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Critical background on C.S.Lewis
Critical background on C.S.Lewis
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Religious education and children's literature have enjoyed a long parallel history. The earliest children's books were little more than religious devotionals or bible stories rewritten with the express enjoyment of children in mind. As children's literature progressed, however, it began to move away from religious instruction and into works that focused more on story. This doesn't mean that the two became mutually exclusive as to this day many works that are still enormously popular with children are rife with religious allegory without sacrificing story. Two such children's works are George MacDonald's The Princess and the Goblin and C. S. Lewis' The Lion, The Witch, and the Wardrobe. Both considered classics, they have been read for generations by children enthralled by their fantastical plots, yet a deeper look reveals that the works contain some very noticeable religious imagery that serves merely to enhance the work and never takes away from the enjoyment of the plot.
George MacDonald's The Princess and the Goblin contains everything a child could want in a fantasy story: a dastardly plot, fiendish villains, strong heroes of each gender, and a happy ending. If one were to look deeper, however, they'd also see that MacDonald's novel is peppered with allusions to the christian mythos. The most obvious and telling sign of an overall christian theme is the presence of Princess Irene's great-great-grandmother (also named Irene). This woman is clearly the god-like figure of the novel, overseeing the action both literally and figuratively. She sits high up in the palace, much as children are taught that God is high in the heavens looking down on us. Like God she is shrouded in mystery as both Irene and the reader learn l...
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...ary children stumbled across a land where christianity has been eradicated (symbolized by the removal of Christmas, Christmas being a christian holiday and a celebration of the birth of Christ) and with the help of a thinly-veiled religious figure they once again restored it to the land.
MacDonald's novel teaches children that with faith any obstacle can be overcome, and Lewis proposes that the world is a much better place as a christian world, yet what makes their novels so special, and so enduring, are the stories each writer uses to convey their message. Both MacDonald and Lewis understood that entertainment came first and their successful adherance to this rule made what could've been become preachy lectures into first rate classics of children's literature. They may both be religious allegories but they're also stunning reads and that's what really counts.
Snow-White is arguably one of the most well-known and revered fairy tales of all time. Versions of it permeate almost every culture, or at least can be recognized by most cultures throughout the world. It has been adopted into film, with later spin-offs and adaptations occurring in recent years. There is certainly some deeper appeal to it, hence its popularity throughout time. Some may find it hard to accept that a portion of its appeal could be due, in part, to the tale’s Christian roots.
After a four week survey of a multitude of children’s book authors and illustrators, and learning to analyze their works and the methods used to make them effective literary pieces for children, it is certainly appropriate to apply these new skills to evaluate a single author’s works. Specifically, this paper focuses on the life and works of Ezra Jack Keats, a writer and illustrator of books for children who single handedly expanded the point of view of the genre to include the experiences of multicultural children with his Caldecott Award winning book “Snowy Day.” The creation of Peter as a character is ground breaking in and of itself, but after reading the text the reader is driven to wonder why “Peter” was created. Was he a vehicle for political commentary as some might suggest or was he simply another “childhood” that had; until that time, been ignored? If so, what inspired him to move in this direction?
According to Bruno Bettelheim, in Introduction: The Struggle for Meaning taken from The Uses of Enchantment, the use of fairy tales in a children’s life allows them to deal with their fears in a symbolic way. In order for a story to hold a child’s attention it must “help him to develop his intellect and to clarify his emotions”(263). The use of fairy tales in Burn Your Maps, by Robyn Joy Leff, portrays the subtle but important influence of fairy tales on a child.
The major theme from The Princess and the Goblin is having faith in the unseen. In the story, Curdie couldn’t physically see Irene’s great-grandmother, but he saw the impact that she had in Irene’s life. He witnessed firsthand the guiding role that she played in the princess’ overall well-being. This analogy is similar to the way that God Himself is not visible to us, but His blessings and His guiding hand
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
C.S. Lewis created a story of a fictional world called Narnia that was inside of a wardrobe. There were four siblings who found this world, once inside they saw numerous creatures like witches and centaurs that were symbols for something bigger. C. S. Lewis uses Christian symbolism in The Lion Witch and the Wardrobe through the characters of Aslan, Edmund, and the White Witch.
