“I do not think there is a demonstrative proof (like Euclid) of Christianity, nor of the existence of matter, nor of the good will and honesty of my best and oldest friends. I think all three are (except perhaps the second) far more probable than the alternatives. The case for Christianity in general is well given by Chesterton…As to why God doesn't make it demonstratively clear; are we sure that He is even interested in the kind of Theism which would be a compelled logical assent to a conclusive argument? Are we interested in it in personal matters? I demand from my friend trust in my good faith which is certain without demonstrative proof. It wouldn't be confidence at all if he waited for rigorous proof. Hang it all, the very fairy-tales embody the truth. Othello believed in Desdemona's innocence when it was proved: but that was too late. Lear believed in Cordelia's love when it was proved: but that was too late. 'His praise is lost who stays till all commend.' The magnanimity, the generosity which will trust on a reasonable probability, is required of us. But supposing one believed and was wrong after all? Why, then you would have paid the universe a compliment it doesn't deserve. Your error would even so be more interesting and important than the reality. And yet how could that be? How could an idiotic universe have produced creatures whose mere dreams are so much stronger, better, subtler than itself?”

“Thirst was made for water; inquiry for truth. What you now call the free play of inquiry has neither more nor less to do with the ends for which intelligence was given you than masturbation has to do with marriage.”

“As Venus within Eros does not really aim at pleasure, so Eros does not aim at happiness. We may think he does, but when he is brought to the test it proves otherwise... For it is the very mark of Eros that when he is in us we had rather share unhappiness with the Beloved than be happy on any other terms.”

“If you love deeply, you're going to get hurt badly. But it's still worth it.”

“Peter, High King of Narnia," said Aslan. "Shut the Door.”

“Can a mortal ask questions which God finds unanswerable? Quite easily, I should think. All nonsense questions are unanswerable. How many hours are in a mile? Is yellow square or round? Probably half the questions we ask - half our great theological and metaphysical problems - are like that.”

“I hope I do not offend God by making my Communions in the frame of mind I have been describing. The command, after all, was Take, eat: not Take, understand.”

“You asked for a loving God: you have one... The consuming fire Himself, the Love that made the worlds, persistent as the artist's love for his work and despotic as a man's love for a dog, provident and venerable as a father's love for a child, jealous, inexorable, exacting as love between the sexes. How this should be, I do not know: it passes reason to explain why any creatures, not to say creatures such as we, should have a value so prodigious in their Creator's eyes.”

“Though it was bright sunshine everyone felt suddenly cold. The only two people present who seemed to be quite at their ease were Aslan and the Witch herself. It was the oddest thing to see those two faces - the golden face and the dead-white face so close together. Not that the Witch looked Aslan exactly in his eyes; Mrs Beaver particularly noticed this.”

“If you live for the next world, you get this one in the deal; but if you live only for this world, you lose them both.”

“Pity was meant to be a spur that drives joy to help misery. But it can be used the wrong way round. It can be used for a kind of blackmailing. Those who choose misery can hold joy up to ransom, by pity.”

“I know the two great commandments, and I'd better get on with them.”

“Can a mortal ask questions which God finds unanswerable? Quite easily, I should think. All nonsense questions are unanswerable.”

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

“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.”