The Pan Books omnibus edition of CS
Lewis' science fiction trilogy is called The Cosmic Trilogy, an
inappropriate title because the novels describe only local interplanetary
journeys. In fact, the first novel addresses the appropriateness or otherwise of
the term "cosmic":
"The dangers to be feared are not
planetary but cosmic, or at least solar..." (1)
No doubt the intervention of the mysterious being Maleldil in
Thulcandra, the "silent planet," Earth, is an event of cosmic significance.
Indeed, we are shown how the event affects a newly inhabited world, Perelandra,
Venus, and we are also told that its effects will be more widespread. However,
curiously, Maleldil's opponents, the rebel eldila, are confined to
Thulcandra so that the conflict with them is not cosmic in scope. We are not
told what might occur elsewhere.
The Trilogy can be adequately described
by reference either to its author, "CS Lewis' interplanetary trilogy" or to its
central character, "the Ransom Trilogy."
Out Of The Silent Planet, 144
pages in the omnibus edition, has a very small cast of human characters:
Weston, Devine and Ransom travel to
Malacandra, Mars;
before leaving Earth, they interact with a woman and her son, Harry;
on Mars, they meet members of three intelligent species and some extra-planetary beings, eldila;
back on Earth, Ransom corresponds with CS Lewis;
thus, there are six human characters.
before leaving Earth, they interact with a woman and her son, Harry;
on Mars, they meet members of three intelligent species and some extra-planetary beings, eldila;
back on Earth, Ransom corresponds with CS Lewis;
thus, there are six human characters.
Perelandra, (204 pages) has an
even smaller cast:
Ransom and Weston travel independently to Perelandra, Venus;
before leaving Earth, Ransom converses with Lewis and with an eldil;
there are as yet only two Venerian human beings, the Perelandrian First Parents;
Ransom's other dealings on Venus are with a demon possessing Weston, with two other eldila and with Maleldil;
thus, there are only five human characters, two of them extraterrestrial.
That Hideous Strength, 405 pages, has an uncountable cast:
before leaving Earth, Ransom converses with Lewis and with an eldil;
there are as yet only two Venerian human beings, the Perelandrian First Parents;
Ransom's other dealings on Venus are with a demon possessing Weston, with two other eldila and with Maleldil;
thus, there are only five human characters, two of them extraterrestrial.
That Hideous Strength, 405 pages, has an uncountable cast:
Jane Studdock
Mark Studdock
Curry
a first person narrator who is not named but who is consistent both with Lewis the author and with Lewis the first person narrator of five other works, including the previous Volumes of the Trilogy
Lord Feverstone, formerly Devine
James Busby
Canon Jewel
Mrs Dimble
Cecil Dimble
Ivy Maggs
Ivy's husband
John Wither
William Hingest
Steele
Cosser
Professor Filostrato
Wilkins
Miss "Fairy" Hardcastle
Camilla Denniston
Grace Ironwood
Straik
Brizeacre
Glossop
Stone
Dolly
Daisy
Kitty
Joe, a driver
an unknown couple
Frost
Mr Fisher-King/Ransom
MacPhee
Denniston, addressed as "Frank" by Camilla but as "Arthur" by Dimble
Winter
Gould
Jules
the tramp
Mr Bultitude, a bear
five planetary eldila
Captain O'Hara
Canon Storey
Merlinus Ambrosius
Alcasan
a demon speaking through Alcasan's guillotined but artificially preserved head
Father Doyle
Inspector Wrench
the terrestrial Venus and the hyper-cosmic Maleldil as encountered by Jane
Sid, a driver
Len, Sid's mate
a lorry driver
a kindly elderly landlady
the chilly man
the ticket collector
Mark Studdock
Curry
a first person narrator who is not named but who is consistent both with Lewis the author and with Lewis the first person narrator of five other works, including the previous Volumes of the Trilogy
Lord Feverstone, formerly Devine
James Busby
Canon Jewel
Mrs Dimble
Cecil Dimble
Ivy Maggs
Ivy's husband
John Wither
William Hingest
Steele
Cosser
Professor Filostrato
Wilkins
Miss "Fairy" Hardcastle
Camilla Denniston
Grace Ironwood
Straik
Brizeacre
Glossop
Stone
Dolly
Daisy
Kitty
Joe, a driver
an unknown couple
Frost
Mr Fisher-King/Ransom
MacPhee
Denniston, addressed as "Frank" by Camilla but as "Arthur" by Dimble
Winter
Gould
Jules
the tramp
Mr Bultitude, a bear
five planetary eldila
Captain O'Hara
Canon Storey
Merlinus Ambrosius
Alcasan
a demon speaking through Alcasan's guillotined but artificially preserved head
Father Doyle
Inspector Wrench
the terrestrial Venus and the hyper-cosmic Maleldil as encountered by Jane
Sid, a driver
Len, Sid's mate
a lorry driver
a kindly elderly landlady
the chilly man
the ticket collector
I have cast the net as widely as
possible. A few of the names listed here are mere names in the novel. Usually,
however, we get at least a short insight into the character. In many cases, the
characters are well-rounded and substantial. Is Richard Telford a character in the novel? He remains off-stage but is mentioned twice and described once.
Lewis as a writer and a Professor of
Literature knew that authors must understand and control narrative points of view. If an entire novel is not
written from a single point of view, then each Chapter or at least each section
of a Chapter, each passage of continuous prose narrative between changes of
scene, should have a single point of view. That Hideous Strength breaks
some rules of points of view but in interesting ways. It contains:
several viewpoint characters;
one first person viewpoint character;
an imaginary observer;
a first person narrator of other passages in the novel;
an omniscient narrator of yet other passages in the novel.
one first person viewpoint character;
an imaginary observer;
a first person narrator of other passages in the novel;
an omniscient narrator of yet other passages in the novel.
