The love sonnets in the previous post were written by the American Joy Davidman to C. S. Lewis.
A series of 45 Sonnets were only discovered in 2010 by Douglas Gresham (the younger of Davidman’s two sons) and have been published in 2015. Don W. King, The Naked Tree: Love Sonnets to C. S. Lewis and other Poems by Joy Davidman.
Davidman and Lewis’s relationship has been well told of course – not least by the 1993 film Shadowlands with Anthony Hopkins and Debra Winger.
They started corresponding in 1950, she first met him in 1952. She was divorced in 1954 from a long troubled marriage to William Gresham. Davidman and Lewis were married in a civil ceremony in 1956, apparently on his side more to help her stay in the UK when her visa ran out. It was only really when she fell fatally ill with cancer that Lewis finally realised he had fallen in love for the first time in his life.
His subsequent and deeply moving book A Grief Observed, (in which he called her H) recounts his own honest cries of the heart following her death in 1960 (Lewis himself would only live until 1963). While that work has been in the public domain since 1961, Joy Davidman’s poems remained hidden away, undiscovered, in an attic.
What’s fascinating is the question of just how much his wife’s passionate honesty and uninhibited love changed Lewis. The sonnets show how infuriatingly passionless she found the confirmed bachelor academic!
In utter contrast to the platonic friend that she wished would shoot her dead rather than kill her with his kindness is his own description of marriage in A Grief Observed. How Joy Davidman’s love eventually broke through his English reserve!
For those few years H. and I feasted on love; every mode of it — solemn and merry, romantic and realistic, sometimes as dramatic as a thunderstorm, sometimes as comfortable and unemphatic as putting on your soft slippers. No cranny of heart or body remained unsatisfied.
And this on the physical embodiment of love:
There is one place where her absence comes locally home to me, and it is a place I can’t avoid. I mean my own body. It had such a different importance while it was the body of H’s lover. Now it’s like an empty house.
And this desperately sad passage revealing how she had shaken him out of his old life and opened him up to a life that perhaps he had not even suspected existed :
The most precious gift that marriage gave me was this constant impact of something very close and intimate yet all the time unmistakably other, resistant — in a word, real. Is all that work to be undone? Is what I shall still call H. to sink back horribly into being not much more than one of my old bachelor pipe-dreams? Oh my dear, my dear, come back for one moment and drive that miserable phantom away. Oh God, God, why did you take such trouble to force this creature out of its shell if it is now doomed to crawl back — to be sucked back — into it?
I guess King and many other Lewis scholars will be reassessing how his wife’s many previously unknown poems, which he almost certainly read, may have shaped his own writing in A Grief Observed and elsewhere.
One thing is sure, her love profoundly changed his understanding of love – for love cannot be understood in theory, but only in the experience of loving others and being loved.
Yet all love has an end. Lewis wrote about the end of his unexpected, dazzling and yet all too brief love affair in typically compelling prose:
And then one or other dies. And we think of this as love cut short; like a dance stopped in mid career or a flower with its head unluckily snapped off — something truncated and therefore, lacking its due shape. I wonder. If, as I can’t help suspecting, the dead also feel the pains of separation (and this may be one of their purgatorial sufferings), then for both lovers, and for all pairs of lovers without exception, bereavement is a universal and integral part of our experience of love.
And this to close.
Does H. now see exactly how much froth or tinsel there was in what she called, and I call, my love? So be it. Look your hardest, dear. I wouldn’t hide if I could. We didn’t idealize each other. We tried to keep no secrets. You knew most of the rotten places in me already. If you now see anything worse, I can take it. So can you. Rebuke, explain, mock, forgive. For this is one of the miracles of love; it gives — to both, but perhaps especially to the woman — a power of seeing through its own enchantments and yet not being disenchanted.
To see, in some measure, like God. His love and His knowledge are not distinct from one another, nor from Him. We could almost say He sees because He loves, and therefore loves although He sees.
Comments, as ever, welcome.