general movement of our time? Is it progressive or reactionary? Is this the way that History is going?’ they will neglect the relevant questions.

    The Screwtape Letters
    C. S. Lewis

  • From The Screwtape Letters—a fictional work written from a senior demon’s perspective, advising a junior tempter.

    Only by our incessant efforts is the demand for infinite, or unrhythmical, change kept up.

    This demand is valuable in various ways. In the first place it diminishes pleasure while increasing desire. The pleasure of novelty is by its very nature more subject than any other to the law of diminishing returns. And continued novelty costs money, so that the desire for it spells avarice or unhappiness or both. And again, the more rapacious this desire, the sooner it must eat up all the innocent sources of pleasure and pass on to those the Enemy forbids. Thus by inflaming the horror of the Same Old Thing we have recently made the Arts, for example, less dangerous to us than perhaps, they have ever been, ‘low-brow’ and ‘high-brow’ artists alike being now daily drawn into fresh, and still fresh, excesses of lasciviousness, unreason, cruelty, and pride.

    The Screwtape Letters
    C. S. Lewis

  • From The Screwtape Letters—a fictional work written from a senior demon’s perspective, advising a junior tempter.

    The horror of the Same Old Thing is one of the most valuable passions we have produced in the human heart—an endless source of heresies in religion, folly in counsel, infidelity in marriage, and inconstancy in friendship. The humans live in time, and experience reality successively. To experience much of it, therefore, they must experience many different things; in other words, they must experience change. And since they need change, the Enemy (being a hedonist at heart) has made change pleasurable to them, just as He has made eating pleasurable. But since He does not wish them to make change, any more than eating, an end in itself, He has balanced the love of change in them by a love of permanence. He has contrived to gratify both tastes together in the very world He has made, by that union of change and permanence which we call Rhythm. He gives them the seasons, each season different yet every year the same, so that spring is always felt as a novelty yet always as the recurrence of an immemorial theme. He gives them in His Church a spiritual year; they change from a fast to a feast, but it is the same feast as before.

    The Screwtape Letters
    C. S. Lewis

  • From The Screwtape Letters—a fictional work written from a senior demon’s perspective, advising a junior tempter.

    They anger him because he regards his time as his own and feels that it is being stolen. You must therefore zealously guard in his mind the curious assumption ‘My time is my own’.

    The Screwtape Letters
    C. S. Lewis

  • From The Screwtape Letters—a fictional work written from a senior demon’s perspective, advising a junior tempter.

    It is the unexpected visitor (when he looked forward to a quiet evening), or the friend’s talkative wife (turning up when he looked forward to a tête-à-tête with the friend), that throw him out of gear.

    The Screwtape Letters
    C. S. Lewis

  • From The Screwtape Letters—a fictional work written from a senior demon’s perspective, advising a junior tempter.

    Men are not angered by mere misfortune but by misfortune conceived as injury. And the sense of injury depends on the feeling that a legitimate claim has been denied. The more claims on life, therefore, that your patient can be induced to make, the more often he will feel injured and, as a result, ill-tempered.

    The Screwtape Letters
    C. S. Lewis

  • From The Screwtape Letters—a fictional work written from a senior demon’s perspective, advising a junior tempter.

    the man would wish that she was not someone else’s wife and be sorry that he could not love her lawfully.

    The Screwtape Letters
    C. S. Lewis