AN ANALYSIS OF ALLEGORY IN C. S. LEWIS’ THE LION, THE WITCH AND THE WARDROBE
A THESIS By:
YOSI RENATA PANJAITAN REG. NO. 060705054
UNIVERSITY OF SUMATERA UTARA FACULTY OF LETTERS
ENGLISH DEPARTMENT MEDAN
ACKNOWLEDGEMENTS
First and foremost, I would like to thank God, Jesus Christ, The Almighty
for His blessings on me, for each day He guides me and gives me the power to
accomplish this thesis. Without Him, I am absolutely nothing.
I would like to express my gratitude to all those who gave me the
possibility to complete this thesis. I would like to thank the Dean of Faculty of
Letters, Prof. Syaifuddin, M.A., Ph.D., the Head of English Department,
Dra. Swesana Mardia Lubis, M.Hum., the Secretary of English Department,
Drs. Parlindungan Purba M.Hum., for their helps during the days of my study in
Faculty of Letters.
I am deeply indebted to my supervisor Dra. Swesana Mardia Lubis,
M.Hum., and to my co-supervisor and also as my Academic Advisor
Drs. Parlindungan Purba, M.Hum., who has helped, stimulated, and gave
suggestions and encouragement to me in all the time of writing of this thesis.
Especially, I would like to give my special thanks to my beloved parents,
Hembang Panjaitan and Dra. Juniar Simatupang who have been giving me support
and motivation in finishing my thesis. Thank you for your prayers and
unconditional love. Both of you are my spirit and motivation. I will give you all
the best that I can do. To my younger sisters Lidia Pratiwi Panjaitan and Putri
Indah Sari Panjaitan for their attention and prayers (just keep fighting in making
our parents proud of us). To my lil’ brother who always bothering me and angry
to me Andreas Ferdinan Panjaitan (don’t play dotA all the time). To my Panjaitan
Special thanks to Samuel Herbert Simanjuntak, ST for the motivation and
the time for listening to all of my problems, thanks for being a good listener, a
boyfriend, an older brother that I’ve never had and a best friend in the same time,
many thanks for always being there every time I need helps.
Thanks to Kak Asna, Kak Irene, Kak Dindasen, Kak Shera, Kak Mona
from Batch 2005 for suggestions and support that have been given to me.
Thanks to all my friends in 2006 from Reg. number 001-064. Special
thanks to my closest friend in this batch, Farina Rizki Aziz a.k.a gendul, Nellisa,
Efa, Ki2fah, Rindi, Elpan, Hendra, Dix, Rances, Joni, Ughie a.k.a Manogu and
MIRACLES. Thanks for good time we have shared.
Thanks to adek2 2007 especially “geng d’7 rusuh”; Evy, Eva, Liana,
Debora, Mayalia, Dewi’cinawi’, Vita, Elisa, Essy and her gang, Tina and her gang
also, thanks for being good juniors and friends. Thanks to GEDABAK EKSIS ‘08
(sorry if the spelling is not right, huhuhu), Lisa and Sari ‘08 for the gossips, Yova,
Dies, Mora, Petra, Omie, Aprina, Melisa, Robby, Ijal, Yudha ’09, and to all of
my beloved juniors in batch 2009.
Thanks to Bang Syamsul Khair Syam for helping me in administration
matters and giving every useful information to me. I also state my thankful for all
who help me in finishing my thesis that I can’t mention one by one. May God
bless you all.
Medan, January 2010
ABSTRAK
Skripsi ini berjudul An Analysis of Allegory found in C. S. Lewis’ The
Lion, the Witch and the Wardrobe. Di dalam skripsi ini secara keseluruhan,
penulis ingin membuktikan apakah benar novel yang berjudul The Lion, the Witch
and the Wardrobe yang merupakan karya C. S. Lewis merupakan alegori ditinjau
dari kepercayaan Kristen.
Adapun metode yang dipakai penulis dalam penulisan skripsi ini adalah metode analisis deskriptif. Kesimpulan dari skripsi ini adalah novel berjudul The
Lion, the Witch and the Wardrobe adalah merupakan alegori yang berhubungan
TABLE OF CONTENTS
ACKNOWLEDGEMENT i
ABSTRACT iii
TABLE OF CONTENTS iv
CHAPTER I INTRODUCTION 1
1.1 Background of Analysis 1
1.2 Statement of Problem 4
1.3 Objective of Analysis 5
1.4 Scope of Analysis 5
1.5 Significance of Analysis 5
1.6 Theoretical Approach 6
1.7 Review of Related Literature 9
CHAPTER II METHOD OF STUDY 11
2.1 Data Collecting 11
2.2 Data Selecting 11
2.3 Data Analyzing 12
CHAPTER IV ANALYSIS OF ALLEGORY IN C.S. LEWIS’ THE LION,
THE WITCH AND THE WARDROBE 17
4.1 The Animal Characters in The Lion, the Witch and the Wardrobe 17
4.1.1 Aslan The Lion 17
4.1.2 Mr. and Mrs, Beaver 26
4.1.3 Foxes 29
4.1.4 Wolves 30
4.1.5 Mr. Tumnus, the faun 32
4.2 The Human Characters in The Lion, the Witch and the Wardrobe 34
4.2.1 Peter Pevensie 34
4.2.2 Susan Pevensie 38
4.2.3 Edmund Pevensie 40
4.2.4 Lucy Pevensie 45
4.2.5 Jadis the Witch 47
4.2.6 Father of Christmas 50
4.3 The Unliving Characters in The Lion, the Witch and the Wardrobe 51
4.3.1 The Stone Table 51
4.3.2 Aslan’s Breath 53
4.3.3 Hill of Stone Table (Aslan’s How) 54
4.3.4 Shield 55
4.3.6 Lucy’s Healing Potion 56
4.3.7 Susan’s Horn 57
4.3.8 Narnia 58
4.3.9 Turkish Delights 59
CHAPTER V CONCLUSION AND SUGGESTION 61
5.1 Conclusion 61
5.2 Suggestion 61
BIBLIOGRAPHY ix APPENDICES SUMMARY, BIOGRAPHY AND WORKS
Appendix A Summary of The Lion, the Witch, and the Wardrobe Appendix B Biography of C. S. Lewis
ABSTRAK
Skripsi ini berjudul An Analysis of Allegory found in C. S. Lewis’ The
Lion, the Witch and the Wardrobe. Di dalam skripsi ini secara keseluruhan,
penulis ingin membuktikan apakah benar novel yang berjudul The Lion, the Witch
and the Wardrobe yang merupakan karya C. S. Lewis merupakan alegori ditinjau
dari kepercayaan Kristen.
