“Far overhead from beyond the veil of blue sky which hid them the stars sang again; a pure, cold, difficult music. Then there came a swift flash like fire (but it burnt nobody) either from the sky or from the Lion itself, and every drop of blood tingled in the children's bodies, and the deepest, wildest voice they had ever heard was saying: "Narnia, Narnia, Narnia, awake. Love. Think. Speak. Be walking trees. Be talking beasts. Be divine waters.”

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

“That world is ended, as if it had never been. Let the race of Adam and Eve take warning.”

“I could never have gone far in any science because on the path of every science the lion Mathematics lies in wait for you.”

“We never find out the strength of the evil impulse inside us until we try to fight it: and Christ, because he was the only man who never yielded to temptation, is also the only man who knows to the full what temptation means.”

“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.”

“What began the change was the very writing itself. Let no one lightly set about such a work. Memory, once waked, will play the tyrant.”

“[The devil] always sends errors into the world in pairs--pairs of opposites. And he always encourages us to spend a lot of time thinking which is the worse. You see why, of course? He relies on your extra dislike of the one error to draw you gradually into the opposite one.”

“Indeed the safest road to Hell is the gradual one--the gentle slope, soft underfoot, without sudden turnings, without milestones, without signposts,...Your affectionate uncle, Screwtape.”

“Quarrelling means trying to show that the other man is in the wrong. (And) There is no sense in trying to do that unless you and he had some sort of agreement as to what Righ and Wrong are...”

“There is no need to be worried by facetious people who try to make the Christian hope of ‘Heaven’ ridiculous by saying they do not want ‘to spend eternity playing harps’. The answer to such people is that if they cannot understand books written for grown-ups, they should not talk about them. All the scriptural imagery (harps, crowns, gold, etc.) is, of course, a merely symbolical attempt to express the inexpressible. Musical instruments are mentioned because for many people (not all) music is the thing known in the present life which most strongly suggests ecstasy and infinity. Crowns are mentioned to suggest the fact that those who are united with God in eternity share His splendour and power and joy. Gold is mentioned to suggest the timelessness of Heaven (gold does not rust) and the preciousness of it. People who take these symbols literally might as well think that when Christ told us to be like doves, He meant that we were to lay eggs.”

“By starving the sensibility of our pupils we only make them easier prey to the propagandist when he comes. For famished nature will be avenged and a hard heart is no infallible protection against a soft head.”

“Joy is the serious business of heaven.”

“But what manner of use would it be ploughing through that darkness?' asked Drinian. Use?' replied Reepicheep. 'Use, Captain?' If you mean by filling our bellies or our purses, I confess it will be no use at all. So far as I know we did not set sail to look for things useful but to seek honour and adventures. And here is as great an adventure as I have ever heard of, and here, if we turn back, no little impeachment of all our honours.”

“In speaking of this desire for our own far off country, which we find in ourselves even now, I feel a certain shyness. I am almost committing an indecency. I am trying to rip open the inconsolable secret in each one of you—the secret which hurts so much that you take your revenge on it by calling it names like Nostalgia and Romanticism and Adolescence; the secret also which pierces with such sweetness that when, in very intimate conversation, the mention of it becomes imminent, we grow awkward and affect to laugh at ourselves; the secret we cannot hide and cannot tell, though we desire to do both. We cannot tell it because it is a desire for something that has never actually appeared in our experience. We cannot hide it because our experience is constantly suggesting it, and we betray ourselves like lovers at the mention of a name. Our commonest expedient is to call it beauty and behave as if that had settled the matter. Wordsworth’s expedient was to identify it with certain moments in his own past. But all this is a cheat. If Wordsworth had gone back to those moments in the past, he would not have found the thing itself, but only the reminder of it; what he remembered would turn out to be itself a remembering. The books or the music in which we thought the beauty was located will betray us if we trust to them; it was not in them, it only came through them, and what came through them was longing. These things—the beauty, the memory of our own past—are good images of what we really desire; but if they are mistaken for the thing itself they turn into dumb idols, breaking the hearts of their worshipers. For they are not the thing itself; they are only the scent of a flower we have not found, the echo of a tune we have not heard, news from a country we have never yet visited.”