Use of Nudity, Aliens, and Fist Fights to Display Theological Truths in C.S. Lewis’ Perelandra (Essay Sample)

When thinking of space travel and science fiction, my train of thoughts typically does not take me to Bible stories. These two elements do not seem to go together, as science fiction seems to be futuristic, while the Bible being an ancient work. In his series, “The Space Trilogy”, C.S. Lewis takes us on an adventure through space and super-natural forces, providing his audience with an entertaining narrative that is infused with biblical theology. “Perelandra”, the second book in the trilogy, is the story of Dr. Ransom, who is taken from earth to Perelandra (Venus) on a mission from Maleldil (God). Upon arriving, he becomes acquainted with Perelandra’s first woman, but his peaceful time on Perelandra is disrupted by the arrival of his kidnapper from the previous book, Weston, who has become possessed. Ransom realizes that his purpose of being sent to Perelandra is to prevent Weston from causing the Queen to sin, and after intense physical battle, Weston is killed and Perelandra saved from suffering the consequences of a second fall of mankind. The characters, setting, and plot of “Perelandra” are allegorical of the Creation and fall of mankind, and the resurrection of Christ as depicted in the Bible. 

Upon our protagonist’s, Ransom, arrival, we quickly see that our Perelandrain setting is in an Edenic garden state (“Perelandra”). Ransom finds that “The very names of green and gold…are too harsh for the tenderness, the muted iridescence of that warm, maternal delicately gorgeous world” (32).  There is no need to grow food or kill animals for sustenance, as the land is full of edible fruit, just as Eden was full of fruit bearing trees. After exploring the lush landscape, Ransom happens upon The Green Lady, the first woman of the “garden world” of Perelandra (53).

As Ransom encounters this Green Goddess, we discover that she representative of a pre-fallen Eve (“Perelandra”; Tanner). Due to her sinless nature, we see that there is an air of purity about her, as even her smile is with the innocence of a child.  Her sinless state almost overcomes Ransom, as he is unsure how to handle himself. She is described as “…a goddess carved apparently out of green stone, yet alive” (48), with her face being “calm”, as if full of serenity because she has yet to feel pain (49).  Although she and Ransom are both naked, as Adam and Eve were in the Garden of Eden, there was neither shame nor sexuality felt between the two.   The only Perelandrian natives are the King and Queen (who have been separated) while the only terrestrial being is Ransom, until the entrance of our antagonist, Weston, the tempter of Perelandra’s untainted queen (“C.S Lewis”, “Perelandra”).

Although arriving under the guise of peaceful space travel for the benefit of humanity, Weston has become possessed and is bent on causing the fall of Perelandra’s Queen, just as Satan did with Eve (“Perelandra”). Perelandrian land is in the form of islands, and all islands, except one, move and roll with the water underneath it. As the only rule, the King and Queen are forbidden by Maleldil to sleep upon this fixed land. Weston begins to tempt the queen with the possibility of sleeping on the fixed land, which would result in the first sin of Perelandra. Weston questions this rule by attempting to convince the Queen that Maleldil has not really forbidden sleeping on Fixed Land, but rather this rule is a test, and sleeping on the fixed land will cause her to become wiser. This resembles the temptation of Eve, as Satan says “For God knows that in the day you eat of it your eyes will be opened, and you will be like God, knowing good and evil.” (New King James Bible, Genesis 3:5).  As Weston continues to tempt our Queen, Ransom is called to prevent her from sinning, therefore becoming our Christ figure of the plot. 

Although Christ came after the fall of mankind, there are still many similarities between Ransom’s time on Perelandra and Christ’s life on earth. Ransom did not magically appear on Perelandra, but was transported as one would be in a space ship, except his ship was in the form of a coffin-like capsule, powered by Maleldil. Just as Ransom arrived by ordinary means powered by an extra-ordinary force, so did Christ come to earth as a human baby, but of a miraculous virgin birth. After failing to overcome Weston with verbal rebuttal, Ransom is asked by Maleldil to kill Weston to save the innocence of the Queen.  Just as Jesus asked “…if it is Your will, take this cup away from Me…”  (New King James Bible, Luke 22:42) before His crucifixion, Ransom struggles with his charge, and asked “Lord, why me?” (126).

Just as Christ “…gave Himself a ransom for all …” (New King James Bible, 1 Tim. 2:6a), by His defeat of death through crucifixion, so is Ransom asked to live up to his name by killing Weston, therefore saving the Queen and becoming the Christ-figure of the story. Maleldil even says that “It is not for nothing that you are named Ransom.” (125). Like Christ conquered death in the grave, so did Ransom kill Weston in an underground cave of Perelandra, saving the queen from possible sin and creating the climax of our tale. Although Christ did not literally duke it out with Satan on the cross, we see many similarities between Ransoms battle with Weston, and the brutal events leading up to Christ’s crucifixion. Christ was not killed with one fell swoop, but was beaten, scourged, nailed, and stabbed before finally dying. While trying to kill Weston, Ransom engages in hand-to-hand combat and is badly beaten up before finally killing Weston by throwing him into the fire pit found of the underground cave. This act of a physical battle with the enemy is reminiscent of Christ’s crucifixion, as neither Satan nor Weston were defeated by a hocus-pocus moon dance chant, but by violent physical action.  After emerging from the cave, Ransom is left with a wound in his foot from his battle with Weston, just as Christ was left with the scars in his hands, but otherwise returns home with a youthful glow, as Christ did after walking out of the tomb. 

In addition to being an epic example of science fiction, Lewis’s use of allegory allows the audience to get a deeper look into a key tale of mankind. Packed full of theological theories and truths, “Perelandra” illustrates that biblical truths do not have to be related through sermons or self-help books, but can be related in a way that is both entertaining and impactful. “Perelandra” is a wonderful example of the creativity and genius of Lewis, and should be valued as an excellent piece of science fiction, as well as a deeper insight into the fall of mankind. 

Works Cited

C.S. Lewis The Encyclopedia of Science Fiction. N.p. 7 Feb 2014. Web. 13 Apr. 2014 

Lewis, C.S. Perelandra. New York, NY: Scribner, 1944. Print. 

Perelandra. Encyclopeadia Britannica. Encyclopaedia Britannica, Inc. 2 Apr. 2014. Web. 13 Apr. 2014

New King James Bible. Ed. Earl D. Radmacher, Th. D. Nashville: Thomas Nelson, 2007. Print. 

Tanner, John S. "The Psychology Of Temptation In Perelandra And Paradise Lost: What Lewis Learned From Milton." Renascence 52.2 (2000): 131. Academic Search Complete. Web. 15 Apr. 2014.