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Christian symbolism in the Lion, the Witch and the Wardrobe literary critique
The lion, the witch, and the wardrobe christian themes essay
Religious theme in the lion the witch and the wardrobe
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The Lion, The Witch, and The Wardrobe is a children’s fantasy novel by Clive Staples (C.S.) Lewis, the second of seven installments in his The Chronicles of Narnia series. The Lion, The Witch, and The Wardrobe may seem at first like an intriguing story of sacrifice, heroes, and good overcoming evil. However, upon further review, it is easy to see that C.S. Lewis was trying to tell the story of Jesus Christ through this story. The Lion, The Witch, and The Wardrobe can be seen as a religious allegory. In the story, Aslan, the lion king of Narnia, represents Jesus, the evil White Witch represents the devil, and the children represent people like us. C.S. Lewis was one of the biggest defenders of the Christian faith during the 20th Century. Lewis, …show more content…
These pages are very similar to Jesus’ walk to Calvary. In both Aslan’s and Jesus’ walks, they are jeered, made fun of, and disrespected. Also, both accounts end with the death of each respective person; Jesus on the cross and Aslan on the Stone Table. However, both arise from the dead to save their respective civilizations from eminent doom. Jesus saved the human race from sin and Satan, while Aslan saved Pater’s army from the wretched hands of the White Witch. “Peter’s army- which had their back to her-looked terribly few…The battle was all over a few minutes after their arrival” (193-195). A final parallel between Jesus and Aslan is the final pages of the book. “That night they slept where they were. How Aslan provided food for them all I don’t know: but somehow or other they on the grass to a fine high tea at about eight o’clock” (Lewis 198). This is like how Jesus fed the 5,000 with only 5 loaves of bread and two fish (New American Bible Matthew …show more content…
and Mrs. Beaver as prophets. The role of prophets in the Christian faith is to announce and prepare the way for Jesus. The beavers do exactly this in the story. Like Isiah, Jeremiah, Jonah, Amos, and John the Baptist in the Bible, the beavers prepare the way for Aslan. They tell the children of Aslan’s ways and recites old rhymes about Aslan to the children (“’He’ll put to all rights as it says’…we shall have spring again” (Lewis 85) and “’for that’s another of the old rhymes...will be over and done” (Lewis 87)) The beavers lead the children to Aslan and make sure the path is safe for them, as shown when he first goes to see who is there when Father Christmas arrives (Lewis
Use of Allusion and Symbolism in Edward Scissorhands Nothing just happens in film. Directors all make certain choices in production in order to invite a particular response from the audience. The film, Edward Scissorhands is based around the introduction of a social outcast into a community and his attempts at acceptance. Although at first he is accepted whole heartedly and somewhat smothered, he later learns that despite how human he is, he cannot co-exist in the same world due to his differences.
In the Lion the Witch and Wardrobe, good vs. evil is teaching children the right from wrong in this book. Lewis uses the archetypes hero and villain very good throughout his novel to also portray right from wrong. His use of archetype the hero reminds readers that Aslan is the hero in his novel. He shows this by the many ways Aslan rescues and saves his people all throughout the novel. His use of archetype villain shows the readers that the White Witch is the villain in his
“Courage is not simply one of the virtues but the form of every virtue at the testing point, which means at the point of highest reality.” Clive Staples Lewis, known as C.S. Lewis, was a popular Irish author, famous for his Christian works, especially “The Chronicles of Narnia.” Throughout his novels, Lewis enlightened his readers with his views about faith. Although his novels were revolved around Christianity, Lewis was not always a believer. There were many things that influenced Lewis as a writer, but the most significant were his love of fantasy, his fascination with mythology, and his Christian beliefs.
The ideas of this story within the bounds of Greek mythology seem to coincide quite well with the Christian faith; it is almost as if Sophocles meant to copy the ideas of a religion that was not invented until 425 years after his story was written. That makes this impossible, yet it may just prove again the point that there are many similarities within all of the different religions and denominations of these faiths.
Have you ever wanted to free yourself from the terrors and troublesome times of modern society and escape to a magical place? Clive Staples Lewis, or C.S. Lewis as he is better known, created such a place, in his extremely popular children’s series The Chronicles of Narnia. In these books, Lewis has an underlying message about Christianity. He represents four key aspects of Christianity in this series: Christ and God, evil in the world, and faith.
Royalty in terms of Kings, Queens as well as Princesses are found within many novels, including The Princess and the Goblin by George MacDonald as well as The Lion, the Witch and the Wardrobe by C.S. Lewis. The Princess and the Goblin represents royalty mainly through a Queen figure, even though the King is found within the novel. The Lion, the Witch and the Wardrobe however represents royalty through kingliness, in comparison to The Princess and the Goblin. Both novels however represent a religious allegory and faith as major reoccurring themes that is found in the protagonists’ progression through their adventures. Therefore, the representation of royalty within The Princess and the Goblin and The Lion, the Witch and the Wardrobe exemplify
Kaufmann, U. M. (2008). The Wardrobe, the Witch, and the Lion: CS Lewis and Three Mysteries of the Christian Faith. The Dulia et Latria Journal, 1, 47-62.
