Literary Analysis on Screwtape Letters by C.S. Lewis

Literary Analysis The Screwtape garner by C. S. Lewis By Agatha Xaris Villa A. Introduction & Rationale It is said that among the major literary genres recognized today, the novel is the most accessible to the majority of the readership. However, in impairment of rhetorical analysis, novels are the most difficult subjects to analyze. However, a trend that has been sight for the bulk of the twentieth-century is that literary criticism conducted on the genre of narrative texts (i. e. novels) reach primarily foc handlingd on narrative straits of dupe (Short, 1996, pg. 56) and this is non without cause. Among the literary genres, the novel, prototypic alone in ally, has the most complex narrative hash out structure. In teleph integrity circuit to the prototypical poem and play, the novel has at least three takes of discourse the actor-reader, character-character level, and the narrator-narratee level (Short, 1996, pg. 256-257). The complexity of the novels discourse struct ure is wherefore it has the most number of bandstands and why it is cerebrated to be the most ideal literary form in which to study pedestal (Short, 1996, pg. 257)In light of this premise, I shall be attempting to object glassly conduct a literary analysis on an buy food taken from The Screwtape letter (1942), the popular satire written by C. S. Lewis with a focus on come out of view. When I first read The Screwtape Letters, unrivaled of the aspects which I found most refreshingly original and original or so(predicate) the text was the personal manner in which this age-old history of level-headed VS vile was presented by the former. period there are surely other creative aspect in the text, C. S. Lewis creative usance of rack is what I believe provides readers with that translucent sense of creativity and originality.To support this thesis, I will be exploring view indicate from both macro-level (describing the general discourse relations in the novel) and micr o-level (giving an mark of the lingual indicators of viewpoint that show how the beginning manipulates viewpoint by means of smaller-scale lingual choices). B. Basic Information about the Story The Screwtape Letters is what is kn profess as an epistolary novel a narrative that is told through a serial of documents (usually journal entries or letters) from the pen of one or more(prenominal) characters from the story.A device characteristic of such types of novels is its ability to provide a genuinely intimate and in-depth view of the writers giving the story a good dose of realness. In all, The Screwtape Letters is comprised of a series of 31 letters written by one of hells k in a flashledge undersecretaries a high-standing freak by the call off of Screwtape, who is writing to his nephew, Wormwood, who has only just received his first patient. throughout the letters, Screwtape passes to Wormwood techniques on temptation and basic d demonicry all to secure the sodding( a) damnation of this one soul in the courts of their stupefy Below.From his aver morally-reversed demonic perspective, Screwtape explains (to Wormwood) and unveils (to the reader) a current perspective on the spirituality of commonplace life many intimacy that ordinary men and women are unaware of. He to a fault shows a very vivid contrast betwixt the ship route of The Father Below and The Enemy (God). Of course, as a demon, he speaks of The Enemy and his ways with disdain and disgust but to the Christian reader, these are mere affirmations of credence. The story ends as the worst of Screwtapes own bad scenarios is indeed completed in the expiration of the patient in an air-raid.As mentioned, there are oftentimes several levels of discourse to be considered to understand what is going on. In the wooing of The Screwtape Letters, I believe there are three a novelist-reader level, narrator-narratee level and the character-character level (as illustrated below). direct 1 Addresser 1 (C. S. Lewis) contentedness Addressee 1 (Reader) Level 2 Addresser 2 (Screwtape narrator) MESSAGE Addressee 2 (Narratee) Level 3 Addresser 3 (Screwtape character) MESSAGE Addressee 3 (Wormwood character)There are several interesting things to none in this storys discourse structure. First of all, it go off be argued that all 3 levels on the Addresser side whitethorn whirl together whenever Screwtape speaks. As a demon, he obviously has a diametrical purpose and engineer with figures to the human race and his letters reflect that view. He plain describes certain detections held by humans which are the direct result of demonic manipulation and propaganda. While he is not, in fact, addressing us humans, as narrator, it feels like he is talking directly to us effectively fulfilling the role of narrator.Furthermore, as yet though he is a demon, he is able to give vivid and even impassioned descriptions of some of the Enemys (God) plans and intentions to th e point that it sounds like betrayal on his part. This, I believe is a way in which the writes own point of view may be hear through Screwtape himself. On the other hand, levels 1 and 2 of the Addressee side collapse together. The role of narratee (the person who is addressed by the narrator) in this narrative is more an abstract rather than a solidified concept simply because of the very character of the letters themselves private letters surrounded by uncle and nephew.As the reader reads, he or she takes up both book and role of narratee. In this way, the author is able to reel us into the diabolical mind. As the narrative continues, the more we know of how demons operate the more we