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39 pages 1 hour read

C. S. Lewis

Surprised by Joy

Nonfiction | Biography | Adult | Published in 1955

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Themes

Joy

Joy is at the heart of Lewis’s story. By Lewis’s definition, it is a moment of intense longing that is in itself more satisfying than any satisfaction; when Joy returned to him after a long absence, Lewis writes, “I knew (with fatal knowledge) that to ‘have it again’ was the supreme and only important object of desire” (73). 

Joy occupies a complex place in Lewis’s thoughts about his conversion. On the one hand, it’s the most visceral and direct experience possible of that great, most-desirable object that is God. On the other hand, it’s initially deceptive. The desire for Joy, Lewis explains, can only eventually reveal that Joy itself is not what one is desiring. Rather, Joy is produced by something else.

Joy might usefully be connected to the ancient Greek idea of nostos, a longing for home (from which we get the English word “nostalgia”). When Lewis feels joy, it is often in the context of reflecting on his past experiences. For instance, his first memory of the feeling comes when he’s standing in a garden that makes him remember his feelings for his brother’s toy garden. Another stab of joy comes when he reads lines from Tegner’s Drapa: “I heard a voice that cried,/ Balder the beautiful/ Is dead, is dead—” (17). Part of the feeling of longing is connected to beauties that are past or lost. Part of it, too, is a sense that that longing, in the moment, is the greatest possible good and fulfills desire at exactly the same time as it points to the absence of the desired thing.

Joy thus has a complicated relationship with distance and inaccessibility. Many moments of Joy arise through Lewis’s experience of fiction and poetry—and the world of art is definitionally both right there with you and out of your reach. Lewis begins to find a resolution to this issue of distance in his reading of George MacDonald; with this perspective, Joy appears in a different guise as something that is everywhere around him; in fact, it is he who stands in the way of the experience, not distance.

The Pervasiveness of Teaching and Learning

Of all the figures Lewis depicts in Surprised by Joy, the most vivid might be his tutor, Mr. Kirkpatrick. Kirk is the only person who has a whole chapter dedicated to him, and he’s recalled at length in all his eccentricity, with his old-fashioned whiskers, his rolling Scottish “r”s, and his terrible old pipe. Some of this vividness may be attributable to the fact that he not only was nicknamed “the Great Knock” but provided a great knock, dislodging Lewis from schoolboy complacency with his demands for proof, reason, and sensible argument.

In fact, Lewis’s memories of most people have to do with what they taught him. From his friend Arthur, he learned to love what was “homely” as well as what was mystical or strange; from his teacher Smewgy, he learned how to truly relish poetry; from his friend Jenkin, he learned to appreciate things for what they were, rather than judging them for not being how one wanted them to be.

One of the guiding forms and themes in Surprised by Joy is this kind of education. Lewis writes with an academic’s drive to understanding; that habit of truth-seeking inculcated in him by the Great Knock appears in his approach to all of his experiences. He takes a student’s posture even toward unpleasant and seemingly useless experiences like his time at Wyvern: He is interested in what he discovered of human nature there, even if he discovered it through a lot of misery. The great, driving, and unspoken metaphor of Surprised by Joy is that the whole world is a school, and everyone one meets a teacher.

Pride and Humility

The story of Lewis’s approach to his religion is the story of a slow, methodical humbling. Lewis is both funny and honest about the ways in which he (like most people, and certainly most writers) likes to feel apart, private, special, and separate from humanity. The greatest wish of his childhood, he writes, was to be left alone and not meddled with. He also recounts his struggles with his own arrogance after he discovered that he had, through no effort but his own natural likes and dislikes, developed what could be considered “good taste”—a good taste that could make him feel superior to the Bloods who dominated his school. 

Lewis’s pilgrim’s progress involves acknowledging his pride as a fundamental fact of his personality and trying to remain aware of it. This relationship to pride often appears in his logical reasoning, in which he tries to give a fair hearing even to those positions he feels obvious distaste for, and in his self-effacing humor, in which he points out his own arrogance and limitations, past and present. This struggle also has a sunnier face. Lewis’s many friends and teachers often reveal to him something that he could not have seen on his own. The process of learning from others, relinquishing his own automatic taste, and learning to appreciate things that don’t come naturally to him enriches his life.

Keeping an eye on issues of pride and humility becomes particularly important to Lewis as he approaches Christianity—a religion which strikes him as ludicrous during his young adulthood. Just at the threshold of his conversion, Lewis notes the arrogance of his last position of safety—the idea that Christianity was just a story you could tell to understand the truth of Absolute Idealism: 

The implication—that something which I and most other undergraduates could master without extraordinary pains would have been too hard for Plato, Dante, Hooker, and Pascal—did not yet strike me as absurd. I hope this is because I never looked it squarely in the face (215).

To be humble, in Lewis’s worldview, is to examine oneself and one’s foibles with honesty and rigor, and to remember that the world contains many people who are not oneself. It is to attempt to see with clearer eyes and not to be blinded to great goods by the petty fears and desires of one’s ego.

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