Adapun metode yang dipakai penulis dalam penulisan skripsi ini adalah metode analisis deskriptif. Kesimpulan dari skripsi ini adalah novel berjudul The
Lion, the Witch and the Wardrobe adalah merupakan alegori yang berhubungan
CHAPTER I INTRODUCTION
1.1 Background of Analysis
Literature has been widely known by many people and experts. The word
‘literature’ is derived from the word ‘littera’ in Latin which means letter. It refers
to the written or printed words. However, now, the term ‘literature’ is more
focused and restricted to merely imaginative works, which comes up from the
imaginative mind of the story writers. Klarer (2004:1) says that in most cases,
literature is referred to as the entirety of written expression, with the restriction
that not every written document can be categorized as literature in the more exact
sense of the word. The definitions, therefore, usually include additional adjectives
such as aesthetic or artistic to distinguish literary works from texts such as
newspapers, scientific textbooks, magazines, legal documents, brochures, and so
on. Literature then, can be said as a creative writing by an author with aesthetic
values which makes literature regarded as an art. Literature as a writing form
differentiates its form from other art products, and its aesthetic or artistic values
make it different from other writings.
Wellek and Warren (1963:22) also state that the term literature seems best
if we limit it to the art of literature, that is, to imaginative literature. Literature is
also produced by imagination of the author. Literature is not just a document of
facts, it is not just the collection of real events though it may happen in the real
life. Literature can create its own world as a product of the unlimited imagination.
Poetry is created in various forms and the classification is based either on
technique of writing or content. The word ‘prose’ is derived from th
which literally translates to ‘straightforward’. Prose is the ordinary form of written
language. Prose is adopted for the discussion of facts and topical reading, as it is
often articulated in
(1995:2) classify prose into two, fiction prose and nonfiction prose. Fiction,
originally meant anything made up or shaped, is prose stories based on the
author’s creation and imagination. It includes myths, parables, novels, romances,
and short stories. On the other hand, nonfiction is literary works which describe or
interpret facts, present judgments, and opinions. It consists of news reports,
essays, magazines, newspapers, encyclopedias, broadcast media, films, letters,
historical and biographical works and many other forms of communication.
A novel (from the
"new", "news", or "short story of something new") today is a lon
a fictitious prose narrative of considerable length and complexity, portraying
characters and usually presenting a sequential organization of action and scenes
(Quoted from http://en.wikipedia.org/wiki/Novel). Richard Taylor in
Understanding the Elements of Literature (1981:46) explains that a novel is
normally a prose work of quite some length and complexity which attempts to
reflect and express something of the equality or value of human experience or
conduct.
The Chronicles of Narnia is novel. It is a series of seve
and is the author's best-known work, having sold over 120 million copies in 41
languages. Written by Lewis between 1949 and 1954 and illustrated by
in part, for radio, television,
The Lion, the Witch and the Wardrobe is a
book of
Although it was written and published first, it is second in the series' internal
chronological order, after
novel in its TIME 100 Best English-language Novels from 1923 to 2005.
The Chronicles of Narnia are undoubtedly the most popular works of
writer C.S. Lewis. And although they are recognized as children’s fantasy novels,
they are also popular with students and adults, including many Christian
theologians. In the Narnia Chronicles, Lewis typifies the Biblical character of
Jesus Christ as the character of Aslan the lion, retelling certain events in the life of
Jesus to children in a this new context in a way that is easy for them to
understand; most importantly, however, children can both relate to and enjoy the
fantasy of Narnia. This thesis will analyze The Lion, the Witch and the Wardrobe
to demonstrate that the Narnia Chronicles are allegories, corporate with Biblical
themes in a way that young readers can appreciate.
Allegory according to J. A. Cuddon in Dictionary of Literary Terms and
primary or surface meaning; and secondary meaning or under-the-surface
meaning. It is a story, therefore, that can be read, understood, and interpreted at
two levels (and in some cases at three or four levels).
If The Lion, the Witch and the Wardrobe is being parallelized with
Christian beliefs, there are so many similarities. The Lion in the novel allegorizes
Jesus Christ, that is crucified to save all human beings from their sins. In
particular, Aslan's sacrifice and subsequent resurrection parallel with Christ's
creatures or human that have been turned into stone by the White Witch by
breathing on them. Aslan then replaces Edmund’s place as the Witch victim.
There is a rule in Narnia, for those followers who trait the master must be
crucified or killed. In Edmund’s case, he traits the Witch, for the first time he is
the only child who believes in Witch. The White Witch is parallel with the devil.
She can freeze the Narnia creatures into frozen sculptures if they do not obey her
rules and commands. Based on this, I will analyze the characters in this novel that
I think are referred to characters in Christian belief that are written in Holy Bible
and find out the allegory of each character.
1.2 Statement of Problem
Some scholars and writers believe that all Narnia stories is a Christian
allegory and so do I. In this thesis, I want to prove that Narnia story which entitled
The Lion, the Witch, and the Wardrobe is a Christian allegory. The problem of
analysis are:
2) The allegory of human characters,
3) The allegory of unliving characters.
1.3 Objective of the Analysis
In making analysis, there are certain objectives that are important to
achieve. The objective of writing this thesis is to analyze and to prove whether The
Lion, the Witch, and the Wardrobe is a Christian allegory. By doing this analysis, I
can prove that there are allegory of animal characters, the allegory of human
characters, and also unliving characters in The Lion, the Witch, and the Wardrobe.
1.4 Scope of Analysis
Every analysis needs limitation in order to make the analysis does not go
far from the topic of discussion and make the analysis focus to what being
discussed. In this thesis, my analysis is going to be focused on the characters both
human and animals, and the unliving things that are mention in the novel that I
think allegorize something.
1.5 Significance of the Analysis
The analysis of this thesis is expected to give significance to the students of
literature generally and to me particularly. The expected significances are:
1. This thesis will give information and add the readers’ knowledge or
understanding about allegory,
2. This thesis can be a reference for those who want to analyze allegory in
3. This thesis can add the realm of literature.
1.6 Theoretical Approach
M. H. Abrams in his book The Mirror and the Lamp in 1953 (Quoted from
literature into four kinds. They are mimetic theory, pragmatic theory, expressive
theory, and objective theory. Mimetic theory focus on the relation between the
literary text and the extra-textual “universe” which provides the source and
stimulus for what the literary text actually represents. Although calling these
theory “mimetic” which means imitative is in part a sign of Abrams' relatively
low regard for them, the key point here is that one kind of critical theory of
literature focuses, in making sense of what literature means and what is significant
about it, upon the relation between the literary text and the extra-textual contexts
which the literary text reflects, refracts, refers to, responds to, represents, and/or
transforms, in one way or another.
Pragmatic theory focus on the relation between the literary text and the
reader of the literary text. This kind of critical theory makes sense of what
literature means and what is significant about it by focusing attention upon what
kinds of impacts it exerts and what kinds of effects it has upon its readers. Abrams
calls these kinds of theory “pragmatic” because he is drawing upon a history of
classical rhetorical theory and criticism which studied literature, together with
other kinds of speech and writing, in terms of how it could be deliberately
and classical literary theory understood literature as deliberately written to do
something to and for its audience.
Expressive theory focus on the relation between the literary text and the
writer of the literary text. This kind of critical theory of literature, which only
became prominent with the Romantic movement in the early 19th century, makes
sense of the meaning and significance of literature by focusing upon what the
literary text expresses about the thoughts and feelings of its writer or, in cases
where it is not clear what the writer thinks and feels, about those of “the speaker”
or “the narrator” “in the text”.
