45 pages • 1 hour read
From the start of the narrative, Much-Afraid desires to transcend her current experience and escape the life in which she feels trapped. An orphan destined to a life spent with her Aunt, Mrs. Dismal Forebodings, along with her cousins Craven Fear, Gloomy, and Spiteful, seems to her to be the epitome of horror and strife. She goes daily to meet the Shepherd at the trysting place and is consumed with finding an escape from the grim reality of her life.
Much-Afraid is already living in fear and beset on all sides by the family of Fearings. Matters only get worse as she views her impending marriage to her cousin Craven Fear with dread. Going from being Much-Afraid to Mrs. Craven Fear is the worst possible outcome, and the threat of this scenario proves to be the catalyst for Much-Afraid to beg the Shepherd to take her into the High Places, far beyond the Valley. In the High Places, Much-Afraid is transformed into Grace and Glory and healed from all her infirmities after her immersion in the river of life. The Ascent of Love that she takes in obedience to the Shepherd’s direction and with the help of her two companions, Sorrow and Suffering, is how this transcendence occurs.
In the course of her transformation, Much-Afraid is able to transcend everything about her old life, both literally and figuratively. She receives a new name and escapes from the grip of her family. She leaves the dark home in which she lived as an unwelcome orphan and finds rest in the High Places on the peaks of the mountains. She is also able to transform Sorrow and Suffering into Joy and Peace. Ultimately, she even transcends her hatred and resentment of all those who used to cause her pain to the point that her only wish is to leave the heights into which she was called to go back down to the low places and share the gifts she received.
Much-Afraid’s desire to leave the Valley and go up into the High Places stems just as much from her desire to escape the clutches of her relatives and the painful circumstances of her daily life as it does from her desire to share love and friendship with the Shepherd. When the Shepherd finally leads her to the foot of the mountains where she is to begin her journey, he introduces her to the sisters who will be her companions on the way: Sorrow and Suffering.
The Shepherd’s choice for her comes as a shock. Much-Afraid bursts into tears at the prospect of being accompanied by such unsavory characters and is almost stunned into disbelief that the Shepherd would do such a thing to her. She begs the Shepherd for other companions, questioning why she could not have been given joy or peace along the way instead. In response, the Shepherd asks if she really meant what she promised before they left in regard to her trust of him, and so Much-Afraid can do nothing but accept the guides willingly and start out.
Along the way she often shies away from Sorrow and Suffering, refusing at first to take their hands or even acknowledge them. However, as Much-Afraid endures trials and repeated attempts by her Fearing relatives to draw her back to the Valley, she relies on them increasingly until she eventually befriends them, even to the point of understanding the language that is unique to them alone. As final proof of her willing embrace of Sorrow and Suffering, she finds herself missing their company when she awakes in the cave to her new name and healed countenance, and she is overjoyed to find that her two companions have remained with her only to be transformed into Joy and Peace, just as she once wished at the base of the mountains.
The allegory of Much-Afraid’s journey to the High Places is most clear when viewed through the lens of the soul’s self-mastery of fear, doubt, and disordered passions. At the start of the narrative, Much-Afraid is completely powerless, a victim of her circumstances and a slave to the fears that dominate her life. An orphan, she has no immediate family to call her own or to protect and care for her, meaning in a certain sense she is completely alone in the world. However, she finds it necessary to live in the home of her aunt, Mrs. Dismal Forebodings, in the company of her horrid cousins Craven Fear, Gloomy, and Spiteful; surrounded by fear, spite, and related emotions, she searches for an escape and finds it in the Shepherd and the refuge of the trysting place where they meet.
On her journey Much-Afraid is forced, often against her will, to encounter the attacks of her relatives, who struggle to divert her from the path the Shepherd set her on, hurling insults at her and trying to convince her of the error of her ways. Fear, Pride, Bitterness, Self-Pity, and Resentment all make their appearance, and all in turn are rebuffed by Much-Afraid with the help of her companions, Sorrow and Suffering. As the story is an allegory, the implications are clear and present: The characters are personifications of real passions and fears that must be rejected or mastered to make progress in the spiritual life and come to a place of rest and peace. Happiness is only found once the disordered passions that assault Much-Afraid are properly ordered and brought under control.
At the end of her journey, the transformed Grace and Glory realizes that the fears that once assaulted her can be transformed themselves just as she herself was. If she need no longer be Much-Afraid, then the Fearings can themselves be assuaged and comforted with the help of the Shepherd and his servants, who come down from the High Places to pour themselves out in the gift of self. Once she fully submits her will and her natural love to the Shepherd upon the altar in the mountains and is healed by the river of life, Grace and Glory is perfectly free, and the power of the family of Fearings is undone.
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