• Till We Have Faces is set in a pagan, pre-Christian world: the world of a “barbarian” Balkan kingdom (“Glome”) well to the north of Greece, where pagan religion still holds sway but Greek philosophy, far to the south, has already come to a kind of initial maturity. (During Orual’s reign, Glome acquires a copy of a “long and difficult book” that begins with the line All men by nature desire knowledge; this is Aristotle’s Metaphysics, which is a clever tip of Lewis’s hand that the tale is set sometime in the two or three centuries before the birth of Christ.) The Greek slave and expatriate Lysias (“the Fox”) gives Orual a thorough schooling in the Greek philosophical religion, a narrative device by which Lewis can explore the encounter between the pagan and philosophical views of the gods (or the Divine Nature, as the Fox would prefer to say).
• Orual is drawn to, and sometimes even momentarily persuaded, by the simplistic, naturalistic clarity of the Fox’s philosophy: the gods of the heathens are no gods at all; the Divine Nature is not a thing with passions that must be appeased, but is pure goodness and light; Nature is a great interconnected web of causation, and there is neither “chance” nor the direct intervention of the gods in the natural order (despite the Fox’s periodic thanksgivings to “Zeus the Saviour”), so that things only happen which are “in accordance with Nature”; pagan religion is, more or less, a populist fig leaf for the temple’s political machinations vis-a-vis the palace. This philosophy is particularly useful to her when she becomes queen and shuts her Orual-self up in a small locked space within; it offers her tools for the task of good governance (at which, the concluding lines of the book attest, she succeeds spectacularly), and seems to provide rationalization for suppressing her pangs of conscience.
• Nevertheless, neither does Orual abandon the local pagan religion: it has its own political usefulness, of course, in binding together (the root meaning of “religion”) people and palace, and she must be seen participating in the Ungit-cult; more than that, it provides a sense of holiness as something visceral and awe-inspiring, which the philosophical religion never does, associated with blood and incense and darkness (“holy places are dark places”); the “sacred stories” are of course full of “contradictions” and implausibilities, but they give paradoxical voice to deep human instincts and resonances with the natural world — so the (bastardized) story of Psyche becomes a figure of the cycle of the seasons and the cult thereof; without the shedding of blood there is no expiation of sins. And, of course, Orual does — once, when it is too late — see the god of the mountain, and she never forgets the experience (though she does her level best, so she tells herself, to minimize its power over her) of that momentary encounter with a Being of another order.
• The early drama in which the Priest schemes to have Psyche sacrificed is a perfect example of this. The Priest recognizes, with awful intuition, the need for a “scapegoat” (in the Girardian sense) — one must die on behalf of the many for the whole people to be saved; the power of the paradox that, “in a mystery,” this scapegoat must be both the best that the land has to offer and the worst offender against the gods; the further paradox that — depending on the sex of the Blessed / Accursed — the god to whom the victim is offered may be either Ungit (the Awful Feminine) or Ungit’s son (the masculine god of the mountain), a thing of glorious majesty, and that either may simultaneously be the Shadowbrute, a thing of dark terror; the mystery that being the meal of the Brute and the wife of the God may not be all that different. The Fox has no time for any of this, and attempts to pick apart the seemingly incoherent strands of the mystery. But the Priest recognizes the deep coherence of the mysteries, the coincidentia oppositorum at the heart of reality, and so conquers the Fox: “Why not?”
• One distinctive difference between the pagan religion and the philosophical religion, therefore: the pagan religion inspires faith. Even a shrewd political operator like the Old Priest, who understands perfectly well what he is doing vis-a-vis the power of the palace, nevertheless has absolute confidence (pistis) that what he believes and teaches is true. The Fox, on the other hand, has dissolved his own faith in the gods through philosophical criticism, but as a result no longer has the certainty which he needs to counter the power of the Priest. So, when the old King goes to offer Psyche in sacrifice, he finds that he genuinely believes, if only for the time he is making the Offering. The old pagan Ungit-stone, a dark and shapeless thing, inspires more faith and evokes more holiness than the new Hellenistic Aphrodite-statue, which is recognizably human. (As the peasant woman says to Orual on the day of the Birth-feast: “‘That other, the Greek Ungit, she wouldn’t understand my speech. She’s only for nobles and learned men. There’s no comfort in her.’”) It is narratively ambiguous, I think, whether the Great Offering is in fact efficacious to rescue Glome from its troubles; the Fox of course dismisses it according to his exclusively materialist view of causation (“everything would have had to be different from the beginning”), but it is hard for Orual to avoid the impression that the gods have indeed looked with favor on the sacrifice and sent Glome rain, peace, and good fortune.
• The result of this exploration is a kind of negative-space outline for a genuinely Christological — which is to say, incarnational — view of Divinity. The Fox is right in his own way: there really is an absolute bifurcation, an “infinite qualitative distinction” between the immanent and the transcendent, and the gods are not at all like men. That is part of the power of Orual’s experience on the mountain after Psyche has uncovered her lamp. And yet — holiness is found in darkness and paradox and mystery before it is seen in clarity and light. The transcendent hides itself within the immanent, so that it may be sought by Faith, not merely apprehended by Reason. Psyche is not the slave of a mountain outlaw, but is — or was — the wife of the god. Neither paganism nor philosophy can be simply transmuted, for Lewis, into genuine Christianity; but neither can the genuine insights of either into the nature of things and human experience be dismissed as accidental — and if one believes in an absolutely transcendent Creator who has enfleshed Himself, immanentized Himself, one indeed cannot. Both the pagan religion of Glome and the Greek philosophical religion are, in their own ways and precisely in their interaction, praeparatio evangelica.

Piranesi:

• “I realised that the search for the Knowledge has encouraged us to think of the House as if it were a sort of riddle to be unravelled, a text to be interpreted, and that if ever we discover the Knowledge, then it will be as if the Value has been wrested from the House and all that remains will be mere scenery. The sight of the One-Hundred-and-Ninety-Second Western Hall in the Moonlight made me see how ridiculous that is. The House is valuable because it is the House. It is enough in and of itself. It is not the means to an end.” (60–61)
• “The World feels Complete and Whole, and I, its Child, fit into it seamlessly. Nowhere is there any disjuncture where I ought to remember something but do not, where I ought to understand something but do not. The only part of my existence in which I experience any sense of fragmentation is in that last strange conversation with the Other.” (71)