Presenter Information

Richard James

Location

Taylor University

Start Date

31-5-2012 7:45 PM

Description

For almost fifty years, since his death in 1963, C.S. Lewis, Lazarus-like, has continued through his literary executors to come forth from his literary grave, providing an almost unending, vast landscape of multimedia productions from multi-volume collections of personal letters and anthologies of essays to four major Hollywood film productions; from miscellaneous small action figures and early reader literacy booklets connected to the Narnian movies to highly technical on-stage renditions of the demonic Screwtape and the verbally combative, but highly successful off-Broadway drama, Freud's Last Session.

But beyond all of these highly visible projects, this paper will provide some reflections on what is yet another more recent and more substantial Lazarus-like Lewis project: C.S. Lewis's Lost Aeneid. For here in this book is a translation both immensely personal to Lewis and also potentially a significant scholarly contribution to the instruction and understanding of one of the world's great epics. This paper shall make a brief analysis of the many published responses to Lewis's partial translation, note several places where Virgil is mentioned in the Lewis corpus and also provide insights gathered from a study of Lewis's own annotations in his personal library copy of the Works of Virgil.

Event Type

Paper

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May 31st, 7:45 PM

Further Responses to Lewis's 'Lost Aeneid'

Taylor University

For almost fifty years, since his death in 1963, C.S. Lewis, Lazarus-like, has continued through his literary executors to come forth from his literary grave, providing an almost unending, vast landscape of multimedia productions from multi-volume collections of personal letters and anthologies of essays to four major Hollywood film productions; from miscellaneous small action figures and early reader literacy booklets connected to the Narnian movies to highly technical on-stage renditions of the demonic Screwtape and the verbally combative, but highly successful off-Broadway drama, Freud's Last Session.

But beyond all of these highly visible projects, this paper will provide some reflections on what is yet another more recent and more substantial Lazarus-like Lewis project: C.S. Lewis's Lost Aeneid. For here in this book is a translation both immensely personal to Lewis and also potentially a significant scholarly contribution to the instruction and understanding of one of the world's great epics. This paper shall make a brief analysis of the many published responses to Lewis's partial translation, note several places where Virgil is mentioned in the Lewis corpus and also provide insights gathered from a study of Lewis's own annotations in his personal library copy of the Works of Virgil.