Green Lady discovers her role on the planet and freely chooses a path that, unlike Eve, preserves paradise. Parallel to Eden, the woman is given free choice to determine the course of their paradise and the Green Lady’s recognition of her role reveals the freedom in it. Thus, Muth starts a discussion that, unbeknownst to her, runs parallel to the perichoretic nature of the Trinity. For example, she draws into the necessity of free will and willful submission (or subordination) under God’s goodness that is displayed through the hierarchy of creation (Muth 28). She states a compelling observation on how “Eve is subordinate to Adam and accepts that role voluntarily and happily as a part of her love for him” and is not demeaned or made inferior in importance (Muth 29). Muth’s focal points on gender run parallel to the perichoretic relationship within the Trinity, where a hierarchy is situated between the persons of God. Neither one is greater than the other, but there is a willful subordination for the higher beloved. In this case, the Green Lady’s willful acceptance of her role is a restoring image of Eve’s failure. Furthermore, her observation of human agency within the realm of creation offers a perspective on God’s grand plan for the universe. Furthermore, critics give guidelines on approaching Lewis’s works and his literary perception of the world. In Grace Tiffany’s article, “C.S. Lewis: The Anti-Platonic Platonist,” she touches on the nature of Lewis’s writings and how he was influenced by Platonic thinking (Tiffany 357). She highlights Lewis’s attempts to portray Christian truths through many of his writings and their Platonic influences. In the context of the research, she gives a necessary guideline on how to approach Lewis’s literature. Many of Lewis’s writings act to impart the truth through means of reflection as seen in his metaphors (Tiffany 359). Rather than stating the obvious fact, it must be experienced or drawn in a light that makes it experiential for the soul. Her statement can be drawn upon the metaphor of the Great Dance and other imagery within Perelandra. What occurs in these crafted worlds is meant to point towards an absolute good by Lewis. Therefore, Tiffany states, “None of these imagined heaves has any Biblical authority” but literary imagination are tools that “we are given for seeking heaven” (Tiffany 366). Tiffany’s perception helps in the conversation on perichoresis and the Great Dance metaphor within Perelandra. The Great Dance serves as a tool to imagine the perichoretic nature of God and creation, which gives reason to focus on its importance in the conversation of the critics. Therefore, I would propose that Lewis’s reconciliation of free will and preordination is done through his metaphorical use of perichoresis in the Great Dance. The characters of Ransom, Weston, and the Green Lady act as constituents to demonstrate the perichoretic nature of God and creation within Perelandra. Ransom serves as the main player to demonstrate the entrance into the Great Dance. When Ransom argues with the voluble self about the battle set by Maleldil, he states, “What was the sense of so arranging things that
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