The Chronicles of Narnia is a series of seven fantasy novels for children written by C. S. Lewis. It is considered a classic of children's literature and is the author's best-known work, having sold over 100 million copies in 47 languages. The series borrows characters and ideas from Classical, Norse, Irish, Arthurian, Islamic, Jewish and Christian mythology. Of all the mythologies taken into consideration, the Christian one is the most fundamental for the Narnia series, due to the themes covered.
C.S. Lewis was an adult convert to Christianity and had previously authored some works on Christian apologetics and fiction with Christian themes. However, he did not originally set out to incorporate Christian theological concepts into his Narnia stories; it is something that occurred as he wrote them. As he wrote in his essay Sometimes Fairy Stories May Say Best What's To Be Said (1956):
Some people seem to think that I began by asking myself how I could say something about Christianity to children; then fixed on the fairy tale as an instrument, then collected information about child psychology and decided what age group I’d write for; then drew up a list of basic Christian truths and hammered out 'allegories' to embody them. This is all pure moonshine. I couldn’t write in that way. It all began with images; a faun carrying an umbrella, a queen on a sledge, a magnificent lion. At first there wasn't anything Christian about them; that element pushed itself in of its own accord. [1]
Lewis, an expert on the subject of allegory [2] and the author of The Allegory of Love , maintained that the Chronicles were not allegory on the basis that there is no one-to-one correspondence between characters and events in the books, and figures and events in Christian doctrine. He preferred to call the Christian aspects of them "suppositional". This indicates Lewis' view of Narnia as a fictional parallel universe. As Lewis wrote in a letter to a Mrs Hook in December 1958:
If Aslan represented the immaterial Deity in the same way in which Giant Despair [a character in The Pilgrim's Progress ] represents despair, he would be an allegorical figure. In reality, however, he is an invention giving an imaginary answer to the question, 'What might Christ become like if there really were a world like Narnia, and He chose to be incarnate and die and rise again in that world as He actually has done in ours?' This is not allegory at all. [3]
Although Lewis did not consider them allegorical, and did not set out to incorporate Christian themes in Wardrobe, he was not hesitant to point them out after the fact. In one of his last letters, written in March 1961, Lewis writes:
With the release of the 2005 film there was renewed interest in the Christian parallels found in the books. Some find them distasteful, while noting that they are easy to miss if one is not familiar with Christianity. [5] Alan Jacobs, author of The Narnian: The Life and Imagination of C. S. Lewis, implies that through these Christian aspects, Lewis becomes "a pawn in America's culture wars". [6] Some Christians see the Chronicles as excellent tools for Christian evangelism. [7] The subject of Christianity in the novels has become the focal point of many books.
Rev. Abraham Tucker pointed out that "While there are in the Narnia tales many clear parallels with Biblical events, they are far from precise, one-on-one parallels. (...) Aslan sacrifices himself in order to redeem Edmund, the Traitor, who is completely reformed and forgiven. That is as if the New Testament were to tell us that Jesus Christ redeemed Judas Iscariot and that Judas later became one of the Apostles. (...) There had been times in Christian history when Lewis might have been branded a heretic for far smaller creative innovations in theology." [8]
Alan Jacobs, professor of English at Wheaton College, describes The Lion, the Witch, and the Wardrobe as "a twofold story: the rightful king of Narnia returns to re-establish his kingdom and bring peace; and that same king sacrifices himself to save a traitor . . . kingdom and salvation are what the story is all about." The similarity between the death and resurrection of Aslan and the death and resurrection of Jesus in the Bible has been noted; one author has noted that like Jesus, Aslan was ridiculed before his death, mourned, and then discovered to be absent from the place where his body had been laid. [9] [10] [11] Other authors have likened the character of Edmund to the Judas of the four Gospels. [12] [9] [11] In this interpretation, the girls Susan and Lucy who witness Aslan's death, mourn him and witness his resurrection would stand for The Three Marys of Christian tradition. Stanley Mattson, president of the Redlands, Calif.-based C.S. Lewis Foundation, states that the “Deeper Magic” referred to in the book “is all about redemption, it's all about reconciliation, it's all about healing, and it's all about . . . death being swallowed up in victory." [13]
