Review of C.S. Lewis and the Middle Ages

I had written this review for Sehnsucht: The C.S. Lewis Journal, but it turns out they had already published one. So . . .

Robert Boenig, C. S. Lewis and the Middle Ages (Kent, OH, 2012).  Viii + 181 pages.  ISBN: 9781606351147.

Norman Cantor, in Inventing the Middle Ages (1991), takes an outsider perspective on the careers of C. S. Lewis and J. R. R. Tolkien, painting them as nostalgic for the zenith of the British Empire, and seeing their primary importance to medieval studies as their fiction.  Robert Boening, by contrast, takes an engaging insider’s view of C. S. Lewis’s personal and professional relationship to the medieval world.

Boenig’s introductory overview attempts in miniature what Cantor attempts in a mid-length volume, and does an excellent job of explaining the milieu of medieval studies from the mid-sixteenth century to the middle of the twentieth, to contextualize Lewis’s career.  His description of the initial interest in the Middle Ages by the early English Reformers (resulting in the preservation of many Anglo-Saxon and Middle English texts) connects Lewis’s religious concerns to the field of medieval studies itself.  His explanation of the roots of the current academic discipline—its origin in Victorian cultural and literary fashion, and the political appropriation of the Middle Ages by some of the authors Lewis appreciates (especially William Morris)—contextualizes not only Lewis, but also the vogue for medievalism that animated Lewis’s early reading.

Chapter one, “Lewis the Medievalist,” focuses on Lewis’s academic career and activities relating to the Middle Ages.  The point of the chapter can be summed up by saying that Lewis’s scholarship attempted to colonize the Renaissance with the Middle Ages.  Boenig makes the case that Lewis found a great worldview affinity with the Middle Ages, and took as his scholarly project the contemporary explanation of the worldview itself for his contemporary audience, showing the interpenetration of the Renaissance with medieval modes of thought and literary expression.

The subsequent chapters connect Lewis’s understanding of the medieval worldview with his notion of Joy, and with both the images and structures of his fiction.  One of the most fruitful insights of these chapters is that Lewis conceived of medieval creativity as dialogic, in which an author appropriates and remakes prior texts.  One sees this most easily in such works by Lewis as The Pilgrim’s Regress and The Great Divorce, but Boenig makes the case that medieval modes of creativity permeate Lewis’s creative writing in a variety of ways, which he describes in detail.

The comprehensive discussion of this mode of medieval creativity provides the reader with an important support for the arguments of Michael Ward’s Planet Narnia; one problematic element of Ward’s argument involves his assertion that the medieval cosmological pattern that he sees was intended by Lewis.  Since Ward himself makes the point that Lewis never explicitly mentioned such a pattern, one might ask whether the pattern resides in the mind of the reader only, rather than the author’s intention.  Boenig’s discussion provides a context to argue that Lewis’s mode of creativity could easily accommodate an implicit “dialogue” between Lewis and medieval cosmology in terms of his Narnian fantasy world.

The book is well-structured and written, engaging to both the layperson and the academic with an interest in Lewis.  It paints an excellent portrait of Lewis as a medievalist and an appreciator of the period.  Boenig’s conclusions and analyses are fruitful to further scholarship on Lewis’s relationship to the medieval period and are interesting in themselves, making this volume well worth reading.