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The story, published in 1942, is set amid two wars: World War II and the ongoing battle between Heaven and Hell. Indeed, Screwtape uses explicitly militaristic language in many of his descriptions of the devils’ conflict with God; he refers, for instance, to the “barbarous methods of warfare” of “the Enemy,” which include a “blockade” impeding the demons’ access to the human souls that they wish to consume (22). However, while Lewis draws parallels between WWII and the war the devils are waging on God, he does not suggest the two are in any sense equivalent. Though WWII presents serious moral issues, it does so in the context of a struggle that plays out within each human. The motif of war thus develops the theme of Love, Self-Love, and the Conflict Between Good and Evil.
This is especially evident in Screwtape and Wormwood’s disagreement on the challenges and opportunities the war provides. Wormwood views the war as a straightforward “good” in part because of all the human suffering it will cause, but Lewis is comparatively uninterested in viewing the war in these sweeping, global terms. Certainly, these consequences of the war are evils—otherwise the devils would not delight in them—but they are ultimately the results of many individual decisions and actions, and it is here, Lewis suggests, that the real conflict occurs.
As the more experienced devil, Screwtape thus becomes impatient with Wormwood’s naïve assumptions. What interests Screwtape is whether the war makes people more sinful or less, and this is not an easy thing to calculate. The patient is of draft age, and Wormwood assumes that in wartime, his charge will be easily tempted to acts of cruelty. Killing other humans is, after all, what war is about. However, Screwtape reminds Wormwood that it is equally possible that the patient will become closer to God as his life is threatened and he seeks comfort in faith.
To emphasize just where it is that the most important conflict occurs, Lewis touches on various actions that might seem virtuous from the perspective of human warfare but that could nevertheless be sinful for a given individual. For example, the senior devil suggests that if the young man is very brave during battle, this presents an opportunity to tempt him with the sin of pride. Conversely, the patient can be urged to become a pacifist and conscientious objector; this could be a virtuous action if it reflects genuine belief, but if fear plays any role, it is at the very least a pathway toward sin.
When Screwtape learns that the patient has fallen in love with a good Christian woman, he is so overwhelmed with anger that his form changes:
In the heat of composition I find that I have inadvertently allowed myself to assume the form of a large centipede […] Transformation proceeds from within and is a glorious manifestation of the Life Force which our Father would worship if he worshipped anything but himself. In my present form I feel even more anxious to see you, to unite you to myself in an indissoluble embrace (120-21).
The image of the centipede with its multiple limbs suggests a creature that grasps its prey before devouring it and therefore symbolizes Screwtape’s gluttony: Screwtape, in his anger, sees Wormwood as prey to be grabbed and eaten. Though Screwtape denies it, the transformation also signifies his fallen state, evoking the serpent of the Bible (in fact, Screwtape even references Milton’s Paradise Lost, which describes the fallen angels as turning into snakes).
It is not surprising that Screwtape, a devil, would embody any of the seven deadly sins. He is certainly given to envy, anger, and pride. However, his primary sin is gluttony, as in his response when Wormwood fails to secure the patient’s soul:
Rest assured, my love for you and your love for me are as like as two peas. I have always desired you, as you (pitiful fool) have desired me. The difference is that I am stronger. I think they will give you to me now; or a bit of you. Love you? Why, yes. As dainty a morsel as ever I grew fat on (171).
This conflation of love with desire—specifically, the desire to consume—is significant considering the work’s overall explication of good and evil. Screwtape has previously argued that love is impossible because everything is in competition with everything else; therefore, one cannot wish good to another without wishing ill to oneself. From the vantage point of a given individual, the only “function” others have is to further one’s own ends, and the ultimate form of this is destroying another for one’s benefit. Consumption is a variation on this, as Screwtape explains: “With beasts the absorption takes the form of eating; for us, it means the sucking of will and freedom out of a weaker self into a stronger” (94). The motif of gluttony underscores that the ethos of Hell is entirely opposed to the selfless love God embodies.
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By C. S. Lewis