Lewis has also received criticism from some Christians and Christian organizations who feel that The Chronicles of Narnia promotes "soft-sell paganism and occultism", because of the recurring pagan themes and the supposedly heretical depictions of Christ as an anthropomorphic lion. The Greek god Dionysus and the Maenads are depicted in a positive light (with the caveat that meeting them without Aslan around would not be safe), although they are generally considered distinctly pagan motifs. Even an animistic "River god" is portrayed in a positive light. [14] [15] According to Josh Hurst of Christianity Today , "not only was Lewis hesitant to call his books Christian allegory, but the stories borrow just as much from pagan mythology as they do the Bible". His books have also been criticized by non religious critics who feel it is religious propaganda. [16]
Lewis himself believed that pagan mythology could act as a preparation for Christianity, both in history and in the imaginative life of an individual, and even suggested that modern man was in such a lamentable state that perhaps it was necessary "first to make people good pagans, and after that to make them Christians". [17] He also argued that imaginative enjoyment of (as opposed to belief in) classical mythology has been a feature of Christian culture through much of its history, and that European literature has always had three themes: the natural, the supernatural believed to be true (practiced religion), and the supernatural believed to be imaginary (mythology). Colin Duriez, author of three books on Lewis, suggests that Lewis believed that to reach a post-Christian culture one needed to employ pre-Christian ideas. [18] Lewis disliked modernity, which he regarded as mechanized and sterile and cut off from natural ties to the world. By comparison, he had hardly any reservations about pre-Christian pagan culture. As Christian critics have pointed out, [19] Lewis disdained the non-religious agnostic character of modernity, but not the polytheistic character of pagan religion. [20]
Calormen is the only openly pagan society within the fictional Narnian world. Their practices centre around Tash, a god who is imagined to be an ancestor of the Calormene royal family. Additionally, there are lesser gods like Azaroth and Zardeenah.
The initial critical reception was generally positive, and the series quickly became popular with children. [21] In the time since then, it has become clear that reaction to the stories, both positive and negative, cuts across religious viewpoints. Although some saw in the books potential proselytising material, others insisted that non-believing audiences could enjoy the books on their own merits. [22]
The Narnia books have a large Christian following, and are widely used to promote Christian ideas. Narnia 'tie-in' material is marketed directly to Christian, even to Sunday school, audiences. [23] As noted above, however, a number of Christians have criticized the series for including pagan imagery, or even for misrepresenting the Christian story. [24] Christian authors who have criticised the books include fantasy author J.K. Rowling on ethical grounds [25] and literary critic John Goldthwaite in The Natural History of Make-Believe on the grounds that in creating the Narnia world, Lewis is "flirting with bad faith" and "playing at polytheism". [26]
J. R. R. Tolkien was a close friend of Lewis, a fellow author and was instrumental in Lewis' own conversion to Christianity. [27] As members of the Inklings literary group the two often read and critiqued drafts of their work. Nonetheless, Tolkien was not enthusiastic about the Narnia stories, in part due to the eclectic elements of the mythology and their haphazard incorporation, in part because he disapproved of stories involving travel between real and imaginary worlds. [28] Though a Catholic himself, Tolkien felt that fantasy should incorporate Christian values without resorting to the obvious allegory Lewis employed. [29]
Reaction from non-Christians has been mixed as well. Philip Pullman, an atheist supporter of secularism and humanism, has serious objections to the Narnia series. [30] On the other hand, the books have appeared in Neo-pagan reading lists [31] [ better source needed ] (by the Wiccan author Starhawk, [32] among others). Positive reviews of the books by authors who share few of Lewis' religious views can be found in Revisiting Narnia, edited by Shanna Caughey.
The producers of the 2005 film hoped to tap into the large religious audience revealed by the success of Mel Gibson's film The Passion of the Christ , and at the same time hoped to produce an adventure film that would appeal to secular audiences; but they (and the reviewers as well) worried about aspects of the story that could variously alienate both groups. [33]
Two full-length books examining Narnia from a non-religious point of view take diametrically opposite views of its literary merits. David Holbrook has written many psychoanalytic treatments of famous novelists, including Dickens, Lawrence, Lewis Carroll, and Ian Fleming. His 1991 book The Skeleton in the Wardrobe treats Narnia psychoanalytically, speculating that Lewis never recovered from the death of his mother and was frightened of adult female sexuality. He characterises the books as Lewis' failed attempt to work out many of his inner conflicts. Holbrook does give higher praise to The Magician's Nephew and Till We Have Faces (Lewis' reworking of the myth of Cupid and Psyche), as reflecting greater personal and moral maturity. Holbrook also plainly states his non-belief in Christianity.
