In the previous post, I talked about the idea that art is needed to express those things that the artist cannot express in formal words. If the artist really understands what they want to say they should simply come out and say it otherwise what you have is mere propaganda. I wish to further explore this idea. One of the primary things that formal writing cannot express is an emotional connection to an idea.
Consider the example of Aslan from C. S. Lewis' Chronicles of Narnia series. On the surface, Aslan is simply a stand-in for Jesus. He is the Son of the Emperor across the sea. He takes on physical form as a lion to come among the animals of Narnia. In the early medieval understanding of the purpose of the passion, Satan had a deal with God where he had the right to all sinners as long as he never took anyone innocent. Jesus came down to Earth and lived a perfect life before being executed. He then tricked Satan into trying to take his soul. By doing this, Satan nullified his agreement with God, allowing Jesus to rescue the souls of all believers from Hell. Similarly, the White Witch has a deal with the Emperor that she has the right to kill all traitors including the human Edmund. Aslan makes a deal that, in exchange for giving up her claim on Edmund, he will take Edmund's place. The Witch kills Aslan. What she does not realize is that killing the innocent Aslan will break the Stone Table upon which her agreement is written and bring Aslan back to life. Aslan is then able to free all the creatures that the Witch had turned into stone.
If Narnia could be boiled down into Aslan equals Jesus, there would be little point to the books. Lewis could have simply explained the doctrine of atonement in a straightforward child-friendly manner for kids to either accept or reject. What Narnia offers that no lecture on Christian theology could ever possibly convey is that emotional connection to the event. To me, the most profound scene in the entire Chronicles is when Aslan allows Susan and Lucy to accompany him to the Stone Table. There is that moment where Aslan's shoulders slump and asks the girls to put their hands on him. It is as if even the mighty Aslan struggles with the enormity of what he is about to do. The reader then joins the girls in surprise and horror as Aslan allows himself to be captured, humiliated, and murdered. We get to experience their despair, seeing that everything is now lost, followed by their joyous surprise to see Aslan standing alive before them with the Table broken.
This emotional connection to the drama of the Cross is a central concept for Christian art. One thinks of the example of Michelangelo's Pieta. One of my personal favorites is the hymn Stabat Mater, which contemplates Mary's suffering at the foot of the Cross.
This is not something that you can argue someone into. The biggest challenge to faith, even above any intellectual arguments, is the simple fact that even children raised within a particular religious tradition are still cut off from its artistic culture. You can give a kid all the Sunday school lectures in the world, but it is not going to help unless they are emershed within Christian art so they could contemplate the living faith that could compel an artist to produce such work. Narnia is not a trick to get kids to read about Jesus and make him look cool. It is an invitation to emersh oneself within a larger Christian artistic tradition where the mourning of Good Friday and the joy of Easter Sunday are not just theoretical concepts to be believed in but tangible realities to be felt.
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