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sorting a giant mound of different seeds into separate piles, with no allowance for error, or collecting the golden wool from a flock of murderous rams, or fetching a bowl of water from a spring on a mountain which cannot be climbed and furthermore is covered with poisonous beasts. It is in the midst of this last vision that she is led to a huge chamber in the land of the dead and given the opportunity to read out her complaint in the gods' hearing. She discovers, however, that instead of reading the book she has written, she reads off a paper that appears in her hand and contains her true feelings, which are indeed much less noble than Part One of the book would suggest. Orual thinks she has been speaking only a short time, but then when stopped, realizes she has been pouring out the story of all her inner conflict and turmoil for days, repeating herself over and over and over again, as the gods sat silently. Still, rather than being jealous of Psyche, as the story she heard in the temple suggested, she reveals that she was jealous of the gods because they were allowed to enjoy Psyche's love while she herself was not.
366:
Rather, Psyche relates that she lives in a beautiful castle that Orual cannot see, as the God of the
Mountain has made her a bride rather than a victim. At one point in the narrative, Orual believes she has a brief vision of this castle, but then it vanishes like a mist. Hearing that Psyche has been commanded by her new god-husband not to look on his face (all their meetings are in the nighttime), Orual is immediately suspicious. She argues that the god must be a monster, or that Psyche has actually started to hallucinate after her abandonment and near-death on the mountain, that there is no such castle at all, and that her husband is actually an outlaw who was hiding on the mountain and takes advantage of her delusions in order to have his way with her. Orual says that because either possibility is one that she cannot abide by, she must disabuse her sister of this illusion.
506:". The editor (Gibb) rejected the title "Bareface" on the ground that readers would mistake it for a Western. In response, Lewis said he failed to see why people would be deterred from buying the book if they thought it was a Western, and that the working title was cryptic enough to be intriguing. Nevertheless, Lewis started considering an alternative title on February 29, 1956, and chose "Till We Have Faces", which refers to a line from the book where Orual says, "How can meet us face to face till we have faces?" He defended his choice in a letter to his long-time correspondent, Dorothea Conybeare, explaining the idea that a human "must be speaking with its own voice (not one of its borrowed voices), expressing its actual desires (not what it imagines that it desires), being for good or ill itself, not any mask, veil, or persona."
399:
Psyche has been doing: she has herself been assigned the impossible tasks from Orual's dreams, but was able to complete them with supernatural help. Orual then leaves the arena to enter another verdant field with a clear pool of water and a brilliant sky. There she meets Psyche, who has just returned from her last errand: retrieving a box of beauty from the underworld, which she then gives to Orual, though Orual is hardly conscious of this because at that moment she begins to sense that something else is happening. The God of the
Mountain is coming to be with Psyche and judge Orual, but the only thing he says is "You also are Psyche" before the vision ends. The reader is led to understand that this phrase has actually been one of mercy the entire time.
453:
her self-awareness and outer connections to others). By the end of Part 1, Orual realizes that her love for Psyche has become perverted; it is a possessive love, unwilling to share Psyche's love with others. Bardia's widow, Ansit, points this out to Orual in a no-holds-barred confrontation after her husband's death; Orual has "consumed" the lives of her loved ones just as Ungit consumes sacrifices. This begins the dose of self-awareness that leads to Orual's "death of self" or sacrifice of her self to others, a higher, more universal power. On a societal or cultural level, the need to temper the natural loves, what Lewis would expand upon four years after
362:
novel by the Greek version of her name, Psyche. Psyche is so beautiful that the people of Glome begin to offer sacrifices to her as to a goddess. The Priest of the goddess Ungit, a powerful figure in the kingdom, then informs the king that various plagues befalling the kingdom are a result of Ungit's jealousy, so Psyche is sent as a human sacrifice to the unseen "God of the
Mountain" at the command of Ungit, the mountain-god's mother. Orual plans to rescue Psyche but falls ill and is unable to prevent anything.
