C. S. Lewis Essay Collection: Faith, Christianity and the Church. C. S. Lewis
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The first thing to notice is that the myth arose earlier than the theorem, in advance of all evidence. Two great works of art embody the idea of a universe in which, by some inherent necessity, the ‘higher’ always supersedes the ‘lower’. One is Keats’s Hyperion and the other is Wagner’s Nibelung’s Ring. And they are both earlier than the Origin of Species. You could not have a clearer expression of the developmental or progressive idea than Oceanus’s words
…‘tis the eternal law
That first in beauty should be first in might.
And you could not have a more ardent submission to it than those words in which Wagner describes his tetralogy.
The progress of the whole poem, therefore [he writes to Rockel in 1854], shows the necessity of recognizing and submitting to, the change, the diversity, the multiplicity, and the eternal novelty, of the Real. Wotan rises to the tragic heights of willing his own downfall. This is all that we have to learn from the history of Man–to will the Necessary, and ourselves to bring it to pass. The creative work which this highest and self-renouncing will finally accomplishes is the fearless and everloving man, Siegfried.1
The idea that the myth (so potent in all modern thought) is a result of Darwin’s biology would thus seem to be unhistorical. On the contrary, the attraction of Darwinism was that it gave to a pre-existing myth the scientific reassurances it required. If no evidence for evolution had been forthcoming, it would have been necessary to invent it. The real sources of the myth are partly political. It projects on to the cosmic screen feelings engendered by the Revolutionary period.
In the second place, we must notice that Darwinism gives no support to the belief that natural selection, working upon chance variations, has a general tendency to produce improvement. The illusion that it has comes from confining our attention to a few species which have (by some possibly arbitrary standard of our own) changed for the better. Thus the horse has improved in the sense that protobippos would be less useful to us than his modern descendant. The anthropoid has improved in the sense that he now is ourselves. But a great many of the changes produced by evolution are not improvements by any conceivable standard. In battle men save their lives sometimes by advancing and sometimes by retreating. So, in the battle for survival, species save themselves sometimes by increasing, sometimes by jettisoning, their powers. There is no general law of progress in biological history.
And thirdly, even if there were, it would not follow–it is, indeed, manifestly not the case–that there is any law of progress in ethical, cultural, and social history. No one looking at world history without some preconception in favour of progress could find in it a steady up gradient. There is often progress within a given field over a limited period. A school of pottery or painting, a moral effort in a particular direction, a practical art like sanitation or shipbuilding, may continuously improve over a number of years. If this process could spread to all departments of life and continue indefinitely, there would be ‘Progress’ of the sort our fathers believed in. But it never seems to do so. Either it is interrupted (by barbarian irruption or the even less resistible infiltration of modern industrialism) or else, more mysteriously, it decays. The idea which here shuts out the second coming from our minds, the idea of the world slowly ripening to perfection, is a myth, not a generalization from experience. And it is a myth which distracts us from our real duties and our real interest. It is our attempt to guess the plot of a drama in which we are the characters. But how can the characters in a play guess the plot? We are not the playwright, we are not the producer, we are not even the audience. We are on the stage. To play well the scenes in which we are ‘on’ concerns us much more than to guess about the scenes that follow it.
In King Lear (III, vii) there is a man who is such a minor character that Shakespeare has not given him even a name: he is merely ‘First Servant’. All the characters around him–Regan, Cornwall, and Edmund–have fine long-term plans. They think they know how the story is going to end, and they are quite wrong. The servant has no such delusions. He has no notion how the play is going to go. But he understands the present scene. He sees an abomination (the blinding of old Gloucester) taking place. He will not stand it. His sword is out and pointed at his master’s breast in a moment: then Regan stabs him dead from behind. That is his whole part: eight lines all told. But if it were real life and not a play, that is the part it would be best to have acted.
The doctrine of the second coming teaches us that we do not and cannot know when the world drama will end. The curtain may be rung down at any moment: say, before you have finished reading this paragraph. This seems to some people intolerably frustrating. So many things would be interrupted. Perhaps you were going to get married next month, perhaps you were going to get a raise next week: you may be on the verge of a great scientific discovery; you may be maturing great social and political reforms. Surely no good and wise God would be so very unreasonable as to cut all this short? Not now, of all moments!
But we think thus because we keep on assuming that we know the play. We do not know the play. We do not even know whether we are in Act I or Act V. We do not know who are the major and who the minor characters. The Author knows. The audience, if there is an audience (if angels and archangels and all the company of heaven fill the pit and the stalls), may have an inkling. But we, never seeing the play from outside, never meeting any characters except the tiny minority who are ‘on’ in the same scenes as ourselves, wholly ignorant of the future and very imperfectly informed about the past, cannot tell at what moment the end ought to come. That it will come when it ought, we may be sure; but we waste our time in guessing when that will be. That it has a meaning we may be sure, but we cannot see it. When it is over, we may be told. We are led to expect that the Author will have something to say to each of us on the part that each of us has played. The playing it well is what matters infinitely.
The doctrine of the second coming, then, is not to be rejected because it conflicts with our favourite modern mythology. It is, for that very reason, to be the more valued and made more frequently the subject of meditation. It is the medicine our condition especially needs.
And with that, I turn to the practical. There is a real difficulty in giving this doctrine the place which it ought to have in our Christian life without, at the same time, running a certain risk. The fear of that risk probably deters many teachers who accept the doctrine from saying very much about it.
We must admit at once that this doctrine has, in the past, led Christians into very great follies. Apparently many people find it difficult to believe in this great event without trying to guess its date, or even without accepting as a certainty the date that any quack or hysteric offers them. To write a history of all these exploded predictions would need a book, and a sad, sordid, tragi-comical book it would be. One such prediction was circulating when St Paul wrote his second letter to the Thessalonians. Someone had told them that ‘the Day’ was ‘at hand’. This was apparently having the result which such predictions usually have: people were idling and playing the busybody. One of the most famous predictions was that of poor William Miller in 1843. Miller (whom I take to have been an honest fanatic) dated the second coming to the year, the day, and the very minute. A timely comet fostered the delusion. Thousands waited for the Lord at midnight on 21 March, and went home to a late breakfast on the 22nd followed by the jeers of a drunkard.
Clearly, no one wishes to say anything that will reawaken such mass hysteria. We must never speak to simple, excitable people about ‘the Day’ without emphasizing again and again the utter impossibility