C. S. Lewis’s Preface to Paradise Lost is not much read nowadays, as indeed Paradise Lost itself is not much read; and both we and our art are the poorer for it. Milton’s great epic contains much beauty and grandeur and not a little good sense. Lewis’s lectures on Milton (from which the Preface was constructed) are wanting in the beauty and the grandeur, which were not to his purpose anyway, but compensate for this by overflowing with a fount of good sense that is directed with deadly precision at the characteristic follies and errors of ‘literary’ people in our own age. Lewis was a survivor from the previous age (he once likened himself to a living dinosaur), and saw with painful clarity what necessary human qualities were being cast off with the old learning that he had acquired and his successors had not. We are still living recognizably in the age of those successors.

One of the follies of this age, which has only grown worse with time, is the tendency to ‘ironize’ or undercut anything archetypal or mythical, to make the gods and heroes ‘just folks’, to deflate, to take the heroism out of heroes and the importance out of villains, and make all the characters talk and act like bored and unreflective teenagers. The ideal of modern drama is the situation comedy, reduced to a troupe of stock characters making stock wisecracks at each other’s expense. The ideal of modern literature is either an impenetrable and meaningless jungle of very pretty words (for the Snobs), or a perfectly stylized and predictable melodrama that makes no demand whatever upon the imagination (for the Proles).

The idea that there are other kinds of people besides Snobs and Proles does not occur to the Snobs; they have not even thought of asking the Proles what they like or want. And as the Snobs have captured the citadel, the rest of us are supposed to be content with whatever books and drama they see fit to shove down our throats. The dire sales figures of recent fiction from the major publishers, and the collapse of one major film-franchise after another, shows what happens when the Snobs are put in charge of popular entertainment. They are neither entertaining nor popular.

One form that this takes (you see it in most of the Dreamworks animated films, and the formula is imitated to dire effect in cartoon franchises like Hotel Transylvania) is to turn all the creatures of fantasy, from elves and dragons to vampires and talking beasts, into sitcom parodies with exactly the same motivations and neuroses as stereotypical suburbanites in Los Angeles. (Sometimes, as in the Madagascar series, they have the neuroses of stereotypical Manhattanites instead. This is no great improvement.)

By this everything essential is lost, and only a twee appearance remains. A dragon without greed is no dragon at all, but only a giant cartoon lizard; there is not even any particular reason why it should be a lizard. A vampire that does not steal souls is only a morbid sex-symbol to tickle the fancy of the ‘goth’ crowd. In Zootopia we have seen the nadir of this approach: a city full of talking animals that all behave exactly like modern city-dwelling Americans, to the point where any realistic animal behaviour is considered a freak and an abomination. Half the plot of the film turns on the horror (oh, the horror!) of carnivorous animals actually reverting to type and eating meat. The idea that one species of animal is any different from another is represented as the most benighted racial bigotry.

Lewis, if anybody had troubled to heed him, warned us very early on against this kind of thematic degeneration. The whole point of using creatures different from men in a story is that they are indeed different; they are not Just Folks; they are brought in because they are not Just Folks, but at worst hypostasized qualities, or at best, thinking and feeling creatures that are nevertheless not human. Everyone in a modern story is alienated. The humans are alienated from their own human nature, and the aliens are alienated from being alien. One of the functions of fantasy, before it became morbid, was to recover the sense of the alien and of the human; to remind us what we were alienated from, as well as what was alien to us. We might not have lost that function so quickly or so thoroughly if we had troubled to listen to this passage:

There is, furthermore, a special reason why mythical poetry ought not to attempt novelty in respect of its ingredients. What it does with the ingredients may be as novel as you please. But giants, dragons, paradises, gods, and the like are themselves the expression of certain basic elements in man’s spiritual experience. In that sense they are more like words – the words of a language which speaks the else unspeakable – than they are like the people and places of a novel. To give them radically new characters is not so much original as ungrammatical. 

That strange blend of genius and vulgarity, the film of Snow-White, will illustrate the point. There was good unoriginality in the drawing of the queen. She was the very archetype of all beautiful, cruel queens: the thing one expected to see, save that it was truer to type than one had dared to hope for. There was bad originality in the bloated, drunken, low comedy faces of the dwarfs. Neither the wisdom, the avarice, nor the earthiness of true dwarfs were there, but an imbecility of arbitrary invention.

But in the scene where Snow-White wakes in the woods both the right originality and the right unoriginality were used together. The good unoriginality lay in the use of small, delicate animals as comforters, in the true märchen style. The good originality lay in letting us at first mistake their eyes for the eyes of monsters. The whole art consists not in evoking the unexpected, but in evoking with a perfection and accuracy beyond expectation the very image that has haunted us all our lives.

—A Preface to Paradise Lost, ch. 8