In contrast to Holbrook, Laura Miller's The Magician's Book: A Skeptic's Guide to Narnia (2008) finds in the Narnia books a deep spiritual and moral meaning from a non-religious perspective. Blending autobiography and literary criticism, Miller (a co-founder of Salon.com) discusses how she resisted her Catholic upbringing as a child; she loved the Narnia books but felt betrayed when she discovered their Christian subtext. As an adult she found deep delight in the books, and decided that these works transcend their Christian elements. Ironically, a section in His Dark Materials by Philip Pullman, one of Narnia's severest critics, about how children acquire grace from innocence but adults from experience, had a profound influence on Miller's later appreciation of the Narnia books. [34]
Clive Staples Lewis was a British writer, literary scholar, and Anglican lay theologian. He held academic positions in English literature at both Magdalen College, Oxford (1925–1954), and Magdalene College, Cambridge (1954–1963). He is best known as the author of The Chronicles of Narnia, but he is also noted for his other works of fiction, such as The Screwtape Letters and The Space Trilogy, and for his non-fiction Christian apologetics, including Mere Christianity, Miracles, and The Problem of Pain.
The Chronicles of Narnia is a series of seven portal fantasy novels by British author C. S. Lewis. Illustrated by Pauline Baynes and originally published between 1950 and 1956, the series is set in the fictional realm of Narnia, a fantasy world of magic, mythical beasts and talking animals. It narrates the adventures of various children who play central roles in the unfolding history of the Narnian world. Except in The Horse and His Boy, the protagonists are all children from the real world who are magically transported to Narnia, where they are sometimes called upon by the lion Aslan to protect Narnia from evil. The books span the entire history of Narnia, from its creation in The Magician's Nephew to its eventual destruction in The Last Battle.
The Magician's Nephew is a portal fantasy children's novel by C. S. Lewis, published in 1955 by The Bodley Head. It is the sixth published of seven novels in The Chronicles of Narnia (1950–1956). In recent editions, which sequence the books according in chronological order, it is placed as the first volume of the series. Like the others, it was illustrated by Pauline Baynes whose work has been retained in many later editions. The Bodley Head was a new publisher for The Chronicles, a change from Geoffrey Bles who had published the previous five novels.
The Lion, the Witch and the Wardrobe is a portal fantasy novel for children by C. S. Lewis, published by Geoffrey Bles in 1950. It is the first published and best known of seven novels in The Chronicles of Narnia (1950–1956). Among all the author's books, it is also the most widely held in libraries. It was the first of The Chronicles of Narnia to be written and published, but is marked as volume two in recent editions that are sequenced according the stories' internal chronology. Like the other Chronicles, it was illustrated by Pauline Baynes, and her work has been retained in many later editions.
Narnia is a fantasy world created by C. S. Lewis as the primary location for his series of seven fantasy novels for children, The Chronicles of Narnia. The world is named after the country of Narnia, where much of the Chronicles takes place.
The Last Battle is a portal fantasy novel for children by C. S. Lewis, published by The Bodley Head in 1956. It was the seventh and final novel in The Chronicles of Narnia (1950–1956). Like the other novels in the series, it was illustrated by Pauline Baynes and her work has been retained in many later editions.
The Horse and His Boy is a fantasy novel for children by C. S. Lewis, published by Geoffrey Bles in 1954. Of the seven novels that comprise The Chronicles of Narnia (1950–1956), The Horse and His Boy was the fifth to be published. The novel is set in the period covered by the last chapter of The Lion, the Witch, and the Wardrobe during the reign of the four Pevensie children as Kings and Queens of Narnia. Though three of the Pevensies appear as minor characters in The Horse and His Boy, the main characters are two children and two talking horses who escape from Calormen and travel north into Narnia. On their journey, they learn of the Prince of Calormen's plan to attack Archenland, and warn the King of Archenland of the impending strike.
Mr. Tumnus is a faun in The Chronicles of Narnia books written by C. S. Lewis, primarily in The Lion, the Witch and the Wardrobe but also briefly in The Horse and His Boy and in The Last Battle. He is the first creature Lucy Pevensie meets in Narnia and becomes her first friend in the kingdom. Lewis wrote that the first Narnia story, The Lion, the Witch and the Wardrobe, all came to him from a single picture he had in his head of a faun carrying an umbrella and parcels through a snowy wood. Tumnus thus became the initial inspiration for the entire Narnia series.
In C. S. Lewis's Chronicles of Narnia series of novels, Calormen is a large country to the southeast of Narnia. Lewis probably derived its name from the Latin calor, meaning "heat". When using the name as an adjective or an ethnonym, Lewis spelled the name with an 'e' at the end: a Calormene soldier; "The Calormenes have dark faces and long beards."