488:(divine love) is the basis for one's ability to retain the ordered nature of those three natural loves; without the authority of agape, divine love, to govern them, the breakdown of the natural loves would ensue as a result of the back-biting nature of the three natural loves if left to their own devices. This ideology goes as far back as Homer's era and the subject of the Trojan War which was used to exemplify to Greeks the effects of disordered love on socio-cultural mores (see
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that "You too shall be Psyche," which Orual attempts to interpret for the rest of her life, usually taking it to mean that as Psyche suffers, she must suffer also. She decries the injustice of the gods, saying that if they had shown her a picture of Psyche's happiness that was easier to believe, she would not have ruined it. From this day forward she vows that she will keep her face veiled at all times.
43:
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might be of the divine) and jealous (as anyone could be in their love). He tried it in different verse-forms when he considered himself primarily a poet, so that one could say that he'd been "at work on Orual for 35 years", even though the version told in the book "was very quickly written". In his pre-Christian days, Lewis would imagine the story with Orual "in the right and the gods in the wrong".
439:
from the love of others is the root of her jealousy and the crux of her accusation against the injustices of the gods. Conversely, Psyche, from an early age, exhibits the openness to embrace the numinous; she feels a civic duty to heal the citizenry of Glome, she willingly accepts her role as the
Accursed and the conjoined penalty of death/marriage to the Shadowbrute, the god of the Grey Mountain.
170:. This story had haunted Lewis all his life, because he believed that some of the main characters' actions were illogical. As a consequence, his retelling of the story is characterized by a highly developed character, the narrator, with the reader being drawn into her reasoning and her emotions. This was his last novel, and he considered it his most mature, written in conjunction with his wife,
382:
coming from a temple to the goddess Istra (Psyche). There Orual hears a version of Psyche's myth, which shows her as deliberately ruining her sister's life out of envy. In response, she writes out her own story, as set forth in the book, to set the record straight. Her hope is that it will be brought to Greece, where she has heard that men are willing to question even the gods.
514:
Myths, like fairy tales, are typically set in an enigmatic location with a nebulous orientation toward time. This draws the attention of the audience to the actions of the characters which signify the importance of the choices the characters make; it forces the focus on the moralizing aspects of the
415:
of Cupid and Psyche, with the palace invisible, had been in Lewis's mind ever since he was an undergraduate; the retelling, as he imagined it, involved writing through the perspective of the elder sister. He argued that this made the sister not simply envious and spiteful, but ignorant (as any mortal
394:
She relates that since finishing part one of the book, she has experienced a number of dreams and visions, which at first she doubts the truth of except that they also start happening during daytime when she is fully awake. She sees herself being required to perform a number of impossible tasks, like
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When Psyche disobeys her husband, she is immediately banished from her beautiful castle and forced to wander as an exile. The God of the
Mountain appears to Orual, stating that Psyche must now endure hardship at the hand of a force he himself could not fight (likely his mother the goddess Ungit), and
361:
It begins as the complaint of Orual as an old woman, who is bitter at the injustice of the gods. She has always been ugly, but after her mother dies and her father the King of Glome remarries, she gains a beautiful half-sister Istra, whom she loves as her own daughter, and who is known throughout the
544:
is "'A work of (supposed) historical imagination. A guess at what it might have been like in a little barbarous state on the borders of the
Hellenistic world with Greek culture just beginning to affect it'". Doris T. Myers makes the case that it is a synthesis of both historical fiction and modern
398:
The gods make no reply. But Orual is content, as she sees that the gods' "answer" was really to hold up the mirror of her lies to herself, and make her understand the truth of her own life and actions. Then she is led by the ghost of the Fox into a sunlit arena in which she learns the story of what
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She returns a second time, bringing Psyche a lamp for her to use while her "husband" sleeps, and when Psyche insists that she will not betray her husband by disobeying his command, Orual threatens both Psyche and herself, stabbing herself in the arm to show she is capable of following through on her
365:
When she is well again, Orual arranges to go to where Psyche was stranded on the mountain, either to rescue her or to bury what remains of her. She is stunned to find Psyche is alive, free from the shackles in which she had been bound, and furthermore says she does not need to be rescued in any way.