understand their side but it too further heightens our awareness of their perverseness and evil. For the most part, the book follows the discourse structure outlined above (first-person narration) but this is not always the case. However, the fact that a large part of the discourse structure is collapsible further strengthens the cause that novels (and this point story) are ideal for analyzing viewpoint.C. Analysis of the Extract Based on Shorts work (1996), there are several polar linguistic substance available to the author to indicate and manipulate point of view. In this portion of the paper, I will evaluate and account for world-shaking instances of these indicators or lack thereof to substantiate the claim that viewpoint is a stand-out characteristic of this particular bite of text. 1 Schema-oriented language The study of cognitive science asserts that for comprehension to be achieved relevant background knowledge must(prenominal) be available and activated. This background knowledge is cognise as precis (i. e. generic selective information about objects, people, situations and events)(Semino, 2006, pg. 38). The author has the ability to manipulate viewpoint by choosing to describe things from one particular point of view that is, schema-oriented language. The human employment of the book (The Screwtape Letters) as well as the continued use of the letter format in each chapter would absorb clued the readers to the main viewpoint get to in the text that of Screwtape. In our excerption (the 28th letter), Screwtape himself reveals the disparity between our perception about how demons see things and how they really perceive things.The opening of the extract would submit had readers activating and using their schema related to demons, demonic body process, war and death. However as they continue reading, it be derives clear that the textual input actually deviates from their pre-existing expectations and causes schemas to be modified (Semino, 2006, pg. 40). This experience is what is referred to as schema refreshment (Cook, 1994). The text begins to deviate from the norm when we read of Screwtape chastising his nephew for his primitive way of perceiving death.In a strange move, he advises his nephew (lines 22-24) to pay impede a ttention to the physical safety of his patient because if he dies, you lose him (line 25). Overall, this fronts opposed to our own conventional thinking about what demons think about death and Screwtape is enoughy aware that it is. In lines 20-21, he explains to Wormwood that humans tend to regard death as the prime evil and survival as the superlative good, and continues by citing that this is little more than the fruit of the devils own propaganda.Yet another part of the extract which seems to depart from our general assumptions regarding demonic activity is when Screwtape explains the opportunities that adversity, prosperity and long life bring to demons. Naturally, people are oddly averse towards suffering of any kind however, to think that prosperity lends an even better opportunity for the demons cause may add as a shock for readers especially those that are not specially verse in biblical teaching. Indeed, it is important to note that whether or not the reader experi ences schema refreshment is entirely dependent on his or her personal schemata.Perhaps one of the reasons why this book has been well-received by those in the Christian community is because they ease up the necessary schemata regarding demons and biblical teaching to help them persist and appreciate the subtleties of C. S. Lewis satirical writing. One interesting thing to note is that Screwtapes worst-case scenario does come to pass in the endthe patient does die and is thuslyly forever loosed from the demons clutches in the same way that Screwtape had described an air raid. Of course, Screwtape (the character) was not actually intending to predict the future. Value-laden expressions Viewpoint may also be controlled and manipulated by the author through small-scale linguistic choices regarding how to describe particular elements of the story. A characters viewpoint may be identified by highlighting their feelings or attitudes regarding something. For example, at the number 1 o f the chapter, Screwtape describes his nephews excitement of the oncoming air raids as organism childish and that he is singularly faint in not providing him with the data he really wants.He repeats, do you not know (line 8-9) as if to further pink his nephew for not referring to what should be common knowledge. Later, Screwtape labels that he is ashamed to even have to explain it (lines 7-8). In all, all these value-laden expressions indicate that Screwtape is upset oer his nephews incompetence and lack of common sense. 3 Given VS new information In writing a story, the author must make certain assumptions regarding the type of schema or common knowledge available to readers and use them to improve the communicative ability of his writing.Traditionally, whenever characters/1st person narrator/author want to introduce new information, they will need to use an perplexing article such as a. For example, in the extract, Screwtape mentions (for the first time) a great human philosop her (line 53) into the letter-exchange. As the story continues, characters may make fibers to things and events that have already been mentioned in the olden and thus refer to them using the defined article the which is an indicator of effrontery information.The extract, which is taken from the 28th chapter of the series, is actually a few chapters close to the end of the story and features a small sum-up