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paminala wrote:Nerd42 wrote:The Bright PeopleThe Great Divorce wrote:
Some were naked, some robed. But the naked ones did not seem less adorned, and the robes did not disguise in those who wore them the massive grandeur of muscle and the radiant smoothness of flesh."
I find that very odd. I think it connects with some of what was said in Perelandra on the subject of clothing on glorified bodies. But I do not understand why Lewis places such emphasis on it in these two books. Surely this could have been left out and it wouldn't have affected the plot or the message in the least. I think introducing this idea needlessly complicates matters.
I didn't really find this out of tune with the rest of the description of Heaven. It felt as though Lewis were describing a sort of Eden. All things would reflect the beauty of the Creator's plan.
But even here (as at the bus stop) the passengers are in an in between place. They see the glory of Heaven but cannot touch it.
Nerd42 wrote:Heavenly Matter
Everything is bigger and solider out here. This is when we start seeing the passengers as "ghosts" - people we can see through. What do you think that suggests?
(trying to lead discussion here, not just spill all the beans myself)
Nerd42 wrote:The Big ManThe Big Man obviously doesn't want to stay but also doesn't want to make it sound like he's over-eager to leave. I think at this point he is still trying to sort out his feelings about the place but we come to his big scene in the next chapter.The Great Divorce wrote:"Hi, Mister," said the Big Man, addressing the Driver, "when have we got to go back?"
"You need never come back unless you want to," he replied. "Stay as long as you please."
There was an awkward pause.
Why do you think the ghosts are transparent while the Bright People are solid?
Why cliffs and not clouds? Why country and not city? Why open countryside and not pearly gates?
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