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which is a feeling of awe in the presence of the spiritual or holy, the supernatural. Orual does not posses the belief system that will allow her to enter into the realm of the numinous as she briefly catches sight of the palace before it vanishes. After this scene, her resolve to "protect" Psyche
452:
is a retelling of
Apuleius's original story. Within Lewis's work there is also a retelling of the myth Orual has been telling her self represented by the segmenting of her narrative into Part 1 (the myth she tells (of) herself) and Part 2 (the retelling (to/of) herself with a new understanding of
381:
While Bardia is on his deathbed, Orual decides she can no longer stand the sight of her own kingdom and decides to leave it for the first time to visit neighboring kingdoms. While resting on her journey, she leaves her group at their camp and follows sounds from within a wood, which turn out to be
527:
This grounding of the story in the "historically concrete" establishes the validity to the historicity of the story which is precisely what Lewis's intentions were: to make the argument that myths are the embodiment of or basis for historical figures and their actions evolving culturally to epic
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as real, as believable, as historic as possible in order to establish the historicity of his version. He painstakingly describes the geography of the region surrounding Glome and even goes so far as to have Orual speak in terms of how far places were distanced by would-be units of measure; " is
377:
Eventually, Orual becomes a Queen, and a warrior, diplomat, architect, reformer, politician, legislator, and judge, though all the while remaining alone. She drives herself, through work, to forget her grief and the love she has lost. Psyche is gone, her other family she never cared for, and her
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wrote that Lewis "still does not have all the equipment of a major novelist" but deemed it "much more convincing" than his religious novels. He praised it for being "firmly grounded in actual primitive religious practice" and wrote that the novel's "imaginative unity… exerts… combination of
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Orual begins the second part of the book stating that her previous accusation that the gods are unjust is wrong. She does not have time to rewrite the whole book because she is very old and of ill health and will likely die before it can be redone, so instead she is adding on to the end.
419:
One of the inconsistencies of
Apuleius's version was the fact that the sisters could see the palace. For Lewis, the theme of belief is central to the story and he felt that Apuleius missed the chance to give his version of the story a true mythic quality; that is to invoke what
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beloved tutor, "the Fox," has died. Her main love interest throughout the novel, Bardia, the captain of the royal guard, is married and forever faithful to his wife until his death. To her, the gods remain, as ever, silent, unseen, and merciless.
402:
Orual, awoken from the vision, dies shortly thereafter but has just enough time to record her visions and to write that she no longer hates the gods but sees that their very presence, though mysterious, is the answer she always needed.
540:
and promulgated circa 300 B.C.E., this embryonic conception posits the notion that many of the gods were historical mortal personalities who became deified. Lewis wrote to Clyde Kilby that
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to convey the anticipated actions. Lewis does something different in his approach to his retelling of the Cupid and Psyche myth from
Apuleius. He makes the fictitious setting of
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200:) and understands that her initial accusation was tainted by her own failings and shortcomings, and that the gods are lovingly present in humans' lives.
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which the more sophisticated Greeks had developed to explain epistemologically their pantheon. Championed by
665:"C.S. Lewis Bibliography III. C.S. Lewis on TWHF (letters from CSL to publisher of Till We Have Faces, etc)"
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196:. In the second part of the book, the narrator undergoes a change of mindset (Lewis would use the term
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built about as far back from the river as a woman can walk in the third of an hour...", for example.
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threat. Ultimately, reluctantly, Psyche agrees because of the coercion and her love for her sister.
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fiction, thus giving credence to the day-in-the-lifeness historicity and its intermingling with
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936:. The connection between "Cupid and Psyche" and "Beauty and the Beast" is found on these pages.
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Discusses the many classical references that Lewis used that may now be obscure to readers.
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Holy Places are Dark Places: CS Lewis and Paul
Ricoeur on Narrative Transformation
181:'s older sister Orual, as an accusation against the gods. The story is set in the
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Another theme that Lewis felt Apuleius did not fully develop revolves around
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Fox (Lysias): Greek slave who acts as tutor and counsellor, a follower of
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Trunia: prince of the neighbouring country of Phars, marries Redival
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Reason and Imagination in CS Lewis: A Study of 'Till We Have Faces'
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Reason and Imagination in C.S. Lewis: A Study of Till We Have Faces
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263:
232:
Istra: youngest daughter of Trom, half-sister of Orual and Redival
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27:
918:
The Uses of Enchantment: The Meaning and Importance of Fairy Tales
650:, p. IX:251, Lewis' letter to Christian Hardie, 31 July 1955.