Peter Pevensie is a fictional character in C. S. Lewis's The Chronicles of Narnia book series. Peter appears in three of the seven books; as a child and a principal character in The Lion, the Witch and the Wardrobe and Prince Caspian, and as an adult in The Last Battle. He is mentioned in The Horse and His Boy, in which he is away on the northern frontier fighting giants, and in The Voyage of the Dawn Treader, in which he is studying under the tutelage of Professor Kirke.
Susan Pevensie is a fictional character in C. S. Lewis's The Chronicles of Narnia series. Susan is the elder sister and the second eldest Pevensie child. She appears in three of the seven books—as a child in The Lion, the Witch and the Wardrobe and Prince Caspian, and as an adult in The Horse and His Boy. She is also mentioned in The Voyage of the Dawn Treader and The Last Battle. During her reign at the Narnian capital of Cair Paravel, she is known as Queen Susan the Gentle or Queen Susan of the Horn. She was the only Pevensie that survived the train crash on Earth which sent the others to Narnia after The Last Battle.
Puddleglum is a fictional character in the children's fantasy series The Chronicles of Narnia by C. S. Lewis. Puddleglum appears as a principal character in The Silver Chair, and is mentioned briefly at the end of The Last Battle. Puddleglum is a "Marsh-wiggle", a species invented by Lewis which appears only in this book, and the only Marsh-wiggle given a name or any lines of dialogue. He is gloomy and pessimistic and described by other characters as a "wet blanket", although by his account other Marsh-wiggles are gloomier still.
Shift is a fictional character in the children's fantasy series The Chronicles of Narnia by C. S. Lewis. He is the main antagonist of The Last Battle, which is the last book of the series. Shift is an ape who, like many animals in Lewis' work, can talk; Lewis does not specify what kind of ape, but Pauline Baynes' illustrations depict him as a chimpanzee. At the beginning of the book, he lives near his friend/servant Puzzle the donkey at the base of the Great Waterfall, next to the Caldron Pool where the Great River starts its course to the sea. Lewis describes Shift as "the cleverest, ugliest, most wrinkled Ape you can imagine."
Tash is a fictional deity and demonic god, found in C. S. Lewis's Chronicles of Narnia series. He is an antagonist in the novels The Horse and His Boy and The Last Battle.
In C. S. Lewis's fantasy novel series the Chronicles of Narnia, the hill of the Stone Table, or Aslan's How, is a high mound or cairn, located south of the Great River in Narnia next to the Great Woods. The How was built over the hill of the Stone Table. The word how derives from the Old Norse haugr, meaning hill or mound. In parts of England, it is a synonym for barrow.
Ramandu's daughter, also known as Lilliandil in the 2010 film version of The Voyage of the Dawn Treader, is a fictional character from The Chronicles of Narnia by C. S. Lewis. Introduced in the 1952 book The Voyage of the Dawn Treader, she aids Caspian X and the crew of Dawn Treader to break an enchantment on three of the Seven Great Lords of Narnia. Eventually she becomes Queen of Narnia, after marrying Caspian X, and bears his son, Rilian. In the 1953 novel The Silver Chair, the Lady of the Green Kirtle, in the form of a snake, kills her though she later reappears in the 1956 book The Last Battle. The character appears in adaptations of the book series; the television serial The Chronicles of Narnia, where she is portrayed by Gabrielle Anwar, and The Chronicles of Narnia film series, where Laura Brent plays the role.
Aslan is a major character in C. S. Lewis's The Chronicles of Narnia series. Unlike any other character in the Narnian series, Aslan appears in all seven chronicles. Aslan is depicted as a talking lion and is described as the King of Beasts, the son of the Emperor-Over-the-Sea, and the King above all High Kings in Narnia.
Maugrim is a fictional character in the 1950 novel The Lion, the Witch and the Wardrobe by C. S. Lewis. A Narnian wolf, he is the Captain of the White Witch's Secret Police. In early American editions of the book, Lewis changed the name to Fenris Ulf, but when HarperCollins took over the books they took out Lewis' revisions, and the name Maugrim has been used in all editions since 1994.
The following outline is provided as an overview of and topical guide to Narnia:
Magical creatures are an important aspect of the fictional world of Narnia contained within The Chronicles of Narnia book series and connected media originally created by C. S. Lewis. Throughout the seven books of the series, the protagonists encounter a variety of these creatures as they travel throughout Narnia and the surrounding lands and seas, including Archenland, Calormen, and the Great Eastern Ocean.