Objective theory focus on the relation between the literary text and its
distinctively “literary” language, forms, and devices. This kinds of critical theory
of literature, which became especially prominent in association with American
New Criticism in the 1940s and 1950s, makes sense of the meaning and
significance of literature by focusing upon the literary text in deliberate
abstraction from its relations to its writer, its readers, and surrounding
social-historical and political-ideological contexts; the aim here is to understand the
literary work. So-called “objective theory” are often called “art for art's sake”
theory: they urge that art be understood and appreciated “for art's sake” alone,
and, therefore, that literature, as one distinctive form of art, be appreciated “for
literature's sake” alone. Accordingly, the critic is advised only to interpret and
evaluate literature in relation to literary standards and criteria; she should not
contaminate the process by bringing in extraneous matters that have nothing to do
I base my analysis on mimetic theory. Mimetic theory focuses on the
relation between the literary text and the extra-textual “universe” which provides
the source and stimulus for what the literary text actually represent. Lewis’ The
Lion, the Witch, and the Wardrobe is a novel which reflects, refers to, and
represent the Christian belief in Holy Bible.
According to Wellek and Warren in their book Theory of Literature, there
are two approaches to analyze the literary works; they are intrinsic approach and
extrinsic approach. Intrinsic approach is a kind of approach which analyzes
literary works based on the text and the structural points of literary works. It
discusses the characters, plot, setting, style, theme, and other elements that are
contained in literary works. While, extrinsic approach is a kind of approach which
analyzes the literary work and its connection with other knowledge and external
factors such as biography, history, society, religion, psychology, and so on and so
forth.
I use both approaches in doing this thesis. I use intrinsic approach in
analyzing the characteristics of the characters both human, and animal, and the
unliving characters. I also use the extrinsic approach by connecting the story with
other knowledge, in this case the Christian religion in order to find out the figures
in the Holy Bible. I also connect my analysis with the biography of C.S. Lewis in
order to get a deeper understanding about his intention in writing the story and
what the story tries to convey exactly. It is important to understand the author’s
life and world in order to understand his intention and to make sense of his work.
and to fully understand the work, it is important to understand the author and his
age.
For the first time I read The Lion, the Witch and the Wardrobe, what comes
in my mind is that the novel is just a children’s novel. It doesn’t contain any other
meaning but fairy tales. But I find some interesting actions, and characters in the
novel that I think are same with the actions and characters in Holy Bible though
are not fully same. Then I browse the internet to find out what kind of thing that is
contained in The Lion, the Witch and the Wardrobe’s story. After browsing, I find
many scholars said that the novel is an allegory, then I realize that the novel is an
allegory. I learn about Lewis’ belief and find out that he has ever lost his faith in
Christianity and became atheist because of his mother and his wife’s death. He
wrote many books that are full with questions God’s appearance in life. But
somehow, his friends including J. R. R Tolkien advise him, and then he turned into
the real Christian.
1.7 Review to Related Literature
There are several books which are related to the topic of my thesis that I
use as reference to support my analysis. They are:
1. Into The Wardrobe C. S. Lewis and the Narnia Chronicles, by David C.
Downing (2005)
This book explains C. S. Lewis’ life and his Narnia stories. Downing tries
to convey what Lewis exactly wants to explain about Christianity and the
2. A Guide Through Narnia, by Martha C. Sammons (1979)
This book tells about the Narnia stories, the period of time in Narnia, and
also the interpretation of this book author’s about The Chronicles of
Narnia.
3. Narnia and the Fields of Arbol : The Environmental vision of C.S. Lewis,
by Matthew Dickerson, and David O’Hara (2009)
This book contains ecological crisis, environmental critique, and Christian
imagination. This book asks what the late writer C. S. Lewis had to say,
both directly and indirectly, about nature and ecology —about the world in
which we live, and about our (human) relationships with that world and
with our fellow inhabitants.
4. The Narnian : The Life and Imagination of C. S. Lewis, by Alan Jacobs
(2005)
This book depicts Lewis’ life and imagination that made him wrote Narnia
stories.
5. The Magical Worlds of Narnia : A Treasury of Myths, Legends, and
Fascinating Facts Behind The Chronicles by David Colbert (2005)
This book talks about the myths, legends and fascinating facts about The
Chronicles of Narnia. Colbert states that Lewis’ ideas come from myths
CHAPTER II METHOD OF STUDY
This thesis was being done by using library research. I use some books and
many other sources as references that I think related to the subject matter that is
being analyzed. Those books are the analyses of Narnia’s world that are written
by many scholars and I also browse some opinions about The Chronicles of
Narnia stories from the internet to add my understanding. But the important thing
is I must consult the Holy Bible in doing the analysis even though I didn’t put any
quot ation from it.
In doing the analysis, I use some steps as follows:
2.1 Data Collecting
For the first step, I read the novel on and on to get full understanding about
what is being told about and to find out the allegory that is contained in the novel.
I don’t read the English version only, but also the translation version. The primary
source of the data is the text itself. I underlined and collected the important things
from the novel such as the information about the characteristics of each character,
the way the characters interact with others, and the ideas that the characters posses
in facing an event in the novel.
2.2 Data Selecting
The second step is selecting the data. All the information that I had
collected were being selected and only the very significant data or related data
2.3 Data Analyzing
The last step is analyzing the data. I use the descriptive method.
Descriptive method is a method of analysis by describing and analyzing the data
and then giving interpretation and explanation. All the selected data were being
analyzed to prove what are being written in the objective of this thesis and finally
CHAPTER III
A BRIEF DESCRIPTION OF ALLEGORY
Allegory (from Greek: αλλος, allos, "other", and αγορευειν, agoreuein, "to
speak in public") is a figurative mode of representation conveying a meaning
other than the literal (Quoted from http://en.wikipedia.org/wiki/Allegory). Fictions
with several possible interpretations are not allegories in the true sense. Not every
fiction with general application is an allegory.
Allegory according to J. A. Cuddon in Dictionary of Literary Terms and
Literary Theory (1922:20), is a story in verse or prose with double meaning: a
primary or surface meaning; and secondary meaning or under-the-surface
meaning. It is a story, therefore, that can be read, understood, and interpreted at
two levels (and in some cases at three or four levels).
Allegory communicates its message by means of symbolic figures, actions
or symbolic representation. Allegory is generally treated as a figure of
but an allegory does not have to be expressed i
the eye, and is often found in realisti
The
the word. Though it is similar to other rhetorical comparisons, an allegory is
sustained longer and more fully in its details than
Most people think that allegory and parable are same. Both are talked
about ‘the other meaning’ inside ‘the written meaning’. But there is a
differentiation between allegory and parable.
The difference between allegory and parable is often not easy to recognize.
Both forms of writing employ metaphor in order to get abstract ideas across
through storytelling. Most often, however, parables tend to be much shorter than
allegorical tales. A parable is more often a short tale on a particular subject, meant
to teach the reader about a moralistic or religious concept through example.
Parable most often has one central point and has one particular truth the
author wants to impart. Every major detail of the story illustrates the theme, but it
can have some irrelevant information in it. Often the story itself has nothing to do
with the lesson it’s trying to get across, but usually the point of the parable is
made clear in the end through example or application.