585:
19:
This article is about the C. S. Lewis novel. For other uses, see
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characters rather than on their surroundings and it relies on
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The first part of the book is written from the perspective of
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Daaran: son of Trunia and Redival, nephew and heir of Orual
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Key bits of the wording of the letters are available at:
26:"Glome" redirects here. For the mathematical object, see
563:"far and away my best book". This opinion was echoed by
358:, from the perspective of Orual, Psyche's older sister.
551:
psychological archetypes of the narrative to the work.
2074:
312:
God of the Grey Mountain: son of Ungit, equivalent to
1005:
Myers, Doris T (2002). "Browsing the Glome Library".
715:. William B. Eerdmans Publishing Co. pp. 38–9.
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581:
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whose people have occasional contact with civilized
528:proportions. He was well aware of the concept of
249:Argan: another prince of Phars, defeated by Orual.
1811:Landscape with Psyche Outside the Palace of Cupid
690:. William B. Eerdmans Publishing Co. p. 15.
502:Lewis originally titled his working manuscripts "
2167:
1819:Psyche Showing Her Sisters Her Gifts from Cupid
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998:Bareface: A Guide to C. S. Lewis's Last Novel
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220:Maia: Psyche's Greek nickname for Orual (
1025:, Grand Rapids: Eerdmans, archived from
1007:Seven: An Anglo-American Literary Review
1000:, Columbia: University of Missouri Press
886:Davis, Robert Gorham (13 January 1957).
796:
794:
740:
710:
1447:The World's Last Night and Other Essays
1399:The Weight of Glory and Other Addresses
1018:
978:(1st ed.), London: Geoffrey Bles,
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302:Ungit: goddess of Glome, equivalent to
160:, based on its telling in a chapter of
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1058:(article), Linden tree, archived from
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785:Letters to a Sister from Rose Macaulay
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944:, Boston: University of America Press
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743:The Cambridge Companion to C.S. Lewis
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325:Ialim: son of Talapal, equivalent to
2000:Old Woman Telling the Tale of Psyche
1649:
1280:The Lion, the Witch and the Wardrobe
858:The Collected Letters of C. S. Lewis
2206:Novels based on classical mythology
1042:Till we have Faces -- A Myth Retold
805:. The Kent State University Press.
783:Smith, Constance Babington (1964),
574:awfulness, wonder and attraction".
21:Till We Have Faces (disambiguation)
13:
952:C. S. Lewis: A Companion and Guide
908:
773:, p. IX:252 16 February 1956.
497:
238:: Orual's Greek nickname for Istra
36:Till We Have Faces: A Myth Retold
14:
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1034:
626:Till We Have Faces: A Myth Retold
145:Till We Have Faces: A Myth Retold
861:. Vol. III. New York City:
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322:Talapal: name for Ungit in Essur
229:Redival: second daughter of Trom
1717:(1751, Cassanéa de Mondonville)
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879:
844:
819:
336:
274:Tarin: soldier who is castrated
253:
217:Orual: oldest daughter of Trom
1755:Psyche Revived by Cupid's Kiss
1479:Selections from Layamon's Brut
1296:The Voyage of the Dawn Treader
776:
745:. Cambridge University Press.
704:
679:
185:kingdom of Glome, a primitive
1:
2196:Works based on The Golden Ass
969:Lewis, Clive Staples (1956),
610:
567:. Robert Gorham Davis in the
406:
292:Arnom: Second Priest of Ungit
268:Poobi: faithful maid of Orual
203:
830:. HarperCollins. p. 4.
554:
224:, Greek for "foster-mother")
7:
711:Schankel, Peter J. (1984).
686:Carnell, Corbin S. (1974).
