Spiritual Sexuality and Sexual Spirituality

In light of our discussion of Pearl, it seemed prudent to draw attention to the fact that there is a long tradition, even in works heavily influenced by Christianity, to pay, if not bawdy, then at least an edgy (by Christian sexual ethical standards) kind of attention to sexuality in discussions of spirituality. Indeed, it seems that most today who would call themselves Christians are uncomfortable with the notion that spirituality is sexual in any way, though many would admit that sexuality is decidedly spiritual. While this is not necessarily a contradiction, it seems to indicate that an investigation of the sexualization of spirituality--because it is often considered taboo, or at the very least, in bad taste--is warranted.

Because so much contemporary literature that converses with the medieval period has been influenced by the Inklings, it seems natural to turn in that direction to begin an investigation. For this entry, let's simply focus on C. S. Lewis. Although his works pertaining to Narnia are most popular, The Great Divorce, an allegory on the passage of souls from heaven to hell, speaks volumes more on sexuality and spirituality.

Note first that one of Lewis' characters, a ghost who has a "red lizard" on his shoulder, a lizard that whispers in his ear. Says the ghost to an angel who inquires about the ghost's sudden move to return to hell,

"Yes, I'm off... Thanks for all your hospitality. But it's no good, you see. I told this little chap," (here he indicated the lizard), "that he'd have to be quiet if he came--which he insisted on doing. Of course his stuff won't do here: I realise that. But he won't stop. I shall just have to go home." (Lewis, 99-100)

The angel offers to silence the lizard, to which the ghost readily agrees until he realizes that the angel is really offering to kill the lizard.

At this point, it becomes indubitable that Lewis' intent here is to symbolize lust. First, the entire tableau is preceded by the narrator's discussion of lust with George Macdonald. Second, the lizard happens to be red, which has long been the color of lust and its consequences, e.g., adultery (think Hawthorne, for example). Third, the man's response to the offer to kill the lizard is telling. Although he intimates that the lizard is "embarrassing," he also recoils from the thought of killing it, and goes so far as to make the excuse that he would have "to be in good health for the operation" (Lewis, 101).

Significantly, the lizard begins to talk to the ghost: "[If he kills me] you'll be without me for ever and ever. It's not natural. How could you live? You'd be only a sort of ghost, not a real man as you are now" (Lewis, 102). The appeal to the ghost's manhood here leads the interpretation. But more interesting still is the lizard's subsequent promise. "I know there are no real pleasures now, only dreams. But aren't they better than nothing? And I'll be so good... I'll give you nothing but really nice dreams--all sweet and fresh and almost innocent" (Lewis). To make a short allegory shorter, the ghost allows the angel to kill the lizard, which then turns into a white stallion (the ghost turns into a real man, who is, significantly, naked), and the man rides off on the stallion.

The point of it is simply that Lewis, as a literature scholar, is well aware of a thread in literature that equates sexuality and spirituality. And rather than merely letting sexuality remain a spiritual issue (see his chapter on "Christian Sexual Ethics" in Mere Christianity), Lewis has demonstrated that spirituality is also a sexual issue to some degree.