Analysis of C.S. Lewis' The Lion, the Witch, and the Wardrobe by C.S Lewis - Book Report/Review Example

The Allegorical Value of the Lion, the Witch, and the Wardrobe Introduction Of all the famous works of C.S Lewis, the most popular one is the Narnia Chronicles. Although people mostly recognize it as children fantasy novels, they mostly remain popular with many Christian theologians, adults and students. The main character, Aslan is typified by Lewis in the Narnia Chronicles as the representation of the biblical Jesus Christ, retelling children some of the stories that are associated with the life of Jesus in a new aspect that is very easy for them to grasp. It is from this aspect that this essay will analyze the moral allegories as depicted in the above stated C.S Lewis novel, and look at the elements that help it be described as a well-designed fantasy that entails different biblical and real life aspects that can even be appreciated by the young readers. C. S Lewis’ The Lion, the Witch and the Wardrobe is an excellent allegorical work that appeals both to children and adults. Lewis does an excellent job to create a simple and straightforward story that is easily understandable unlike other theological books such as the bible. In an allegorical sense, the representation of Christ’s resurrection and death is a direct reference to the resurrection and crucifixion of Jesus in the biblical stories. Lewis retells an old familiar tale in a new, innovative and vibrant setting with the aim of giving it a completely new angle. Lewis specifically wants to hold the children’s attention. The author wants to remove the children from the oppressive Sunday school and Church activities and to take them to a new, fascinating world. While there, Lewis easily and periodically introduces the basic elements of Christianity using fun characters, exciting backgrounds and talking animals. Just like Christ, the man who is the main character Aslan lives a similar life. However, using this allegorical device, the author repackages and presents this story to the children and younger readers in a way that is with far more vividness and immediacy than can only be achieved in the outstanding Bible passage readings (Blanch 15). The death of Aslan that is meant to save the life of Edmund and his ensuing resurrection are clear indications that are directly linked to Christ’s life. The figure of Christ, in Lewis’ novel, has had some major changes done to it that has made it more possible for the children to have more access to Aslan than the Christ figure they have often learned about in church. The very transition and use of a lion as the main character is also quite important. Young children are far too familiar with Christ, blurring the lines between a god that should be worshiped and a friend that needs love. Therefore, the uniqueness brought by the lion figure makes it easier for the child to show affection towards the main character. As the king of the forest, the lion is both intimidating and scary. In this aspect, the author has adopted a new representation of Jesus for the children while still keeping intact the original aspects of Christ like characteristics (Russell 62). The White Witch, if analyzed symbolically, is seen to actually be a representation of Satan. The traditional hangman’s role is seen to be played by the Witch in the novel, and she even has the right to do away or kill any Narnian caught engaging in any act of treachery. Satan and the Witch’s roles are parallel, to whom the damned sinners souls are surrendered. Satan’s role of judging the dead after passing away of the individual is seen to be similar to the Witch’s role of judging sinners. However, the novel does not seem to make any sort of close connection between Satan and the Witch. As defined by religion, Lewis is seen to respect traditional gender roles, and he probably would have not conjured a female devil. In addition, since Lewis is often described as being a little sexist, he probably would have never done it after all. Even though the Witch is generally depicted negatively, she still lacks the brimstone and fire aspects that often surround the Christian version of evil. In his allegories, Lewis does not actually follow the formal traditional religious description for his characters, as it is not even generally normal to try to relate a lion with Jesus. The representation of the Witch or evil in the story is more generic. It is more likely that the, character of the Witch in an overview is symbolic for one of the people who works for evil or Satan as compared to the actual symbolic representation of the Prince of Darkness himself. Allegory is very clear in The Lion, the Witch and the Wardrobe. For instance, although Lewis does not present Aslan as the creator in the book, he alludes to that in another one of his called books linked to the Chronicles of Nania called The Magician’s Nephew by referring to him as “the son of the great Emperor-Beyond-the-Sea. . . .Aslan is a lion-the Lion, the great