“Supposing you hear a cry for help from a man in danger. You will probably feel two desires - one a desire to give help (due to your herd instinct), the other a desire to keep out of danger (due to the instinct for self-preservation). But you will find inside you, in addition to these two impulses, a third thing which tells you that you ought to follow the impulse to help, and suppress the impulse to run away. Now this thing that judges between two instincts, that decides which should be encouraged, cannot itself be either of them. You might as well say that the sheet of music which tells you, at a given moment, to play one note on the piano and not another, is itself one of the notes on the keyboard. The Moral Law tells us the tune we have to play: our instincts are merely the keys.”

“Cobbles and kettledrums! ...I hope this madness isn't going to end in a moonlit climb and broken necks.”

“Nothing, not even the best and noblest, can go on as it now is. Nothing, not even what is lowest and most bestial, will not be raised again if it submits to death. It is sown a natural body, it is raised a spiritual body. Flesh and blood cannot come to the Mountains [heaven]. Not because they are too rank, but because they are too weak. What is a Lizard compared with a stallion? Lust is a poor, weak, whimpering whispering thing compared with that richness and energy of desire which will arise when lust has been killed.”

“One day, you will be old enough to start reading fairytales again.”

“But I cannot tell that to this old sinner, and I cannot comfort him either; he has made himself unable to hear my voice. If I spoke to him, he would hear only growlings and roarings. Oh, Adam's son, how cleverly you defend yourself against all that might do you good!”

“In speaking of this desire for our own far off country, which we find in ourselves even now, I feel a certain shyness. I am almost committing an indecency. I am trying to rip open the inconsolable secret in each one of you—the secret which hurts so much that you take your revenge on it by calling it names like Nostalgia and Romanticism and Adolescence; the secret also which pierces with such sweetness that when, in very intimate conversation, the mention of it becomes imminent, we grow awkward and affect to laugh at ourselves; the secret we cannot hide and cannot tell, though we desire to do both. We cannot tell it because it is a desire for something that has never actually appeared in our experience. We cannot hide it because our experience is constantly suggesting it, and we betray ourselves like lovers at the mention of a name. Our commonest expedient is to call it beauty and behave as if that had settled the matter. Wordsworth’s expedient was to identify it with certain moments in his own past. But all this is a cheat. If Wordsworth had gone back to those moments in the past, he would not have found the thing itself, but only the reminder of it; what he remembered would turn out to be itself a remembering. The books or the music in which we thought the beauty was located will betray us if we trust to them; it was not in them, it only came through them, and what came through them was longing. These things—the beauty, the memory of our own past—are good images of what we really desire; but if they are mistaken for the thing itself they turn into dumb idols, breaking the hearts of their worshipers. For they are not the thing itself; they are only the scent of a flower we have not found, the echo of a tune we have not heard, news from a country we have never yet visited.”

“The humans live in time but our Enemy destines them to eternity. He therefore, I believe, wants them to attend chiefly to two things, to eternity itself, and to that point of time which they call the Present. For the Present is the point at which time touches eternity. Of the present moment, and of it only, humans have an experience analogous to the experience which our Enemy has of reality of whole; in it alone freedom and actuality are offered to them. ”

“For me, reason is the natural organ of truth; but imagination is the organ of meaning. Imagination, producing new metaphors or revivifying old, is not the cause of truth, but its condition.”

“faith is the art of holding on to things in spite of your changing moods and circumstances.”

“I have learned now that while those who speak about one's miseries usually hurt, those who keep silence hurt more.” 

“we follow One who stood and wept at the grave of Lazarus-not surely, because He was grieved that Mary and Martha wept, and sorrowed for their lack of faith (though some thus interpret) but because death, the punishment of sin, is even more horrible in his eyes than in ours.”

“Most of us know what we should expect to find in a dragon's lair, but, as I said before, Eustace had read only the wrong books. They had a lot to say about exports and imports and governments and drains, but they were weak on dragons.”

“A man can no more diminish God's glory by refusing to worship Him than a lunatic can put out the sun by scribbling the word 'darkness' on the walls of his cell.”

“That's the worst of girls," said Edmund to Peter and the Dwarf. "They never can carry a map in their heads." "That's because our heads have something inside them," said Lucy.”

“The best swordsman in the world may be disarmed by a trick that's new to him.”