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Deep or Deeper Magic? Towards a New Definition of Magic in The Chronicles of Narnia by CS Lewis

C. S. Lewis, when asked about the origins of his world-famous Chronicles of Narnia stated: „I think I had been having a good many dreams of lions about that time. Apart from that, I don't know where the Lion came from or why He came.” („It All Began With A Picture”) Although in these words the Inkling renounces any conscious references, on comparison with The Place of the Lion (1931) by his friend, Charles Williams, it is clear that the book has provided Lewis with much inspiration and material to reuse in the whole of his Narnian cycle. However, the elements he borrowed, most notably the lion, have undergone significant changes. In my paper I would like to focus on the transformation of Williams’s Lion into Lewis’s Aslan. I am going to apply Bloom’s theory of the anxiety of influence, wherein Charles Williams will be positioned as the strong writer in relation to whom Lewis constructs his intertextual answer, asserting his own space as a writer on the literary scene and challenging Williams’s powerful presence in his life.

For years, critics and fans of C. S. Lewis have noted his curious attentiveness to descriptions of food and scenes of eating. Some attempts have been made to interpret Lewis’s use of food, but never in a manner comprehensively unifying Lewis’s culinary expressions with his own thought and beliefs. My study seeks to fill this void. The introduction demonstrates how Lewis’s culinary language aggregates through elements of his life, his literary background, and his Judeo-Christian worldview. Using the grammar of his own culinary language, I examine Lewis’s fiction for patterns found within his meals and analyze these patterns for theological allusions, grouping them according to major categories of systematic theology. Chapter two argues that ecclesiastical themes appear whenever Lewis’s protagonists eat together. The ritualized meal progression, evangelistic discourse, and biographical menus create a unity that points to parallels between Lewis’s body of protagonists and the church. Chapter three focuses on the sacrament of the Lord’s Supper and charges that Lewis’s meals which are eaten in the presence of the novel’s Christ figure or which include bread and wine in the menu reliably align with the Anglo-Catholic doctrine of the Eucharist. Chapter four studies how sinful eating affects the spiritual states of Lewis’s characters. The chapter first shows how Lewis’s culinary language draws from Edenic sources, resonating with a very gastronomic Fall of Humanity, then examines how the progressively sinful eating of certain characters signifies a gradual alienation from the Divine. The fifth, and concluding, chapter argues that Lewis’s portrayal of culinary desire and pleasure ultimately points to an eschatological theme. This theme culminates near the end of Lewis’s novels either through individual characters expressing superlative delight in their food or through a unified congregation of protagonists eating a celebratory feast during the novel’s dénouement. I close the study by emphasizing how this approach to Lewis’s meals offers a complete spiritual analysis of Lewis’s main characters that also consistently supports Lewis’s own theology.

This book is a devotional commentary on Jesus, the Lion of Judah, as he is reflected in Aslan in The Chronicles of Narnia by C. S. Lewis. Blog and details are on https://renewaljournal.com/2015/04/16/discovering-aslan-high-king-above-all-kings-in-narnia/ Aslan is the only character who appears in all of the seven books of The Chronicles of Narnia. The triumphant Lion of Judah features this way in these stories:  Creator and Sustainer in The Magician’s Nephew.  Saviour and Redeemer in The Lion, the Witch and the Wardrobe.  The Way, the Truth and the Life in The Horse and His Boy.  Restorer and Commander in Prince Caspian.  Guide and Guardian in The Voyage of the Dawn Treader.  Revealer and Victor in The Silver Chair.  Judge and Conqueror in The Last Battle C. S. Lewis wrote: The whole Narnian story is about Christ … The whole series works out like this. * The Magician’s Nephew tells the Creation and how evil entered Narnia. * The Lion, the Witch and the wardrobe, the Crucifixion and Resurrection. * Prince Caspian, restoration of the true religion after corruption. * The Horse and His Boy, the calling and conversion of a heathen. * The Voyage of the Dawn Treader, the spiritual life. * The Silver Chair, the continuing war with the powers of darkness. * The Last Battle, the coming of the Antichrist, the end of the world and the Last Judgment.

Love as a feeling of total gift of yourself to the other and of the other to yourself, with the tremendous responsibility that goes along with it. And death then becomes an unacceptable step away from this reality. Death comes and love will never go away and will turn into suffering, longing, wanting, needing and never getting the satisfaction you could ever wish to get. Love is for life I was going to say, oh yes, love is for life and even beyond life, for death if it comes and when it comes. Love never turns into ashes and never goes back to dirt because it is not dirt, it is the soul of the heart and the mind of life. And that’s what C.S. Lewis actually discovers late in his life and never forgot after that. He finally learned how to be a fully blooming man, but it hurts so much when you learn love from within the death of your beloved. I must say the slow rhythm of the film, the very intimate scenes, the delicacy of the language and the acting, and the art of Anthony Hopkins serve that theme so well, so beautifully. It seems to be able to last for ever and ever, and yet the young son, now step-son, is there to remind you the show of life goes on for ever and ever on the stage of the strutting human beings we are.