A parable can be described as a short allegory with one theme or lesson to
be taught. An allegory can have more than one central point or theme and can
teach a number of lessons within the story. The details within the story can
wander off to teach another lesson of represent another idea or concept, but not
necessarily. The events do not all necessarily have to do with the themes brought
up. The meaning within the allegory is often woven into the story itself and
becomes part of the tale and the examples that illustrate the points or themes can
be found within the story. Parables clearly divide themselves between the story
part and the lesson to be taught. Allegory blends the two into the storyline.
Allegory tends to be characterized by being much longer than parable, with its
In essence, parables simply compare one event or action or theme to
another while allegory uses characters or events to illustrate the topic or theme. It
transfers the essence of one concept or idea into another. Parable merely says to
the reader, ‘This is just like this’, while allegory puts forth a person or event and
says, ‘This is this’.
Symbol and allegory are different. A symbol is a representation. It is
something that stands for or suggests something else. Consider the cherubim and
the flaming sword and the details of the description of heaven. The rainbow is a
token of God's covenant with Noah even as circumcision represented God's
covenant with Abraham. The cross is a symbol of Christ's atonement and baptism
is symbolic of our death and resurrection with Christ. There are many others.
Simply we can say that allegory is a complete narrative that conveys abstract ideas
to get a point across, while symbol is a representation of an idea or concept that
can have a different meaning throughout a literary work.
ranging from what he termed the "naive allegory" of
more private allegories of modern
characters in a "naive" allegory are not fully three-dimensional, for each aspect of
their individual personalities and the events that befall them embodies some moral
quality or other abstraction; the allegory has been selected first, and the details
merely flesh it out.
Medieval thinking accepted allegory as having a reality underlying any
rhetorical or fictional uses. The allegory was as true as facts of surface
metaphors are adduced as actual facts which take the place of a logical
demonstration, yet employing the vocabulary of logic: "Therefore of this one and
only Church there is one body and one head—not two heads as if it were a
monster... If, then, the Greeks or others say that they were not committed to the
care of Peter and his successors, they necessarily confess that they are not of the
CHAPTER IV
THE ANALYSIS OF ALLEGORY IN C. S LEWIS’S THE LION, THE WITCH AND THE WARDROBE
4.1 The Animal Characters in The Lion, the Witch and the Wardrobe 4.1.1 Aslan The Lion
Aslan, the “Great
the eponymous lion of
Narnia is developed throughout the remaining books. He is also the only character
to appear in all seven books of the series. Lewis often capitalizes the word lion,
since he is essentially God. Aslan has many names: King, Lord, Son of the Great
Emperor-Beyond the-Sea, King of Beasts, the great Lion. The Bible tells us that—
among other things—Jesus is the King of kings and Lord of lords (Revelation
19:16), the Son of God, the Son of Man (Luke 22:69-70), and the Lion of Judah
(Revelation 5:5).
He is a talking lion, King of the Beasts, son of the
a wise, compassionate, magical authority (both temporal and spiritual);
mysterious and beloved guide to the human children who visit; guardian and
savior of Narnia. The author, C. S. Lewis, described Aslan as an alternate version
of
world.
this series. He is the real King in Narnia and its united countries. After the
creation, he goes back to his Father’s Kingdom. His father is the
Emperor-beyond-the-Sea, Lord of Cair Paravel, Emperor of the Lone Islands, High King
over all high Kings, and Creator and Lord of Narnia.
Since he left Narnia, Jadis the white witch spells Narnia into winter but
never Christmas. Then throughout the Wardrobe, Aslan calls Lucy for the first
time to enter Narnia. Lucy tells her siblings about Narnia, but none of them
believe in her story. But Lucy still believe that Narnia is real. She comes to Narnia
twice before her siblings come with her.
Aslan is coming to Narnia after the arrival of the Pevensie children to
Narnia. The spell became broken. The snow is melting and Father of Christmas is
distributing his presents. Aslan saves Edmund after his treasons. Aslan replace
Edmund’s place when Jadis the witch ask Edmund’s life. Jadis has right to kill his
former follower in this case Edmund according to the Deep Magic from the Dawn
of Time -Deep Magic is the beginning rule that is created in Narnia by the
Creator-. She meets Aslan when Aslan and his followers are camping near to the
Stone Table. When she comes to meet Aslan, Mr. Beaver is angry to the Jadis’
follower who accompany her but Aslan asks him to be peaceful:
“What is your message, Son of Earth?” asked Aslan.
“The Queen of Narnia and Empress of the Lone Islands desires a safe conduct to come and speak with you,” said the dwarf, “on a matter which is as much to your advantage as to hers.”
“Queen of Narnia, indeed!” said Mr Beaver. “Of all the cheek—”
will not dispute about them. Tell your mistress, Son of Earth, that I grant her safe conduct on condition that she leaves her wand behind her at that great oak.” (Lewis, 1970: 72)
Jadis asks Aslan to give Edmund to her because the day before, Aslan’s
followers has freed Edmund from her prison but Aslan refuses Jadis’ request,
Jadis forces Aslan by using the Deep Magic, then Aslan agrees to deal with her.
Aslan comes to the Stone Table, the place where he promised to meet the witch
and let the witch does everything to him as the consequence for replacing
Edmund. He is binded to the Stone Table, and shaved:
“The fool!” she cried. “The fool has come. Bind him fast.”
“…But it never came. Four Hags, grinning and
leering, yet also (at first) hanging back and half afraid of what they had to do, had approached him. “Bind him, I say!” repeated the White Witch.”
“Stop!” said the Witch. “Let him first be shaved.” (p. 79)
Aslan is surrounded by the whole crowd of creatures kicking him, hitting
him, spitting on him, jeering at him.
“Why, he's only a great cat after all!” cried one. “Is that what we were afraid of?” said another.
And they surged round Aslan, jeering at him, saying things like “Puss,
Puss! Poor Pussy,” and “How many mice have you caught today, Cat?” and
“Would you like a saucer of milk, Pussums?” (p. 80)
The witch orders her followers to muzzle him:
was bound began to find their courage, and for a few minutes the two girls could not even see him—so thickly was he surrounded by the whole crowd of creatures kicking him,hitting him, spitting on him, jeering at him. (p. 80)
A King has been being mocked. Aslan accepts all of their actions
patiently. He doesn’t give any action against their wickedness. When once Aslan
had been tied (and tied so that he was really a mass of cords) on the flat stone, a
hush fell on the crowd. Four Hags, holding four torches, stood at the corners of
the Table. The Witch bared her arms as she had bared them the previous night
when it had been Edmund instead of Aslan. Then she began to whet her knife. It
looked to the children, when the gleam of the torchlight fell on it, as if the knife
were made of stone, not of steel, and it was of a strange and evil shape.
Susan and Lucy Pevensie who accompany Aslan in walking to the hill
where the Stone Table is, are only crying to see them mocking the dear Aslan.
“Oh, children, children, why are you following me?” “We couldn't sleep,” said Lucy—and then felt sure that she need say no more and that Aslan knew all they had been thinking.