577:
482:(romantic love) to that of
385:
341:
259:Batta: nurse to the sisters
137:314 (Mass Market Paperback)
10:
2222:
1867:L'Amour et Psyché, enfants
1790:(16th century, Fiorentino)
1599:The Most Reluctant Convert
1455:An Experiment in Criticism
1375:A Preface to Paradise Lost
1193:Screwtape Proposes a Toast
940:Donaldson, Mara E (1988),
915:Bettelheim, Bruno (1977),
826:Lewis, C.S. Lewis (1956).
411:The idea of retelling the
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25:
18:
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1750:(1st or 2nd century copy)
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1563:Language and Human Nature
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1423:Reflections on the Psalms
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1019:Schakel, Peter J (1984),
801:Meyers, Doris T. (1994).
741:MacSwain, Robert (2010).
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117:
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16:1956 novel by C. S. Lewis
1787:Bacchus, Venus and Cupid
1231:Out of the Silent Planet
688:Bright Shadow of Reality
464:with the subjugation of
156:. It is a retelling of
2026:The Widow from Valencia
1827:Cupid Crowned by Psyche
1569:CS Lewis Nature Reserve
996:Myers, Doris T (2004),
950:Hooper, Walter (1996).
623:Schakel, Peter (2003),
426:terms in his 1923 work
296:
277:Bardia: trusted soldier
271:Alit: daughter of Poobi
2186:British fantasy novels
1859:Psyche Looking at Love
1471:They Asked for a Paper
289:Penuan: noble of Glome
283:Ilerdia: son of Bardia
2191:Novels by C. S. Lewis
1946:The Robber Bridegroom
1320:The Magician's Nephew
1312:The Horse and His Boy
1247:That Hideous Strength
1169:The Screwtape Letters
1161:The Pilgrim's Regress
851:Lewis, C. S. (2007).
803:C.S. Lewis in Context
280:Ansit: wife of Bardia
1984:Story within a story
1607:Freud's Last Session
1383:The Abolition of Man
1351:The Allegory of Love
600:Beauty and the Beast
429:The Idea of the Holy
346:The story tells the
2201:Geoffrey Bles books
2176:1956 British novels
2100:(Machiavelli, 1517)
1766:(1807, Thorvaldsen)
1742:(c. 1st century AD)
1714:Les fêtes de Paphos
1495:The Discarded Image
1367:The Problem of Pain
1359:The Personal Heresy
1258:(manuscript) (1977)
1062:on 21 February 2005
214:Trom: King of Glome
37:
2105:Till We Have Faces
1954:Till We Have Faces
1875:The Bath of Psyche
1870:(1890, Bouguereau)
1795:The Feast of Venus
1487:Letters to Malcolm
1200:Letters to Malcolm
1185:Till We Have Faces
1123:Spirits in Bondage
1055:Till We Have Faces
1029:on 29 January 2012
972:Till We Have Faces
921:, Knopf, pp.
888:"Cupid and Psyche"
828:Till We Have Faces
667:. Trent University
561:Till We Have Faces
510:Myth & Setting
476:(friendship), and
450:Till We Have Faces
35:
2163:
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2139:Mysteries of Isis
2042:
2041:
2033:The Green Serpent
1822:(1753, Fragonard)
1781:Feast of the Gods
1617:
1616:
1407:Mere Christianity
1338:
1337:
1221:The Space Trilogy
1177:The Great Divorce
985:978-0-15-690436-0
932:978-0-394-49771-6
872:978-0-06-081922-4
752:978-0-521-71114-2
457:in his 1960 book
141:
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110:Publication place
63:Cover artist
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2181:Cupid and Psyche
2148:Character source
2123:Cupid and Psyche
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1878:(1890, Leighton)
1843:Cupid and Psyche
1835:Psyche Abandoned
1806:(1640, van Dyck)
1803:Cupid and Psyche
1763:Cupid and Psyche
1747:Cupid and Psyche
1651:Cupid and Psyche
1644:
1637:
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1621:
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1552:Lewis's trilemma
1463:A Grief Observed
1439:Studies in Words
1415:Surprised by Joy
1304:The Silver Chair
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1099:C. S. Lewis
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865:. p. 1148.