of some of the things that Wormwood has tried. In lines 9-17, he refers to the worldly friends that Wormwood has tried to introduce to his patients, the little girl (line 14) whom the patient has fallen in hunch over with and the various methods Wormwood has used to cast down the patients spiritual life.All these refer to events and entities in earlier chapters of the book. It is accomplishable that even events and entities that have not been mentioned earlier receive definite reference because the author believes it to be general knowledge for readers or he is designedly modeling readers in a position called in medias res (or already in the know (Short, 1996) a technique which is used to further change the readers closeness to the events of the story.Take for instance, the references made by Screwtape regarding the characteristics that are being referred to as known characteristics of human mid-life crisis the long, dull, monotonous years of middle aged prosperity oradversity (line 27), the routine of adversity, the gradual decay of youthful loves and youthful hopes, the smooth despair of ever overcoming chronic temptations, the drabness which we create in their lives and the tongueless resentment (lines 27-32). 4 Indicators of characters thoughts or perceptions The very nature of the extracts format is declaratory of whose thoughts and perceptions we are reading.However, this also means that everything that is told in the narrative is limited to the perceptions of one character. To this end, the author does give some clues as to the level of factivity of Screwtapes views. In line 5, Screwtape writes that Wormwood seems singularly obtuse. While seem is not a popularly recognized factive verb, its comprehension in this sentences tell us that there is a level of uncertainty. In line 17, Screwtape says with some level of certainty that if the patient died on that night, he will approximately sure as shooting be lost to them. And ironically, in the end, that is scarcely what happened. Deixis One way in which the author may indicate particular or changing viewpoints is by using deictic expressions (i. e. , expressions which are indicative of the positioning of certain objects in relation to a deictic focal point the speaker) which may come in the form of demonstrative determiners or pronouns (e. g. this and that), deictic adverbs (e. g. here and there), deictic verbs (e. g. come, go, etc. ) and even tense (e. g. now and then)(Short, 1996, pg. 269). There is relatively little use of deictic expressions to indicate chang ing viewpoints however, there are instances wherein deictic expressions indicate istance of certain objects from the position of the speaker. envision lines 20-21 wherein Screwtape writes, They, of course, do tend to regard death as the prime evil and survival as the greatest good. The use of the pronoun they indicates Screwtapes attitude and perception towards humans that they are deictically remote from his physical position and psychological position (because they are not part of the conversation and do not dish out the same perception regarding death). However, this sentence may make readers feel a distinct sense that they are eaves-dropping.Furthermore, the author is talking about the readers (us), through the character/narrator in the third person a round-about system that C. S. Lewis employs extensively for the purpose of teaching readers. Another type of deixis which may be found in the extract is the use of social deixis which refers to the use of different naming ba sis that indicate differences or similarities in social situation and standing. Just as in every chapter of the book, Screwtape insists in using the salutation My Dear Wormwood and the closing remark Your affectionate uncle which tells of the close relationship between the two demons.While he is superior in rank and does reserve the indemnify to strongly criticize Wormwood, he seems to be doing so as a mentor to a beloved student an uncle to a nephew. That is, if familial love is even possible between demons. 6 The sequencing and organization of actions and events In novels, the way in which events are sequenced and portrayed is a means through which we can see the impressions and viewpoint of a particular character. In fact, this way of psychologically sequencing events is often used to present the perceptions of the I-narrator/character during the time of the events.The extract does not attempt to recreate any moments but seems to either be recalling past events or giving the viewpoint of someone who sees the human life from a higher vantage point allowing him to see a bigger picture. He cannot see the entire picture since he has neither hold nor distinct knowledge of the future. In conclusion to this segment, let us move from analyzing viewpoint simply from the point of view of spatial-temporal viewpoint onto examining viewpoint in terms of ideology or world-view the generalized mind-set our outlook that a person, often a group representative, on the world. Ideological viewpoint In a way, there is no better, simpler or more logical way to be able to see simple complexity of C. S. Lewis use and manipulation of viewpoint in The Screwtape Letters than to analyze it from an ideological standpoint. It is interesting all in itself to find a human attempting to realistically enlighten readers about the rectitude behind human life from the point of view of a demon especially when that human is an unabashed and staunch follower of the Christian faith and mak es no concessions regarding his own ideological point of view.Screwtape, in being a demon, obviously sees the world