“Please, may we come with you—wherever you're going?” asked Susan.
“Well—” said Aslan, and seemed to be thinking. Then he said, “I should be glad of company tonight. Yes, you may come, if you will promise to stop when I tell you, and after that leave me to go on alone.”
“Oh, thank you, thank you. And we will,” said the two girls. (p. 78)
They tell Aslan that they want to accompany him and they have promised
to stop in place where Aslan asked them to stop. In paying this promise, the two
happen to Aslan and wait until all of the enemies are gone. After all of the
enemies have gone, these two young ladies come and see Aslan lying dead on the
Stone Table, it was night time and moon was getting low and thin clouds were
passing across. Lucy can’t see Aslan with horrible muzzle so she told Susan to
take it off and after trying hard, they succeed to take it off:
“I can't bear to look at that horrible muzzle. I wonder could we take if off?”
So they tried. And after a lot of working at it (for their fingers were cold and it was now the darkest part of the night) they succeeded. And when they saw his face without it they burst out crying again and kissed it and fondled it and wiped away the blood and the foam as well as they could. And it was all more lonely and hopeless and horrid than I know how to describe. (p. 82)
After taking off the muzzle, they try to untie him as well but the enemies
have tied him very tight:
“I wonder could we untie him as well?” said Susan presently. But the enemies, out of pure spitefulness, had drawn the cords so tight that the girls could make nothing of the knots. (p. 82)
After trying several times, hours and hours seemed to go by and they
hardly noticed that they are getting colder and colder. They feel miserable and
hopeless, but somehow there is a help, for the first time they think that the helper
is enemy:
“Ugh!” said Susan from the other side of the Table. “How beastly! There are horrid little mice crawling over him. Go away, you little beasts.” And she raised her hand to frighten them away.
“Wait!” said Lucy, who had been looking at them more closely still. “Can you see what they're doing?” Both girls bent down and stared.
“I do believe—” said Susan. “But how queer! They're nibbling away at the cords!”
“That's what I thought,” said Lucy. “I think they're friendly mice. Poor little things—they don't realize he's dead. They think it'll do some good untying him.”
It was quite definitely lighter by now. Each of the girls noticed for the first time the white face of the other. They could see the mice nibbling away; dozens and dozens, even hundreds, of little field mice. And at last, one by one, the ropes were all gnawed through. (p. 83)
Because of the cold weather, the two young Pevensie ladies decide to have
a little walk in forest near to the Aslan’s corpse. They try to keep warm and at last
they stand for a moment and see Cair Paravel, suddenly they hear a great
cracking, deafening noise:
It was quite definitely early morning now, not late night.
“I'm so cold,” said Lucy.
deafening noise as if a giant had broken a giant's plate. (p. 83-84)
they feel afraid, the sun has made everything look so different –all colors and
shadows were changed that for a moment- the Stone Table was broken into pieces
by a great crack that ran down it from end to end and there was no Aslan;
“Oh, oh, oh!” cried the two girls, rushing back to the Table.
“Oh, it's too bad,” sobbed Lucy; “they might have left the body alone.”
“Who's done it?” cried Susan. “What does it mean? Is it magic?”
“Yes!” said a great voice behind their backs. “It is more magic.” They looked round. There, shining in the sunrise, larger than they had seen him before, shaking his mane (for it had apparently grown again) stood Aslan himself.
“Oh, Aslan!” cried both the children, staring up at him, almost as much frightened as they were glad. “Aren't you dead then, dear Aslan?” said Lucy. “Not now,” said Aslan.
“You're not—not a—?” asked Susan in a shaky voice. She couldn't bring herself to say the word ghost. Aslan stooped his golden head and licked her forehead. The warmth of his breath and a rich sort of smell that seemed to hang about his hair came all over her.
“Do I look it?” he said.
“Oh, you're real, you're real! Oh, Aslan!” cried Lucy, and both girls flung themselves upon him and covered him with kisses. (p. 84-85)
They suddenly feel so happy after seeing Aslan alive. Aslan tells them
about the Deep Magic From Before The Dawn Of Time that said when a willing
victim who had committed no treachery was killed in a traitor’s stead, the Table
would crack and Death itself would start working backwards. This deeper magic
isn’t known by the white witch.
Aslan is a representation of Jesus Christ in a way that is easier for
see that the actions toward Aslan or actions that are done by Aslan are same with
the actions done by Jesus in Holy Bible. In Holy Bible, Jesus is told is being
crucified by the Jews who don’t like him from the very beginning. Jesus is
crucified in order to free all of human beings from their sins. When Judas, one of
the twelve disciples and the Jewish chief priests come to the Gethsemane, one of
his disciples struck the servant of the high priest by sword and cut off his ear. But
Jesus then touch his ear and heal him:
And one of them struck the servant of the high priest and cut off his ear.
But Jesus answered and said, “Permit even this.” And He touched his ear and heal him.
(Luke 22: 50-51)
This event is the same with event in Narnia, when Mr. Beaver the faithful
follower is angry with the Jadis’ messenger, but then Aslan asks him to be
peaceful. When preparing Himself to be crucified by the hatred people, Jesus
began to be troubled and He ask His disciples Peter, James, and John with Him:
And He took Peter, James, and John with Him, and He began to be troubled and deeply distressed.
Then He said to them, “My soul is exceedingly sorrowful, even to death. Stay here and watch.” (Mark: 33-34)
This is very same with Aslan when he walks to Stone Table to meet the
witch, he asks the children to hold his mane:
“No,” said Aslan. “I am sad and lonely. Lay your hands on my mane so that I can feel you are there and let us walk like that.” (p. 78)
When Jesus arrived in the place called Praetorium, the Jews soldiers were
mocking Him. They put a crown of thorns on His head. Just same like Aslan who
And they clothed Him with purple; and they twisted a crown of thorns, put it on His head.
And began to salute Him, “ Hail, King of the Jews!” Then they struck Him on the head with a reed and spat on Him; and bowing the knee, they worshipped Him.
And when they had mocked Him, they took the purple off Him, put His own clothes on Him, and led Him out to crucify Him. (Mark 15: 17-20)
When Jesus was crucified, some people look at Him from afar. They are
Mary Magdalene, Mary the mother of James the less and of Joses, and Salome
and there were some women who came up with Him to Jerusalem:
There were also women looking on from afar, among whom were Mary Magdalene, mother of James the less and Joses, and Salome.
Who also followed Him and ministered to Him when He was in Galilee, and many other women who came up with Him to Jerusalem. (Mark 15: 40-41)
On the third day after Jesus’ death, very early in the morning the women
who came to the tomb bringing the spices that they had prepared were afraid
because the stone of the tomb has been rolled, and Jesus’ body was not there lying
in where He has been being laid:
Now on the first day of the week, very early in the morning, they and certain other women with them, came to the tomb bringing the spices which they had prepared.
