Perelandra chs 15-17

(see previous)

ch 15.

—Ransom’s 2nd infancy in which he is nursed by Perelandra
the wound on his foot gains prominence (as with the Fisher King in the
Arthurian legend – provides a weakness to a strong, pious character)

return of delight & the growing melody on the fixed land as he again
begins journeying

again he becomes capable of embracing a state of life (climbing)
without self-reflection as the woman had been able to do previously

entering the shallow – the valley between mountains which he senses he
should not dare to enter but he dares not to dare not

ch 16.

—bloodless voice of the eldila
Oyarsa of Malacandra is known only as Malacandra outside of his
This planet is different for they have not directly known their eldila
– again the effects of the corner

process of giving birth & letting go is the task given to

today is the morning day – when the queen ascends with the king to
meet the eldila and assume their task
**they tell Ransom to be comforted in his smallness

**the appearances of the eldila – first, terrible movements of
horrible pillars, then of concentric wheels of terrible size & finally
of giant human figures (again unable to determine size) – but they
seem to be rushing towards Ransom & faintly undulating – also they are
oriented as if this world is aslant from the fields of Arbol

in other words, they are not here as Ransom is here

**gender difference – they are differently ‘plumaged’ in that the
masculine is pure & hard while the feminine is characterized by a
warm, vegetable splendour…

note also their angelic charity – devoid of affectation (or
specificity…for they simply love where our charity swiftly flows
toward a specific object)…instead a pure, ferocious love.

referring to sexual difference: rhythm & melody, quantitative vs
accentual – the real meaning of gender has been miscast in our world
as merely sexual.
Instead gender is reality – a reality more fundamental than sex
(Pace Freud)
–instead of male being primary and masculine derivative, all things
masculine have been taken in myth to inform what is understood as
male. Sex is merely the organic expression of universal polarity.

Also note here that we find C.S. Lewis’ belief that mythology reflects
a true order, though it is transmitted through distortions. The
universe cannot keep a secret for all is connected as a spider web.

**Only Maleldil sees any creature as it truly is (Kantian anti-
seeing only an appearance but not therefore unreal (p 173)…the
appearance is ‘true as’…

A difference spatially in sensation of seeing a stone is different
from a stone being thrown (is this a distinction of telos?)…there
seems to be something here of an attempt to understand that space is
not merely a thing to be understood by seeing but by experience –
distance not merely spatial (not near vs far primarily)

ch 17.

The king – resembles Christ well but where most resembles there is no
mistaking one for the other.

Authority is bestowed upon the queen and king – guide all to
In comparing the eldila with Tor and Tinidril he sees the full meaning
of the animal rationale
they recognize Ransom’s actions as being of Maleldil’s will but
also some credit being due him as Saviour (as was the case for Oyarsa

**At last we find out why the desire for the Fixed was wrong – the
desire for predictability and control betrays a lack of trust. (p
It would be to reject the wave and choose instead to control time

Note also the mirth of the king even when discussing his understanding
of evil (an understanding different in character from ) – fully
serious but fully jovial

Interesting to also note that in inspiration Tinidril begets in
inspiration while the king brings the thought to bear

**particularly interesting passage discussing the future: ‘the end?
Who spoke of an end?’ (pp 181-182)
The beginning of the clearing of our spot – but not truly of a
beginning either – the breaking of the barrier shield in the moon

What then was this for? The answer is not to be found by placing the
Thulcandra or Malacandra or Perelandra at the centre but instead
understanding that the centre is wherever Maleldil is. The only way
out of the centre is by means of a Bent Will.
This is expressed by the Great Dance – which can be mistook for chaos
if any point is looked at without seeing the whole, but instead all
dimensions are needed to see truly (and this truth looks simple to the
outsider). What appears to be unplanned is all planned.


Final Notes: I’ve said far too much and understood far too little –
what do you see, and what do you understand?


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