“I do not think there is a demonstrative proof (like Euclid) of Christianity, nor of the existence of matter, nor of the good will and honesty of my best and oldest friends. I think all three are (except perhaps the second) far more probable than the alternatives. The case for Christianity in general is well given by Chesterton…As to why God doesn't make it demonstratively clear; are we sure that He is even interested in the kind of Theism which would be a compelled logical assent to a conclusive argument? Are we interested in it in personal matters? I demand from my friend trust in my good faith which is certain without demonstrative proof. It wouldn't be confidence at all if he waited for rigorous proof. Hang it all, the very fairy-tales embody the truth. Othello believed in Desdemona's innocence when it was proved: but that was too late. Lear believed in Cordelia's love when it was proved: but that was too late. 'His praise is lost who stays till all commend.' The magnanimity, the generosity which will trust on a reasonable probability, is required of us. But supposing one believed and was wrong after all? Why, then you would have paid the universe a compliment it doesn't deserve. Your error would even so be more interesting and important than the reality. And yet how could that be? How could an idiotic universe have produced creatures whose mere dreams are so much stronger, better, subtler than itself?”

“That’s true to life. Part of every misery is, so to speak, the misery’s shadow or reflection: the fact that you don’t merely suffer but have to keep on thinking about the fact that you suffer.”

“I sometimes think that shame, mere awkward, senseless shame, does as much towards preventing good acts and straightforward happiness as any of our vices can do.”

“My friendship you shall have, leanred Man," piped Reepicheep. "And any Dwarf--or Giant---in the army who does not give you good language shall have my sword to reckon with.”

“But one of the worst results of being a slave and being forced to do things is that when there is no one to force you any more you find you have almost lost the power of forcing yourself.”

“Girls aren't very good at keeping maps in their brains", said Edmund, "That's because we've got something in them", replied Lucy.”

“Remember that all worlds draw to an end and that noble death is a treasure which no one is too poor to buy.”

“The mouse is a fair treat but this one would talk the hind legs off a donkey.”

“I don't want to hold you hand!”

“Bereavement is not the truncation of married love,” C. S. Lewis wrote, “but one of its regular phases—like the honeymoon.”

“We are, not metaphorically but in very truth, a Divine work of art, something that God is making, and therefore something with which He will not be satisfied until it has a certain character. Here again we come up against what I have called the “intolerable compliment.” Over a sketch made idly to amuse a child, an artist may not take much trouble: he may be content to let it go even though it is not exactly as he meant it to be. But over the great picture of his life—the work which he loves, though in a different fashion, as intensely as a man loves a woman or a mother a child—he will take endless trouble—and would doubtless, thereby give endless trouble to the picture if it were sentient. One can imagine a sentient picture, after being rubbed and scraped and re-commenced for the tenth time, wishing that it were only a thumb-nail sketch whose making was over in a minute. In the same way, it is natural for us to wish that God had designed for us a less glorious and less arduous destiny; but then we are wishing not for more love but for less.”

“Father! Can I box him? Please!” 

“When He [God] talks of their losing their selves, He means only abandoning the clamour of self-will; once they have done that, He really gives them back all their personality, and boasts (I am afraid, sincerely) that when they are wholly His they will be more themselves than ever.”

“Surely what a man does when he is taken off his guard is the best evidence for what sort of man he is.”

“Poetry most often communicates emotions, not directly, but by creating imaginatively the grounds for those emotions. It therefore communicates something more than the emotion; only by means of that something more does it communicate the emotion at all.”