Lion" (Lewis 75). Here, it is clear that Lewis was comparing Aslan to Jesus who is the Lion of the tribe of Judah and the Son of the God Father. This comes out rich in allegorical sense. The narratives of the manner in which sin occurs in the book is an allegory of temptations that occur in the bible. For example, Edmund succumbs to the temptation of gluttony as seen where Lewis narrates, “At first Edmund tried to remember that it was rude to speak with ones mouth full, but soon he forgot about this and thought only of trying to shovel down as much Turkish Delight as he could, and the more he ate the more he wanted to eat" (Lewis 37). This resembles a scene in the Bible where Eve falls to the temptation of eating the forbidden fruit and also to the story of Paul in the New Testament. Another instance is where Edmund falls to the temptation of filling his mind with early desires as seen where the White Witch coaxes him with the thought of becoming a Prince. The White Witch tells him, “I think I would like to make you the Prince -- some day when you bring the others to visit me" (Lewis, 39). This resembles the instance in the Bible where Satan tempts Jesus in the desert with power so that Jesus can serve him. Therefore, Lewis does an excellent job in intertwining Biblical themes into characters in the book that clearly depict extensive use of allegory in the book. In itself, the wardrobe represents the entryway or portal into the spiritual kingdoms that are in existence but cannot be easily perceived by the naked non-believers’ eyes. The symbolic passing through the wardrobe could be directly linked to taking a step of faith, or prayer to God that can actually allow us to have much clearer vision of the realities that are held within these two existing kingdoms. As compared to the earth, time behaves quite differently in Narnia, and that is what actually made Lucy’s story plausible as explained by the professor’s understanding. Therefore, from this overview, it can be summed up that, the very basis on which the kingdom of Narnia can be entered mostly relies on a person’s faith. This story of faith and character is a recurrent theme, which is seen throughout the novel, and the wardrobe is the first place that the different characters are tested to demonstrate the strength of their faiths, which they continue to develop throughout the novel (Greenhill and Sidney 8). The moral of the story can be found within the themes such as healing and redemption, undying good always winning against Evil and brotherhood that is common throughout the novel. Other underlying themes, for instance that of a redeeming savior helps demonstrate people’s spiritual aspect of life and the notion that no matter what the situation they are facing, they should always have faith, a theme that is well studied in the novel and in our daily lives. Of these themes, the most prominent is that of brotherhood as it is emphasized throughout the entire book. The brother that Edmond is, the brother he is to his sister, and the brother he ought to be. The other moral lessons come into play under the main one of brotherhood. The forgiveness he seeks from his family after his imminent failure, the redemption that he was given, and the Evil Witch, choosing him as an important aspect of her evil plans against the general good are clearly represented by Aslan (Lewis 29). Conclusion C. S Lewis’ The Lion, the Witch and the Wardrobe is an excellent allegorical work that appeals both to children and adults. In an overview, the novel clearly shows that it has already established itself as an unending work of literature. The moral depicted within the book appeal to both the God-fearing people and the atheists, to both the scholars and the uneducated in general, to adults and children. The Biblical allegory understanding in the book is not important to their appreciation. Analyzing these works critically, however, does enable the reader to better or fully grasp and appreciate Lewis’ craft of beautiful children’s fantasies and his unique gift to simplify complicated stories or narratives. In turn, this allows the reader to obtain both a deeper understanding of the author’s deeper satisfaction of his art and know him more also as a skilled creative writer. To be able to better appreciate the author, as a craftsman can only increase the readers’ enjoyment of C.S Lewis works. Works cited Blanch, Anna. "‘A Hermeneutical Understanding of The Chronicles of Narnia." CS Lewis Today Conference, Sydney, Australia, May. 2006.12-18 Greenhill, Pauline, and Sidney Eve Matrix."Fairy Tale Films." (2010).6-9 Lewis, Clive. S. The Lion, the Witch and the Wardrobe. New York: Macmillan, 1950. Print. ___________. On Stories and Other Essays on Literature. Ed. Walter Hooper. San Diego: Harcourt Brace Jovanovich, 1982. Print Russell, James. "Narnia as a Site of National Struggle: Marketing, Christianity, and National Purpose in The Chronicles of Narnia: The Lion, the Witch and the Wardrobe." Cinema Journal 48.4 (2009): 59-76. Read More