I identify the first person viewpoint
character with Lewis because he tells us:
"...I am Oxford-bred and very fond of
Cambridge..." (2)
The opening and closing viewpoint
character of the novel is Jane Studdock. The main continuing viewpoint character
throughout the novel is Mark Studdock. In fact, the novel principally follows
Mark's moral and spiritual development. Temporary view point characters during
the novel are Lewis, Ransom, Dimble, Frost, Wither, the tramp, Mr Maggs, Miss Hardcastle,
Feverstone, Filostrato and Mr Bultitude. When Lewis is the viewpoint character, he narrates
in the first person. However, a first person
narrator, presumably also Lewis, sometimes imparts information about other
characters. For example, of the fleeing tramp we are told:
"I have not been able to trace him
further." (3)
At one point, this first person narrator
invites the reader to imagine an observer placed high enough to see both a car
carrying Mark and, later, a train carrying Jane from the town where they live.
"...our imaginary observer..." has what we call a bird's eye, or god's eye, view
of some English countryside. (4) An imaginary observer who saw not just at one
place and time but at all places and times would be an omniscient observer and
would thus share one attribute of the God in whom Lewis believed. Such an
observer would have been promoted from a god's eye view to the God's eye view.
The omniscient narrator who is present in much fiction and in some parts of this
novel is presumably an omniscient observer who narrates some of what s/he
observes.
Before leaving the first person
narrator, Lewis, we can note that he sometimes adopts the first person plural,
as when he refers to "...our imaginary observer...," thus getting the readers on
his side. (4) When he refers to the British press as "...our papers...," he
again identifies himself as one of us, a citizen who reads the same newspapers
that we do. (4) The omniscient narrator would refer merely to "...the papers."
However, the omniscient narrator is also
present and tells us things that the first person narrator could not have known: something that Curry
thinks but immediately and permanently forgets; what Frost, Filostrato and
Wither were thinking as they died. This narrator could have told us where the
tramp went.
Mark confronts Dimble. Conventionally, their conversation should be described
either from Mark's or from Dimble's viewpoint but not from both. However, the narrator of this passage tells us
how they both felt. Dimble's effort not to hate Mark gives his face a fixed
severity which Mark misinterprets as loathing.
"The whole of the rest of this
conversation went on under this misunderstanding." (5)
The omniscient narrator would know this,
of course, but Lewis might have learned it later by conferring with both men so we are
not sure which narrator speaks here. The author has indeed complicated the viewpoint issue - as Isaac Asimov did at one point in the Foundation Trilogy when an
"I" appeared unexpectedly in what had until then been the omniscient narrator's
account of different modes of consciousness in the far future. In that case, one
critic objected to the ambiguity in Asimov's narrative whereas I welcomed the
extra layer of mystery presented by a narrator who, on the one hand, knew
something about future mental powers but, on the other hand, admitted to the
same level of ignorance as the readers about what it would be like to experience
such powers.
There cannot be many parallels between
works by CS Lewis and Ian Fleming. James Bond is Fleming's viewpoint character.
However, one Fleming short story presents a bird's eye view of two converging
figures crawling through long grass - towards a third party whom both intend to
assassinate. This odd perspective is explained by the fact that three stories,
including this one, were based on screen treatments for a proposed TV series.
Lewis the first person narrator came on
stage on p. 136 of Out Of The Silent Planet, after Ransom had returned to
Earth.
"At this point, if I were guided
by purely literary considerations, my story would end..." (6)
and:
"This is where I come into the story."
(6)
We learn that Lewis has fictionalized
the names of "Ransom" and "Weston" in order to publish as fiction an account
that a very few readers will recognize as the truth. The postscript is
"...extracts from a letter written by the original of 'Dr Ransom' to the
author..." (7) In one extract, 'Ransom' addresses Lewis by name.
At the beginning of Perelandra,
the first person narrator visits Ransom and is again addressed by name.
"The Dark Tower" features Ransom,
MacPhee and, as a first person narrator, an "Oxford man" who dislikes the
nick-name "Lu-Lu" and who "...had been mixed up with..." Ransom's strange
adventure described "...in another book..." and is indeed referred to as "Mr
Lewis." (8)
"The Shoddy Lands" has a first person
narrator visited in his college rooms at Oxford by a former student.
The Great Divorce has a first
person narrator who admired George MacDonald and is clearly Lewis. Here the
story overlaps with that told in Lewis' spiritual biography Surprised By Joy.
Thus, whereas first person narrators are
not usually identical with their author, in this case they are.
(1) CS Lewis, Out Of The Silent
Planet IN The Cosmic Trilogy, London, 1990, pp. 1-144 AT p. 138.
(2) CS Lewis, That Hideous Strength IN The Cosmic Trilogy, London, 1990, pp. 349-753 AT p. 359.
(3) ibid., p. 719.
(4) ibid., p. 395.
(5) ibid., p. 578.
(6) Out Of The Silent Planet, p. 136.
(7) ibid., p. 139.
(8) CS Lewis, "The Dark Tower" IN The Dark Tower and other stories, London, 1983. pp. 17-91 AT pp. 17, 22, 29, 39.
(2) CS Lewis, That Hideous Strength IN The Cosmic Trilogy, London, 1990, pp. 349-753 AT p. 359.
(3) ibid., p. 719.
(4) ibid., p. 395.
(5) ibid., p. 578.
(6) Out Of The Silent Planet, p. 136.
(7) ibid., p. 139.
(8) CS Lewis, "The Dark Tower" IN The Dark Tower and other stories, London, 1983. pp. 17-91 AT pp. 17, 22, 29, 39.
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