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432:the idea of the
158:Cupid and Psyche
101:Publication date
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1529:Joy Davidman
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337:Plot summary
254:Other people
197:
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172:Joy Davidman
161:
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83:Mythological
32:
2132:Description
1895:(1671 play)
1610:(2023 film)
1602:(2021 film)
1594:(1993 film)
1591:Shadowlands
1586:(1989 play)
1583:Shadowlands
1578:(1985 film)
1575:Shadowlands
1514:(1970–1971)
1402:(1949/1980)
1343:Non-fiction
1133:" (c. 1925)
771:Hooper 1996
648:Hooper 1996
629:, Lit encyc
191:Hellenistic
154:C. S. Lewis
57:C. S. Lewis
2170:Categories
2155:Silverlock
1658:Characters
1239:Perelandra
1047:Faded Page
897:23 October
722:0802819982
611:References
531:euhemerism
517:archetypes
407:Conception
204:Characters
198:conversion
187:city-state
1774:Paintings
1733:Sculpture
1547:The Kilns
1543:(brother)
1537:(stepson)
1270:of Narnia
954:. Fount.
555:Reception
537:Euhemerus
445:sacrifice
304:Aphrodite
152:novel by
127:Paperback
90:Publisher
2076:Apuleius
1975:" (2006)
1391:Miracles
1195:" (1959)
1049:(Canada)
633:5 August
578:See also
504:Bareface
435:numinous
386:Part Two
350:myth of
342:Part One
264:Stoicism
168:Apuleius
123:Hardback
71:Language
28:3-sphere
2116:Stories
2010:Related
1522:Related
1149:Fiction
855:(ed.).
671:28 July
548:Jungian
209:Royalty
183:fictive
121:Print (
74:English
2021:(play)
1957:(1956)
1949:(1942)
1941:(1650)
1930:Novels
1922:(1885)
1914:(1819)
1903:Poetry
1893:Psyché
1706:Psyché
1698:Psyche
1681:Psyche
1674:Erotes
1531:(wife)
1506:(1966)
1498:(1964)
1490:(1964)
1482:(1963)
1474:(1962)
1466:(1961)
1458:(1961)
1450:(1960)
1442:(1960)
1434:(1960)
1426:(1958)
1418:(1955)
1410:(1952)
1394:(1947)
1386:(1943)
1378:(1942)
1370:(1940)
1362:(1939)
1354:(1936)
1331:(1956)
1323:(1955)
1315:(1954)
1307:(1953)
1299:(1952)
1291:(1951)
1283:(1950)
1250:(1945)
1242:(1943)
1234:(1938)
1211:(1985)
1203:(1964)
1188:(1956)
1180:(1945)
1172:(1942)
1164:(1933)
1141:(1926)
1131:Reason
1126:(1919)
1115:Poetry
982:
958:
929:
869:
834:
809:
749:
719:
694:
473:philia
467:storge
356:Psyche
236:Psyche
194:Greece
179:Psyche
125:&
53:Author
1965:Music
1886:Stage
1690:Opera
1665:Cupid
1208:Boxen
1138:Dymer
485:agape
352:Cupid
331:Cupid
318:Cupid
308:Venus
148:is a
134:Pages
85:novel
79:Genre
66:Biggs
1669:Eros
1013:(2).
980:ISBN
956:ISBN
927:ISBN
899:2022
867:ISBN
832:ISBN
807:ISBN
747:ISBN
717:ISBN
692:ISBN
673:2020
635:2008
542:TWHF
521:TWHF
479:eros
455:TWHF
413:myth
354:and
327:Eros
314:Eros
297:Gods
222:μαῖα
150:1956
105:1956
2078:'s
1045:at
494:).
448:.
166:of
2172::
1011:19
1009:.
988:,
925:,
890:.
793:^
761:^
731:^
655:^
174:.
2068:e
2061:t
2054:v
1971:"
1667:/
1643:e
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1077:v
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755:.
725:.
700:.
675:.
638:.
462:,
329:/
316:/
306:/
129:)
30:.
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
_1st_edition_cover.jpg)