"I have called my material surroundings a stage set. In
this I can act. And you may well say "act." For what I call
"myself" (for all practical, everyday purposes) is also a
dramatic construction; memories, glimpses in the shavinglass,
and snatches of the very fallible activity called
"introspection," are the principal ingredients. Normally I
call this construction "me," and the stage set "the real
world." Now the moment of prayer is for me--or involves for me
as its condition--the awareness, the reawakened awareness,
that this "real world" and "real self" are very far from being
rock-bottom realities. I cannot, in the flesh, leave the
stage, either to go behind the scenes or to take my seat in
the pit; but I can remember that these regions exist. And I
also remember that my apparent self--this clown or hero or
super--under his grease-paint is a real person with an off-
stage life. The dramatic person could not tread the stage
unless he concealed a real person: unless the real and unknown
I existed, I would not even make mistakes about the imagined
me. And in prayer this real I struggles to speak, for once,
from his real being, and to address, for once, not the other
actors, but--what shall I call Him?
The Author, for He invented us all?
The Producer, for He controls all?
Or the Audience,
for He watches,
and will judge, the performance?"
this I can act. And you may well say "act." For what I call
"myself" (for all practical, everyday purposes) is also a
dramatic construction; memories, glimpses in the shavinglass,
and snatches of the very fallible activity called
"introspection," are the principal ingredients. Normally I
call this construction "me," and the stage set "the real
world." Now the moment of prayer is for me--or involves for me
as its condition--the awareness, the reawakened awareness,
that this "real world" and "real self" are very far from being
rock-bottom realities. I cannot, in the flesh, leave the
stage, either to go behind the scenes or to take my seat in
the pit; but I can remember that these regions exist. And I
also remember that my apparent self--this clown or hero or
super--under his grease-paint is a real person with an off-
stage life. The dramatic person could not tread the stage
unless he concealed a real person: unless the real and unknown
I existed, I would not even make mistakes about the imagined
me. And in prayer this real I struggles to speak, for once,
from his real being, and to address, for once, not the other
actors, but--what shall I call Him?
The Author, for He invented us all?
The Producer, for He controls all?
Or the Audience,
for He watches,
and will judge, the performance?"
... C. S. Lewis (1898-1963)
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