Manlove, Colin. "The Lion, The Witch and the Wardrobe." "The Chronicles of Narnia": The Patterning of a Fantastic World. Twayne Publishers, 1993. 30-42. Rpt. in Novels for Students. Ed. Ira Mark Milne. Vol. 24. Detroit: Gale, 2007. Literature Resources from Gale. Web. 21 Jan. 2014.
Lewis did not intend for The Lion, The Witch and the Wardrobe to attempt to strike at moral standpoints. Lewis stated in an interview, “’I don’t like stories to have a moral: certainly not because I think children dislike a moral. Rather because I feel sure that the question: ‘What do modern children need?’ will not lead you to a good moral”’ (Sadler). However, his use of the innocence of children evokes the essence of purity and good. This purity conflicts with the cruelty and scorn displayed through the White Witches actions, resulting in her becoming an evil figure. The archetype of good vs. evil that writers use throughout literature has proven to be a successful means of striking intrigue in an audience. This combined with the magical setting employed by the mysterious Narnia allows Lewis’ work to be so interesting to readers through decades and generations.
McGrath, Alister. "The religious symbolism behind the Chronicles of Narnia." BBC. N.p., 21 Nov 2013. Web. 3 Mar 2014. http://www.bbc.co.uk/religion/0/24865379
Fiction has always been used as a way to relay different types of messages throughout time. In many cases authors use fiction to make political commentary, use stories to bring out the major flaws that society has, as well as a way to spread different types of beliefs or ideals. C.S. Lewis’s used his work, “The Chronicles of Narnia”, to reiterate the messages of the Bible to those who might have gotten lost during their lifetime. Though his whole series was full of connections the book that have the most prevalent connections are The Magician’s Nephew and The Lion, the Witch and the Wardrobe. In both there are places that are very similar to and very different books in the Bible. Taking into context when Lewis wrote this series is extremely important to see what some of his motivations might have been. These stories were started soon after World War II had ended. These stories were a way to teach the next generation some of the morals that the Bible was teaching. By creating these fantastical stories Lewis was able to make connections to help bridge the learning gap between the two generations. Also by using children as a target audience Lewis was able to remind adults as well, instead of being ignored because of the recent war. Lewis was able to address these lessons and morals in a way that both taught the children the way of the Bible, as well as to put a new spin on old tales so that adults were able to come back to religion, after losing some faith during the brutal war.
The work of C.S. Lewis and J.K. Rowling is of grave vital on the grounds that their work portrays actuality as well as adds to it. Yes, their work is not just a portrayal of actuality; it is somewhat a quality expansion. Their meeting expectations are depictions of the reasoning examples and social standards pervasive commonly. They are a delineation of the diverse features of regular man's existence. Their works serves as a something worth mulling over and a tonic for creative energy and innovativeness. Lying open a single person to great artistic lives up to expectations, is proportional to giving him/her the finest of instructive chances.
The Narnia Chronicles have already established themselves as timeless works of literature. They appeal to both the atheists and the God-fearing, to both the uneducated and to scholars; to children and adults. An understanding of the Biblical allegory in these books is not essential to their appreciation. A critical analysis of these works, however, does allow the reader to more fully appreciate Lewis' unique gift to simplify complex narratives and craft beautiful children's fantasies. This, in turn, allows the reader to gain both a deeper understanding of Lewis as a skilled creative writer, and a deeper satisfaction of his art. To be able to appreciate C.S. Lewis as such an artisan can only add to one's enjoyment of his works.
..., Maria. “An Introduction to Fairy Tales.” Writing and Reading Across the Curriculum. Ed. Laurence Behrens, Leonard J. Rosen. Toronto: Longman, 2013. 230-235. Print.
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.
The construction of children’s literature was a gradual process. For a long period of time children’s books were frowned upon. The stories were said to be vulgar and frightening. Adults censored children’s ears to stories of daily life, tales with improbable endings were not to be heard. It was not until the mid 1800s that stories of fairies and princesses began to be recognized. Although children’s literature was accepted, the books were not available for all children. With limited access to education, few public libraries, and the books’ costs, these texts were only available to the middle and high- class. As public education and libraries grew so did the accessibility of books and their popularity. They no longer were considered offensive, but rather cherished and loved by many children. Children’s literature became orthodox and a revolution began, changing literature as it was known.