But they found the stone rolled away from the tomb. Then they went in and did not find the body of the Lord Jesus. (Luke 24: 1-3)
Just same as Aslan, early in the morning, the Stone Table is cracked into
pieces and Aslan’s body is not there. This event make Susan and Lucy become
afraid, and the most weird thing is when Aslan appears like lived-man so as Jesus
in Holy Bible, the disciples were afraid when Jesus met them for the first time.
Now as they said these things, Jesus Himself stood in the midst of them, and said to them, “Peace to you.” But they were terrified and frightened, and supposed they had seen a spirit. (Luke 24: 36-37)
Table 4.1.1 Similarity of Characteristics between Aslan in The Lion, the Witch and the Wardrobe and Jesus in Christian Belief
The Lion, the Witch and the Wardrobe Christian Belief Aslan
• Son of the Emperor of the Sea
• Has so many disciples
• Betrayed by his creation
• Is being mocked, jeered, and so
on
• Betrayed by one of His disciples • Is being mocked, jeered, and so
on
• Crucified to save all humans
• Rose from death
4.1.2 Mr. and Mrs. Beaver
Mr. and Mrs. Beaver are the first Narnian that the Pevensie children meet
in the forest. They are the faithful followers’ of Aslan. They keep the children out
from the Jadis’ Secret Police. They give the children foods and they tell the
children about Aslan. Mr. and Mrs. Beaver are represented the faithful disciples of
Christ. The disciples of Christ always try to tell a good news about Jesus and his
coming to save all human beings from their sins just same as Aslan who will
who believe in God. When the children ask them to hurry because the Secret
Police are chasing them, Mrs. Beaver is still calm down and prepares everything
that they will need in their escaping. Even she asks her husband and the children
to help her in preparing their needs because she believes that the Secret Police or
Jadis is still far away and they will not arrest them. They still have time to do
some preparations:
“What are you doing, Mrs. Beaver?” exclaimed Susan.
“Packing a load for each of us, dearie,” said Mrs. Beaver very coolly.
“You didn't think we'd set out on a journey with nothing to eat, did you?”
“But we haven't time!” said Susan, buttoning the collar of her coat.
“She may be here any minute.”
“That's what I say,” chimed in Mr. Beaver.
“Get along with you all,” said his wife. “Think it over, Mr. Beaver. She can't be here for quarter of an hour at least.”
“But don't we want as big a start as we can possibly get,” said Peter, “if we're to reach the Stone Table before her?”
“You've got to remember that, Mrs. Beaver,” said Susan. “As soon as she has looked in here and finds we're gone she'll be off at top speed.”
“That she will,” said Mrs. Beaver. “But we can't get there before her whatever we do, for she'll be on a sledge and we'll be walking.”
“Then—have we no hope?” said Susan.
“Now don't you get fussing, there's a dear,” said Mrs. Beaver, “but just get half a dozen clean handkerchiefs out of the drawer. 'Course we've got a hope. We can't get there before her but we can keep under cover and go by ways she won't expect and perhaps we'll get through.”
“That's true enough, Mrs. Beaver,” said her husband. “But it's time we were out of this.”
In the hectic time and it seems that there is no hope for them, only Mrs.
Beaver who stands still in believing that there is always be a hope for them. She
believes that Aslan will send helps for them without known by them. Mrs.
Beaver’s belief is the representation of the faith of Jesus’ disciples and whoever
that believe in Jesus. Jesus’ disciples have mission in leading human beings into
God’s kingdom by showing them the way to get there. They teach the others
about lessons, advices and examples that has been given to them by Jesus. Mr.
and Mrs. Beaver also do the same when they are leading the children to the place
where Aslan gather all of Narnians who are still believe in him. Mr. and Mrs.
Beaver keep the children from danger. They lead the children through the safest
way so that they can meet Aslan.
Table 4.1.2 Similarity of characteristics between Mr. and Mrs. Beaver in The Lion, the Witch and the Wardrobe and Jesus’ faithful disciples in Christian Belief
The Lion, the Witch and the Wardrobe Christian Belief Mr. and Mrs. Beaver
• Save the Pevensie children from
Secret Police
• Have a strong faith in God
• Lead Pevensie children to meet
Aslan in Stone Table
Jesus’ Faithful disciples
• Save humans from falling into sins
by telling God’s message to live in
chastity
• Have strong faith in Jesus
• Lead humans so that they can meet
God’s sayings
4.1.3 Foxes
Foxes allegorize people who might generally be considered, or do not
appear to be Christian or believe in God, and yet if they had to, they mayn’t give
their life for Him. When Father Christmas comes and gives them foods and
drinks, they make a celebration to celebrate the coming of Aslan. But they still
don’t have strong faith in Aslan. Humans are self-centered so that sometimes they
don’t believe in God’s existence. God is absurd. Absurd can mean odd but real.
He is real but most people keep asking on His presence, because God can’t be
accepted scientifically. Some Narnian believe in Jadis because she has
god-like-power that is very similar to Aslan the real God for Narnia so many Narnians
believe that she is god.
When Jadis passes and sees them partying, the fox says that they are
praying for the Witch:
“Please, your Majesty,” said the Fox, “we were given them. And if I might make so bold as to drink your Majesty's very good health—” (p. 60)
The word ‘Majesty’ in the quotation above, can mean same as God. If the
majesty here means someone who brings goodness or happiness, then the power
of the majesty must bring freedom for those who get the things from the majesty.
But if the majesty means someone who brings evil-like power, the majesty only
intent to give misery to the follower, he gives something to the follower and that
like Jadis who bound her followers by turning them into stone when they are
seemed to have a little faith in Aslan.
"What?" roared the Witch, springing from the sledge and taking a few strides nearer to the terrified animals. "He has not been here! He cannot have been here! How dare you—but no. Say you have been lying and you shall even now be forgiven."
At that moment one of the young squirrels lost its head completely.
"He has—he has—he has!" it squeaked, beating its little spoon on the table. Edmund saw the Witch bite her lips so that a drop of blood appeared on her white cheek. Then she raised her wand. "Oh, don't, don't, please don't," shouted Edmund, but even while he was shouting she had waved her wand and instantly where the merry party had been there were only statues of creatures (one with its stone fork fixed forever halfway to its stone mouth) seated round a stone table on which there were stone plates and a stone plum pudding. (p. 60-61)
Table 4.1.3 Similarity of characteristics between Foxes in The Lion, the Witch and the Wardrobe and People who debate on believe Jesus status or Son of God and man in Christian Belief
The Lion, the Witch and the Wardrobe Christian Belief • Believe in fake God easily
• Don’t believe Aslan’s status as Son
of God and also the creator of
Narnia and its creature
• Many Christian can believe in fake
prophets easily
• Most Christians debate on Jesus’
4.1.4 Wolves
Wolves are same with Satan’s helpers. Wolves do Jadis’ order to spread
terrors and arrests Narnian who rebel the Witch. In The Lion, the Witch and the
Wardrobe, wolves are the Secret Police and Maugrim the chief of Secret Police
then is killed by Peter when the wolf wants to kill Susan. For the first time they
arrest Mr. Tumnus because he invites Lucy Pevensie to come to his house but he
doesn’t tell the witch about Lucy’s present in Narnia. They left a piece of paper in
Mr. Tumnus’ house :
The former occupant of these premises, the Faun Tumnus, is under arrest and awaiting his trial on a charge of High Treason against her Imperial Majesty Jadis, Queen of Narnia, Chatelaine of Cair Paravel, Empress of the Lone Islands, etc., also of comforting her said Majesty's enemies, harbouring spies and fraternizing with Humans.
signed MAUGRIM, Captain of the Secret Police, LONG LIVE THE QUEEN (p. 30)
Wolves always obey Jadis’ order. They will do everything to pleased Jadis:
“Take with you the swiftest of your wolves and go at once to the house of the Beavers,” said the Witch, “and kill whatever you find there. If they are already gone, then make all speed to the Stone Table, but do not be seen. Wait for me there in hiding. I meanwhile must go many miles to the West before I find a place where I can drive across the river. You may overtake these humans before they reach the Stone Table. You will know what to do if you find them!”