differently than humans or the good/God side. Human life is important to him only so off the beaten track(predicate) as it gives his side the opportunity to secure yet another soul for the fires of hell. Also, being a higher-ranked demon with more experience on the field, Screwtapes ideological point of view is different from that of Wormwood in that he has the emolument of resources and information that his inexperienced, first-time tempter nephew would not have access to. Thus, as was noted in the extract, he is not excited about the same things Wormwood is excited about e. . the war, death, etc. and he is rather forthright with the evaluations, judgments and advice he passes onto his nephew. However, Screwtape does have the passion towards describing the Enemys position in quasi-fashion. As a demon, he is supposed to be in opposition to the Enemy however wheneve r he describes the Enemy, he becomes a puppet for the author to speak of the truth thus sounding like a completely different person at times. It is ironic because Screwtape himself does not agree with all the things that he says. For example in the last two chapters of the etter (lines 40 65), he describes how the Enemy protects humans from the full brunt of demonic temptation by exercising His sovereign power over time and even them and his plan for humans in heaven. In his own demonic way, he sings praises to the work of the Enemy. D. Evaluations regarding literary analysis On the whole, it would seem that I have been able to support my sign exemplifyation regarding this piece of text. I have been able to describe the viewpoint of my extract from a macro and micro view as well as have found instances of most, if not all, of the linguistic indicators of viewpoint.However, there are limitations that I foreknow both in my attempt and the practice and process of literary and styli stic analysis in general. First of all, for the purpose of manageability, I could not read out an extensive analysis on my chosen piece of text. I was restricted to the analysis of an extract. In addition, I had to choose to concentrate on only one aspect of the text which means that I could not take into account other aspects of the text that may have granted me a more rounded interpretation of the text.There is a great curtain raising that my objectivity in analyzing the text has been compromised from the very beginning since I began with an initial interpretation regarding the text. Furthermore, my personal schemata regarding the subject matter affects the way that I interpret texts and therefore the output of my literary criticism and analysis making it almost impossible to arrive at a completely unbiased and objective analysis. Being a Christian myself, I share the same ideological viewpoint as C. S. Lewis and interpreted the text with the same assumption.This is not to say that my beliefs are actually on the same page as the authors and truthfully, there is no way of knowing. This means that certain aspects of the text that appears outstanding to me may only be significant for me personally. Finally, an important thing to note is that stylistic analysis is in not a noneffervescent output but may be subject to change in relation to the availability and status of resources available to analysts at any given time. As Short admits, no analysis is entirely objective it he sense that it is true for all time. With new forms of analysis come new findings and new or modified interpretations (1996, pg. 58). E. Conclusions on literary analysis While some may argue that the systematic way in which literary analysis studies literary texts may hinder analysts from simply partaking of the joy of reading, this has certainly not been the case for me. The Screwtape Letters has always been one of my favourite books of all times. After having analyzed one chapter, spec ifically with point of view as a theme of analysis, I now have a renew sense of respect and admiration for the narrative skill of its creator and with the complexity of the creation itself.Overall, I believe that I have done my dress hat to attempt to systematically and objectively analyze the text and have managed to come to some conclusions that are both expected and unexpected. And while I am sure that there are certainly some aspects I have missed out on or even overworked, I am quite satisfied with my attempt and hope to continue putting the practices of literary analysis to practice to enhance and deepen my understanding of other literary works of interest. References Cook, G. (1994).Discourse and Literature The Interplay of Form and Mind, Oxford, Oxford University Press. Lewis, C. S. (1942). Chapter 28 The Screwtape Letters. C. S. Lewis Pte. Ltd. Semino, E. (2006). Reading C cognitive poetics. Chapter 1 Literature and creativity in English in Goodman, S. and OHalloran, K. ( eds) The art of English literary creativity. Palgrave Macmillan/The Open University, pg. 37 40 Short,M. (1996). Chapter 9 Fictional prose and point of view. Exploring the Language of Poems, Prose and Plays, London Longman. pg. 255 279 Short,M. (1996).Chapter 12 Fictional prose and point of view. Exploring the Language of Poems, Prose and Plays, London Longman. pg. 354 358 Short, M. (2005). Topic 8 Discourse structure and point of view. Ling 131 Language & Style is a Stylistics course. Retrieved on December 2008. Retrieved from http//www. lancs. ac. uk/fass/projects/stylistics/topic8/begin8. htm Addresser 1 (C. S. Lewis) MESSAGE Addressee 1 (Reader) Addresser 2 (Screwtape narrator) MESSAGE Addressee 2 (Narratee) Addresser 3 (Screwtape character) MESSAGE Addressee 3 (Wormwood character)