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"1898-1963"
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EDITORIAL
Zipping a black robe, folding out the colors of a colleague's hood, finding another's regalia, checking the tilt of a cap, greeting a retired colleague still recovering speech after a stroke, seeing in one real room friends long confined to squares on a computer screen, all of us lining up to fill reserved rows of carefully distanced seats. With the bustle of preparation, medieval clothing for the event, pipe organ, orchestra, and choir, our gathering of colaborers for an inauguration seems also to offer a glimpse of the future and of the true, unseen present. [...]I have slowly begun learning the workings of the Journal of the Evangelical Theological Society, a partial record of correspondence between past, present, and future members of a society of people who have chosen the word \"evangelical\" to describe themselves.
Journal Article
C. S. Lewis's Oxford
An examination of the influence of Oxford on the writing of C. S. Lewis, bringing to light new archival discoveries including letters and an unpublished poem.
BOOK
Editorial
Yes, this is the biggest issue of Mythlore since the 458-page Centenary Conference joint issue with the Tolkien Society in 1996. It's still true that anything over 300 pages triggers a bump in the postage to mail the issue, but the income from our electronic subscriptions can subsidize an occasional issue over this limit-like this one-without an increase to print subscription prices.
Journal Article
DENIAL AND ACCEPTANCE: A CORE MYTH OF ORPHEUS AND EURYDICE IN THE MODERN LYRIC
Murdoch examines the myth of Orpheus and Eurydice and the futility of the denial of death as a literary theme in world poetry from antiquity to contemporary times. The story of Orpheus and Eurydice has memorable narrative elements: his exceptional skills as a singer, the conditional chance he is given, and his descent into the infernal regions. There is also an implicit tension, even though the audience of the retold myth knows that Orpheus will in fact turn and look back. At the base of the myth is the fact that no human effort, not even the skills of a singer who can otherwise charm nature itself, can bring someone back from the dead. The quite literal turning point is the breaking of the prohibition. Turning to look at Eurydice means that Orpheus must face the fact that his wife is dead. The moment of perception makes clear that what had gone before was a hopeless state of denial on his part. The myth is not a memento mori; that the death of every individual is inevitable hardly needs reinforcing. Rather it contextualizes that inevitability, pointing to the necessity for those still living in the world to come to terms with the loss of someone close, so that the theme is the acceptance of loss.
Journal Article