“I hear and obey, O Queen,” growled the Wolf, and immediately he shot away into the snow and darkness, as quickly as a horse can gallop. (p. 59)
For Wolves, Jadis is the real Narnia’s Queen. They believe that if they
Table 4.1.4 Similarity of Characteristics between Wolves in The Lion, the Witch and the Wardrobe and Lucifer’s followers in Christian Belief
The Lion, the Witch and the Wardrobe Christian Belief Wolves
• Obey all the Witch’s rules,
commands and orders
• Spread terrors to all Narnians
Lucifer’s followers
• Obey Lucifer’s rules and commands
• Spread temptation to all human
beings
4.1.5 Mr. Tumnus the Faun
Mr. Tumnus is the first Narnian whom Lucy met in the forest near to the
lamp-post. He is a faun. Faun is a creature half man and half goat. From the waist
upwards he was like a man, but his legs were shaped like a goat's (the hair on
them was glossy black) and instead of feet he had goat's hoofs. He also had a tail.
Mr. Tumnus invites Lucy to come to his house. He promises to give Lucy
toast, sardines and cake:
“Thank you very much, Mr Tumnus,” said Lucy. “But I was wondering whether I ought to be getting back.”
“It's only just round the corner,” said the Faun, “and there'll be a roaring fire—and toast—and sardines— and cake.” (p. 6)
for the first time, Mr. Tumnus wants to kidnap Lucy. He doesn’t tell Lucy that he
he has saw human entering Narnia. Because there is written when four thrones in
Cair Paravel is filled by four humans, the witch will lose her power. It makes the
witch become frightened with everything that talks about human beings:
“Like what I've done,” said the Faun. “Taken service under the White Witch. That's what I am. I'm in the pay of the White Witch.”
“The White Witch? Who is she?”
“Why, it is she that has got all Narnia under her thumb. It's she that makes it always winter. Always winter and never Christmas; think of that!”
“How awful!” said Lucy. “But what does she pay you for?”
“That's the worst of it,” said Mr Tumnus with a deep groan. “I'm a kidnapper for her, that's what I am. Look at me, Daughter of Eve. Would you believe that I'm the sort of Faun to meet a poor innocent child in the wood, one that had never done me any harm, and pretend to be friendly with it, and invite it home to my cave, all for the sake of lulling it asleep and then handing it over to the White Witch?” (p. 8-9)
But then Tumnus realizes that he must release Lucy, because he likes
Lucy’s kindness. He doesn’t want to see Lucy is going to be killed by the witch.
He accompany Lucy to back to the forest where he met her for the first time:
“Of course I will,” said the Faun. “Of course I've got to. I see that now.
I hadn't known what Humans were like before I met you. Of course I can't give you up to the Witch; not now that I know you. But we must be off at once. I'll see you back to the lamp-post. I suppose you can find your own way from there back to Spare Oom and War Drobe?” (p. 9)
Tumnus is same with Apostle Paul, who first worked against Christianity
by killing the Christians people. He is also same to doubting Thomas of the
Lucy, he sees Aslan’s shadow and then he realizes that he is wrong so he decides
to let Lucy back to her world in spare-room through a wardrobe.
Table 4.1.5 Similarity of Characteristics between Mr. Tumnus in The Lion, the Witch and the Wardrobe and Judas and Apostle Paul in Christian Belief
The Lion, the Witch and the Wardrobe Christian Belief Mr. Tumnus
• Selling information to Jadis about
Son of Adam and Daughter of Eve
Mr. Tumnus
• Works for Jadis and intent to
kidnap Lucy but then he change his
mind after seeing Aslan’s shadow
on fire
Judas
• Selling Jesus to Jewish Chief Priests
for some money
Apostle Paul
• Works against Christianity; killing
Christians but then he turned into
Christian by seeing God’s power
4.2 The Human Characters in The Lion, the Witch and the Wardrobe 4.2.1 Peter Pevensie
Peter is the eldest of the four Pevensie children and shares his adventures
in Narnia with his sisters
protect his other siblings and to act like a responsible young adult. In the book it is
implied that he is more mature than his other siblings because, after their father
was called out to fight in the war, it was left to Peter by his mother to support his
three siblings though the ordeal of their father going away. He is
the countryside, they stay at the old mansion of
When Lucy first stumbles on the wardrobe, Peter doesn't believe her,
thinking it is just her imagination until he and the other Pevensies enter the
wardrobe themselves:
“A jolly good hoax, Lu,” he said as he came out again; “you have really taken us in, I must admit. We half believed you.” (p. 12)
He later apologizes to Lucy for not believing her and is quite angry with
Edmund for earlier denying Narnia's existence (Lucy had seen Edmund in Narnia
before, but he had lied that they were just “pretending”):
Peter turned at once to Lucy.
“I apologize for not believing you,” he said, “I'm sorry. Will you shake hands?”
“Of course,” said Lucy, and did. (p. 28)
Peter whistled.
“So you really were here,” he said, “that time Lu said she'd met you in here—and you made out she was telling lies.”
There was a dead silence. “Well, of all the poisonous little beasts—” said Peter, and shrugged his shoulders and said no more. (p. 29)
This is caused by Edmund's revelation of his deceit when, upon entering
Narnia, he says; “I say ... oughtn't we to be bearing a bit more to the left, that is, if
we are aiming for the lamp-post?”(1970: 29). Peter had already been angry with
Lucy had been in Narnia, he does not believe that Edmund was doing Lucy any
good by jeering at Lucy and encouraging her about her claim to have found a
country in the wardrobe. Lucy had told Peter and Susan that Edmund had been in
Narnia the second time she was in the wardrobe, but he had denied it. Edmund
later strays to the White Witch (having met her when he first came into Narnia
and been seduced by her promises of power) and Peter later confesses to Aslan
that his anger towards Edmund (for trying to make out that Lucy was a liar)
probably helped him to go wrong. Peter and his siblings had been under protection
o
Edmund was a traitor from the moment he set eyes on him, but did not mention
anything to the others about it until it was too late. Edmund is then rescued on the
orders of Aslan.