The present study endeavors to present a contrastive analysis of three Romanian translations of The Lion, the Witch and the Wardrobe, namely, Leul, vrăjitoarea și dulapul (1977), Leul, vrăjitoarea și garderoba (1993) and Șifonierul, Leul și vrăjitoarea(1997). It looks into the translation theory and the assumptions posited by the Retranslation Hypothesis. It describes the historical context in which the translations were reproduced, and then it provides a contrastive study between these translations upon which relevant conclusions are reached.

C. S. Lewis’ use of Classical mythological characters in the Chronicles of Narnia has perplexed some readers, who find the inclusion of fauns and Bacchus in a children’s book unusual and a little disturbing. Taking a Freudian view of the Chronicles would indeed suggest that they contain material unsuitable for children. However, this paper argues that child readers, entirely unaware of such associations, come away from the Chronicles with a very different view of Classical myth. Indeed, for child readers, Classical mythology becomes ‘domesticated’ over the course of the series, and Greek and Roman mythological characters take on a cosy and homely quality not found in Classical sources. This ‘domestication’ is explained with reference to Lewis’ autobiographical memory, as he fashioned the world of Narnia from his own memories of his childhood and of the landscape in which he grew up. His placing of Classical mythological characters within this fictionalised home results in their tamed and domesticated nature within the novels. This ‘domestication’ develops over the course of the series, from the early novels, in which the reader senses some tension between the wild nature of these characters and their more homely aspects, and the later novels, in which the comforting, ‘Narnian’ aspect of these characters is firmly emphasised.

Mythlore (Issue 135, Fall/Winter)

C.S. Lewis, J.R.R. Tolkien, and Philip Pullman have all written children’s fantasies derived from the medieval Irish immram, or voyage tale, best known from the voyage tales of the Irish figures, Saint Brendan and Mael Duin. William Flint Thrall defined the immram as “a sea-voyage tale in which a hero, accompanied by a few companions, wanders about from island to island, meets Otherworld wonders everywhere, and finally returns to his native land." In Lewis’s The Voyage of the Dawn Treader (1952), Lucy and Edmund Pevensie are joined by their ill-mannered cousin Eustace on a voyage to a number of marvelous islands in the Narnian ocean. In Tolkien’s Roverandom (1998), an ill-mannered puppy named Rover is sent on a voyage to the moon and the Deep Blue Sea. In Pullman’s The Book of Dust, Volume One: La Belle Sauvage (2017), two children, Malcolm and Alice, rescue the baby Lyra from the those who wish to control her. In a wild voyage down the flooded River Thames, they encounter a number of strange islands. But these stories are more than exciting adventure tales. The voyage also serves as a metaphor for the soul’s moral testing. Thomas Owen Clancy describes the immram as “the saving of souls which use a voyage on the sea as the means of redemption.” Eustace is transformed, literally and spiritually, and is redeemed in the course of his voyage. Likewise, Tolkien’s Rover is transformed, literally and spiritually, and is redeemed. It is presumed that Pullman’s Lyra is transformed by drinking fairy-milk (although the effects of this will not be seen until after the events of this novel). It is primarily Malcolm, however, who faces the moral challenges in Pullman's book. Yet, unlike Lewis and Tolkien, who write through a Christian lens, Pullman’s agnostic/atheistic lens is not concerned with spiritual redemption, but, rather, with right action. Malcolm, in his particular circumstances, performs the right action to protect Lyra and Alice, and he is subsequently rewarded with a place at Jordan College, Pullman’s analog of an earthly paradise. All three authors use the medieval immram structure and motifs to tell tales of transformation and personal growth. Lewis and Tolkien maintain the form’s original purpose of depicting Christian redemption stories. Pullman inverts several of the genre’s stock episodes and motifs, and thus subverts the immram’s original purpose, opting instead to depict a story of acting to save lives in the earthly realm.

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The present study endeavors to present a contrastive analysis of three Romanian translations of The Lion, the Witch and the Wardrobe, namely, Leul, vrăjitoarea și dulapul (1977), Leul, vrăjitoarea și garderoba (1993) and Șifonierul, Leul și vrăjitoarea(1997). It looks into the translation theory and the assumptions posited by the Retranslation Hypothesis. It describes the historical context in which the translations were reproduced, and then it provides a contrastive study between these translations upon which relevant conclusions are reached.

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The Role of Rap in Creating a CX Focused Culture