Medieval society was centered around the church, which thrived off corruption by manipulating to everyone from the uneducated masses to the monarchs. Religion was used a way to instill fear into people for the benefit of church leaders. Thankfully, literary works aimed at achieving reform through highlighting hypocrisies and holding exemplary moral character in high regard. Literary works sought social reform using methods such as allegorical satire, an emphasis on personal salvation, and positively reinforcing character quality typical deemed honorable. Due to the fact medieval society was plagued by moral injustice and greed cloaked by faith, the era churned out brilliant literary works such as the prologues to Piers Plowman and The Canterbury
C.S. Lewis uses a secondary world, Narnia, to convey complex, thought-provoking messages to readers of The Lion, The Witch and the Wardrobe. This paper examines the way a selection of Narnia's key characteristics prompt debates over logic and faith, comment on the nature of spiritual and metaphysical journeys, allow readers to broaden their conception of their own capabilities, encourage new reflection on the story of Christ and help to clarify conceptions of good and evil.
In conclusion, C.S Lewis symbolizes good and evil into his characters. The good one would be Aslan and the bad one would be the White Witch. They embody their role with characterization. This can be shown with the description of the two characters. Aslan is pure of heart and powerful and the Witch is cruel and terrifying. Also, their actions are key facts to demonstrate their chosen side. Aslan is always doing beneficial action for others, instead of the Witch that wants more and more power, willing to destroy life to achieve her goals. Through this book, the two opposite characters are really well explained and analysed.
C.S. Lewis was the 20th century’s most popular proponent of faith based on reason. As a child, he created an imaginary world where personified animals came to life, and later, he wrote the book, Chronicles of Narnia. How did he transform from a boy fascinated with anthropomorphic animals into a man of immense faith? His transformation to the Christian religion happened as his fame began to flourish. People wrote him, asking him about his claims about the truth of Christianity (Belmonte, Kevin). As I attended the drama of Freud’s Last Session, I was engrossed into the plot of the play and was constantly thinking about how it pertained to the objectives of the World Literature class. I not only connected the content of the play to its context, but I also reached out to apply the context to a discussion on a broader scale. I then discovered why the context of literature is imperative for true understanding of the w...
Through the use of Christian symbolism, conflicts, and imagery, C. S. Lewis implements his religious background into his literary works.
The symbolism between C.S. Lewis’ The Lion, The Witch and The Wardrobe, the fourth book in The Chronicles of Narnia, and the New Testament in the Bible, particularly the account of Jesus’ death is not merely coincidental because The Lion, The Witch and The Wardrobe is, in fact, an allegory. An allegory is a story with morals in which characters, plots and settings are used as symbols. The Lion, The Witch and The Wardrobe, by C.S. Lewis is rich with Christian symbolism even though the allegorical nature of it is the subject of much controversy. Nonetheless, The Lion, The Witch and The Wardrobe is an allegory. In this tale, four ordinary children find a wardrobe that leads them into Narnia, an extraordinary land parallel to our universe with talking animal and fantasy creatures. An evil witch has cast a spell of eternal winter over the land and has lured one of the children into betraying the others for enchanted Turkish Delights. Meanwhile, a magical lion, the nemesis of the witch, has arrived after a 100-year absence because of the betrayal of Edmund and ancient prophecies. Soon the children find themselves as involved in the battle as the other creatures and the lion must free Narnia from the clutches of the evil witch and atones for Edmund’s betrayal. The symbolism in the characters, plots, setting, miscellaneous things and themes prove Narnia is, indeed, allegorical
The Chronicles of Narnia are veritably the most popular writings of C.S. Lewis. They are known as children’s fantasy literature, and have found favor in older students and adults alike, even many Christian theologians enjoy these stories from Lewis; for there are many spiritual truths that one can gleam from them, if familiar with the Bible. However, having said this, it is noteworthy to say that Lewis did not scribe these Chronicles for allegorical didactics of the Christian faith, but wrote them in such a well-knit fashion that young readers might understand Christian doctrine through captivating fantasy and thus gain an appreciation for it. With this in mind, and in the interest of this assignment, the purpose of this paper is an attempt to analyze one of the many doctrines of the Christian faith from The Lion, The Witch, And, The Wardrobe (LWW), namely, temptation and how Lewis illustrates it through an individual character, Edmund.
Lewis, was a book which changed children’s fantasy metaphorically and literally. In the book, Peter, Susan, Edmund, and Lucy Pevensie stumble upon Narnia, a frozen land under control of the White Witch, through a wardrobe inside the house. Levy and Mendelsohn describe how the fantastic is contained in the sense that “the true fantastic is found at the heart of the home” (41). This book follows that same idea that there is a separation between the real world and the alternative world Narnia. When Lucy finds Narnia and rushes back to tell the others about it, they do not believe her at first because it sounds made up. It is not until the others stumble upon the alternative world themselves that they are blown away by the fantastic elements and characters. In Narnia, there are many fantastic characters including the faun Mr. Tumnus, the White Witch, talking beavers, dwarves, centaurs, minotaurs, and Aslan the talking lion who represents a godly figure. These four siblings have to learn who to trust and who they cannot trust. Levy and Mendelsohn point out that “Lewis changed the mood and direction in ways that have endured, although other forms were to emerge in the 1970’s … understanding that much children’s fantasy would be otherworldly, either physically or spiritually” (106). In James E. Higgins, A Letter from C. S. Lewis, Lewis describes how "[t]he Narnian books are not as much allegory as