Peter receives his sword, Rhindon, and shield from Father Christmas
during the journey to find Aslan and is later knighted “Sir Peter Wolf's-Bane” by
Aslan after he kills
who was trying to kill Susan and Lucy. This is Peter's first battle:
“Hand it to me and kneel, Son of Adam,” said Aslan. And when Peter had done so he struck him with the flat of the blade and said, “Rise up, Sir Peter Wolf's-Bane. And, whatever happens, never forget to wipe your sword.” (p. 69)
In the American editions of the books on which the
was based, Lewis changed the chief wolf's name to
He is the head General of Aslan's army. After the defeat of the White
Beruna Ford, he is crowned to the Clear Northern Sky by Aslan as His Majesty
King Peter, High King of Narnia, Emperor of the Lone Islands, Lord of
King Peter the Magnificent”. The ancient prophecy of two Sons of Adam and two
Daughters of Eve coming to sit on the four thrones of Narnia at Cair Paravel has
come to fruition. This marks the end of the hundred years of winter and the reign
of the White Witch, and is the beginning of Narnia's Golden Age.
The apostle Peter is the first of Jesus’ disciples. He was the first who has
been called by Jesus:
And when it was day, He called His disciples to Himself; and from them He chose twelve whom He also named apostles:
Simon, whom He also named Peter. (Luke 6: 13-14a)
For the first time, Peter denies the story about Aslan. Even he considers it
as a joke but Peter then finds his belief in Aslan and becomes his faithful follower.
It is slightly different with Apostle Peter who believed in Jesus for the first time
but then when Jesus is taken to the court and said to be crucified, he denied that he
knows Jesus, even worst, he denied that he was one of the twelve disciples.
Although the chronology is not same but still they have some similiraties. There
are similarities between Peter Pevensie an
original twelve disciples. Like St. Peter, who was given that name from Christ,
Peter Pevensie is given the name Sir Peter Wolfsbane by Aslan. As the traditional
first
among-equals with the other leaders of the church. Similarly, Peter Pevensie is
tradition, was given the “keys to the
the door, locking it with a golden key, sealing the destroyed Narnia after the
judgment in
Table 4.2.1 Similarity of Characteristics between Peter Pevensie in The Lion, the Witch and the Wardrobe and Apostle Peter in Christian Belief
The Lion, the Witch and the Wardrobe Christian Belief Peter Pevensie
• Has received a given name by
Aslan; Sir Peter Wolf’s-bane
• The leader or the first-among-equal
• Believe in Aslan’a existence after
seeing him
Apostle Peter
• Apostle Peter is the name given to
Simon the fisherman by Jesus
• The highest leader of all disciples
or leader of the church
• Deny Jesus’ existence after
following Him as His disciple
(when Jesus had been going to be
crucified)
4.2.2 Susan Pevensie
Susan is the elder sister and the second eldest
in three of the seven books — as a child in
a
Susan of the horn. She was the only Pevensie that survived the train wreck
(because she was not on the train or at the station) on Earth which sent the others
to Narnia after the Last Battle.
In
arrows by
brings aid. Susan shows her excellence at
battle. Together with her sister
on the Stone Table. After the battle, she is crowned to the Radiant Southern Sun
as Queen of Narnia by Aslan, and shares the monarchy with her brothers
Gentle. The period of their reign is considered the Golden Age of Narnia.
Throughout the book, Susan is the voice of caution and common sense.
Even at the end, after a number of years in Narnia, she counsels against pursuing
the
sense the pursuit might bring.
Susan allegorizes Mary Magdalene in Bible. Mary Magdalene who was
always there as the faithful disciple of Christ when he was crucified, buried and
she came to Jesus’ tomb early in the morning with other women and bring spices.
Just like Mary, for the first time Susan doesn’t believe in Aslan but when she has
saw Aslan, then she believes. When Mary saw Jesus was teaching His disciples
about His Father’s Kingdom, she saw Jesus and she wanted to know more about
Christ’s Kingdo m and how to get there. She turned her life from the bad one into
not be a holy woman before but after knowing and deciding to change her life, she
become the holy one.
Table 4.2.2 Similarity of Characteristics between Susan Pevensie in The Lion, the Witch and the Wardrobe and Mary Magdalene in Christian Belief
The Lion, the Witch and the Wardrobe Christian Belief Susan Pevensie
• Doesn’t believe in Aslan’s
existence either with Narnia’s story
• Following Aslan when he is going
to Stone Table to meet the Witch
• Accompanying Aslan secretly with
her younger sister when he is going
to be crucified
Mary Magdalene
• Doesn’t believe in Jesus Christ
either with Christianity
• Following Jesus when He is going
to be judged in Pontius Pilate’s
house
• Accompanying Jesus secretly when
He is being prisoner the night
before He was crucified and after
He was crucified.
4.2.3 Edmund Pevensie
Edmund Pevensie is the third child in Pevensie’s family. He is become
egoist since his father who always spoil him went on World War II. He feels like
there is none love him like his father does. Edmund is cruelly dismissive to
second of the Pevensie children to go to
While he is there, he meets th
of Narnia) and eats some enchant
the person who eats it. He asks Turkish Delight more and more and he never feels
satisfied. The Witch says if he can bring his siblings to her palace, Edmund will
become king in her kingdom and there will always be Turkish Delight as his food
everyday.
“Son of Adam, I should so much like to see your brother and your two sisters. Will you bring them to see me?”
“I'll try,” said Edmund, still looking at the empty box.
“Because, if you did come again—bringing them with you of course—I'd be able to give you some more Turkish Delight. I can't do it now, the magic will only work once. In my own house it would be another matter.” (p. 18)
As a result, he promises the Witch that he will bring his siblings to her
house, not knowing that she intends to kill them all to prevent the fulfillment of a
Narnian
conversation and Edmund realized that the Witch was none other than the “Queen
of Narnia”, but the magic of the Turkish Delight was so strong that he was
determined to go back to her for more.
Upon returning, he denies having been in Narnia, not wishing to admit that
Lucy's story had been true, but later accidentally lets slip in a remark to Peter that
shows that he had in fact been in Narnia. All four of the Pevensie children later go
through the wardrobe and are taken under protection of
while the others are having an in-depth conversation about the arrival of
when she berates him for coming alone, and even more so when on their journey
to the
by
is their benefactor and has entered the land, a clear sign of her waning power, she
turns them to
the
others. The sledge eventually stops as the snow melts (another sign of the Witch's
crumbling power), so they have to continue their journey on foot. They eventually
stop in a wooded valley, where the Witch prepares to put him to
She ties Edmund to a tree and draws her knife, but a rescue party sent by
arrives, frees him and brings him to his siblings and the rest of Aslan's army.
Edmund becomes fully reformed after a long conversation with Aslan. The next
day, the Witch reiterates her claim to Edmund's life. She and Aslan work out an
agreement that Aslan will die in Edmund's place (though the other Narnians do
not know this), but unknown to her, the magical nature of this contract allows
Aslan to be brought back to life. Susan and Lucy witnessed Aslan's sacrifice and
resurrection.
While Aslan and Edmund's sisters race to free the cursed prisoners in the
Witch's castle, Edmund consolidates his reformation by aligning himself with
Peter's army i
Witch's most dangerous advantage, her
